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This paper takes a stand against the commonplace understanding of Roland Barthes as indifferent or even hostile to interpretation; on the contrary, he is to be credited with having made one of the most relevant contributions to literary hermeneutics in the 20th century. The main hypothesis is that Barthes kept himself at a distance from structuralist scientificism, in order to leave room for the task of literary criticism and consequently for interpretation. Besides, I suggest understanding Criticism and Truth as an explicit hermeneutical turn in Barthes's work, under the influence of Paul Ricoeur's hermeneutics of the symbol. Lastly, Barthes's rectification of his concept of literary criticism in S/Z comes to the foreground. S/Z contains the most developed and decisive contribution by Barthes to the theory of literary interpretation. By showing the internal necessity of such an evolution in Barthes's work, the paper aims at shedding light on the desideratum -still pending- of a hermeneutics specifically adapted not only to the plural of the contemporary text but also to the plurality or rather multiplicity of literary écritures and poetics. [ABSTRACT FROM AUTHOR]

Despite the abundance of texts where writers explain the creation process, the function of literature or the image of the poet, there is a significant lack of studies on the subject. This paper goes into detailed analysis of explicit poetics, from his origin and main characteristics to the essential features that let us recognize explicit poetics as a genre. [ABSTRACT FROM AUTHOR]

This article focuses on the pamphlet printed by Juan de Mongastón in 1611 about Logroño's Auto de Fe (1610) and its special emphasis on the witches judged on 7 and 8 November. This paper maintains that this pamphlet, which is of undeniable historical interest, must be approached from a literary perspective, since, as will be shown, it is actually a literary text, although it has never been viewed from that perspective. To justify these claims we will rely on the connection established by Francisco Rico and José Miguel Barandiarán, and the current narrative interpretation of witchcraft (Dolan, Rowland, Rowlands, Gibson, Clark, Rushton, Gaskill, Purkiss and Gentilcore) as well as contributions by Caro Baroja, Henningsen, Dueso and Azurmendi about the “Zugarramurdi's Witches". [ABSTRACT FROM AUTHOR]

This paper studies how 18th- and 19th-century historians (Quintana, Durán) became interested in the romancero, and considers to what degree that interest can be tied to romantic ideology. Specifically, this paper focuses on the reception of the romancero nuevo of Góngora at the end of the 18th and beginning of the 19th Centuries, which critics like Quintana were able to reassess and reintroduce into the literary canon. [ABSTRACT FROM AUTHOR]

This paper consists of a study on José Ángel Valente's poetry througout its conceptual shapes. These shapes will be understood as symbolic projections which work as a bridge between a material poetic order and a spiritual one. First of all, we will study some abstract concepts like the point, the line, or the circle, and then we will observe more tangible aspects like the value and the role of colour in Valente's universe. Other aspects that we will study are, for example, the amplitude of the poetic space, and the direction traversed by the different symbolic elements of the poetry. All these factors allow us broadening the understanding of José Ángel Valente's poetry. [ABSTRACT FROM AUTHOR]

This paper analyses the first historical novels written by women in XlXth. Century, little valued or totally ignored by the critics up to this time: the original work La española misteriosa y el ilustre aventurero, osean, Orval y Nonui (1833), written by Casilda Cañas de Cebantes, and other three novels that are presented as translations from french: Zulima (1817), de Micaela Nesbitt y Calleja, Reynaldo y Elina o la sacerdotisa peruana (1820), de Antonia Tovar y Salcedo, y La invención del órgano o Abassa y Bermécides (1831) de María Belloumini. The study of these four novels will allow us to place the beginning of the Spanish historical novel written by women in the period in which Fernando VII was reigning (1814-1832). Also, we will put in relation these three translations with their sources some of them, since it is the case of Reynaldo y Elina, unknown up to this time-, which will allow us to verify that they are a magnificent example of the process of adaptation of French literature to Spanish culture in a historical period, the first third of the XIXth. Century, characterised by little domestic production of novels. [ABSTRACT FROM AUTHOR]

While Orson Welles was filming Chimes at Midnight (1965), Antonio Buero Vallejo wrote a version for Spanish dub. This version was written in free verse and the "Castilian of the Picaresque". Emilio Piedra, producer of Chimes at Midnight, commanded this project. The new version was called Campanas a medianoche but this text was rejected due to its "literary style". Up until now, it was considered lost. In this paper, we analyze the work of the Spanish playwright and we research this unpublished text. We have looked up Buero's archives and compared his work to the script. Campanas a medianoche reveals many important differences regarding the final cut of the film. For all these reasons, the version of Antonio Buero Vallejo is a key to understand Chimes at Midnight. [ABSTRACT FROM AUTHOR]

The paper tries to analyze this short story's iconographic version for the Biblioteca Mignon edition. The methodological approach follows the study of the topic and technical elements wich provide the peculiarities of the story that had not been examined previously. Subsequently, it comes to the icons analysis itself, from the drawer's interpretation. As conclusion, the iconographic version seems to be reduced to the external aspects and the impossibility for a deep text interpretation. [ABSTRACT FROM AUTHOR]

This paper analyses Luisa Carnés' novel Tea Rooms (1934) in the context of novels from the same decade, revealing the paradoxes of work by female authors in the Second Republic. It also examines the concept of 'denouncement', and how the particular proposition of Carnés -influenced by a communist perspective- represents an innovative and unexplored side of this narrative. [ABSTRACT FROM AUTHOR]

To aid in remedying the lack of a systematic study of Don Quijote's numerous translations, this paper compares translations of a famous passage from the second part of Don Quijote (a paragraph in which don Diego de Miranda, the Knight of the Green Coat, describes himself) with the aim of casting light on the different translator's motivations. [ABSTRACT FROM AUTHOR]

Many critics have analyzed literary works in general, and Golden Age texts in particular, to detect in them the prejudices that writers employ to describe that which is foreign, otherness. This paper focuses on the specific case of Francisco de Quevedo in order to highlight that, while the portrait of the Other may serve to identify information relevant to the author, it is also fundamentally determined by the concrete historical, and above all generic, circumstances of the text. [ABSTRACT FROM AUTHOR]

Among Navarres Romance own features we find, as it can be attested by the notarial scripta from the middle ages, the use of the velar spelling followed by oa, representing, in principle,/kwa/and/gwa/. Some of the considered Navarre's features are present in the late medieval Biscay's documents. Well then, the presence of these spellings in the Biscay's documentation does not involve any contradiction with the ascription of them to the Navarre's Romance. Thus, this paper attempts to analyze this phenomenon in the context of the Biscay's documentation and more concretely in that of the town of Bermeo, selecting for this purpose 30 original documents during the period ranged from 1237 to 1531. [ABSTRACT FROM AUTHOR]