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Copyright of Universum is the property of Instituto de Estudios Humanisticos Juan Ignacio Molina, Universidad de Talca 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 Estudios Humanisticos. Filologia is the property of Universidad de Leon, Area 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.)

RESUMEN: A partir de textos narrativos de los escritores dominicanos Rita Indiana Hernández y Frank Báez, y de la reciente película del director cubano Alejandro Brugués, se analizará la monstruosidad y distopía tanto de los cuerpos, conductas y espacios caribeños. Para ello, se enfatizará en cómo estas propuestas estéticas, basadas en lo abyecto y grotesco, y que se sirven de procedimientos narrativos tanto literarios como audiovisuales, configuran una representación de un Caribe “otro” que se resiste al discurso exotista de lo caribeño y que a la vez legitima el discurso fundacional de violencia y bestialidad. ABSTRACT: The monstrosity and dystopia of Caribbean bodies, behaviors and spaces will be analyzed in relation to the literature of Dominican writers Rita Indiana Hernández and Frank Baez, as well as the recent Cuban film directed by Alexander Brugués. The emphasis will be on how these aesthetic objects -mainly of abject and grotesque nature, and configured by both audiovisual and narrative strategies- represent an "other" Caribbean which resists the exotic cliché while at the same time legitimizing the foundational discourse of violence and brutality.

Este artigo discutirá a lenda da Cuca, bruxa brasileira, que será investigada a partir de três modalidades: a canção infantil “Nana, nenê” de tradição oral, a partitura corporal da Cuca no livro “O Saci” de Monteiro Lobato e a imagem da Cuca em um episódio da edição televisiva do “Sítio do Pica-Pau Amarelo”, em 2001, pela Rede Globo.Tomando os postulados de Michel Foucault na análise do discurso da maneira como a praticamos no Brasil, discutirei a forma como o discurso do medo atravessa o corpo no corpus acima mencionado. Para tanto, identificarei a constituição das monstruosidades, as formas disciplinares que dela surgem, os lugares sociais e históricos que ela evidencia e a produção dos sentidos na rede dessas enunciações.This article will discuss the legend of Cuca, a Brazilian witch, which will be investigated from three modalities: the child song “Nana, nenê” on oral tradition, Cuca’s body composition from the book “O Saci” by Monteiro Lobato and Cuca’s image from a TV series episode called “Sítio do Pica-Pau Amarelo” in 2001 by Rede Globo. Considering the postulates of Michel Foucault within the discourse analysis likewise we practice it in Brazil, I will discuss the way how the discourse about fear crosses the body concerning the corpus below mentioned. Therefore, I will identify the constitution of the monstruosities, the disciplinary way it comes up, the social and historical places it highlights, and the web meaning production of these enunciations.

Lycophron’s Alexandra contains a exceptionally high number of scenes of violence. This paper attempts to develop a typology of these violent scenes. It focusses on a series of examples that have important parallels among the visual images discovered within Italian archaeological contexts. The possibility of a comparison gains higher credence when one considers the “italian dynamics” or even the “italocentrism” that are often felt as typical of this poem. Other possible points of contact between the poem and the cultures of ancient Italy could be the poem’s conception of time as cyclic and of Destiny as omnipotent and its interest for a millenarianist presentation of myth and history. L’Alessandra di Licofrone contiene un numero eccezionale di scene di violenza. In questo articolo si propone una tipologia di queste scene di violenza. L’attenzione si concentra su di una serie di esempi che trovano confronto con numerose immagini trovate in contesti archeologici italiani. La possibilità di paragonare il poema con le immagini acquista ulteriore plausibilità prendendo in considerazione concetti quali la “dinamica italica” o l’“italocentrismo”, spesso considerati come caratteristici di questo poema. Altri possibili punti di contatto tra il poema e la cultura dell’Italia antica potrebbero essere identificati nella concezione ciclica del tempo e di un destino onnipotente, nonchè nell’interesse nei confronti di una rappresentazione millenarista del mito e della storia.

Copyright of Babel A.F.I.A.L. is the property of Babel A.F.I.A.L. 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 targets a narrative of monstrous births "rewritten" in the Neo-Gothic vein. Like Mary Shelley's Frankenstein (1818) or A. S. Byatt's Possession (1990), Clare Clark's The Nature of Monsters (2007) pursues an ever-shifting referent of Gothic phantasms: the perpetually deferred, constantly craved-after origin of monstrosity, whether corporeal or psychological, or both. Clark's narrative thus revisits one of the cultural constants of teratological discourse, namely maternal imagination, which has for centuries been indicted as a cause of deformed births, and dislodges it from its traditional frame of interpretation, shifting the agency of monstrous genesis from the naturally canny birthing processes onto the uncanny Frankensteinian figure of a madly obsessed scientist. [ABSTRACT FROM AUTHOR]

Copyright of ALTER: European Journal of Disability Research, Journal Europeen de Erche sur le Handicap is the property of European Society for Disability Research 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.)