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La Medea romántica de Lars von Trier: homenaje a Carl Theodor Dreyer
No full textLars von Trier\u27s adaptation of Carl Theodor Dreyer\u27s screenplay of Euripides\u27 Medea translates every word printed in the literary text into images, replacing each connoted meaning with its "corresponding," yet unambiguous, image. In the script, the word is thinned until it is minimized; Euripides\u27 text fades away to be transformed, multiplied, into images that complete it, giving it a "body" and returning the gaze to its deepest essence. This film representation has the visual quality of the relief of a pictorial work of German Romanticism, a reference that we also find in later works by the director, where nature transmutes as a transcendent element, uniting with the sacred. Trier adopts this perspective on Euripides\u27 tragedy, and the result is a film that follows the linear development of the plot set out in the work, but where the large quantity and complexity of procedures of the film adaptation give it, if not a structural change with respect to the literary text, then a great breadth of signifiers due to the richness of its images. The purpose of this proposal is to connect the specular with the spectacular: to establish a dialogue between literature and cinema, so that, starting from literary texts, we can accurately evaluate the adaptation procedures used by Lars von Trier to bring Euripides\u27 tragedy Medea to the screen. The iconic visual artistic elements used in the film will be analyzed to communicate the original pre-literary meaning of the Medea myth linked to the ineffable.La adaptación que Lars von Trier realiza a partir del guión cinematográfico de Carl Theodor Dreyer sobre la Medea escrita por Eurípides traduce a imágenes cada palabra impresa en el texto literario, logrando que cada sentido connotado sea sustituido por su «correspondiente», que no unívoca imagen. En el guion la palabra se adelgaza hasta minimizarse, el texto de Eurípides se desvanece para transformarse multiplicado en imágenes que le completan, otorgándole un «cuerpo» y devolviéndole la mirada en su esencia más profunda. Esta representación fílmica tiene la cualidad visual del relieve de una obra pictórica del romanticismo alemán, un referente que encontramos también en obras posteriores del director, donde la naturaleza transmuta como elemento transcendente aunándose con lo sagrado. Trier adopta esta mirada sobre la tragedia de Eurípides y el resultado es una película que sigue en orden lineal el desarrollo de la trama planteada en la obra, pero donde la gran cantidad y complejidad de procedimientos de la adaptación cinematográfica le confieren, si no un cambio estructural con respecto al texto literario, sí una gran amplitud de significantes por la riqueza de sus imágenes. El propósito de esta propuesta es poner en comunicación lo especular con lo espectacular: establecer un diálogo entre la literatura y el cine, de manera que partiendo de los textos literarios, puedan evaluarse con exactitud los procedimientos de adaptación utilizados por Lars von Trier para llevar al cine la tragedia Medea, escrita por Eurípides. Se analizarán los elementos artísticos icónico visuales utilizados en la película para comunicar el sentido primigenio preliterario del mito de Medea vinculado con lo inefable
From father to son, from king to heir. The correspondence of Charles III of Spain with Princes of Asturies (1778-1786): affection, everyday life and exercise of power
No full textThis paper studies an unpublished correspondence between Charles III and princes of Asturies during the summers of 1778 and 1786. Due to their nature and content, the missives provide information –also interpreted in terms of gender– that demonstrates the political participation of the future Charles IV in both governmental and Court affairs, in which the princess was also involved. We will also pay attention to the affections transmitted between the king, his son and daughter-in-law, as well as to everyday matters reflected in the letters. Thus, our aim is to provide a vision of the period different from the simplistic interpretation of it as a stage of bad relations and marginality of the princes regarding to the king, as well as to highlight the value of the source for its interest in various lines of research.El presente trabajo propone el estudio de una correspondencia inédita de Carlos III con los príncipes de Asturias durante los veranos de 1778 y 1786. Por su naturaleza y contenido, las misivas proporcionan información –interpretada también en clave de género– que demuestra la participación política del futuro Carlos IV tanto en asuntos de gobierno como en los propios de la Corte, en los que la princesa también intervenía. Asimismo, se prestará atención a los afectos transmitidos entre el rey, su hijo y su nuera, así como a asuntos cotidianos reflejados en las cartas. Así, se pretende aportar una visión del periodo apartada del maniqueísmo interpretativo que lo sentenció como una etapa de malas relaciones y de marginalidad de los príncipes respecto al rey, así como poner en valor la fuente por su interés para diversas líneas de investigación
Two german paradigms for the dissemination of new spanish poetry in the interwar period: J. F. Montesinos and H. Petriconi
No full textEn 1926 la editorial Dioskuren publica el libro Die spanische Literatur der Gegenwart (Seit 1870), del filólogo e hispanista alemán Hellmuth Petriconi. Poco después ve la luz Die moderne spanische Dichtung, del también filólogo y pensador español José F. Montesinos, con el sello B. G. Teubner. Ambos volúmenes presentan estudios sobre la nueva literatura en lengua española y sobre sus últimas corrientes y autores.
El de Montesinos es, específicamente, un estudio sobre la joven poesía española, escrito originalmente en castellano y traducido al alemán, y lo acompaña una antología ilustrativa. La impresión del libro tiene lugar durante su estancia formativa de doce años en Alemania. El de Petriconi es un estudio general sobre la literatura española e hispanoamericana que hace un recorrido por la narrativa, el teatro y la poesía. No presenta textos ilustrativos más allá de breves fragmentos.
El trabajo de Montesinos pasó prácticamente desapercibido, mientras que el de Petriconi tuvo una mayor repercusión. La historia y el destino de uno y otro libro son un fiel reflejo de lo que sucede en el ámbito cultural durante esos convulsos días del período de entreguerras.In 1926 the German publishing house Dioskuren issued the book Die spanische Literatur der Gegenwart (Seit 1870), which was written by the German hispanist Hellmuth Petriconi. Shortly afterwards, the Spanish author and philologist José F. Montesinos published Die moderne spanische Dichtung, also in Germany, with the B. G. Teubner imprint. The two books under scrutiny are dedicated to the latest movements, creations and currents in Spanish literature.
In his book, Montesinos presents a study of the latest Spanish poetry. The book was originally written in Spanish and subsequently translated into German and it includes an anthology with illustrative texts. The project was undertaken during Montesinos\u27 twelve-year stay in Hamburg, where he studied and worked as a lecturer. Petriconi\u27s book constitutes a general study of recent literature in Spain and Latin America. It covers different genres, including, but not only narrative, theatre and poetry. However, it does not include any texts to illustrate his descriptions.
Both books were published in German language, which complicates their reception in Spain. While Montesinos\u27 work remained technically unnoticed, Petriconi\u27s book had a greater impact. The stories of the two books reflect the cultural climate in the interwar period
The awakening of change in Portugal in Hugo Gonçalves\u27 novel Revolution
No full textA obra Revolução (2023), de Hugo Gonçalves, oferece um retrato denso e multifacetado da sociedade portuguesa antes, durante e após a Revolução dos Cravos de 25 de Abril de 1974. Combinando ficção e memória, o autor observa as mudanças sociais, culturais e familiares que a revolução imprimiu na vida quotidiana dos portugueses. Trata-se de uma reflexão crítica sobre a herança da Revolução dos Cravos e os desafios identitários do Portugal contemporâneo. Situada no período turbulento do PREC (Processo Revolucionário em Curso), a narrativa acompanha a família Storm, cujos membros representam diferentes reações ao novo contexto político. Esta estrutura familiar funciona como metáfora da fragmentação social que emergiu após a revolução. Através da trajetória dos protagonistas divididos entre a memória e o desencanto, a obra propõe uma leitura da mudança enquanto processo individual, coletivo e emocional. Este artigo analisa a obra à luz do contexto histórico de 1974 e do processo revolucionário, destacando o papel da memória, da narrativa e da transformação interior como motores da verdadeira revolução a partir das vivências de uma família portuguesa.Revolução (2023), de Hugo Gonçalves, ofrece un retrato denso y polifacético de la sociedad portuguesa antes, durante y después de la Revolución de los Claveles del 25 de abril de 1974. Mezclando ficción y memoria, el autor observa los cambios sociales, culturales y familiares que la revolución provocó en la vida cotidiana de los portugueses. Se trata de una reflexión crítica sobre el legado de la Revolución de los Claveles y los desafíos identitarios a los que se enfrenta el Portugal contemporáneo. Ambientada en el turbulento periodo del PREC (Proceso Revolucionario en Curso), la narración sigue a la familia Storm, cuyos miembros representan diferentes reacciones al nuevo contexto político. Esta estructura familiar funciona como metáfora de la fragmentación social surgida tras la revolución. A través de la trayectoria de los protagonistas, divididos entre el recuerdo y el desencanto, la obra propone una lectura del cambio como un proceso individual, colectivo y emocional. Este artículo analiza la obra a la luz del contexto histórico de 1974 y del proceso revolucionario, destacando el papel de la memoria, la narrativa y la transformación interior como motor de una verdadera revolución a partir de las vivencias de una familia portuguesa.Revolução (2023), by Hugo Gonçalves, offers a dense and multifaceted portrait of Portuguese society before, during and after the Carnation Revolution of 25 April 1974.
Combining fiction and memory, the author observes the social, cultural and familial changes that the revolution brought about in the daily lives of the Portuguese. It\u27s about a critical reflection on the legacy of the Carnation Revolution and the challenges of identity in contemporary Portugal. Set in the turbulent period of PREC (Revolutionary Process in Progress), the narrative follows the Storm family, whose members represent different reactions to the new political context. This family structure functions as a metaphor for the social fragmentation that emerged after the revolution. Through the trajectory of the protagonists divided between memory and disenchantment, the work proposes a reading of change as an individual, collective and emotional process. This article analyses the work in the light of the historical context of 1974 and the revolutionary process, highlighting the role of memory, narrative and inner transformation as the engines of true revolution based on the experiences of a Portuguese family
Geografías poéticas en Ángel González: ciudades de la memoria y caminos literarios
No full textEl trabajo propone abordar la obra poética de un autor fundamental del medio siglo español, Ángel González, cuyo centenario de nacimiento se conmemora este año. En su producción, que recorre varias décadas de la poesía española de posguerra y contemporánea, desde 1956, con su primer libro Áspero mundo, hasta el póstumo Nada grave, del 2008, se observan modulaciones variadas en torno de los espacios y la relación del sujeto poético con los distintos territorios que habita y poetiza. En el inicio, la ciudad será configurada como un lugar idealizado y casi mítico, una ciudad natal delineada en el cruce de la nostalgia y la irrealidad; luego, cobrará centralidad un espacio evocado desde una memoria traumática que, entre lo privado y lo público, espacializa en ciudades sin nombre las vivencias aciagas de la Guerra civil y los hechos históricos de una niñez atravesada por la conflictividad política. Por su parte, en trazos más tardíos se reconoce indudablemente la ciudad contemporánea, sus prácticas, sus circuitos, sus actores, tanto habitados como criticados por el sujeto cronista de esta crucial matriz de poesía urbana que recorre su obra. Por último, la geografía norteamericana será incluida también en sus páginas literarias, como espejo de las vivencias biográficas de un sujeto que entreteje sus cartografías y geografías vitales y poéticas.
Abstract: In the poetic work of Ángel González varied modulations are observed around the spaces and the relationship of the poetic subject with the different territories he inhabits and poeticizes. At the beginning, the city will be configured as an idealized and almostmythical place, a hometown delineated at the crossroads of nostalgia and unreality; then, a space evoked from a traumatic memory will take on centrality that, at the intersection between the private and the public, spatializes in nameless cities the fateful experiencesof the Civil War and the historical events of a childhood crossed by political conflict. In later pages, the contemporary city, its practices, its circuits, its actors, both inhabited and criticised by the chronicler subject of this crucial matrix of urban poetry that runs through his work, is undoubtedly recognized. Finally, North American geography will also be included in its literary work, as a mirror of the biographical experiences of a subject that interweaves its cartographies and vital and poetic geographies
Ángel González: un ángel de palabras. Entrevista a Laura Scarano
No full textEntrevista de los coordinadores del número con Laura Scaran
Reflexões sobre a Influência Kantiana no Conceito Hegeliano de Casamento
No full textThe goal of this paper is to understand the concept of marriage within Hegelian philosophy, with particular attention to Kantian influences in the articulation of this moment. To achieve this, several steps are necessary. Firstly, it is essential to delineate the boundaries within which marriage is situated, and thus, an analysis of the familial sphere within Ethical Life (Sittlichkeit). In this way, it will be demonstrated how family is characterized by a unity where the individuals lose their autonomy in order to become members of a greatest unity, the familial one. Consequently, the moment of marriage is characterized by the same features as those of the family, namely the immediate unity of the parties involved. Secondly, we should delve into Kantian theory of marriage as a contract and contracts in general, to understand Hegel’s stance towards it. On one hand, we will examine how Hegel approaches contract theory in a similar way of Kant since, for the Stuttgart’s philosopher, the contractual relationship involves a unity, albeit still only formal, of the two entities involved in the contractual relationship. On the other hand, however, we will observe a fundamental difference that Hegel introduces regarding Kant’s contract theory, especially in the context of the marital contract. For Hegel, it is not possible to conceive of marriage as subservient to the contract because, upon entering the marital union, the two individual entities lose their identity as such to become part of a singular immediacy, the family. Thus, their union is not merely formal, as in the case of a contract – which is spiritually lower than the Ethical Life containing the family moment – but is a peculiar union of the two members, husband and wife, who, by forming a family, become an immediate part of it. In conclusion, we will reflect, starting from their notion of marriage, on how both Kant and Hegel establish a ‘false’ sexual difference, since the relationship between the feminine and the masculine, rather than being based on a genuine and horizontal difference, appears hierarchical.
The goal of this paper is to understand the concept of marriage within Hegelian philosophy, with particular attention to Kantian influences in the articulation of this moment. To achieve this, several steps are necessary. Firstly, it is essential to delineate the boundaries within which marriage is situated, and thus, an analysis of the familial sphere within Ethical Life (Sittlichkeit). In this way, it will be demonstrated how family is characterized by a unity where the individuals lose their autonomy in order to become members of a greatest unity, the familial one. Consequently, the moment of marriage is characterized by the same features as those of the family, namely the immediate unity of the parties involved. Secondly, we should delve into Kantian theory of marriage as a contract and contracts in general, to understand Hegel’s stance towards it. On one hand, we will examine how Hegel approaches contract theory in a similar way of Kant since, for the Stuttgart’s philosopher, the contractual relationship involves a unity, albeit still only formal, of the two entities involved in the contractual relationship. On the other hand, however, we will observe a fundamental difference that Hegel introduces regarding Kant’s contract theory, especially in the context of the marital contract. For Hegel, it is not possible to conceive of marriage as subservient to the contract because, upon entering the marital union, the two individual entities lose their identity as such to become part of a singular immediacy, the family. Thus, their union is not merely formal, as in the case of a contract – which is spiritually lower than the Ethical Life containing the family moment – but is a peculiar union of the two members, husband and wife, who, by forming a family, become an immediate part of it. In conclusion, we will reflect, starting from their notion of marriage, on how both Kant and Hegel establish a ‘false’ sexual difference, since the relationship between the feminine and the masculine, rather than being based on a genuine and horizontal difference, appears hierarchical.O objectivo deste artigo é compreender o conceito de casamento dentro da filosofia hegeliana, com particular atenção à influência kantiana na articulação deste momento. Para tal, são necessários vários passos. Primeiramente, é essencial delinear os limites que sustêm o casamento e, com isso, analisar a esfera da família dentro da Vida Ética (Sittlichkeit).Deste modo, será demonstrado como a família é caracterizada como uma unidade onde os indivíduos perdem a sua autonomia de modo a tornar-se membros de uma unidade maior, a familiar. Consequentemente, o momento do casamento é caracterizado pelos mesmos atributos que o da família, nomeadamente a unidade imediata das partes envolvidas. Seguidamente, devemos debruçar-nos sobre teoria kantiana do casamento enquanto contrato, e dos contratos no geral, para compreender a posição de Hegel perante os mesmos. Por um lado, iremos examinar como Hegel se aproxima da teoria contratual de modo similar a Kant, já que para o filósofo de Stuttgart uma relação contratual envolve uma unidade, mesmo que ainda meramente formal, entre ambas as entidades envolvidas nessa relação contratual. Por outro lado, iremos observar a diferença fundamental que Hegel introduz em relação à teoria contratual de Kant, especialmente no contexto de um contrato matrimonial. Para Hegel, não é possível conceber o casamento enquanto subserviência ao contrato porque ao entrar na união matrimonial, os dois indivíduos perdem a sua identidade como tal para se tornarem numa imediação singular, a família. Com isto, a sua união não é meramente formal, como no caso do contrato – que é espiritualmente inferior à Vida Ética, que contem o momento da família, – mas é a peculiar união dos dois membros, marido e mulher, que, ao formar a família, se tornam imediatamente uma parte desta. Concluindo, iremos reflectir, começando pela sua noção de casamento, em como Kant e Hegel estabelecem uma “falsa” diferença sexual, já que a relação entre feminino e masculino, em vez de ser baseada numa genuína e horizontal diferença, surge hierarquicamente
Los Centros de Colaboración Pedagógica: Formación permanente y renovación pedagógica
No full textAbstract: Ongoing training and pedagogical renewal have been two constant desires of teachers throughout history. The Pedagogical Collaboration Centres were probably the best response to satisfy these needs. This work aims to make a brief overview of the history of these Centres, from their background, their appearance and development in Segovia in the 1920s and their expansion throughout Spain during the Republican period.Resumen: La formación permanente y la renovación pedagógica han sido dos anhelos constantes de los maestros a lo largo de la historia. Los Centros de Colaboración Pedagógica fueron, probablemente, la mejor respuesta para satisfacer esas necesidades. Este trabajo pretende hacer un breve recorrido por la trayectoria de esos Centros, desde sus antecedentes, su aparición y desarrollo en Segovia en los años 20 del siglo pasado y su expansión por toda España en el periodo republicano
The exploitation of small game: new taphonomic data from the Mesolithic rock shelter of Galgenbühel/Dos de la Forca(South Tyrol – Italy)
No full textGalgenbühel/Dos de la Forca is an Early Mesolithic site located at Salorno (Province of Bolzano, Italy) and dated approximately between 8,500 and 7,500 cal. BC. The subsistence economy of the settlement relied on the exploitation of nearby wetlands and of the forested valley bottom; together with ungulates such as wild boar, red deer and chamois, the fauna comprises small carnivores and semi-aquatic mammals such as otter and beaver. The latter is the most abundant species, and a reasonable amount of its remains bear cut marks. Anthropic traces are also present on bones of wild cat, pine marten, badger and otter. We present a taphonomic study carried out on the bones belonging to small carnivores, rodents, and lagomorphs. A 3D digital microscope analysis was performed in order to distinguish the anthropic traces from non-anthropic modifications. Beside the results obtained from this exam, data from the evaluation of the cut mark positions on the bones and of the skeletal frequencies allowed the reconstruction of the methods adopted by hunter-gatherers in the treatment of beaver carcasses, and to understand the role of each species in their subsistence strategies.Galgenbühel/Dos de la Forca is an Early Mesolithic site located at Salorno (Province of Bolzano, Italy) and dated approximately between 8,500 and 7,500 cal. BC. The subsistence economy of the settlement relied on the exploitation of nearby wetlands and of the forested valley bottom; together with ungulates such as wild boar, red deer and chamois, the fauna comprises small carnivores and semi-aquatic mammals such as otter and beaver. The latter is the most abundant species, and a reasonable amount of its remains bear cut marks. Anthropic traces are also present on bones of wild cat, pine marten, badger and otter. We present a taphonomic study carried out on the bones belonging to small carnivores, rodents, and lagomorphs. A 3D digital microscope analysis was performed in order to distinguish the anthropic traces from non-anthropic modifications. Beside the results obtained from this exam, data from the evaluation of the cut mark positions on the bones and of the skeletal frequencies allowed the reconstruction of the methods adopted by hunter-gatherers in the treatment of beaver carcasses, and to understand the role of each species in their subsistence strategies
The faunal remains in the Amphitheatre of Aquileia
No full textDuring the 2017 excavation season at the amphitheatre of Aquileia, carried out by the University of Verona, several faunal remains were recovered; these belonged, especially for US 147 and 153, to animals that were used in venationes, the hunting shows that took place in amphitheatres in Roman times. The faunal remains were characterised by a high degree of post-depositional fragmentation and, for this reason, in the Laboratory of Archaeozoology and Taphonomy of the University of Ferrara, they were patiently refitted. These remains were quantified, identified, measured and taphonomically analyzed. The process of identification of the faunal remains established the presence of domestic and wild fauna, such as bears, leopards and deer. These animals are commonly mentioned and depicted in literary and iconographic sources and have also been found in other amphitheatres where archaeozoological analyses were implemented. Animals from far away were used at Aquileia, with enormous expenses for capture, transport, and maintenance.During the 2017 excavation season at the amphitheatre of Aquileia, carried out by the University of Verona, several faunal remains were recovered; these belonged, especially for US 147 and 153, to animals that were used in venationes, the hunting shows that took place in amphitheatres in Roman times. The faunal remains were characterised by a high degree of post-depositional fragmentation and, for this reason, in the Laboratory of Archaeozoology and Taphonomy of the University of Ferrara, they were patiently refitted. These remains were quantified, identified, measured and taphonomically analyzed. The process of identification of the faunal remains established the presence of domestic and wild fauna, such as bears, leopards and deer. These animals are commonly mentioned and depicted in literary and iconographic sources and have also been found in other amphitheatres where archaeozoological analyses were implemented. Animals from far away were used at Aquileia, with enormous expenses for capture, transport, and maintenance