El codescubridor Juan Niño y el puerto de San Juan en el marco de la marinería andaluza y de los viajes de Colón

Este trabajo de investigación ofrece resultados inéditos en relación con Juan Niño —maestre y propietario de la carabela Niña— que colaboró de forma relevante con Cristóbal Colón en la preparación de la armada en 1492 y en su primera travesía oceánica a tierras americanas. Asimismo, desvela el lugar concreto de vecindad y de residencia de este marino en el puerto de San Juan (Huelva, España) mediante documentación contrastada, así como el periodo en el que se produjo su fallecimiento permitiendo aclarar especulaciones historiográficas que ofrecían determinados datos erróneos sobre su trayectoria vital después del descubrimiento de América. Por último, aporta datos indicativos sobre el estatus socioeconómico y el nivel de rentas disfrutado por el codescubridor de América y por su familia.     

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.     

Consejero de Felipe III en su Real Consejo de Indias: venalidad y corrupción en el servicio a la Monarquía

During the reign of Philip the III, one of the most famous legal proceedings of the 17th century took place. It was conducted against Pedro Franqueza and Alonso Ramírez de Prado, who were charged for taking advantage of the king's trust to obtain personal benefits and in detriment of the Monarchy. Two of the charges were referred to the case of an adviser from Indias: Lic. Francisco Alonso de Villagrá, who might have obtained the position through fraudulent activities with the all-powerful Pedro Franqueza. Based on the analysis of the documents pertaining to this case, the aim of this research is to unravel the events that took place, understand the causes that led Villagrá to become involved and the consequences of the way in which the position was acquired.     

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.     

La prudencia de Cortés: teoría política y práctica retórica en la Historia de la conquista de México de Antonio de Solís

The Historia de la conquista de México, published by Antonio de Solís in 1684, and later extensively reissued and translated, has been praised for the ‘elegance’ and ‘sweetness’ of its style. From very early on these qualities made the Historia to be read as a prose model worthy of imitation. Different scholars have studied Solís's sources and the way he manipulated them on the one hand, and, on the other, the extent of the reliability of his account. However, very little has been said about the actual writing practices of the Historia in the context of contemporary historiographical theories, or the author's own ideas about history or politics. This paper analyzes how some of these rhetorical techniques (I particularly focus on the use of oratio figurata, sententia, and epiphoneme) gave shape to Solís's political ideas, in particular the concept of prudence.     

Una relectura de la cronología de los incas de la Miscelánea antártica de Miguel Cabello Valboa (1586)

El presente artículo propone una lectura de la cronología de los incas presente en la Miscelánea antártica (1586) de Miguel Cabello Valboa a la luz de nueva evidencia histórica y textual. La crónica de Cabello ofrece años concretos asociados a la duración y expansión del Tawantinsuyu, razón por la cual fue utilizada por John Rowe (1945) para construir una cronología absoluta para el incario. No obstante el trabajo de Rowe ha sido cuestionado en las últimas décadas por la arqueología, la cronología de Cabello nunca ha sido abandonada del todo. El presente artículo postula que la comparación de fechas entre el registro arqueológico y etnohistórico no es correcta, puesto que parten de premisas distintas. Proponemos que los cálculos de Cabello se basaron en supuestos no empíricos los cuales, más que retratar el pasado verdadero de los incas, buscaban posicionar su historia dentro del providencial esquema que Dios había trazado para la Monarquía hispánica.     

“Voy a empeñar la Edad de Oro”: Historia,música y política en la crisis española (2011–2016)

ABSTRACT

Spain's current economic and social crisis has involved a profound reappraisal of the country's history, institutions, and official narratives, especially after the emergence of the 15M or indignados movement in 2011. A crucial example of this shift has been the widespread criticism of Spain's “Transition to Democracy” or Transición, widely considered Spain's “foundational” narrative. In this article, a series of examples from the musical field—including essays, songs, and public uses of music—are studied and contextualized in order to analyze different interpretations and critiques of the Transición developed by artists, intellectuals, and politicians who took part in the 15M or have been influenced by its “climate” (Fernández Savater). In these examples, two complementary trends are identified: on the one hand, an intention to reclaim part of the Transición's collective mood through its musical symbols; on the other, a rejection of its political legacy, as expressed in criticisms of its musical canon.     

“Vivo sin vivir en mí”: YouTube y la poesía de santa Teresa de Jesús

ABSTRACT

The poetry of Saint Teresa of Jesus has not aroused the same interest from the critics as has her prose. There are several reasons for this. However, her poetry has remained in the memory of anyone who has come in contact with it, as well as in public manifestations, one of which is the phenomenon of new media—in particular, YouTube. Consequently, this article presents an analysis of Teresa de Jesus's poem “Vivo sin vivir en mí” (“Live without living in me”) in the context of new media, specifically YouTube, in order to further analyze the oral-auditory impact of her work as a strategy of representation in the reception of her writing and, therefore, expand the communicative possibilities of her writing style close to the spoken language, beyond her time and context.