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The objective of this article is to analyze how different languages in the series Unorthodox convey information on characters’ identities, and whether, at the same time, the choice of language produces different effects on the film narrative itself. Since we are dealing with audiovisual products, in any full account of the story, the image must be considered as an essential factor affecting the audiences’ interpretation of the show. The article analyzes how multilingualism is rendered in its Spanish version and shows that different translation solutions may change how each character’s identity is perceived. We found that the main four languages of the series (English, Yiddish, German, and Hebrew) are used to convey different personal and social identities to each character. Besides, linguistic choices between Yiddish and English show the evolution of the main character towards freedom. Although multilingualism is hardly present in the visual channel, cultural references conveyed through images help the viewer to follow key shifts in the story.

In this paper, I investigate, within a minimalist framework, how negative concord is composed in non-standard British English constructions containing the negative adverb neither, the general extender (n)or nothing, and the scalar adverb hardly using data from the Freiburg English Dialect corpus. I argue that neither, (n)or nothing and hardly establish a relation of syntactic agreement with another negative element in the clause which results in a single-negation interpretation of the chain formed by several instances of negation.

El Tractatus de Juan López de Segovia es uno de los primeros textos de la tradición jurídica medieval que reflexiona desde un punto de vista teórico sobre la naturaleza de las alianzas establecidas entre gobernantes. Este artículo pretende llamar la atención sobre este texto poco atendido por los estudiosos de la historia del derecho internacional y examinar el papel desempeñado por el derecho canónico en la articulación de los puntos de vista desarrollados a lo largo del diálogo.

Alfonso Álvarez Guerrero (1502-1576), juriste tolédan qui exerça longtemps sa profession au royaume de Naples, publia en 1520, juste après la diffusion de la nouvelle de l’élection de Charles-Quint comme Roi des Romains, un volume contenant deux œuvres en vers, Las Doscientas del Castillo de la Fama (200 coplas en arte mayor) et Las Cincuenta del Laberinto contra Fortuna (50 coplas reales). Dix plus tard, dans le contexte du couronnement impérial de Bologne, un autre volume parut, avec deux nouveaux poèmes: le Palacio de la Fama (154 coplas en arte mayor) et l’Historia de las guerras de Italia (354 coplas en arte mayor). Le propos de cet article est de présenter une première analyse du contenu de ces œuvres poétiques. La première partie du travail replace ces œuvres dans le cadre de l’histoire littéraire de l’époque, en soulignant la survivance de la poétique de l’arte mayor – qui prend exemple sur l’œuvre de Juan de Mena – dans les premières décennies du XVIe siècle. La seconde partie tente d’expliquer les implications politiques de certaines idées formulées par l’auteur dans ses poèmes, à la lumière du jeu des diverses factions concurrentes à la cour du jeune empereur, au cours de la décennie de 1520.

The article discusses the work, thought, and heritage of Juan Ginés de Sepúlveda, Spanish humanist, philosopher and theologian, with particular focus given to his best-known work "Democrates secundus." It is the author's view that this work has not benefited from an accurate approach to the various doctrinal issues it contains, resulting from an excessive emphasis put on the thesis regarding the so-called natural slavery of American Indians. Themes discussed include the history of humanism, the heritage of Aristotelian philosophy, and church history in Spain at the height of its imperial venture.