Manuel de Pedrolo constructed the novel Es vessa una sang fàcil, published in 1954 without censorship cuts, from two short stories in El premi literari i més coses, which had been rejected by the censorship two years earlier. This article analyzes the strategies employed by the author in the process of rewriting, bearing in mind that the poetics of the short story, governed by the principle of brevity, works differently from those of the novel. The hypertextual transformation from the short stories, or hypotexts, to the novel, or hypertext, occurs by amplification and is achieved through a thematic expansion that entails both a pragmatic transformation and transvaluation. The author also takes advantage of the rewriting to carry out a transstylization and to put into practice various narrative resources, such as collage or the Joycean interior monologue.

ABSTRACT This article aims to study the motives and investigate the theoretical assumptions of Rafael Sánchez Ferlosio’s hypotactic style in his essayistic work. To this end, it reviews the texts that the author himself dedicated to hypotaxis, as well as the different testimonies in interviews and letters, and summarizes his general position on the issue. It also compares his style with the literary context of his own time and offers a reflection on the concepts of essay and criticism, in order to find out what relationship Ferlosio’s work has with philosophy. It is concluded that Ferlosio’s hypotaxis is a requirement of the critique of common sense or ideology.

This article examines the role of the opening poem sung by the precocious Gypsy girl, Preciosa, in Miguel de Cervantes’s Novela ejemplar, La gitanilla, and applies that analysis to the novella’s problematic ending. It explores three themes in the opening romance sung before an image of St. Anne: the role of lineage in St. Anne’s hagiography and amongst the Gypsies, St. Anne as a teacher, and the doctrine of the Immaculate Conception of Mary. Each of these three themes, in turn, shed light on how we are to interpret the ending of the novella. St. Anne represented an open, horizontal imagining of kinship, and the creation of kinship ties that points to the Gypsy grandmother and Preciosa’s need to create a lineage for her in order to marry the wealthy Juan de Cárcamo. The role of the power of grandmothers that St. Anne represents, along with emphasis on her role as an educator, leads us to doubt the artifacts that the grandmother presents as proof of Preciosa’s noble status. Finally, the doctrine of the Immaculate Conception of Mary, and its ties to the creation of false histories of lineage by the moriscos in the forged Libros plúmbeos, highlights doubt about the status of these same artifacts. On this basis the problematic recognition of Preciosa as the noblewoman Constanza de Acevedo y de Meneses is judged as a clever trick.

ABSTRACT This study examines literary representations of indigenous people from mining centers in Junín, Peru, in the early twentieth century, contrasting them with indigenismo promoted from the Capital. It analyzes works by regional authors like Gamaniel Blanco, Mateu Cueva, and Clodoaldo Espinosa Bravo, who wrote from direct experience in mining areas like Morococha and La Oroya, unlike urban writers. The research reveals that these works offer a perspective that was influenced by but distinct from Capital-based ideas, providing more specific insights into indigenous workers’ reality in mining contexts, addressing topics often ignored by dominant indigenismo, such as environmental pollution, occupational diseases, adaptation to modernity, and Andean landscape transformation. These authors propose alternative approaches to indigenous subjects and their liberation. Analysis of these works enriches understanding of Peruvian indigenismo and highlights the importance of local voices and mining-specific realities in early twentieth-century Peruvian literature and society.

RESUMEN Este artículo analiza La caja Topper (2019), relato testimonial del economista Nicolás Gadano. El mismo se suma a una serie de textos autobiográficos que reflexionan sobre los violentos años setenta en la Argentina desde la perspectiva de hijos de militantes políticos. Emitiendo su discurso desde un lugar de enunciación inusual, como exintegrante del gobierno de “Juntos por el cambio”, Gadano busca separarse de discursos hegemónicos que han idealizado la militancia de la época. A lo largo de su texto, el autor pone en tela de juicio el accionar de sus padres guerrilleros, a la vez que evita caer en discursos grandilocuentes que exalten o mitifiquen la práctica revolucionaria. Asimismo, a través de una narración sumamente autoconsciente con varios pasajes metaficticios, Gadano sortea las trampas de los discursos testimoniales señaladas por Beatriz Sarlo, reivindicando el género. El autor transita así con aplomo por el terreno pantanoso de la violencia y el trauma, pero también de lo no dicho y lo no decible sobre los controversiales setenta.

Even though Basque director Alauda Ruiz de Azua’s debut film, Cinco lobitos, revolves around motherhood and its two female characters bear the heavyweight of the narrative, set in a historically perceived matriarchal society, such as the Basque Country, the two male supporting roles—that of the young father and the old grandfather of the newborn child—are critical to articulate the film’s underlying discourse on the complex and evolving relationships amongst the members of a family unit—whether it be the result of a traditional marriage (that of the grandparents) or a modern partnership (the young couple). Despite their age difference and distinct upbringing, the two male characters mirror each other in their embodiment of an emotionally absent life partner and paternal figure who prioritizes his role as a provider rather than a caregiver. Hence, intertwined with the struggles of maternity and its acute impact on women’s life choices, the portrayal of fatherhood in this film equally reflects on the evolution of the paternal role throughout a man’s life and in Basque society, while it evokes that the traditionally assigned gender roles echo across generations.

"Transoceanic Animals as Spectacle in Early Modern Spain.." Romance Quarterly, ahead-of-print(ahead-of-print), pp. 1–2

This study elucidates the process of Maria Casarès’ identity construction in her correspondence with Albert Camus. I focus on how space and identity are entangled in their letters by zooming in on the correspondents’ construction of a spatial identity through their epistolary dialogue. In their epistolary relationship, Casarès and Camus exchange depictions, feelings, drawings, and postcards of the places in their host country France—such as Paris, Ermenonville in Oise, Camaret-sur-Mer in Bretagne, Cabris in the Provence—, that define them not so much individually but mostly together, as a couple. The correspondents create in their letters places and metaphors that have significance for both of them and that they can share—through memory of the past, imagination at present, or plans for the future—. The analysis gives insight in how Casarès renegotiated her identity via the epistolary dialogue with Camus on the basis of the characteristics of exile and the search for silence, creativity and truth that they shared. The study illustrates the autobiographical character of the correspondence in its dialogical context: the strong bond between the sender and recipient of the letters plays a fundamental role in stimulating and facilitating possibilities for synergetic identity renegotiations.

This article proposes a Situationist reading of Le Clézio’s novels La Guerre (1970) and Les Géants (1973). Debord and Le Clézio illustrate that it is not by accident that the rise of multinational capitalism coincides with the birth of hyperreality and the post-truth era. Faced with the realistic possibility of losing their power and influence, the masters or the giants shifted their approach in order to survive. Debord and Le Clézio denounce the devastating ripple effects of this structural adaptation that would redefine society and the entirety of social relations through the skillful imposition of commercial simulacra. Even if both authors engage in hyperbolic discourse to underscore their main points, they are cognizant of what is at stake in the age of (dis-) information. Without providing any facile optimism that the road ahead will be easy, Debord and Le Clézio urge the alienated, post-modern subject to revolt. Despite the apparent limitations of the user manuals for contestation that they promote, their counter-hegemonic techniques could be a preliminary blueprint for combatting the commodification of the social, the death of the subject, and the subjugation of the populace through signs in consumer republics.