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This work aims to make known the prose writings of Cecilia del Nacimiento, Discalced Carmelite of Convento de la Concepción del Carmen in Valladolid. She is one of the disciples of Saint Teresa of Jesus who met and lived with her. Mother Cecilia del Nacimiento wrote her texts on many occasions together with her sister María de San Alberto, therefore, sometimes makes it difficult to clarify the authorship of both sisters. Most of the manuscripts are spiritual treatises, biogra-phies of the sisters of the convent and their sibling and matters concerning both this convent and the founding of the Calahorra convent, Este trabajo pretende dar a conocer los escritos en prosa de Cecilia del Nacimiento, Carmelita Descalza del Convento de la Concepción del Carmen de Valladolid. Se trata de una de las discípulas de Santa Teresa de Jesús que conocieron y convivieron con la santa. La Madre Cecilia del Nacimiento escribió en muchas ocasiones sus textos junto con su hermana María de San Alberto, lo cual lleva en muchas ocasiones a que sea difícil esclarecer la autoría de una y otra hermana. La mayor parte de los manuscritos son tratados espirituales, vidas de las religiosas del convento y de sus hermanos y asuntos concernientes tanto a este convento como a la fundación del de Calahorra

RECONOCIMIENTO / FINANCIACIÓN: Este artículo forma parte de las actividades de los Grupos de Investigación «Poéticas y textualidades emergentes. Siglos XIX-XXI» (Universidad Complutense de Madrid) y «Estudios Interdisciplinares en Literatura y Arte -LyA» (Universidad de Castilla-La Mancha), así como de las del Instituto Universitario de Ciencias de las Religiones (Universidad Complutense de Madrid) y del Instituto de Investigación del Humanismo y la Tradición Clásica (Universidad de León)., RESUMEN: En 1947, la escritora estadounidense Flannery O’Connor escribía la última entrada de su diario afirmando que se abandonaría a pensamientos eróticos. En 1952, publicaba su primera novela, «Wise Blood», un fresco de la religiosidad norteamericana de la posguerra. Su condición de católica en el Sur profundo (mayoritariamente protestante), la hacían una conocedora magistral de distintas realidades de la confesión cristiana. Esta novela, a través de la(s) experiencia(s) traumática(s) de su protagonista Hazel Motes, ofrece un continuo de proyección de dogmas e ideas cristianas. Asimismo, su relación con Sabbath Lily Hawks da al lector la oportunidad de enfrentarse a la transgresión sexual de algunos de los misterios cristianos más icónicos, como pueden ser la Natividad, el Infierno o la Redención., In 1947, US writer Flannery O’Connor wrote the last entry of her journal asserting that she would be abandoned to erotic thoughts. In 1952 she would publish her first novel, “Wise Blood”, a portrait of post-World War II American religiosity. Her condition of being a devout Roman Catholic in the Deep South (with a Protestant social majority) made her a great “connoisseur” of the different versions of the Christian faith. This novel, through the traumatic experience(s) of the starring character Hazel Motes, offers a never-ending projection of Christian ideas and dogmas. Besides this, Motes’s relationship with Sabbath Lily Hawks also allows the reader the opportunity of transgressing, “via” sexuality, some of the most sacred Christian mysteries, such as Nativity, the Afterlife, or Redemption., Depto. de Estudios Ingleses: Lingüística y Literatura, Fac. de Filología, TRUE, pub

This research was carried out thanks to a Visiting Fellowship for Doctoral Research Fellows granted by the Spanish Ministry of Education (reference: EST2016/0055) for a short research stay at Birkbeck College, University of London. The author wishes to acknowledge the support of the project “Improvisation and Emotional Contagion. History and Philosophy of Emotional Experiences”, funded by the Spanish Ministry of Science and Innovation (reference: PID2019-108988GB-I00)., This paper intends to analyze the representation of girlhood as a liminal space in three novels by Shirley Jackson: «The Bird’s Nest» (1954), «The Haunting of Hill House» (1959) and «We Have Always Lived in the Castle» (1962). Bearing in mind how nuclear fears and national identity are configured around the ideal of a safe domestic space in US postwar culture, the paper explores cultural anxieties about teenage girls who refuse to conform to normative femininity, following Teresa de Lauretis’s conception of women’s coming-of-age as “consenting to femininity” (1984). I will argue that Jackson criticizes the rigid possibilities for women at this time, and I will show how her representations of deviant femininity refuse and subvert the discourse of the nuclear family and, therefore, of the nation., RESUMEN: El presente artículo pretende analizar la representación de la adolescencia femenina como un espacio liminal en tres novelas de Shirley Jackson: «The Bird’s Nest» (1954), «The Haunting of Hill House» (1959) y «We Have Always Lived in the Castle» (1962). Teniendo en cuenta cómo los temores nucleares y la identidad nacional se configuran en torno al ideal de un espacio doméstico seguro en la cultura estadounidense de la posguerra, el artículo explora las preocupaciones culturales acerca de las adolescentes que se niegan a ajustarse a la feminidad normativa, siguiendo la concepción de Teresa de Lauretis de la madurez femenina como la “aceptación la feminidad” (1984). Se argumentará que Jackson critica las rígidas posibilidades que existían para las mujeres en ese momento, y se demostrará cómo sus representaciones de una feminidad desviada rechazan y subvierten el discurso de la familia nuclear y, por lo tanto, de la nación., Ministerio de Educación, Ministerio de Ciencia e Innovación (MICINN), Depto. de Estudios Ingleses: Lingüística y Literatura, Fac. de Filología, TRUE, pub

The aim of this thesis is to analyze the function of visual art in Torgny Lindgren's novels Till sanningens lov (1991), Dorés Bibel (2005) and Klingsor (2014) and the short story collection I Brokiga Blads vatten (1999). Visual art in Lindgren's prose is approached both as an instance of description and in terms of an activity and artefact to be viewed, created and interacted with. By studying ekphrases and "iconic projections" based on intermedial theory, the verbal descriptions of art are shown to have a narrative function, whereby the characters viewing or creating the artwork are reflected. A conspicuous trait of the ekphrases and iconic projections are their focus on details. The area of creation as an activity relates visual art to crafts, cooking and alchemy, with an emphasis on its material aspects. The creation of art investigates the dualism of genuine versus fake, as well as the relationship between art and commerce. Lindgren's stories depict the market as an arbitrary yet powerful force, alongside individual creative forms of resistance to it. The manner in which artefacts are described evokes the notion of an enchanted object, in accordance with research on the function of art-objects in contemporary fiction. Being able to discern enchantment in Lindgren's works is based on the conversion of one's vision, which in turn is related to one's view of the world as a whole. Conversion is engendered by methods of irony, ambiguity and the elevation of the humble.

The aim of this paper is to analyze the differences and similarities between the latest volume of stories published by the Romanian writer Mircea Cărtărescu (Melancolia, 2019, Bucharest, Humanitas) and his previous literary production. Although Melancolia has been associated with Nostalgia and indeed exhibits many parallels with the first volume of short novels published by Cartarescu, the truth is that the 2019 volume refers to the literary universe created from other texts as well. By comparing and contrasting Melancolia with some of his main works, from novels such as the three volumes of the Orbitor trilogy (Aripa stângă, Corpul, Aripa dreaptă), Travesti or Solenoid to his poetry, through the stories of Nostalgia, the essay aims to demonstrate how this volume dialogues, more or less explicitly, with all the previous ones while distancing itself from them in some narrative and stylistic aspects. After examining elements such as characters, motifs, symbols, metaphors, subjects, intertextuality, and metafiction, the work focuses on space and time as the two main categories in which the most significant changes take place as they move away from their usual context, communist Bucharest (more precisely, from the late 1950s to the end of Nicolae Ceaușescu’s regime in the late 1980s). This temporal and spatial framework is one of the fundamental axes of all Cărtărescu’s literary texts, which gives them unity, stability, and continuity. However, as the article tries to demonstrate, the change is not total, but Mircea Cărtărescu, through his usual intertextual play, refers indirectly to this space well known by his readers and, consequently, perhaps also to that historical period. To argue this issue, this article outlines the direct allusion to a specific space mentioned in some of the author’s earlier texts. This is the factory where one of the most important episodes of the first story (Punțile) takes place. The spatial descriptions of the first and third sto, Depto. de Estudios Románicos, Franceses, Italianos y Traducción, Fac. de Filología, TRUE, pub

Sylvia Plath’s «roman à clef» «The Bell Jar» has largely been read as an autobiographical novel and as the key to understanding her suicide. The novel, however, presents an important political complexity —the contradictions Esther faces in post-WWII, 1950s American society, the unattainable and conflicting ideals of womanhood, and the political treason that betraying them implies, dealt with as madness. Esther Greenwood’s descent into madness is no more than the reflection of the sick, hypocritical society she lives in, and an attempt to escape from her obligations as an American woman. However, the institution of psychiatry was closely related to the politics of the time, and acted as a means of control over the population, especially women, through the use of treatments such as ECT and lobotomy. I would like to look at how Cold War politics, gender, and psychiatry interact in «The Bell Jar» in order to submit American society to the conformism and consumerism that dominated the 1950s., RESUMEN: «The Bell Jar», el «roman à clef» de Sylvia Plath ha sido sobre todo leída como novela autobiográfica clave para entender su suicidio. Esta novela, sin embargo, presenta una importante complejidad política: las contradicciones a las que Esther se enfrenta en los Estados Unidos de la década de los cincuenta, tras la Segunda Guerra Mundial, los ideales de femineidad inalcanzables y conflictivos, y la traición política que supone no cumplirlos, que son tratados como locura. El descenso a la locura de Esther Greenwood no es más que un reflejo de la sociedad enferma e hipócrita en la que vive, y un intento de escapar de sus obligaciones como americana. No obstante, la institución de la psiquiatría estaba estrechamente relacionada con la política de la época, y actuaba como medio de control de la población, especialmente de las mujeres, a través del uso de tratamientos como el electroshock y la lobotomía. En este ensayo me gustaría prestar atención a cómo las políticas de la Guerra Fría, el género, y la psiquiatría interaccionan en «The Bell Jar» para someter a la sociedad americana al conformismo y el consumismo que dominaron los años 50., Depto. de Estudios Ingleses: Lingüística y Literatura, Fac. de Filología, Ediciones Complutense, TRUE, pub

In this article I analyse the deconstruction of the public/private dichotomy in the city of Paris in Jean Rhys’s «Good Morning Midnight» (1939). Through the exploration of Sasha’s aimless wandering through Paris in her failed quest for romantic love, this paper aims to explore Rhys’s Paris as a city which is hostile to women who fail to perform conventional standards of femininity. These standards are in turn encouraged and set by the promise of happiness; thus, the mimicry of femininity —whether intentional or not— exposes ongoing power dynamics in gender roles, the construction of the bodies of others through political ideals of happiness and love, and the subversive potential in Rhys’s novel, even if the protagonist is crushed at the end by the private side of the emerging totalitarian regimes on the eve of the Second World War., RESUMEN: En este artículo, analizo la deconstrucción de la dicotomía de las esferas pública y privada en la ciudad de París en «Good Morning Midnight» (1939) de Jean Rhys. Examinaré los paseos sin rumbo de Sasha en su búsqueda fallida del amor romántico. De este modo, analizaré cómo el París de Rhys es una ciudad hostil para aquellas mujeres que no alardean de feminidad. Estas formas de feminidad las inspiran promesas de felicidad. Por ello la imitación, deliberada o involuntaria, de los patrones y modelos de conducta de dicha feminidad deja al descubierto las dinámicas de poder que subyacen tanto bajo los roles de género como bajo la construcción de los cuerpos de otros. Dichas construcciones están mediadas por los ideales políticos que elaboran los conceptos de amor y felicidad. La novela de Rhys ofrece un potencial subversivo, incluso aunque la protagonista sea finalmente vencida por los regímenes totalitarios que hicieron estallar la Segunda Guerra Mundial., Depto. de Estudios Ingleses: Lingüística y Literatura, Fac. de Filología, TRUE, pub