Exemplaria -- V. 01, (1997)
Permanent URI for this collectionhttps://hdl.handle.net/10272/1662
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Item type: Item , Venus' glove : a note on Sidney's Astrophil and Stella, Sonnet 13(Universidad de Huelva, 1997) Martínez Vázquez, MontserratItem type: Item , Les variations du carpe diem dans Prop. 2.15(Universidad de Huelva, 1997) Márquez Guerrero, Miguel ÁngelItem type: Item , Thematologie et littérature comparée(Universidad de Huelva, 1997) Brunel, PierreThis paper begins with a terminological comment on the concepts of theme and myth. The author adopts a firm culturalist position to defend that the term theme should be applied to commom archetypes (i.e., the transformation of man), whereas myth should be reserved to refer to their specific cultural manifestations (i. e., Daphne's metamorphosis). In this sense, thématologie finds its research field in the meeting-point between theme and myth. Secondly, the author maintains that any specific study must be confined to a limited number of authors from different linguistic areas but showing interactions between them. Finally, this theoretical proposal is exemplified with an analysis of the labyrinth image in the works of Kafka, Borges, and Butor.Item type: Item , On John Donne's subtle Subversion of Ovid's Amores I, XIII(Universidad de Huelva, 1997) Zambrano Carballo, Pablo LuisItem type: Item , La novela anticlerical española : estudio comparativo de Cornelia Bororquia y Vargas(Universidad de Huelva, 1997) Garnica, AntonioItem type: Item , Hugh MacDiarmid and Emily Dickinson : the Thistle and the Moonlight(Universidad de Huelva, 1997) Nos Aldas, EloísaHugh MacDiarmid (1892-1978) and Emily Dickinson (1830-1886) are two dissimilar personalities who inhabited different universes but whose poetry presents many similarities. They even share some influences and it is possible that Emily Dickinson influenced MacDiarmid through Ezra Pound. Theirs is a poetry with a powerful lyrical conciseness and an aphoristic nature that makes possible to define it as aphoristic haikai. Apart from their parallel form, they deal with similar themes: Life, Death, God, Eternity, Immortality, Beauty, Truth, Memories and Oblivion. Moreover, Horace's philosophy of carpe diem underlies their poetry and their lives. Their work (taking into account that we do not take into account in this paper MacDiarmid's most political poetic corpus) is similar because it shares a universal side. But at the same time, we cannot forget that for Emily Dickinson her universe was her Poetry and her home, whereas for MacDiarmid his universe was Scotland and Poetry. This paper shows how they are very alike, but very different at the same time.Item type: Item , Debates renacentistas en torno a la materia caballeresca : estudio comparativo en Italia y España(Universidad de Huelva, 1997) Gil-Albarellos Pérez-Pedrero, SusanaThe publication of Garci Rodríguez de Montalvo's Amadis de Gaula in 1508 initiates one of the most important theoretical literary debates in the spanish Literature. Writers, critics, moralists and Church members either passionately attack or defend the beginning of a new way of treating the old chivalric theme in a long, prose narration. Eight years later, 1516, Ludovico's Orlando Furioso is published in Italy. Ludovico's is an ironic, long romanzo, based on the new literary models created by the publication of Mateo Boiardo's unconcluded Orlando Innamorato in 1494. Although different problems are suggested by these two works, they both contributed to the definition and consolidation of the Romance, a generic form linked to the development and consolidation of the modern novel.Item type: Item , Funciones del nombre en la configuración del personaje : un estudio comparativo en la literatura contemporánea de expresión española e inglesa (I)(Universidad de Huelva, 1997) Pérez Romero, Carmen; Bueno, LourdesThe name of the character has frequently been carfully selected by the writers of fiction since they consider it to be an essential element to delimit its personality either by revealing it or by concealing it. If that is a feature present throughout the different periods, it is most evident in contemporary narrative texts. The importance of the name (never -innocent- according to Kristeva) made us try to carry out an analysis of a number of items in recent literature belonging to the Spanish and English texts on both sides of the Atlantic to outline some of tehe functions of this figure in the configuration of the characters or actantsItem type: Item , El hombre inocente : arquetipos y estructuras míticas en dos novelas de Rafael Sánchez Mazas(Universidad de Huelva, 1997) Gómez Canseco, Luis MaríaThis essay is focussed on the analysis of characters and narrative structures in two novels by the fascist Spanish writer Rafael Sánchez Mazas (1894-1966), Rosa Kruger and La vida nueva de Pedrito de Andia. The presence of archetypes -both male and female-, the use of mythical structures and symbology prove that Sánchez Mazas wrote his novels thinking on the models of the traditional romance (greek novel of adventures and love or books of chivalery). At the same time, the analysis shows the relation between these novels and the Romantic and fin de siècle European Literature.Item type: Item , "Her kind nursery" : Shakespeare's King Lear and caritas romana(Universidad de Huelva, 1997) Martínez, Zenón LuisItem type: Item , Los estudios comparatistas en la escuela de Menéndez Pidal(Universidad de Huelva, 1997) Abad, FranciscoThis paper focuses on the comparative works of some authors belonging to Menéndez Pidal's school. Although comparative studies in Spain have not developed until very recently, their origins can be traced back to Menéndez Pidal and his disciples: studies such as those by Amado Alonso on the historical novel; Fernández Montesinos and Dámaso Alonso on Cervantes' reception in Europe and his direct influence on Fielding; and by Menéndez Pidal on French and Spanish Medieval epic.Item type: Item , De la influencia literaria a la huella textual(Universidad de Huelva, 1997) Martínez Fernández, José EnriqueThis article considers the various reworkings which the old concept of "influence" has undergone during the course of this century in relation to the differing theoretical and critical tendencies that succeeded one another from positivism onwards, especially the growth of structuralim, deconstruction, the aesthetics of reading and the theory of multiple systems. Its conclusion is that the relationship between texts, which was the basis of the old concept, continues to offer guidelines and new approaches for Comparative Literature.Item type: Item , La constitución de un "arte nuevo de hacer novelas" : apuntes a una teoría de la novela corta en el Siglo de Oro(Universidad de Huelva, 1997) Gutiérrez Hermosa, Luisa MaríaThe theory of the short novellas in Spain develops, as in Italy, at the margins of the poetic doctrine. However one may speak of a theory of the genre from two points of view: on the one hand from its detachment from poetics, and on the other, from its relationships with theater. Lugo y Davila's fruitless attempt to adapt the genre to the precepts of Aristotle shows the need to consider it apart from neoaristotelism. This relationship with theater, nevertheless, allows us to speak about its dramatic structure, which is to be found both in theory and practice. Thus, a peculiar new art of making short novellas,. is shaped its fundamental characteristic being a distance from any other way of speculating about literature.Item type: Item , Anaxárete : de Ovidio a Jorge Guillén(Universidad de Huelva, 1997) Cristóbal, VicenteThis paper deals with Jorge Guillén's recreation of the Iphis and Anaxarate myth in «Tiempo Perdido., a fifteen-poem sequence included in Homenaje. The only classical source for this theme is Ovid's narration in Metamorphosis XIV, 698-761, although it has a long tradition in Spanish Literature from Garcilaso to Calderón. Guillén faithfully recreates Ovid's text, above all in poems such as .,Las coronas» (paraclausithyron in the elegiac way with a first-person focalization), «Últimas resistencias» (allusion to Anaxarate's arrogant attitude) and «Muerte y petrificación (tragic ending). This fidelity to the hipotext goes together with a logical trans-stylization