E.L.O. 9-10 (2003-4) – Notas e Recensões

De 1905, fecha en la que Manuel Altolaguirre nació en Málaga, hasta 1959, fecha de su muerte, cuando regrasaba hacia Madrid, tras presentar su película El cantar de los cantares en el Festival de Cine de San Sebastian, toda una vida plena, inmersa en uno de los momentos más cruciales de la literatura y la historia del siglo XX. Altolaguirre vivió todos los cambios políticos y sociales que tuvieron lugar en España en el primer tercio de siglo, marcados por la confrontación entre la pervivencia del "antiguo régimen" y la emergencia de la conciencia demócrata y solidaria asumida ya en Europa. Vivió el auge de las vanguardias artísticas que ya imperaban en ésta, y el periodo de efervescencia regeneradora que venía teniendo lugar en España.Perteneciente a la más joven de las tres generaciones que elevaron la cultura española a un "nuevo Siglo de Oro", la del 98 (Antonio Machado, Unamuno...), la del 14 (Ortega y Gasset, Juan Ramón Jiménez...) y la del 27 (García Lorca, Alberti, Cernuda...), fue miembro aglutinante y decisivo de esta última, primero desde su Málaga natal, ya desde 1923, junto a otros poetas malagueños, con la revista Ambos, embrión de la emblemática Litoral, editada junto a Emilio Prados, que llegaría a traspasar las fronteras del exilio, y del tiempo. Pero no acabó aquí su empresa fundacional: con sus colecciones y revistas posteriores (Málaga, París, Madrid, Londres, La Habana, México), como impresor en solitario, dio cauce permanente a la expresión de los integrantes del grupo y a la de los jóvenes poetas que emergían. Cultivó todos los géneros: poesía, prosa poética, teatro, biografía, ensayo, guión cinematográfico... Poeta innato, si su tarea múltiple y su entrega a la obra ajena y la cultura en general, hicieron reducir el número de versos que nos legó, consiguió, sobre ello, ofrecernos, en su quintaesenciada obra poética, un universo coherente y profundo, lleno de verdad y de belleza, que merece ser considerado como uno de los más auténticos y originales de la literatura contemporánea.

Renaissance Quarterly, 2021

her work, and a selected bibliography is included for the researcher who would like to know more about Martín's contributions to literary criticism on erotic literature, female literature and canon, and animal studies, among many other topics. The erotic, sensuality, and gender in the Golden Age were Martín's forte, and many of the articles are proof of that. Frederick de Armas's contribution centers on a revision of La Galatea from the point view of fainting characters that adds new perspective to gender stereotypes in the pastoral. J. Ignacio Díez goes deeper in the analysis of cats and the erotic in Cervantes; Ana Laguna expounds on the connections between horses, representations of women, and male friendship. The sensuality of food and music is covered by Carolyn A. Nadeau and Sherry Velasco. Focusing on linguistic connections between the use of terms in different registers, Velasco shows the multilayered value of words such as figs, peaches, fish, etc., in the context of the Cave of Montesinos and the Retablo de Maese Pedro in Don Quixote. Nadeau, departing from Martin's analysis of humor and violence in Cervantes, offers us her own views on "El celoso extremeño" of another sexual conundrum: winter-spring couples. Travesties (Jesús David Jerez-Gómez), unconventional beauties (Cartagena-Calderón), and mothers are also included as focuses in the collection. Mercedes Alcalá-Galán explores why married women and mothers disappear from plots, and then addresses the topic of Cervantes's mothers. Her tracing of the numerous mothers in Cervantes's work is a wonderful achievement that yields results: "mothers of Cervantes offer a unique and different complexity in a catalogue of portraits of women" that is surprising for its "dysfunctionality" (230-31). The book includes three essays under the rubric of "Cervantes' Feminisms." Catherine Infante gives an informative reading of the harem power structures and architecture in La gran sultana. Anne J. Cruz not only adds some historiography of Cervantes's feminisms but also brings to the fore the relation between subversion, destabilization, and sites of irresolution in Cervantes; and Rosilie Hernández delves into the implications of gender law in the reconsideration of Don Quixote as the first novel and a proto-feminist text. Hernández's point of focus is the Marcela-Grisóstomo pastoral episode.

Bulletin of Spanish Studies, Volume XCII, Number 4, 2015, 2015

Hispanic Review, 2012

De la nueva luz approaches the late poetry of Juan Ramó n Jiménez from several angles, critical, biographical, and comparative. The ten chapters comprising this book were written on separate occasions, and seven of them were published separately in shorter versions. The first section of the book, ''Hacia otra desnudez,'' approaches Juan Ramó n's poetry and life on their own terms, while the second, ''Afinidades e influencias,'' employs a comparative method, relating the poet to other significant figures, including his wife Zenobia Camprubí. Given the way in which this book has taken shape, there are some unnecessary repetitions of ideas and textual examples, but these are minor distractions in an otherwise wellconceived book. There is no question that Professor Juliá, the author and editor of previous volumes on Juan Ramó n, is in a position to speak with authority about his poetic achievement. Her erudition and her admiration for the poet are evident on virtually every page of the book, as she strives to defend him against certain persistent misconceptions or caricatures of his personality. She is particularly anxious to remove Juan Ramó n from his ivory tower, emphasizing his engagement with the outside world during his exile years. At the same time, she never denies that he was also a difficult individual whose conduct often alienated others. The author writes with admirable clarity and concision throughout, making this j 329

Esta edición consta de dos partes, la parte introductoria y la antología poética del autor. La primera esta compuesta de un ensayo titulado "José Moreno Villa o el destino de precursor" (pp. 11-63) y de un apéndice bibliográfico (pp. 65-74)". Tras esta primera parte se ofrece una antología de todos sus libros de poemas, cotejando variantes con la antología, "La música que llevaba", que en 1949 ofreció el propio autor. El ensayo introductorio se enfoca de manera cronológica, atendiendo a su vida, formación, personalidad creadora, actividad social y política, etc., enmarcando cada uno de sus libros poéticos en este engranaje que va conformando de manera decisiva su poesía. Ofrezco un estudio pormenorizado y crítico de cada uno de estos libros, destacando lo que su obra tiene de precursora con respecto a la de autores coetáneos y a generaciones poéticas posteriores.

This course will be devoted to closely reading literary works of Spanish Medieval Literature, emphasising their relation (or lack of) with the canon of medieval Spanish literature. Texts from prose fiction and poetry will be carefully analyzed, and in studying them serious considerations will be given to matters of both content and structure. Because of this, the design of this course implies a focus on Critical Thinking through acquiring a blend of theoretical concepts and practical applications. Literary analysis is an activity for which skills, knowledge, and preparation are needed

London/ New York, Routledge, 2022

and editorial mauer. R odrigo Cacho Casal and Caroline Egan; mdividual chapters, the contributors T he right of R odrigo Cacho Casal and Caroline Egan ro be idemilied as the aurhors of the editorial material, and of the authors for their individual chapters, has been asserred in accordance with secrions 77 and 78 of the Copyright, DcsigllS and Patents Act 1988. Al! rights reserved. No part of th1s book may be reprínted or re produced or milised in any form or by any electroníc, mechanical, or orhcr meons, now known or hereafter invented, including phorocopying and recording, or in any informar ion storage or retrieval system, without penuission in w riting from the publishers. 1rademark 11t11ice: Product or corporate names may be trademarks or registered traden1arks, and are used only tor 1demification ami explanation without iment ro infringe.

RECIIS, 2009

This study intends to analyze 'cordel' 1 booklets on popular healing practices, and their visual-poetic production. This work assumes that popular healing practices found, in the universe of booklets, an important means to disseminate cases, stories, and history. Not only does it attempt to depict the divergence that imparted a secondary role to these practices; it questions, above all, the epistemological asymmetry that lies between scientific 'knowledge' and popular 'belief '. It is also important to question the traditional classification both of this wisdom and of this poetic genre in the superstition and folklore categories, since such judgment would imply loss of that which may be characterized as the expression of a witchery of practices, in addition to the lack of observance of the singularity and status of poetry, and the relationship of alterity resulting from speech in writing and its pictorial resources. With this purpose an ethnography will be made in the IEB-USP Archive -which hosts collections of rolled up booklets -with the intention of confronting the initial purpose of the survey in the face of the appropriation of this poetic genre in the project Third Trip of Poets to Brazil -Northeast -Caravan of Health (PERNAMBUCO, 1994), which resulted in the production of booklets on preventive medicine.