Cartografía emocional entre la China y la Gloria: Agustín de Foxá, Víctor Ruiz Iriarte y la Modernidad

Both Agustín de Foxá and Víctor Ruiz Iriarte premiered their first plays very near the end of the Spanish Civil War in 1939. The two playwrights appear to belong to the same imaginative and poetical vein, but in fact Foxá yearns for an impossible return to an idealized past, in a pessimistic lamentation against Modernity—that is, precisely, his exotic drama Cui-Ping-Sing. The poetical theatre Ruiz Iriarte endorses in Un día en la Gloria, and thinks apt to Modern times, is based in a radical optimism—the idea that fantasy can always transform and improve a disappointing reality.     

María Rosa Lida,Borges y una cita inexistente de Lucrecio: filología y auctoritas

In 1952, María Rosa Lida de Malkiel published a work in Sur magazine about the literary sources of Jorge Luis Borges. In the second paragraph of that work she relates a passage from one of the Argentine's stories with a verse from the Aeneid and, later on, two verses of the poem “Las calles” with some others from Lucretius' work De rerum natura. In both cases, she cites the number of the book and verse of the Latin poets. The one referring to Virgil is correct; however, Lucretius' verses are apocryphal. In this work, I analyze the reasons the eminent philologist could have had to carry out tremendous artifice and, at the same time, the objective and personal qualms that, during the revision, produced the auctoritas of her figure.     

Lo que le sucedió a María Zambrano: Dulcinea

Don Quijote is constantly present in María Zambrano’s works, especially in the years of exile. Along her career, Zambrano wrote many essays about Cervantes, in which she reflects on love, always about the character of Dulcinea. One of these essays, significantly titled “Lo que le sucedió a Cervantes: Dulcinea,” raises the lack of love as the most important topic in Quijote, and discusses from this point of view the ideal image of Dulcinea contradicted by the carnal Aldonza.     

The reader of confession in María Zambrano

ABSTRACT

The purpose of this article is an attempt to understand the concept of ‘confession’ as a literary genre in the works of Spanish philosopher María Zambrano. Firstly, we will try to understand confession within Zambrano's most relevant philosophical concepts, in particular her study La confesión: género literario y método [Confession. Literary Genre and Method]. Secondly, we will offer reinterpretation to confession in dialogue with theories of Reception by Wolfgang Iser and Hans Robert Jauss, and other authors like St. Agustin, Rosa Chacel, Mikhail Bakhtin, Miguel de Unamuno and Michel Foucault. Finally we will highlight the performative aspect of confession as something that is truly relevant to Zambrano’s theory. Zambrano understands confession as a method that can bring people's experiences closer to knowledge, and therefore a method that can change life. In this context, we propose that the reader of confession plays a fundamental role in understanding Zambrano’s conception.     

Mitología e ingenio en el Poema heroico de San Ignacio de Domínguez Camargo

This article examines the mythological motifs in the Poema heroico de San Ignacio, by the Colombian poet Hernando Domínguez Camargo, not only as material extracted from a prestigious culture (i.e., classical culture), but as a starting point for the elaborations of wit, which is the main objective in the aesthetics of the wit.     

Psychoanalytic reflections upon the work of María Zambrano

ABSTRACT

This paper engages in an overdue dialogue amongst some aspects of the thinking of Maria Zambrano and psychoanalytic theory. The discussion focuses on some epistemological and phenomenological ideas that were prevalent in twentieth-century European philosophy. The notion of the real, for instance, is one of the jambs of this comparison, particularly between Zambrano and Jacques Lacan’s ideas. Reflecting upon how Zambrano, Lacan and Freud characterised the origins and limits of the subject and language is testimony of these problems and limits themselves. Division, traversement, schism and exile are distinct yet similar heterogeneities that are central in the thinking of these authors. The Zambranian schism between philosophy and poetry, where pathos and logos are divided, resembles the psychoanalytic understood schism between the psychic and bodily and recalls the problems of the Freudian pleasure principle. These schisms can in turn be understood as an exile of a mythical prelinguistic unity which is best characterised by Lacan as the fundamental castration of the subject of desire. The psychoanalytic reflection upon Zambrano’s writing itself opens possibilities for future dialogues, perhaps in terms of a sinthomatic savoir-faire, which offers yet another layer to the discussion of her remarkable life and work.     

María Zambrano amongst the philosophers. An introduction

ABSTRACT

As the Spanish Civil War (1936-1939) came to an end, hundreds of thousands of Spaniards who had opposed the military rebellion which initiated the war and remained loyal to the democratically elected government were forced into exile. Amongst them was the philosopher María Zambrano (1904-1991). While little known to an English-speaking readership, she represents a unique voice engaging with some of the fundamental problems of our times. Her life was marked, like that of her contemporaries Benjamin, Husserl, Arendt, Pato?ka, Adorno, Lacan, Derrida and Blumenberg by the crisis of modernity culminating in the two World Wars. Her work is part of the same philosophical debates, currents and problems facing the Europe of her time. The aim of the volume María Zambrano amongst the philosophers, introduced in this article, is to focus on the links between Zambrano’s thought and a wide range of themes and ideas associated with these other European thinkers. A summary of Zambrano’s main philosophical concepts and preoccupations is also offered to help the reader situate the translated anthology of texts by the philosopher included in the volume.     

Cuban Miami on the Air: Narratives of Cubanía

Radio has been a fundamental aspect of Cuban culture on and off the island since the first broadcast in Havana in 1922. When Cubans fled the island after the revolution of 1959 for the USA, particularly Miami, radio quickly became a vital medium for navigating a new country and for consolidating a Cuban exile identity. Politically, radio in Miami has been an effective means for articulating hardline exile politics. But with generational turnover and increasingly moderate stances on Cuba by more recent arrivals and US-born Cuban Americans, how is radio changing? How are narratives of what constitutes cubanía – Cubanness – shifting in an increasingly diverse Cuban Miami? This article takes up these questions through an examination of an immensely popular morning program that aired in 2009 in southern Florida called the Enrique y Joe Show. I examine how the Enrique y Joe Show, produced and performed by US-born Cuban Americans, utilized a form of irreverent Cuban humor called choteo to represent and satirize the hardline Cuban exile politics that have been dominant on Miami's radio waves for decades. Ultimately, their performances deploy choteo to articulate Cuban American identity divorced from a particular political orthodoxy. The coda reflects on changes in Miami's radio landscape since 2009.     

Descubrimiento,geografía y origen de los discursos hispanoamericanos

Imaginación del Nuevo Mundo. Diez estudios sobre los inicios de la narrativa hispanoamericana. By JOSE JUAN ARROM. México: Siglo XXI Editores, 1991. Pp. 196.

Signs, Songs, and Memory in the Andes: Translating Quechua Language and Culture. By REGINA HARRISON. Austin: University of Texas Press, 1989. Pp. xvii, 233.

The Armature of Conquest: Spanish Accounts of the Discovery of America, 1492–1589. By BEATRIZ PASTOR. Translated by LYDIA LONGSTRETH HUNT. Stanford: Stanford University Press, 1992. Pp. x, 317.

Mil leguas por América. De Lima a Caracas 1740–1741. Diario de don Miguel de Santisteban. Preliminary study by DAVID J. ROBINSON. Bogotá: Banco de la República, 1992. Pp. 323.     

La clerecía del Fernán González

The Poema de Fernán González is usually regarded as a hybrid text—while its subject matter is deemed epic, its expression, intentionality, and ideology are considered clerical. This article studies several elements shared by Fernán González and the other poems of the mester de clerecía school: the same stanza (the cuaderna vía) and poetic rules; similar modes of composition, transmission, and reception; and common structural, thematic, and verbal patterns. The article concludes that the Poema de Fernán González fully participates in the common artistry of the mester de clerecía and therefore can be regarded as the attempt to produce epic poetry by this learned clerical school.     

Vít Bubeník,A Historical Syntax of Late Middle Indo-Aryan (Apabhramśa)

Indo-Iranian Journal -