Search

Copyright of Cuadernos de Investigación Filológica is the property of Universidad de la Rioja, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Española de Documentación Científica is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The emergence of Maya writers bursts with original, novel, and transgressing proposals, within the contemporary political context of recognition of cultural rights and vindications from First Nations peoples. Such emergence has awakened a growing interest among diverse publics. Among them, literary critics stand at a special place, as many of them have tried to define such emergence and locate it as a particular category within the national or regional literary sphere. Contrary to that assimilationistic approach, this paper argues that through their literary works Maya writers are involved in a larger artistic indigenous movement that pursues not a place in the national literature, but that aims to question and redefine the hegemonic literary canon itself. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Co-herencia is the property of Universidad EAFIT and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Orbis Tertius is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Gender Studies and contemporary Literary History have recently begun to promote the (re)discovery of female writers, artists, and intellectuals of the Spanish Silver Age, with the aim of bearing witness to their cultural contributions to the present day, which have often been silenced and forgotten. The recovery of female writers and artists of that period is not only a way out of "anonymity" for these women --a process that is undoubtedly a work of absolute justice--, but it also entails a reworking of the canon of the Spanish Silver Age, questioning assumptions and interpretations consolidated in our critical tradition, as well as recovering a large amount of literary/artistic production and identifying the patriarchal nature of our cultural and artistic elites at the dawn of modernity. One of the most striking cases of this group of "silenced" women is María Lejárraga, an essential and also a very active literary writer of the Hispanic Modernism. Several circumstances --starting with her own decisions, since she adopted as her pseudonym the name of her husband-- led her to become a true ghostly absence, despite her great relevance for the Hispanic literature of the first half of the twentieth century. [ABSTRACT FROM AUTHOR]

This article discusses the results of the initiative "200 years of republican history, 200 Colombian literary works" in which an important group of readers - conformed mostly by specialists and connoisseurs of Colombian literature- selected the 'most important' literary books in Colombian history. The Technological University of Pereira (Master and Doctorate in Literature, the University of Caldas (Manizales Book Fair, in association with La Patria from Manizales and Colombia National Radio in 2019, call this project to celebrate the bicentennial of Colombia's national independence. In the selection, the image of literature in the midst of globalization is projected, that is, that articulates local production with modern practices of cultural production, a vision that faces, at the same time, the risk of ignoring authors and homogenizing evaluations of literary practice, which do not adjust to certain 'stereotypical' forms. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Collectivus. Revista de Ciencias Sociales is the property of Universidad del Atlantico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we study the scene of the learning of reading and the encounter with the Book as six contemporary writers narrate in their memoirs. Through the analysis of three autobiographemes related to this experience of the childhood -the mentor's influence; the school rebellion; the list of influential literary works-, we will appreciate the consoling and corrective power of the book during the Spanish Civil War and the earlier years of the Francoist regime. From this approach, this paper will show, on the one hand, how the main characters of the selected memoirs reject the imposed literary canon, as well as the formal educational system in favor of self-learning. On the other, it will give us a portrait of Spanish society in those repressive years. [ABSTRACT FROM AUTHOR]

Copyright of Lingüística y Literatura is the property of Universidad de Antioquia, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper studies the literary canonization processes in Chilean literature and their relations with social and cultural identities. Its purpose is to establish the boundaries of the texts and metatexts written by Chilean canonical authors, starting with the romantic generation of 1852 (or 1842) and ending up with the works published in the last decade of the XX century. The hypothesis of this essay is that Chilean literature can be said to have its origins focused on a single canon, which is later replaced by a series of plural, parallel and even opposite canons. [ABSTRACT FROM AUTHOR]