Portal de Revistas Científicas de la Universidad de Alcalá
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Beatriz Méndez Guerrero, El silencio en la comunicación multimodal en español, Granada, Comares, 2024, 116 págs. ISBN: 978-84-1369-641-6.
No full textReseñ
Marginalidad y otredad: la figura del alien en la literatura gráfica del siglo XXI
No full textThe present work aims to analyze the figure of the alien in graphic literature as a condensing image of otherness and marginality. Understanding the image as a conducive means to summon other-realities, illustration emerges, no longer as a mimetic tool, but as a force to transform reality. We will focus, therefore, on analyzing the figure of the alien as a way to intensify the representation of otherness, as a way of materializing it, understanding, in turn, the transformative power of the sexual body that problematizes its own hegemonic, heteronormative and adult-centred projection. . To do this, we will address the following corpus: Alien by Aisha Franz, Intensa by Sole Otero and Alienígena by Femimutancia.El presente trabajo se propone analizar la figura de alien en la literatura gráfica como imagen condensatoria de alteridad y marginalidad. Entendiendo la imagen como medio propicio para convocar realidades-otras, la ilustración surge, ya no como herramienta mimética, sino como potencia de transformación de lo real. Nos centraremos, por lo tanto, en analizar la figura de alien como modo de extremar la representación de la otredad, como forma de materializarla, comprendiendo, a su vez, la potencia transformadora del cuerpo sexuado que problematiza su propia proyección hegemónica, heteronormada y adultocentrista. Para ello, abordaremos el siguiente corpus: Alien de Aisha Franz, Intensa de Sole Otero y Alienígena de Femimutancia
ANHAGA, or: The Epistemological Quest in Anne Carson’s “Kinds of Water”
No full textThis paper focuses on Anne Carson’s lyrical essay “Kinds of Water” (1995) as a case of a transmodern text concerned with the consequences of posthumanist suffering, such as the lack of affection or human connection. Establishing a continuum between epistemology and anthropology, Carson presents water as an ungraspable symbol, as a pretext for critical inquiry, self-discover, and acceptance. Taking this element as limitless and fluid, we aim to analyse certain paradoxes related to H2O that psychologically and linguistically affect the narrative voice. These are materiality and fluidity, but also the dichotomy between excess and absence, as well as movement and stillness
Queering the American (Super)Hero in Cassandra Clare’s Shadowhunters Novels
No full textThis article presents Alec Lightwood in Cassandra Clare’s Shadowhunters Young Adult urban fantasy novels as a character that questions and subverts the tenets underpinning the association between exceptionalism and heroicity in American culture, thus fostering a reworking of the myth of the superhero in the nation’s twenty-first-century imagination. In his trajectory from closeted gay boy to hero of several wars and leader of the Shadowhunters, Alec queers the hegemonic American heroic ideal by subverting the paradigm of heteronormative masculinity conventionally associated with it and promotes a model of heroism that champions cooperation, empathy, and personal feelings. After clarifying how Shadowhunter traditions mirror American national core values and introducing the Nephilim as a particular kind of (super)heroes that expose the way those values can lead to corruption and destruction if deployed to supremacist ends, I describe Alec’s atypical heroism, grounded in the inseparability of the private and the public and encouraging a rethinking of what makes the America strong and good. I also explore the unusual importance given in Clare’s novels to a hero’s romantic and family life as a means for exploring – through Alec’s queerness – the contribution of the instrumentalization of love and family to the preservation of hegemonic ideals and its negative impact on the imagined future of the nation. 
LA CREACIÓN DE ÁLBUMES ILUSTRADOS IMPRESOS Y DIGITALES EN EDUCACIÓN SUPERIOR PARA ENSEÑAR INGLÉS EN PREESCOLAR
No full textThis article presents a pedagogical experience about the benefits of printed and digital picturebooks to teach English in Preschool carried out with the student teachers in the third year of the Degree of Preschool Education. During the first stage of the pedagogical experience, students received some training based on an initial questionnaire about the practice of reading and telling stories in school. During this phase, they learned what picturebooks are, their features, the difference between reading and telling stories; and reading techniques for this resource. During the second phase, the students created a picturebook choosing from print or digital format, the topic, or the age and the language level of preschool students. As a result of the creative process student teachers developed 18 stories, 77% of which were carried out using digital tools such as Canva, Storyjumper and Procreate. From this pedagogical experience, the future teachers fostered their four skills and creativity, and integrated content, cognition, communication and culture (CLIL) through creative illustrations and with a narrative adapted to Preschool.Este artículo presenta la investigación realizada con alumnos de tercer curso del Grado de Educación Infantil sobre los beneficios de los álbumes ilustrados impresos y digitales para enseñar inglés en Preescolar. Durante la primera fase de la experiencia pedagógica, los alumnos recibieron formación en base a unos cuestionarios iniciales sobre la práctica de leer y contar cuentos en la escuela. En esta fase aprendieron qué es un álbum ilustrado, sus características, la diferencia entre leer y contar cuentos, y técnicas de lectura de este recurso. Durante la segunda fase los alumnos crearon un álbum ilustrado eligiendo entre formato impreso o digital, la temática, y la edad y nivel lingüístico de los alumnos de Preescolar. Como resultado de dicho proceso creativo elaboraron 18 historias, de las cuales el 77% fueron realizadas con herramientas digitales como Canva, Storyjumper y Procreate. A partir de esta experiencia pedagógica los futuros maestros fomentaron las cuatro destrezas y la creatividad, e integraron el contenido, la cognición, la comunicación y la cultura (AICLE) a través de ilustraciones creativas y de una narrativa adaptada a Preescolar
Yo tuve un sueño: aminorando el discurso de violencia
No full textThis essay explores the notion of violence in Yo tuve un sueño: El viaje de los niños centroamericanos a Estados Unidos by Mexican author Juan Pablo Villalobos. This collection of crónicas recounts the experiences of young undocumented migrants during the migratory waves that occurred between 2011 and 2014. While the stories depicted here undoubtedly showcase violence as a central theme, they also present narratives of nostalgia, loss, solidarity, and companionship. These additional layers serve to temper the overall dramatic tone, highlighting the minors’ resilience against the predominant discourse of violence and threat often associated with undocumented immigration.Este ensayo explora la noción de violencia en Yo tuve un sueño: El viaje de los niños centroamericanos a Estados Unidos del autor mexicano Juan Pablo Villalobos. Esta colección de crónicas narra las experiencias de jóvenes migrantes indocumentados durante las olas migratorias que se produjeron entre 2011 y 2014. Si bien las historias aquí descritas muestran sin duda la violencia como tema central, también presentan narraciones de nostalgia, pérdida, solidaridad y compañerismo. Estas capas adicionales sirven para atemperar el tono dramático general, destacando la resistencia de los menores frente al discurso predominante de violencia y amenaza a menudo asociado a la inmigración indocumentada
Fractured Fairy Tales and Subversion: Red Ridin’ in the Hood and Other Cuentos by Patricia Marcantonio
No full textInside a cardboard box, Mama packed a tin of chicken soup, heavy on cilantro, along with a jar of peppermint tea, peppers from our garden, and a hunk of white goat cheese that smelled like Uncle Jose’s feet.
That meant one thing.
“Roja, your abuelita is not feeling well,” Mama told me. “I want you to take this food to her.”
“But Mama, me and Lupe Maldonado are going to the movies,” I replied, but felt guilty as soon as I’d said it.
These are the lines which open Patricia Santos Marcantonio’s fractured version of the fairy tale Little Red Riding Hood. In her retelling of this and other ten fairy tales published in the volume Red Ridin’ in the Hood and Other Cuentos (Farrar Straus Giroux, 2005), the Mexican American author makes use of a series of elements to provide a Latinx version of these fairy tales to counterbalance the lack of representation of Latinx children in the books she read growing up in the United States.
In my paper I will explore the elements Marcantonio modifies in order to subvert these fairy tales with a Latinx flavor.Inside a cardboard box, Mama packed a tin of chicken soup, heavy on cilantro, along with a jar of peppermint tea, peppers from our garden, and a hunk of white goat cheese that smelled like Uncle Jose’s feet.
That meant one thing.
“Roja, your abuelita is not feeling well,” Mama told me. “I want you to take this food to her.”
“But Mama, me and Lupe Maldonado are going to the movies,” I replied, but felt guilty as soon as I’d said it.
Así comienza Patricia Santos Marcantonio su versión fracturada del cuento Caperucita Roja. En su nueva versión de éste y otros diez cuentos de hadas publicados en el volumen Red Ridin’ in the Hood and Other Cuentos (Farrar Straus Giroux, 2005), la autora mexicoamericana hace uso de una serie de elementos para ofrecer una versión latina de estos cuentos de hadas con el fin de contrarrestar la falta de representación de los niños latinos en los libros que leía mientras crecía en Estados Unidos.
En mi artículo exploraré los elementos que Marcantonio modifica para subvertir estos cuento
Reseña: "El momento analírico. Una historia expandida de la poesía en España de 1964 a 1983", de María Salgado
No full textContextos de uso del español y el amazige, actitudes y percepciones del alumnado universitario bilingüe de origen bereber
Get PDFIn language contact situations, bilingual speakers decide which language to use depending on their context. The aim of this study is to discover the contexts of use of Spanish and the Berber language (Amazigh) in a Spanish city with a significant bilingual population, and to find out the attitudes and perceptions that participants have about the use of Amazigh. There are 156 Spanish-Amazige bilingual university students from the University of Granada at the Melilla Campus. After the implementation of a questionnaire designed ad hoc, in this empirical-analytical quantitative research, the results point to the flexible use of the main languages of the city, among which Spanish stands out first, and then both languages in a similar way. The exclusive use of Amazigh is lost even in the most familiar contexts and in the Berber culture itself. Attitudes and perceptions about the use of Amazigh are positive, but to a low degree.En situaciones de lenguas en contacto los hablantes bilingües deciden cuál usar dependiendo del contexto. El objetivo de este estudio es descubrir los contextos de uso del español y la lengua bereber (amazige) en una ciudad española con una población bilingüe importante, y conocer las actitudes y percepciones que tienen los participantes sobre el uso del amazige. Son 156 estudiantes universitarios bilingües español-amazige de la Universidad de Granada en el Campus de Melilla. Tras la implementación de un cuestionario diseñado ad hoc, en esta investigación empírico-analítica cuantitativa, los resultados señalan el uso flexible de las lenguas principales de la ciudad, entre las que destaca el español, primero, el de ambas lenguas de forma similar, después. El uso exclusivo del amazige se pierde incluso en los contextos más familiares y de la propia cultura bereber. Las actitudes y las percepciones sobre el uso del amazige son positivas, pero en grado bajo
Fastwalkers de Ilan Manouach. La IA y el cómic conceptual: La IA y el cómic conceptual
No full textThe publication of Ilan Manouach's Fastwalkers has been one of the first thoughtful and ambitious creations made using Artificial Intelligence (AI) in the world of comics. Around it, this article reviews his work, assessing what it means for the world of comic creation both in its technical and conceptual repercussions, and some ideas about its narratological, stylistic and aesthetic implications are exposed.La publicación de Fastwalkers de Ilan Manouach ha supuesto una de las primeras creaciones reflexivas y ambiciosas realizadas mediante Inteligencia Artificial (IA) en el mundo del cómic. Alrededor de ella, el artículo revisa su trabajo, valorando lo que ello supone para el mundo de la creación de cómics tanto en sus repercusiones técnicas como conceptuales, y se exponen algunas ideas sobre sus implicaciones narratológicas, estilísticas y estéticas