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Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios 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]

Actually, the pedagogy and the teaching are looking for new inclusive and equality models. For this reason, it is fundamental to think how the women writers are represented into the second language textbook. In the next pages, based on genre theories, we will reflect on literary canon which is transmitted in the Spanish as a Second Language classes. In this sense we will analyse the inventory and the treatment of women and men writers that are studied into two of the most important textbooks: Curso de literatura. Español lengua extranjera (Edelsa) and Curso de literatura española moderna (Edinume). Definitely, based on gender studies, we will think about the literary canon which is offered by the textbooks to the students, with the aim of checking if the image of the literary canon that we transmit to them is egalitarian or if it perpetuates genre differences. [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.)

Copyright of Dicenda: Cuadernos de Filologia Hispanica is the property of Universidad Complutense de Madrid 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 Álabe is the property of Alabe 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 Tejuelo: Didáctica de Lengua y Literatura is the property of Tejuelo. Didactica de la Lengua y la Literatura. Educacion 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 Dicenda: Cuadernos de Filologia Hispanica is the property of Universidad Complutense de Madrid 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.)

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.

This article deals first with Borges' reception as a canonic author, a goal which he aimed at since the Thirties by questioning generic classifications and national literature, and from the view of a rewriting's poetic. The central corpus of the work, Borges and the Spanish literature he disliked, renders an unfixed and hedonist canon, based on his own aesthetics, and resting on two points: the exercise of literature, and the various metaphysics within it. Borges' corpus rescues a remarkably scanty number of names: Unamuno, Quevedo and the Baroque, Cervantes and especially the Quijote. [ABSTRACT FROM AUTHOR]

This article presents a reply by the author of the book "Pedro Antonio de Alarcón (prensa, política, novela de tesis)" in response to a review of the book by Noël Valis, which appeared in issue number 78.3 of this journal. He criticizes Valis' dismissal of Alarcón from the Spanish literary canon while emphasizing several points raised in his book, including Alarcón's reactionary ideology as well as the spiritual and religious elements in his works. He is also critical of Valis' omission of Alarcón in her book "Sacred Realism," which deals with religion and spirituality in 19th and 20th century Spanish literature.