Anuario de Letras Modernas

15-35

Authors: Gerardo Altamirano Meza

One of the most common ekphrastic motives in medieval literature is the historiated tent. In other words, the figurative elements described, whether drawn or embroidered, which can be found on the fabrics of a military tent, usually of royal nature. On this paper, the author analyses the ekphrasis of Adrastrus’ tent, which is part of the narrative poem known as "Roman de Thèbes" and which, presumably, is the archetype of other medieval descriptions, such as the Alexander’s tent, which appears in the "Libro de Alexandre" and Don Amor’s tent, which appears in the "Libro de Buen Amor". This essay analyseshow the author structures the passage and how some rethorical strategies (such as the enumeratio, the aposiopesis and the hyperbole) are used. In the same manner, it tries to suggest an hypertextual dialogue with other medieval works and some classical sources.

55-62

Authors: María Stoopen Galán

Since Miguel de Cervantes in the title and the Prologue to his "Novelas ejemplares" gives the term novel a foundational value both in his narrative and in the history of Spanish prose, I will begin by analyzing the conditions of the diffusion of the Italian novella in Spain. I will also consider how, throughout his literary production, Cervantes was actually exploring the changing meaning not only of the word inherited from the Tuscan language —novella—, but of the genre itself.

79-88

Authors: Claudia Ruiz García

This textrevises the context of burlesque writing in France (Anne of Austria’s regency), andhighlights the importance and position of this type of literaturedur-ing the elaboration of the classical doctrine (1630-1660). In particular, itanalyzes Paul Scarron’s burlesque rewriting of Virgil’s "Aeneid", based on criteriasuch as the imitation, translation and parody of classicalmodels.

99-108

Authors: Daniel Rudy Hiller

Knowing if reason is capable or not of having a direct influence on free-will, and consequently, on freedom, is one of the most discussed subjects in XVIII thought. Depending on the answer, happiness or morality would be considered as the true goal of human existence. This article discusses this debate by putting face to face a representative novel of libertine literature, "Thérèse Philosophe", with Kant’s moral philosophy.

133-140

Authors: Aurora Piñeiro

This article offers a reading of the narrative corpus produced by Hungarian writ-er István Örkény, in particular, the flash-fiction or microfiction collections published during the sixties as well as in posthumous editions. Örkény’s works are analysed here from the perspective of the conventions of Fantastic Realism and an emphasis is made on the way in which the absurd and the grotesque develop a complicity with the afore mentioned aesthetics in order to facilitate a critique, among others, of the prevailing political system of the time, which was strongly characterized by intolerance and censorship.

171-182

Authors: Irene María Artigas Albarelli

Legobiography, pseudomemories, and some kinds of fiction are border forms that, staggering between the real and the fictional, question and subvert their limits. This essay analyzes how the peculiar tension provoked by this vacillation appears in Sergio Pitol’s El arte de la fuga (1996), Angelina Muñiz-Huberman’s Molinos sin viento (2001), and some of the last texts written (2012) by Alice Munro that she has put apart from her fictions. The idea is to see what this staggering does to notions such as being, memory, and writing.

203-216

Authors: Angélica Tornero

Interest in examining the autobiography and characterize it as a literary genre has increased in the 20th century. In the first half, Georg Misch and Georges Gusdorf published their foundational works. Towards the 1970s, Georges May, Philippe Lejeune, James Olney, among others, advanced in the classification of the genre. Paradoxically, at the beginning of this century, some authors explored forms of autobiographical writing, just away from the standardized properties, as the “hon-est” expression, the construction of an identity an essentialist way and the devel-opment of individual style. An example of this is Michel Leiris’ "L’Âge d’homme", published in 1939. Later, in 1975, "Roland Barthes brought out Roland Barthes by Roland Barthes", a book that is difficult to classify, as it is neither an autobiographical text, nor a diary. In 1977, Serge Doubrovsky used the term autofiction to refer to his own novel, Fils, and to question the autobiographical genre statute. From then on, some scholars have pondered theoretically this notion, trying to fix characteristics of a possible new gender. The aim of this work is to reflect on aspects that turn "Roland Barthes by Roland Barthes" into an ambiguous book, hard to categorize, even as autobiography, or as autofiction.

231-238

Authors: Francisco Javier Cerón Luna

This paper proposes a methodological reading of Roland Barthes’ work and his questioning of writing as an unstable signifier of language. Thus, it invites us to rethink the author’s idea of writing from four different perspectives: as a neutral space, as a signifier structure, as a draft of a text theory, and as a plastic proposal emerging from the fragment. This last perspective can be read from the politics of gesture, which the Italian philosopher Giorgio Agamben proposes to enunciate that Barthes’ intellectual position picks up the overflow of style as impossibility for closure of the sense.

253-262

Authors: José Luis Quezada A.

Despite the importance of Petrarch’s "Triumphi", there is currently no critical edi-tion that provides a definitive and uniform version. In 1950, Robert Weiss pub-lished this fragment in its complete form for the first time. With the re-discovery of these long-lost verses, Petrarch’s dedication in revising and polishing his po-ems becomes evident. In the work’s six episodes, a great number of historic and literary characters, mostly from Classical Antiquity, march through its pages. In this “ideal library”, the "Triumphus Fame" shows the degree of knowledge Petrarch had of the classical authors he mentioned. This article offers the first translation into Spanish of the "Triumphus Fame" IIa.

285-289

Authors: Raquel Serur

Reseña de Mario Mugia. Versos escritos en agua. La influencia de Paradise Lost en Byron, Keats y Shelley