DSpace Collection: En esta colección se encuentra el número 4 de la revista <i>Nuevas Glosas. Estudios Lingüísticos y Literarios</i>, correspondiente a julio-diciembre de 2022
https://ru.atheneadigital.filos.unam.mx/jspui/handle/FFYL_UNAM/7195
En esta colección se encuentra el número 4 de la revista <i>Nuevas Glosas. Estudios Lingüísticos y Literarios</i>, correspondiente a julio-diciembre de 20222023-12-26T08:33:37ZNuevas Glosas. Estudios Lingüísticos y Literarios. Número 4 (2022). Completo
https://ru.atheneadigital.filos.unam.mx/jspui/handle/FFYL_UNAM/8528
Title: Nuevas Glosas. Estudios Lingüísticos y Literarios. Número 4 (2022). Completo
Authors: Facultad de Filosofía y Letras2022-07-01T00:00:00ZLa configuración del héroe artista y sus mutaciones en El doctor Centeno e Il piacere
https://ru.atheneadigital.filos.unam.mx/jspui/handle/FFYL_UNAM/7201
Title: La configuración del héroe artista y sus mutaciones en El doctor Centeno e Il piacere
Authors: Mejía Estévez, Diego
Abstract: This paper makes a comparison between novels from the fin de siècle with the purpose of showing the perplex evolution of the hero artist in the European novels (from the Spanish and Italian traditions) through the realistic and decadent methods. The characteristics of the configuration of the playwright Alejandro Miquis in El doctor Centeno (1883) will be exposed to show how these are tied to the strategies of the second realism represented by Pérez Galdós, as well as the contrast of the way of articulating his artist character with respect to his contemporaries, such as Gabriele D’Annunzio and its most emblematic novel Il piacere (1889) which concentrates a good part of the topics of the decadent novel. In this sense, this article also outlines two of the main elements defining the artist’s novel: the bohemian and the dandy.
Description: Publicación electrónica2022-07-01T00:00:00Z“Era aquello un museo matritense”: acerca de la cursilería en Tormento y La de Bringas de Benito Pérez Galdós
https://ru.atheneadigital.filos.unam.mx/jspui/handle/FFYL_UNAM/7200
Title: “Era aquello un museo matritense”: acerca de la cursilería en Tormento y La de Bringas de Benito Pérez Galdós
Authors: Muñoz Covarrubias, Pablo
Abstract: La de Bringas was published in 1884 and has remained one of the most discussed novels penned by Benito Pérez Galdós. Critics have studied its structure, meaning, and transcendence to better understand Galdós’ conceptualization of the contemporary novel. Furthermore, it has been seen as a text that embodies the profound knowledge of Spain’s society during a crucial time: the months before la Gloriosa. The traits and characterization of the novel’s main character—Rosalía de Bringas—can only be understood by following her passionate preference for garments and luxury items and by considering her affiliation to the higher middle class; this article suggests that cursilería defines and shapes her. To fully probe this point other texts by Pérez Galdós are taken here into account, chiefly Tormento as well as Lo prohibido and La desheredada. Rosalía’s actions and decisions become more and more influenced by social ambition. Our analysis of the novel reflects on her path towards cursilería. By adjusting her image to an ideal, the character becomes more and more displaced from her original habitus. Fashion has the power to seduce her and dislocate her conduct in such a way accumulation becomes her sole life purpose. Many scenes from La de Bringas are discussed to demonstrate such a hypothesis.
Description: Publicación electrónica2022-07-01T00:00:00ZLa estructura mandálica del cuento “Axolotl” de Julio Cortázar
https://ru.atheneadigital.filos.unam.mx/jspui/handle/FFYL_UNAM/7199
Title: La estructura mandálica del cuento “Axolotl” de Julio Cortázar
Authors: Jaramillo Díaz, Iván
Abstract: The purpose of this article is to propose that the figure of a mandala (Hindu and Buddhist geometric representation of infinity) can help us understand the structure of Julio Cortázar’s short story “Axolotl.” This text will show how the construction of time and space, and the use of symbols and imagery in Cortázar’s narration reveal the circular composition of the story, which is like that of a mandala mainly because the narrative time, like the characterization and the construction of space, produces a type of polarity. This gives way to a contrasting system like a “mirror” similar to a mandala for the following reasons: a) by joining the past and the present, the narrative time produces a cyclic temporality, which is repeated over and over again, given the circularity of the story; b) the narrative space can be seen as an empty interstice in which reality and fantasy interact, producing a site of constant interpenetration; and c) the imagery and symbols in the story work as metaphors that help achieve the disintegration of the self and the personality swap between the man and the axolotl.
Description: Publicación electrónica2022-07-01T00:00:00Z