https://hdl.handle.net/10481/51346 2026-04-05T10:28:54Z 2026-04-05T10:28:54Z Jiménez, Maximiliano https://hdl.handle.net/10481/51627 2021-06-15T17:25:02Z

Reseña de /Review of Susana Patricia Ruiz Espinosa. La obra literaria abierta: del soporte digital al impreso Jiménez, Maximiliano It is not uncommon to find discussions regarding the current status of print materials and the impending end of the book as a literary support overshadowed by the increasing rise of digital literacy. Nevertheless, what about all those novels that are decidedly experimenting not only with their themes and narrative techniques but also with their visual presentations and tangible supports? To what extent are those precise digital developments pushing writers and readers to come up with new ways of reading and writing—be it as a rejection of the end of the book or merely as a creative exploration of the limits of story telling? These are some of the questions that guide Susana Patricia Ruiz Espinosa's La obra literaria abierta: del soporte digital al impreso (2016), a revision of contemporary narrative and which establish her book as a helpful starting point that contributes to the pertinent discussions developing around the notions that, in general, literary academia seems to have been taking for granted for a while.

Vara López, Alicia https://hdl.handle.net/10481/51626 2021-06-15T17:25:06Z

Reseña de / Review of Vicente Luis Mora. El sujeto boscoso. Tipologías subjetivas de la poesía española contemporánea entre el espejo y la notredad (1978-2015). Vara López, Alicia Se reseña aquí El sujeto boscoso. Tipologías subjetivas de la poesía española contemporánea entre el espejo y la notredad (1978-2015), de Vicente Luis Mora, libro ganador del I Premio Internacional de Investigación Literaria “Ángel González”. Se proporcionan las claves estructurales e interpretativas que permiten valorar la obra.

Mora, Vicente Luis https://hdl.handle.net/10481/51625 2021-06-15T17:25:09Z

La canalización textovisual del dolor: Canal, de Javier Fernández Mora, Vicente Luis En los últimos años, gracias a la tecnología y especialmente gracias a las posibilidades otorgadas por los procesadores de texto, la experiencia de la escritura ha sufrido la intrusión de la imagen y de símbolos icónicos en esferas en las cuales no habían aparecido con anterioridad. Esto es claro en obras como Canal (2016), del poeta español Javier Fernández, en cuyas páginas es posible apreciar una “canalización” textual del dolor expresado en los versos. Este carácter será analizado a través del concepto de “textovisualidad”, basado en el de “imagentexto” de W. J. T. Mitchell, que se desarrolla en estos tiempos de imagen digital.; During the last years, thanks to technology, and especially thanks to the possibilities bestowed by text processors, the experience of writing has suffered the intrusion of the image and iconic symbols in spheres where they previously did not appear. This is especially evident in works such as Canal (2016), from Spaniard poet Javier Fernández, in whose pages is possible to appreciate a textual “channeling” of the pain expressed in the verses. This character will be analyzed trough the concept of “textovisualidad”, which lays in W. J. T. Mitchell “imagentext”, developing it in the era of digital image. Todas las imágenes © Javier Fernández y editorial Hiperión

Séka, Christophe Emmanuel https://hdl.handle.net/10481/51624 2021-06-15T17:25:08Z

Exode et immigration dans Las voces de Estrecho Séka, Christophe Emmanuel L’actualité de l’Espagne marquée entre autres phénomènes majeurs par les tentatives massives d’africains de rejoindre les côtes espagnoles a contribué à enrichir la thématique des œuvres littéraires espagnoles actuelles qui pour la plupart s’évertuent à refléter le dénouement souvent tragique de ces projets migratoires. Dans ce propos de reproduction ou restitution, bon nombre d’écrivains dont Andrés Sorel s’inspire des textes culturels ―populaires ou religieux― pour rendre compte de cette dramatique réalité. Cet article se propose d’analyser la présence de l’un de ces textes culturels, le récit biblique de l’exode dans Las voces del Estrecho, l’une des œuvres littéraires espagnoles les mieux écrites sur le thème de l’immigration africaine en Espagne.; The current social reality of spain marked among other major phenomena by the massive attempts of african people to get spanish coasts contributes to enrich the spanish contemporary literary works that most often try to reflect the outcome, mostly tragic, of those migration attempts. In this aim of reproduction of the phenomenon, a lot of Spanish writers including Andrés Sorel use cultural texts ―popular or religious ones― to reflect this dramatic reality. This purpose of this article is to analyze the presence of one of these cultural texts, the biblical narrative of the Exodus, in Las voces del Estrecho, one of the better written Spanish literary texts about African immigration to Spain.

Raquel Duarte Reis da Silva, Sara https://hdl.handle.net/10481/51525 2021-06-15T17:25:06Z

A escrita e a ilustração para a infância de Leonor Praça: um exemplo do que as imagens podem fazer Raquel Duarte Reis da Silva, Sara O presente artigo centra-se na ilustração portuguesa para a infância. Coloca-se especial ênfase no trabalho artístico de Leonor Praça (1936-1971), designadamente na criação pioneira do álbum narrativo (picturebook) Tucha e Bicó (1969) e na composição visual que assinou em obras de autores relevantes da História da Literatura Portuguesa de potencial recepção infantil, em particular Alves Redol, Lília da Fonseca, Manuel Ferreira, Isabel da Nóbrega e António Torrado. Na análise e interpretação textuais das obras seleccionadas, pretende-se, a partir de uma abordagem de aspectos relativos à configuração ideotemática e às próprias estratégias técnico-discursivas, destacar as principais singularidades do registo ilustrativo de Leonor Praça, em consonância e em articulação estreita com o discurso literário que o motivou. Acentua-se, ainda, exemplificando, a especial concepção de obra/livro/literatura para a infância deixada transparecer pelo trabalho estético original e sensível da ilustradora em estudo.; This article focuses on Portuguese illustration for children. It emphasis the work of Leonor Praça (1936-1971), particularly in her pioneering creation of the picturebook entitled Tucha e Bicó (1969) and in the visual composition she has signed for works by relevant authors of Portuguese Children’s Literature History, in particular Alves Redol, Lília da Fonseca, Manuel Ferreira, Isabel da Nóbrega and António Torrado. In the text analysis and interpretation of the selected books, we intended to highlight the main peculiarities of the illustrative composition of Leonor Praça, in line and in close connection with the literary speech which motivated it. The special conception of work / book / literature for childhood is also stressed, which is shown by the original and sensitive aesthetic work of the illustrator under study. Fig. 1 – Alves Redol, A Flor vai Ver o mar; Fig. 2 – Alves Redol, A Flor vai pescar num bote; Fig. 3 – Leonor Praça, Tucha e Bicó; Fig. 4 – Isabel da Nóbreda, Rama, o elefante azul; Fig. 5 – Antonio Torrado, O veado florido; Fig. 6 – Lília da Fonseca,Umas férias na Serra de Verdelinda; Fig. 7 – Manuel Ferreira, A Maria Bé e o Finório Zé Tomé