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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 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]

Copyright of Signa is the property of Editorial UNED 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 Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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.)

Since the end of the 20th century a new critical project led by women has been underway in Morocco, focused on the literary production of women writers from Morocco and other parts of the Arab world. It is a true gynocritical project that establishes an intellectual dialogue with the North American researcher Elaine Showalter, who coined the term gynocritics in 1981 in reference to a new framework for studying literature produced by women. This paper looks at the extent to which Moroccan gynocriticism has provided new tools for criticism and literary studies, as the emergence of this phenomenon has altered the terms of debate regarding women‟s writing in Morocco. In their analyses, female Moroccan critics address women‟s writing from new perspectives, defending the recognition of women writers and their acceptance within the Moroccan literary canon. [ABSTRACT FROM AUTHOR]

The short novels Zulai and Yontá by Costa Rican writer María Fernández Le Capellain, published in the early twentieth century, are part of global aesthetic, ideological, and spiritual trends that had a considerable influence on the elites of the time (Theosophy, Freemasonry, etc.). However, these can also be studied within the processes of construction of the Costa Rican literary canon as an example of exclusion or invisibility at different levels. This article aims to analyze a series of discourses produced by Costa Rican literary criticism that led to the consideration of the author's work, in the best of cases, as a minor phenomenon within the development and evolution of national letters, excluded from the project of national identity. [ABSTRACT FROM AUTHOR]

Copyright of Revista Cuadernos de Literatura del Caribe e Hispanoamerica is the property of Revista Cuadernos de Literatura del Caribe e Hispanoamerica 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 Canadiense de Estudios Hispánicos is the property of Asociacion Canadiense de Hispanistas 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 his Complete Poetical Works, La realidad y el deseo, Luis Cernuda very often pursued polemics or homage. Among those who became the victims of his attacks were Juan Ramón Jiménez, Pedro Salinas, Jorge Guillén, Dámaso Alonso and critics and scholars in general. Among those on whom he bestowed his homage were Federico García Lorca, Mariano José de Larra, André Gide, Verlaine, Rimbaud and Goethe. In both cases the poet betrayed his determination to build an alternative canon, different from the official literary system. 'Un contemporáneo' is perhaps the piece in which both lines of his argument coincide, and in which Cernuda ironically anticipates his own homage and blames contemporary criticism for its blindness, under the same logics he had used in his poems dedicated to Lorca, Larra, Gide, etc., i.e., the glorification of the poet as a literary hero. [ABSTRACT FROM AUTHOR]

This essay seeks to show the way Jorge Luis Borges thinks about the concept of classical text in his essays. In general, Borges' position could be described as 'counter-canonical', as a will to desacralize classical texts through a number of discursive strategies. Among them, there is an emphasis on the transformational capacity of the act of reading, and on the multiplicity of language itself, which makes it impossible for a text be considered, a priori, as 'predetermined' or perfectly coherent. Through Borges' readings of the Quijote and Dante's Commedia, it is possible to see his will to work with canonical texts in fragmentary, partial, even contradictory ways that deny the possibility of producing perfect and monumental texts and, in the process, create irreverent, dynamic and imaginative readings of the works of the past. [ABSTRACT FROM AUTHOR]

This article intends to review the corpus and the canon of nineteenth-century Argentinian literature which are currently broadened and modified through new schools and critical perspectives (from feminism to the archival science, from Colonial and Post-colonial studies on the "history from below"), and lead us to another possible library of the 19th century. Brothers Lucio and Eduardo Mansilla, revisited from academic research and creative rewriting, emerge as the tip of the iceberg of a historical and literary world which knowledge is far from being closed or exhausted. [ABSTRACT FROM AUTHOR]

A critical approach on theoretical interaction and on literary history structuring is essential due to the conformation, survival and undermining of the mechanisms that build memory. This paper focuses on the connection between the construction of literary canon and the dynamics of memorability. In this regard, those processes make possible not only the consolidation of a national literary canon, but also to depict the changes on the concept of historian and critic based on four Colombian Literature Histories. According to authors such as José María Vergara y Vergara, Baldomero Sanín Cano, Antonio Gómez Restrepo and Roberto Cortázar the concept of canon can be understood as a mechanism, as a cartography that cannot be static and that also varies according to the proposed mapping. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 Olivar 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.)

Among the institutions that participate in the configuration of the literary canon, the schooling institution plays a key role in the shaping and transmission of the inherited corpus. The tension institution-teaching-corpus updates the debate upon the notions of "classic" and "canonical". In such a context, the studying syllabuses on the Language and Literature curricular field result in revealing certain devices of the criteria used by teachers when cutting down, ranging and legitimizing a particular corpus destined to propose a textual cartography in the education field. Thus, the reading of the Language and Literature syllabuses belonging to the secondary schooling institutions of La Pampa province in the last years will allow the investigation on the theoretical and methodological assumptions -implicit or explicit- which operate in the construction of the canon and the redefinition of "classic" in the teaching practice. [ABSTRACT FROM AUTHOR]

A literary criticism of the late 15th century Spanish novel, "La Celestina," also known by the title "Tragicomedia de Calisto y Melibea," by Fernando de Rojas is presented. The author discusses the features of the book that led to its inclusion in the canon of Spanish literature, the world order of nature and fortune that the book imposes on its characters, and the unique type of social disorder the work presents to the lives of the protagonists, largely due to their ill-advised love affair.

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.)

No text is a 'classic' when published for the first time. Classics are done by the readers through the passing of time. Though their readings and re-readings ensue from one generation to the another, they are not result of a random selection. On the contrary, the texts which become classics bear a mysterious attraction that keeps them from suffering time's wearing out and being forgotten. Readers are not passive recipients of an immutable discourse. And in every new historic circumstance when a new reading is done, it assigns a significantly or just slightly different value to the classics from the original one they had. [ABSTRACT FROM AUTHOR]

Copyright of Letras (0459-1283) is the property of Universidad Pedagogica Experimental Libertador 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 author asserts that a well-defined and independent canon of literature has not emerged in Peru. She questions the idea that a Peruvian literary canon was consolidated around 1905 and points out social and political conditions, including those related to Peru's defeat in the Pacific War, that she maintains made it impossible to continue the 19th century hegemonic republican model in which literature constituted one of the ideological elements driving the development of Peru after its independence from Spain. The article examines the influence of key Peruvian authors and critics, including José de la Riva Agüero, Manuel González Prada, and Adolfo Vienrich, on the social and political development of Peru.

Self-construction and the relationship between writing and the body are two essential problems in the works of Severo Sarduy. This article discuses then the discursive strategies by which the Cuban writer puts the body into play as a basis from which to build his own representation as an artist and as a rebel intellectual and from which he argues against the modern categories on the ground of the canon-forming process put into practice in Cuba since 1959. It also endeavours to show the way in which the use of these discursive devices tries to carry out a transgression of the disciplinary traits of writing and of the disciplined features of the body in order to make illness literary, as if it were only through language that it can be represented. [ABSTRACT FROM AUTHOR]

Copyright of Cuban Studies is the property of University of Pittsburgh Press 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 article explores the indigenous tradition in the works of Peruvian author Eleodoro Vargas Vicuña. While Vargas' work is well known among literary critics, it has rarely been studied among Hispanists. Vargas, whose first book was titled "Nahuín," is considered to be one of the more profound writers of the generation of 1950 in Peru. His style is often called "neo-indigenous" and aims to preserve the indigenous tradition in Peru. The article examines Vargas' work and questions what his intentions are in constructing identity through his style.

The article discusses historical and spacial continuity in identity narratives. While several discourses tend to define identity in historical and national terms, as with prominent figures such as Simón Bolívar or José Martí, these characteristics in fact limit their identities. It argues that if the Latin American essay is solely based on identification, then canonical processes of these essays should continue along the same path. The article analyzes identity construction on both the narrative and canonical levels using examples from speeches and discussions by Venezuelan author Teresa de la Parra.

El artículo ofrece un análisis de aspectos claves dentro del campo de los estudios coloniales hispanoamericanos en los Estados Unidos. La década de los años setenta llevó a cabo un nuevo interés en el canon de textos hispánicos. Aunque este interés surgió, algunos académicos resistían este estudio, viéndolo como una imitación al modelo analítico castellano. Según el artículo, el objetivo de este estudio es analizar la relación indígena con la cultura colonizadora.

El artículo habla del canon tradicional en los estudios coloniales hispanoamericanos. Se menciona la adoptación de las divisiones espacio-temporales europeas y como resultó inadecuada en un corpus textual para las colonias hispanoamericanos. El siglo XX introdujó la noción de discurso como una sustitución para la palabra literatura en los estudios coloniales latinoamericanos.

El artículo examina la influencia histórica del poema épico "La Iliada" del escritor griego Homer. El autor insiste que el texto homérico es un monumento a la guerra y que se puede relacionar la historia de Homer con lo que ha sucedido durante los últimos años determinados por la guerra. El autor discute el porque detrás de la atracción del libro y sugiere que al leer la narración de una guerra, se aleja el deseo de gozar haciendo la guerra.