Showing papers in "Hispania in 1973"

Blasco Ibanez and the Theme of the Jews.

Abstract: 5"According to Chinese mythology, the genius or Spirit of the West was Bach-ho, the White Tiger." Louis Herbert Gray, ed. The Mythology of All Races, 12 (Boston: Marshall Jones Company, 1918), p. 307. 6"Buddhism denies an ego in the sense of a self in man ultimately separate from the self of every other man. The belief in an ego creates and fosters egoism and desire, thus preventing the realization of the unity of life and the attainment of enlightenment." Christmas Humphreys, A Popular Dictionary of Buddhism, (New York: Citadel Press, 1963), p. 71.

The Vagaries of the Spanish "S"

Abstract: T HERE IS THE STORY of the native Spanish teacher explaining to his class how to form the plural of nouns and adjectives. "It is very simple," he said, "just add an s. For example: el f6foro > lo f6foro" (el f6sforo > los f6sforos). It reminds me of my school teacher in Chile, warning us: "no se coman lah ese" ('no se coman Las eses'). I think that s is the most unpredictable, elusive, shifting, erratic and troublesome sound in the Spanish language. Several studies on Spanish phonology and dialects touch on this subject, so I shall recapitulate pertinent information which is already known, but I also propose to add, to elaborate, to correct, to disagree, and to theorize based on my own findings and observations.1 There is a Castilian s, which is a voiceless, concave, apicoalveolar fricative: the tip of the tongue turned upward forms a narrow opening against the alveoli of the upper incisors. It resembles a faint / S / and is found throughout much of the northern half of Spain. And there is a convex, dorsal, dento-alveolar voiceless fricative s, found in the southern half, mainly in the Audalusian region. This "southern" s has two varieties: one in which the tip of the tongue is lowered until it leans against the inner side of the lower incisors: it is the s of Malaga, Seville and Cddiz; the other, less dorsal and less convex, is obtained by forming a narrow opening against the upper teeth and alveoli with the predorsal and ridge of the tongue. It is the s of Granada, Huelva, Cordova, Jad4n and Almeria.2 The Latin American s resembles the "southern" s (Andalusian type), although slight variations can be noticed within a country or from one country to the other.3 Navarro Tomas says that "la s apical de tipo castellano, con variantes tambitn, se usa, seguin las pocas noticias que sobre esto tenemos, en parte de M6jico, de Antillas y del Peru."4 I have also heard it rather currently in Bogoti.

Formulaic Expression and Unity of Authorship in the "Poema de Mio Cid"

Abstract: findings initiated the polemic which has at least been discussed, if only in passing comment, by most ciddfilos in any lengthy treatise on the poem. The main ideas of his article are as follows: (1) the style in the first half is sober and historical, the second is fantastic, less serious, and mostly fictitious; (2) differences in the use of epithets in the two parts for the Cid and Alfonso; (3) difference in the use of verb forms and synonyms in the two parts; (4) confusion in the use of so and su; (5) differences between the Primnera crdnica general and the poem; (6) the predominant use of the assonance in 6 in the second part; and (7) the localizacidn of the poem. Mack Singleton, in his article, "The Two Techniques of the Poema de Mio Cid: An Interpretative Essay,"2 does not directly state that there is more than one author of the poem. He does, however, suggest that his opinions may lend some weight to this supposition: "It is my feeling that there are two poems here, if the technique is any guide" (p. 227). The technique Singleton refers to is his conclusion that the second part of the poem is the technique of the modern novel while the first is that of the com-

The Identities of the Monster in Calderon's "El mayor monstruo del mundo".

Abstract: "una lucha grandiosa y perdida por rechazar un destino .." And in the novel itself, Larsen's game is callllleeled d 'T"su iltima oportunidad de engafiarse" (p. 57). 34Ainsa unequivocally states: "Tiene que existir una salida y para Onetti y sus personajes existe: escribir" (p. 637). Characters like Brausen in La vida breve would tend to corroborate this. Harss affirms: "Communicating with his fictions is the author's way of resolving his conflicts. The hypostatic existences born out of him in the act of writing are his temporary liberation from his inner stalemate" (p. 190). And finally, in Rodriguez Monegal's judgment ("Juan Carlos Onetti y la novela rioplatense," p. 186) liberation comes through artistic creation: "No s6lo es cierto que la liberaci6n de la rutina y de la desvalorizaci6n del alma s6lo Ilega cuando nos enfrentamos con la verdad de nosotros mismos, nos despojamos de inhibiciones y compromisos, -aventamos

La última mujer y el próximo combate

Abstract: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Documents about the work La última mujer y el próximo combate (1971) / Manuel Cofiño López (1936-1987) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Pages in data.bnf.fr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Related authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 This page in data.bnf.fr lab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Sources and references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Link to the main catalogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Sources