Maurofilia y maurofobia en el Libro del conde de Castilla

The Poema de Fernán González (or Libro del conde de Castilla) is not a crusade song, nor is it an epic poem or a historical account commemorating the foundation of San Pedro de Arlanza Monastery. It is rather a hybrid text that employs all the literary and historical resources available around the middle of the thirteenth century to an educated poet who was intent on transmitting to future generations the memory of the Count who made possible the independence of Castile. All episodes in the poem point to Castile's unique place in history, describing through the protagonist's bellicose deeds its hegemonic ascendency as the most important kingdom of the Iberian peninsula. Its destiny is determined by the hero's combative character against all enemies, whether Christians or Moors, and more specifically by confronting the powerful kings of neighboring states León and Navarre.     

Indagaciones sobre alteridad e identidad: Puntos de contacto y puntos de partida en los estudios coloniales

Implicit Understandings. Observing, reporting, and Reflecting on the Encounters Between Europeans and Other Peoples in the Early Modern Era. Edición de STUART SCHWARTZ. Cambridge: Cambridge University Press, 1994. Pp. xv, 637.

Coded Encounters. Writing, Gender, and Ethnicity in Colonial Latin America. Edición de FRANCISCO JAVIER CEVALLOS‐CANDAU, JEFFREY A. COLE, NINA M. SCOTT, and NICOMEDES SUAREZ‐ARAUZ. Amherst: University of Massachusetts Press, 1994. Pp. 298.

Literatura fundacional americana: El Espejo de paciencia. Por JUANA GOERGEN. Madrid: Editorial Pliegos, 1993. Pp. 142.

Cartas de relación. Por HERNAN CORTES. Edición de ANGEL DELGADO GOMEZ. Madrid: Editorial Castalia, 1993. Pp. 687.

Vitier, Cintio. 1970. Lo cubano en la poesía. La Habana: Instituto del Libro.     

Perspectivismo Narrativo y Enjuiciamiento Social en La familia de Pascual Duarte

The phenomenal ambiguity and irony in Camilo José Cela's La familia de Pascual Duarte has led to many often differing conclusions regarding its social message. While some scholars regard its protagonist as a victim of society and of the new regime that followed the Civil War, others have argued that Pascual is the evil perpetrator of unspeakable crimes who is rightly punished by the new order. This article proposes to reconsider the picaresque nature of this novel, focusing on two features of the picaresque genre, namely its political commitment (or poética comprometida) and the determinism versus free will foil. This analysis will show that Cela replicated the Quevedian vilification of the protagonist and the Alemanian presentation of a false conversion at the end of the story with one purpose: to present Pascual as an unremorseful murderer who lived an irreligious life, killed his mother, and supported the Republican repression in his village killing the local aristocrat, before the new regime makes justice by executing him.     

La imaginacion historiografica de Fernando de Alva Ixtlilxochitl: Etnicidades emergentes y espacios de enunciacion*

Desde mi adolescencia tuve siempre gran deseo de saber las cosas acaecidas en este Nuevo Mundo, que no fueron menos que las de los romanos, griegos, medos y otras republicas gentilicas que tuvieron fama en el universo; aunque con la mudanza de los tiempos y caida de los senorios y estados de mis pasados, quedaron sepultadas sus historias Fernando de Alva Ixtlilxochitl     

El laberinto espacio-temporal en dos relatos de El llano en llamas de Juan Rulfo

The pattern of Latin American Boom criticism developed by Donald L. Shaw established that Juan Rulfo's protagonists are universal, not regional. In this interpretative mode, espoused by Graciela B. Coulson and others, Rulfo's characters are viewed as powerless to alter their own destinies. Humans are dominated and doomed by the hostile natural world that surrounds them. However, through a detailed analysis of Rulfo's technique and the internal and external structure of two of Rulfo's short stories in El llano en llamas—“No oyes ladrar a los perros” and “Es que somos muy pobres”—a new theoretical framework emerges for the study of Rulfo's work. In these two stories, Rulfo imagines the llano as a space that individuals control through their personal choices and actions. This article proposes, therefore, that Rulfo's protagonists are not victims of their environment, but rather the perpetrators of its violence.     

Cultura y vulgaridad en La Habana para un infante difunto

This essay examines Italo Calvino's novel If on a Winter's Night a Traveler as the author's experiment with the conventions of the classic detective fiction formula. Calvino launches two parallel investigations: the epistemological one carried out by his protagonist, the Reader, and the ontological one carried out by us, the readers. The two investigations, the essay argues, come together at the moment of the novel's denouement, but where in traditional detective fiction this occurs at the end of the narrative, in Calvino's it is hidden in the center. Numerous clues interspersed throughout the novel (as are many red herrings as well) lead to some of the keys to Calvino's game of cloak and dagger, the most significant being in the names of the protagonists. Chief among these is that of Ermes Marana, whose connection to a homonymous writer of the seventeenth-century brings to light issues of authenticity and authorship.