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The aim of this paper is to study the function and origin of the locutions of causal sense a santo de qué, a qué santo, a cuento de qué, a qué cuento and a cuenta de qué. These phrases introduce marked interrogative constructions, so they imply a negative evaluation by the speaker, that is, they constitute a grammatical sign of the negative implication of the causal question in which they are inserted. The data from all the examples provided in the CDH and CORPES corpus for the forms a santo de qué, a qué santo, a cuento de qué, a qué cuento and a cuenta de qué are analyzed, and an account of the main functional characteristics of the mentioned structures are given. Finally, a hypothesis is posed about the origin and development of the different phrases according to the formal and significant affinities between the different constructions and the relations of interference and analogy in use that may have arisen between them. [ABSTRACT FROM AUTHOR]

Castilian grammar became a teaching discipline in Spain and Latin America in 1813, when its study was generalized; before that, Latin grammar was mandatory. This paper aims at making a structural and content analysis of the text Brevísimas nociones de Analogía Castellana (1891) taking into account the context of the teaching of this discipline in Cuba. The book was edited in Santiago de Cuba in 1891 by Julio Severiano Hernández y García, "Full Professor of incomplete teaching" and Director of the private college San Severiano; the book follows the peculiarities of the manuals of that time, but it also stands out, unlike others, by the use of example belonging to the colloquial level in the language of the region at the time. [ABSTRACT FROM AUTHOR]

This article proposes a reading of the Antonio Gil's novel, Cosamentale (1994), as an artificial construction of the past through the pictorial procedures applied to poetry. Horatio's dictum ut pictura poiesis will be revised on the basis of this delirious and experimental novel that explores a ways to configure the historic past resorting to alternatives temporalities in respect of historical modernity time. In this way, according to an analogical criterion, we identified rhetorics of the image and the representation in the narrative level, in correspondence with the pictorial narrative. Finally, we give an interpretation about the transhistoric perspective of the narrator that explains narrative anachronisms between the time of modernity and the time of the myth. [ABSTRACT FROM AUTHOR]

The present work aims at traversing across Pablo Neruda's early poetry following the selfexegetic and metaliterary axis. The evolution of Neruda's poetry will be analyzed, focusing on those poems from the Chilean poet's early books in which there is an explicit formulation of an ars poetica or a clear metaliterary reference. Neruda's poetry will be divided into different periods by considering these metaliterary texts landmarks of successive changes in his poetics, ranging from the poetics of poetry as a "terrible gift", through the view of poetry as catharsis, as a debased prophetic gift, to finally arrive at a view of poetry as political commitment. By means of the analysis of textual elements that Octavio Paz would define as ironic or analogical, different critical stands about Neruda will be assessed. [ABSTRACT FROM AUTHOR]