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.     

Más de cincuenta años del nacimiento del teatro catalán moderno: retrospectiva del Teatro Independiente

More than fifty years after the founding of Els Joglars and several similar events, it is time to evaluate what Catalan independent theater meant for the whole of Spanish drama and the future of theater in Catalonia. This article outlines an original route through theater companies, directors, playwrights, etc., with the aim of a retrospective drawing of a new map of Catalan theater of the 1960s and 1970s.     

Bernardo del Carpio en el Poema de Fernán González

The focus of the Poema de Fernán González falls squarely on its protagonist, the tenth-century Castilian warrior lord known to us today as Count Fernán González. Nevertheless, a third of the poem is devoted to the narration of events and prominent figures who preceded the Count. Most notable among these is Bernardo del Carpio, a fully fictitious epic hero who prefigures the Count in his willingness to fight for the independence of the Castilian nation. This analysis of the narration of Bernardo's heroic deeds against the invading army of Charlemagne is meant to clarify lingering doubts about the sources of the poem and their mode of transmission.     

El rey que fue animal: sobre la invención del otro en Calderón,Dostoievski y Coetzee

The aim of this article carries a comparison between Calderón and Dostoevsky, their semblances and differences. First, I study a relationship toward otherness which is, in both cases, problematic and modern. Departing from Segismundo's complaints when he is imprisoned (saying that he is living a life “worse than animals live”) I analyze two kinds of misunderstandings: a white blindness that respects the Other's difference, and the evil inside its unconcealment. Finally, I discuss Coetzee's Dostoevsky (in The Master of Petersburg) in relation to some of the thesis outlined previously: the necessity of respect when dealing with the space of the other, either in its human form or in a non-human presentation.     

Donald Bán and the Bócan

Although ATU 510A, ‘Cinderella’, is known to have ancient origins, it was widely thought that the ash-name did not become a feature of the tale type until Giambattista Basile’s ‘La Gatta cenerentola’ (The Ashy Cat) in the seventeenth century. However, it is preceded in this regard by a little-known fourteenth-century Icelandic romance, Vilmundar saga viðutan (The Saga of Vilmundr the Outsider). Using this saga as a starting point, this article traces the literary transmission of ATU 510A through the extant corpus of Old Norse literature, with particular reference to the development of three key aspects of ‘Cinderella’: the persecuted heroine; the lost-and-found shoe; and the cinder-name.     

¿Qué sabemos del Cantar de Fernán González?

The Poem or Book of Fernán González was probably written c. 1250 by a monk of San Pedro de Arlanza (Burgos, Castile) to strengthen the legendary foundation of his monastery by the tenth-century Castilian Count, Fernán González, and to promote his tomb cult there. The Arlanza poet was competing with the benefits that Santiago and San Millán de la Cogolla were trying to get on legendary accounts of the champion of the independence of the County of Castile from the Kingdom of León. It is clear that this is a work of monastic propaganda, designed to attract pilgrims and donations; therefore perhaps a better title for it would be Poem of the Foundation of San Pedro de Arlanza. The Arlanza poet was fond of the popular and orally transmitted Romance epics (Hispanic and Carolingian songs). He knew Siete infantes de Salas, the tradition of the Youthful Deeds of Rodrigo (Gesta de las Mocedades de Rodrigo), the anti-Carolingian song(s) of Bernardo del Carpio, and the Roncesvals Matière. We also suspect that the poet was recasting a now-lost epic cantar de gesta of Fernán González. This cantar was probably also known by Gonzalo de Berceo, who was actively working in San Millán de la Cogolla, a few years earlier, trying to attract pilgrims and donations. In this article, I try to analyze how much we know of the lost Cantar de Fernán González and if the Monastery of Sahagún (León) also reappropriated it for its own propaganda.     

Conflicto político en el Poema de Fernán González

This article deals with the ways in which different political conflicts surrounding the emergence, independence, and consolidation of Castile as a political agent are managed and solved in the Poema de Fernán González. It shows how internal conflicts within the Castilian community are settled by favoring an authoritarian vision of leadership, discouraging consensus and shared decision making. Regarding conflicts with other political domains, the poem legitimizes Castilian independence by means of a narrative that makes natural Castilian claims on Visigothic heritage, while at the same time presenting Castile as following legal procedures and as a victim of external aggression.     

Conciencia nacional y devoción jacobea en el Poema de Fernán González

Jacobean devotion and national awareness are closely related in the Poema de Fernán González (PFG). The great advance of the Reconquest in the thirteenth century and the reevaluation of the past that it caused enabled the broad Hispanic perspective of the PFG. Spain is not only a distant and longed-for reality (“regnum Gothorum”) but a current political concept. This is the frame of the PFG's intense Castilian sentiment. Castile is the bastion of the Visigothic monarchy, which did not yield to the Muslims and was the foundation for the recovery of Spain. The territorial diversity becomes the outstanding feature of this country, in which the “Montaña” takes an important role. Confronting the proposal of the cult of Saint Millán by the Monastery of San Millán de la Cogolla, the author of the PFG, aware of the damages that such a cult was causing to his monastery, clings to the Jacobean devotion that achieved a broad Hispanic scope.     

Comercio y comerciantes en América Latina colonial: Reflexión historiográfíca

Tráfico de Indias y política oceánica. By Fernando Bordejé Y Morencos. Madrid: MAPFRE, 1992. Pp. 341.

Relaciones económicas entre España y América hasta la independencia. By John R. Fisher. Madrid: MAPFRE, 1992. Pp. 280.

Las comunicaciones en América. By Secundino‐José Gutiérrez Alvarez. Madrid: MAPFRE, 1993. Pp. 424.

Piratas, bucaneros, filibusteros y corsarios en América. Perros, mendigos y otros malditos del mar. By Manuel Lucena Salmoral. Madrid: MAPFRE, 1992. Pp. 306.

El dinero americano y la política del imperio. By María Emelina Martín Acosta. Madrid: MAPFRE, 1992. Pp. 333.

Cargadores a Indias. By Julian B. Ruiz Rivera and Manuela Cristina García Bernal. Madrid: Mapfre, 1992. Pp. 395.     

En tiempos del condestable Dávalos: Enrique de Aragón,poeta quejoso en Crónica. Año de 1420, de Jerónimo de la Escosura

Infants of Aragon are very important figures in the history and literature of the nineteenth century, but it is rare that one of them, Don Enrique, is the protagonist. This work analyzes the romantic story Cronica. Año de 1420, published by Jerónimo de la Escosura in 1839. In it, Enrique de Aragón is a cunning courtier and a poet in love, and he manages to change history because he changes the story with his verses.     

Algunas reflexiones en torno al término latín en la documentación alfonsí

This study examines the development of linguistic consciousness in thirteenth-century Hispano-Romance by analyzing the relationship between the terms latín and romance in works sponsored by Alfonso X. In the article, the author demonstrates that numerous lexical items (e.g., injuria, negligencia, suspensión, inquisición) were already a part of Romance vocabulary despite their labeling as latín in the Alfonsine texts ("iniuria en latin tanto quiere dezir en romançe commo desonrra que es fecha o dicha aotro a tuerto o a despreçiamiento del," Siete Partidas). Framed within the (later stages of the) "complex monolingualism" approach proposed by Roger Wright, the author also argues that, as Hispano-Romance speakers in Castile expanded their cultural knowledge, the term latín became associated with the areas from which vocabulary was taken to supply new scientific or pseudo-scientific expressions. The designation latín, in the contexts under scrutiny, was perceived not as a language but as a lexical register marker in the higher sociolects of the vernacular.     

Jerusalén celestial en los Andes: apropiación iconográfica y autorrepresentación en la pintura mural tardo-colonial

Este artículo estudia la pintura mural de finales del período colonial como fenómeno de un cristianismo andino transcultural y agente. La investigación rastrea y analiza la representación de iglesias locales (en tanto autorrepresentadas en sus propios muros), observando en el motivo iconográfico la apropiación comunitaria del arte de la evangelización y la configuración de identidades locales en nuevas formas visuales. Se destacan las redes de referencia visual de estas imágenes con representaciones coetáneas, así como también su contraste con las técnicas del control doctrinario y con los registros documentales, con el objetivo de comprender la epistemología del espacio religioso forjada en los poblados indígenas de los siglos XVIII y XIX.