The article provides an analysis of the “Spanish code” inscribed in the text of Lesia Ukrainka’s drama Kaminnyi hospodar. The constituents of the code include: 1) conventions of 17th century Spanish baroque drama, in particular, use of the dialectics of the concepts of dignity and reputation as a driving mechanism for confl ict throughout Lesia Ukrainka’s play and transformation within the classical scheme of characters suggested by Lope de Vega and his followers; 2) stereotypes of “Spanishness” (...) through which the playwright produced a heteroimage of Spain. Lesia Ukrainka’s variant of the famous legend of Don Juan is a sophisticated modernist drama. The “Spanish code” serves as a prism through which the playwright examines the world. Lesia Ukrainka created an astonishing modernist tragicomedy of dishonesty, full of the spirit of uncertainty. (shrink)

En este artículo describiremos la vitalidad del sistema fonológico del mapudungun hablado por escolares pewenches de la Provincia del Biobío, VIII Región. Específicamente, nos hemos propuesto: a) Determinar los fonos/fonemas, y su fonotaxis, que se relevan como indicadores de vitalidad, b) Identificar las transferencias fonético-fonológicas presentes en la fonología del pewenche hablado por estos escolares y c) Interpretar las transferencias encontradas en términos del grado de vitalidad de la fonología de la lengua. La muestra está conformada por un grupo de (...) 20 escolares bilingües de entre 12 y 15 años de edad, que se encuentran cursando 7° y 8° año básico en escuelas rurales pertenecientes a dos comunidades pewenches del valle del Queuco, en la comuna de Alto Biobío. Para la recolección del material fonológico, se aplicó a los participantes una lista léxica de 65 ítems, material que se complementó con la narración oral en mapudungun de un cuento. Según nuestros datos, hemos podido constatar la existencia de una serie de rasgos fónicos en el mapudungun hablado por los escolares pewenches que obedece a la influencia de las estructuras fonológicas del castellano. Sin embargo, el grado y la difusión de los fenómenos de transferencia se desarrollan de manera heterogénea en ambas comunidades en estudio, debido, entre otros factores, a la intensidad del contacto. In this article we will describe the vitality of the phonological system Mapudungun spoken by Pewenche schoolchildren from the Biobío province, VIII Region. We intend: a) To determine the phones/phonemes, and their phonotactics, which are revealed as vitality markers. b) To identify the phonetic-phonological transferences which are present in the Pewenche spoken by these schoolchildren, and, c) To interpret the transferences found in terms of the degree of the language phonological vitality. The sample is composed of 20 bilingual schoolchildren from 12 to 15 years old, who are in 7th and 8th grade in rural primary schools belonging to two Pehuenche comunities from Valle del Queuco, in the city of Alto Biobío. To collect the phonological material, we applied a 64-item lexical list, which was complemented with the oral narration of a tale in Mapudungun. According to our data, we have been able to verify the existence of a series of phonic features in the Mapudungun spoken by Pewenche schoolchildren, which originate because of the influence of the Spanish phonological structure. However, the degree and spread of the transference phenomena develop in a heterogeneous way in both of the studied communities. due to the contact intensity, among other possible factors. (shrink)

One of the psychological responses to audiovisual fictions that has been receiving more attention recently is appreciation, defined as a reflexive eudaimonic gratification obtained from a meaningful entertainment mode. Appreciation is the perception that the media experience has a profound meaning, has taught or revealed something. This study seeks to advance on the understanding of appreciation by youngsters. It translates and adapts the Oliver and Bartsch’s questionnaire for teenagers of three European countries. A total of 213 Italians, 55 Spaniards and (...) 42 Germans watched a drama film and immediately afterwards answered the questionnaire. The results of confirmatory factor analysis suggest the existence of four first-order factors for each country. The multi-group analysis shows the questionnaire is not invariant across groups. Thus, the concept of appreciation in its current formulation is not universal. Instead, it seems to be dependent on the cultural aspects of the audience. This article discusses the implications of such results for the understanding of appreciation and of teenagers’ media responses. It also reports mean comparisons for the invariant parameters. (shrink)

What is honor? Is it the same as reputation? Or is it rather a sentiment? Is it a character trait, like integrity? Or is it simply a concept too vague or incoherent to be fully analyzed? In the first sustained comparative analysis of this elusive notion, Frank Stewart writes that none of these ideas is correct. Drawing on information about Western ideas of honor from sources as diverse as medieval Arthurian romances, Spanish dramas of the sixteenth and seventeenth centuries, (...) and the writings of German jurists of the nineteenth and twentieth centuries, and comparing the European ideas with the ideas of a non-Western society—the Bedouin—Stewart argues that honor must be understood as a right, basically a right to respect. He shows that by understanding honor this way, we can resolve some of the paradoxes that have long troubled scholars, and can make sense of certain institutions that have not hitherto been properly understood. Offering a powerful new way to understand this complex notion, _Honor_ has important implications not only for the social sciences but also for the whole history of European sensibility. (shrink)

This paper explores jealousy in Unamuno’s drama El otro. Drawing on contemporary philosophy of emotion, I will argue that for the Spanish author jealousy gives the subject a sense of self. The paper begins by embedding Unamuno’s philosophical anthropology in the context of contemporary emotion theory. It then presents the drama as an investigation into the affective dimension of self-identity. The third section offers an analysis of jealousy as an emotion of self-assessment. The final section discusses how (...) this drama can be regarded as a piece of philosophical work. (shrink)

On Humour and the Comic in the Hebrew Bible. Edited by Y. T. Radday and A. Brenner.The Trouble With Kings: The Composition of rhe Book of Kings in the Deuteronomistic History. By Steven L. McKenzie.Sacred Space: An Approach to the Zheology of the Epistle to the Hebrews. By Marie E. Isaacs.Fourth Ezra: A Commentary on the Book of Fourth Ezra. By Michael Edward StonePaul the Convert: iShe Apostolate and Apostasy of Saul the Pharisee. By Alan F. Segal.Creative Biblical Exegesis: Christian (...) and Jewish Hermeneutics through the Centuries. Edited by Benjamin Uffenheimer and Henning Graf Reventlow.The Hope of the Early Church: A Handbook of Patristic Escharology. By Brian E. Daley.The Emergence of the Laity in the Early Church. By Alexandre Faivre, translated by David Smith.Pastoral Life and Practice in the Early Church. By Carl A. Volz.The Making of the Creeds. By Frances Young.La correzione fratenia in s. Agosrino. By Agostino Clerici.Beaup and Revelation in the Thought of St Augustine. By Carol Harrison.Grace, Politics and Desire. Edited by Hugo Meynell.Boerhius and Aquinas. By Ralph McInerny.The Weight of Glory. A Vision and Practice for Christian Faith: The Future of Liberal Theology. Edited by D. W. Hardy and P. H. Sedgwick.Atonenrent and Incarnation. By Vernon White.Tragic Method and Tragic Theology: Evil in Contemporary Drama and Religious Thought. By L. D. Bouchard.Parmenides of Elea, Fragments: A Text and Translation, with an Introduction. By David Gallop.Language, Thought and Falsehood in Ancient Greek Philosophy. By Nicholas Denyer.Weakness of the Will. By Justin Gosling.Knowledge and the Sciences in Medieval Philosophy. Vol. I, edited by Monica Asztalos, John E. Murdoch and Ilkka Niiniluoto.Episcopal Power and Norenrine Sociev. 1000–1320. By George W. Dameron.Matins, Lauds and Vespers for St David's Day. By Owain Tudor Edwards.More's ‘Utopia’. By Dominic Baker‐Smith.Frontiers of Heresy: The Spanish Inquisitionfrom the Basque Lands to Sicily. By William Monter.Inquisition and Society in the Kingdom of Valencia, 1478–1834, By Stephen Haliczer.The Fear of Hell: Images of Damnation and Salvation in Early Modern Europe. By Piero Camporesi, translated by Lucinda Byatt.Lucrecia's Dreams: Politics and Prophecy in Sixteenth‐Centun Spain. By Richard L. Kagan.Heresy and Mysticism in Sixteenth‐Century Spain: The Alumbrados. By Alastair Hamilton.Japan's Encounter with Christianiry: The Catholic Mission in Pre‐Modern Japan. By Neil S. Fujita.Galileo, Bellannine and the Bible. By Richard J.Augustine Baker's Inner Light: A Study in English Recusant Spirituality. By James Gaffney.The Prorestarit Evaqelical Awakening. By W. R. Ward.The Study of Anglicanism. Edited by Stephen Sykes and John Booty.The Anglican Tradition: A Handbook of Sources. Edited by G. R. Evans and J. Robert Wright.The Restoration Church of England, 1646‐1689. By John Spurr.Awash in a Sea of Faith: Christianizing the American People. By Jon Butler.A Woman Styled Bold: The Life of Cornelia Connelly, 1809–1879. By Radegunde Flaxman.Cane Ridge: America's Pentecost. By Paul K. Conkin.Revivalism and Social Change: Christianio, Nation Building and the Market in the Nineteenth‐Century United States. By George M. Thomas.Church and State: The English Experience. By Adrian Hastings.Evelyn Underhill: Artist of the Infinite Life. By Dana Greene.Northern Ireland: Fairh and Faction. By Maurice Irvine.The Tragedy of Belief: Division, Politics, arid Religion in Ireland. By John Fulton.Shattered Vows: Exodus from the Priesthood. By David Rice.Making Saints: Inside the Vatican: Who Become Saints, Who Do Not, and Why. By Kenneth L. Woodward.Ecclesiae Memoria: Miscellanea in onorr del R. P. Josef Metzler, O. M. I. Edited by Willi Henkel. (shrink)

This book takes on current perspectives on transnationalism and children's relationships to media, childhood, and markets in converging global worlds. It introduces the idea of multi-sited imaginaries to explain how children's media and literacy performances shape and are shaped by shared visions of communities that we collectively imagine, including play, media, gender, family, school, or cultural worlds. It draws upon elements of ethnographies of globalization to examine the convergences of such imaginaries across multiple sites: early childhood and elementary classrooms and (...) communities in Puerto Rico and the Midwest United States. The analysis situates children's literacy and play practices in the intersections of local/global, rural/urban, Spanish/English/multilingual, and Latino multinational media/US multinational media, revealing how children use drama and pretense to relocate, take up, contest, and consume global media and consumer identities. (shrink)

This article presented the concept of the sinister in the aesthetic work of the Spanish painter Francisco de Goya, who used his painting for a historical expressionism to capture the resistance and the Spanish impetus for independence from the French regime under the command of Napoleon Bonaparte. The analysis is based on a bibliographic and pictographic review on ductility of two categories: Goya and the representation of the sinister and the symbolic of painting in Iberian romanticism. It is (...) intended to demonstrate that, beyond a style, there exists in Goya art the hermeneutical supratextuality retained in the aesthetics of the sinister over the eternity of the canvas. From this reflection, it could be revealed that the aesthetic of the sinister mediated by the sublime becomes an expression that causes fascination, curiosity and at the same time rejection. Hence, when speaking of the sinister, we refer to that which is veiled and which needs to cast off its shadow, in order to be able to see itself clearly. In Goya, the tragic is connected: the faces full of drama reveal the disturbing reality of their surroundings and his work leaves encoded images of emotions, history and horror sealed in the murals of his room. It is at that moment that the sublime fulfills the fundamental role of being the bridge that allows access to knowledge in the face of the questions that are part of existence, since in the philosophical amazement it is sought to reveal the doubtful, hidden and disturbing that is part of our humanity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Elizabethan Bacchae STEPHEN ORGEL Euripides’s Bacchae, with its antic hero and celebration of the joys of revenge, would seem to be especially relevant to Elizabethan drama, an ancestor of The Spanish Tragedy or Hamlet. In fact, however, it seems to have been practically unknown to the Elizabethans. With the new ProQuest version of EEBO (Early English Books Online) it is now possible to search early English (...) books for specific references; so I paired the name Euripides with books printed in England before 1640 to see what came up. I got 474 hits. Many of these, of course, were duplicates, appearing in works that were issued in multiple editions—the actual figure, however, was still something over three hundred. Most of those, however, were cases in which Euripides’s name simply appears in a list of famous ancient authors. Citations which actually quoted Euripides for the most part indicated no knowledge of the work cited, but were only bits of wisdom that might have come from any of the multitude of collections of aphorisms and moral stories throughout the period. There was only one English edition of a play of Euripides in Greek, The Trojan Women, published by John Day in 1575— continental editions were, of course, easily obtainable, but it must be to the point that English publishers did not see a sufficient market to produce them domestically; and there were no subsequent editions of Day’s Trojan Women. As for The Bacchae, I found only a single case where I believe it is being cited, and in a context, moreover, that indicates some familiarity with the play. John Bishop’s Beautiful Blossoms, a collection of historical anecdotes published in 1577, recounting the history of Demetrius, king of Macedonia, says, “Then fled Demetrius unto Thebes, where one scoffingly applied vnto him that verse arion 28.3 winter 2021 64 the elizabethan bacchae of Euripides: he came vnto the Dyrcean springs, and Ismenus, his divine and goodly fourme and shape being chaunged in to a mortall.”1 This is a version of a bit of Dionysus’s opening speech, I am here at the springs of Dirce, the river Ismenos, Changing my shape from divine to mortal... There is no reason to assume that John Bishop (about whom I can learn nothing) knew the play, but he is certainly citing someone who did. The play, then, to the Elizabethans was either practically unknown or deliberately ignored. It was not translated into English until the 1780s, and then two translations were published within a year of each other—for the English, it was an enlightenment and romantic text. Schlegel’s Lectures on Dramatic Art and Literature (delivered 1806, published 1846) and Nietzsche’s Birth of Tragedy (1872) were the works that established The Bacchae as the quintessential Greek tragedy, though for Nietzsche, ironically, the two destroyers of the Greek tragic sense, the two great cultural villains, were Euripides the ironist and Socrates the arch-rationalist. But Nietzsche sees Euripides, at the end of his life, having a major change of heart, realizing that Dionysus was simply too powerful to be expunged from art and society; and The Bacchae was thus the fullest expression of this tragic truth. The problems with this argument are manifold: Euripides the ironist is quite evident in The Bacchae, so it hardly represents a change of heart; and the claims of the irrational are fully present in his earlier plays, for example, in Hippolytus, where all the poetic energy is in expressing the uncontrollable violence of passion, and the virtues of morality and self-control are meagre indeed. The essay was soundly refuted in its own time, and Nietzsche withdrew and recanted it. Its celebrity is a modern phenomenon: whatever its historical defects, it speaks to the dangerous attractions of unreason. There is a perverse element in Nietzsche’s argument, too: Dionysus, as the embodiment of revelry, is surely as essential Stephen Orgel 65 to comedy as to tragedy; and one could press this further. At the end of The Symposium, Socrates tells Agathon and Aristophanes, tragic and comic dramatists, that their arts (or crafts: the word is techne) are essentially the same. Heavy weather has... (shrink)

Resumen Entre 1834 y 1835, Kierkegaard, quien todavía era un estudiante de veintiún años en la Universidad de Copenhague, se interesó en la figura mítica y folclórica conocida como el “ladrón maestro”. Decidió entonces trabajar en un drama que girara alrededor de este personaje y su lucha en contra del orden establecido. Con eso en mente, este artículo tiene dos objetivos. El primero consiste en hacer una exposición general del denominado proyecto del ladrón maestro. Las notas de Kierkegaard sobre (...) el ladrón maestro han permanecido en una relativa oscuridad, de manera que este artículo busca presentarle al lector hispanohablante este trabajo poco conocido del pensador danés. El segundo objetivo es analizar la cuestión filosófica planteada en el proyecto del ladrón maestro, es decir, la cuestión sobre la relación del individuo rebelde y marginado con el orden establecido.In the years 1834 and1835, Kierkegaard, still a 21-year-old student at the University of Copenhagen, became interested in the mythical character known as the master-thief. He then decided to work on a drama about this character and his struggle against the established order. With this in mind, the paper has two main objectives. First, to offer a complete account of the so-called master-thief project. Kierkegaard’s notes on the master-thief have remained in a relative obscurity. This paper aims at exposing this little-known work of the Danish thinker to the Spanish-speaking reader. Second, to analyze the philosophical question raised in the master thief project, that is, the issue about the relationship of the rebel and marginalized individual with the established order. (shrink)

The image of the Moor in Spanish literature reveals a paradox at the heart of Christian and Castilian hegemony in the period between the conquest of Nasrid Granada in 1492 and the expulsion of the Moriscos by Philip III in 1609.­­ Depictions fall between two extremes. On the “vilifying” side, Moors are hateful dogs, miserly, treacherous, lazy and overreaching. On the “idealizing” side, the men are noble, loyal, heroic, courtly—they even mirror the virtues that Christian knights aspire to—while the (...) women are endowed with singular beauty and discretion.Anti-Muslim diatribes are fairly common and predictable: they are flat and repetitive in their assertion of Old Christian superiority over every aspect of the lives of Muslims or crypto-Muslims. Any sign of cultural otherness is ridiculed; the conquering caste, insecure about its own lofty standards of limpieza de sangre , laughs away whatever trace of old Hispano-Arab splendor might remain in the Morisco. Or, conversely, the uneasy master recasts wretched Moriscos as ominous brethren of the Ottoman Turk.The truly vexed problem, however, consists in determining the meaning of idealized Moors in historiography, ballads, drama, and the novel. Roughly speaking, modern criticism divides into two camps in attempting to explain this curious phenomenon of literary infatuation with a cultural and religious minority subjected to growing popular hostility, Inquisitional hounding, and economic exploitation. I will call one camp “aestheticist” and the other “social.” Israel Burshatin, assistant professor of Spanish at Haverford College, is currently preparing a critical edition of Pedro del Corral’s Crónica sarracina. (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 49-77 [Access article in PDF] The Time of the King Gift and Exchange in Zorrilla's Don Juan Tenorio Joan Ramon Resina There is something paradoxical about José Zorrilla's revision of the Don Juan legend, a certain contradiction between the play's structure and the logic of the action. The character of the protagonist, the form and implications of Don Juan's salvation, the strategies and temporality of seduction, (...) even the play's generic status--all come under the law of self-cancellation. And so does the historical time in which the play is set: the time of absolute monarchy. The proportionality between terrestrial and eschatological time, organic to the play's Golden Age precursor, 1 is strangely neutralized in Zorrilla's work through an expanding temporality without equivalent in the afterlife; and the same is true of the king's dramatic role through his removal from the scene, which he regulates nonetheless as deus ex machina of the social edifice.A nineteenth-century reader, Francesc Pi i Margall, remarked that "Zorrilla hace a Don Juan escéptico o creyente según lo van exigiendo las peripecias de su drama, y merced a esa indeterminación del carácter, le pone repetidamente en contradicción consigo mismo" (Zorrilla makes Don Juan a skeptic or a believer depending on the drama's events, and by virtue of this indeterminacy, he brings his character repeatedly into contradiction with himself) [204]. This indeterminacy affects not only the libertine's relation to religion but also the doctrinal coherence of the play, which has been the object of debate [see Mazzeo; Abrams; Wang; Romero]. Others, curiously, detect a contradiction between the play's sound theological conception and the author, who "quizá no sabe apenas nada de teología" (perhaps knows next to nothing about theology) [Alberich 16]. Yet not only Don Juan's piety but also his seductions appear self-annulling. For Luis Fernández Cifuentes, Zorrilla's most original and thus most revealing decision is "presentar el acto de seducción engañosa en el momento mismo en que deja de serlo: la carta con que comienza el drama participa de una tradición que también cancela. En el curso de la obra, es y no es un instrumento de seducción; sin cambiar de palabras, es a la vez falsa y verdadera... " (to present the act of deceitful seduction at the very moment in which it stops being deceitful: the letter with which the play starts participates in a tradition which it also cancels. Throughout the play the letter is and is not a tool of seduction; its words are at once true and false...) [83]. In the same line of structural contradictions must be included the play's temporality, which runs counter to the causal logic of the action. As Gustavo Pérez Firmat points out: "In Juan's verses normal temporal and causal sequence collapses, for future events are always catching up and outstripping the present, as if time were circular and past, present, and future travelled the circle at different speeds" [7]. Even the play's representativeness as a privileged [End Page 49] instance of Spanish romanticism has been flatly denied in light of its inconsistencies with the patterns of that movement [Gies, "José Zorrilla"]. 2 But perhaps the most telling contradiction is the one between the play's undiminished popularity for almost a century and its author's sedulous efforts to undermine its prestige. 3Author's second thoughts? A repentant artist in ascetic revulsion against mundane acclaim? It seems reasonable to assume a link between the play's popularity and the contradictions to which it gives expression. Thus, taking at face value the tired notion that Don Juan presents a fundamentally Spanish profile, 4 I will inquire whether the play's manifest contradictions are culturally efficient. 5 To this end, I will need to consider a possible incongruity between nineteenth-century forms of consciousness and the objective historical conditions. Joaquín Casalduero already pointed out a discrepancy between historical changes and... (shrink)

A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory in a series of chapters that range in scope from Plato to postmodernism.

Disturbed by these acrimonious arguments, the authors - former colleagues and university-press board members - embarked on an ambitious project to reexamine a number of major literary and philosophical works dealing with the liberal arts and education. With their discussions ranging from Plato to Rousseau, from Cicero to Vico, from Erasmus to Matthew Arnold, Sousa and Weinsheimer offer not a history of education philosophy but an examination of the present.

This article assesses to what extent the future of democratic liberty depends upon its citizens employing a proper approach to the past, by analyzing Tocqueville’s views of three kinds of historical consciousness—aristocratic, revolutionary, and democratic. It is argued that democracies require certain aristocratic assumptions about historical dynamics to cultivate a historical consciousness that fosters liberty. Key to this is the belief in the human capacity to influence the trajectory of history. Tocqueville’s historical approach, which blends aristocratic and democratic elements, is (...) identified as the most effective method for tempering the fatalistic tendencies of the democratic point of view. Thus, for democracies to maintain liberty, citizens should recognize the dual role of general causes and human agency in directing the course of historical events. Tocqueville’s insights on the effects of historical consciousness on the future of democratic liberty remain particularly relevant today when Western democracies confront internal polarization and external anti-democratic challenges, whether neoliberal, illiberal, populist, or fascist. (shrink)

This paper reports on a study of the largest Spanish corporations concerning the status of corporate ethics policies. The research project, the first of its kind in Spain, has two parts. First, the types of formal documents the companies use are analysed, including those dealing with ethical values or norms. Three groups of companies are distinguished: the first group has no formal documents dealing with ethical values, and the reasons given for not having any ethical statement are discussed. A (...) second group has one document mentioning ethical values (generally the vision and/or mission statement), and a third group has in place two or more documents (one generic and the other more detailed, such as a code of conduct). The findings show that the latter group is more proactive than the former in implementing measures for promoting business ethics throughout the organisation. In the second part of the research, the study analyses the differences between companies whose headquarters are in Spain, Europe and USA regarding the arguments, the focus and the practices used to formalise business ethics. (shrink)

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined performative utopias. It (...) is through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

This paper reviews the development of socially responsible investment (SRI) in the Spanish financial market. The year, 1997 saw the appearance in Spain of the first SRI mutual fund, but it was not until late 1999, that major Spanish fund managers offered SRI mutual funds on the retail market. The development of SRI in the Spanish financial market has not experienced the high levels of development seen in other European countries, such as France or Italy, where interest (...) in SRI began during the same period. This paper presents an analysis of the impact of SRI mutual funds managed by Spanish fund managers comparing the evolution of managed assets and number of investors. We also analyse the investment strategies adopted by these funds, which mainly use negative screening criteria and the participation of non-governmental organisations as institutional investors. An analysis of the take up of socially responsible investment in the Spanish financial market shows majors deficits in this process. This is due to Spanish investors having limited sensitivity to social issues and knowledge of SRI, and a lack of development of SRI investment strategies, such as engagement or shareholder activism by fund managers. Furthermore, the take-up of SRI mutual funds in the Spanish financial market coincided with a fall in the stock market at the beginning of the 21st Century. We conclude with an analysis of the relationship between SRI and Corporate Social Responsibility (CSR). (shrink)

The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view (...) of the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT. The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world. (shrink)

Where is the church? And what is it? In transposing to Spanish America a question that arose in the bitter confrontations between Catholics and Donatists in Augustine's North Africa, I would like to explain some aspects of the impact of Catholic Christianity, and thus of the Europe that had created it, overseas. Specifically, I will tell the story of Peru, the outlines of which are paralleled, not only throughout the Andes, but also in Brazil, Mexico, and Central America. The (...) works of Augustine, including his writings against the Donatists, were read by Spanish missionaries in America, but it is not merely, nor even primarily, the influence of Augustine that I am tracing here. Rather, what concerns me is to reveal the functioning of a series of tensions and contradictions in the impact of Europe on the world. It is fashionable, of course, to highlight the oppressive and destructive nature of colonial regimes and to stop at that. But this, however justified, along with reference to the all-pervasive power of a dominant culture will not on its own help us understand the ambiguities, tensions, and contradictions that filled the minds of people at the time, and that in one way or another motivated their actions. (shrink)

The essay surveys Newman's work in literary drama, from an early essay on Aristotle's Poetics to his adaptation of Roman comedies for production at the Oratory School, in order to approach his affinities with Hans Urs von Balthasar's theological dramatic theory. Newman does not find a Balthasarian theo-drama via literary drama – perhaps because he was not properly exposed to medieval religious drama – but scattered dramatic analogies in his history writing suggest that he undertakes a (...) theo-drama in that genre. Von Balthasar and Newman employ dramatic analogies to reject chiliastic apocalyptic and foster ‘keromatic’ apocalyptic. (shrink)

Introduction -- Opening spaces -- Seeing what -- Pain between bodies -- Pots and plays -- Epilogue.

What is viral law? In order to being my discussion, I note that the last two years have been extremely difficult to understand and that we, meaning those who have lived through the pandemic, have struggled to make sense. Thus, I make the argument that the virus has impacted upon not only the individual’s ability to make sense in a world where every day routines have been upended, but also social and political structures that similarly rely on repetition to continue (...) to function. According to this thesis, Covid-19 is more than simply a biological organism, but also a cultural virus that undermines the organisation of social, political, and economic systems and requires new ways of thinking about how we might move forward into a post-Covid world. In the name of beginning this project of making sense of Covid-19, I track back in history to the comparable reference point of the Spanish flu pandemic of 1918–1920 and, in particular, a reading of Freud’s Beyond the Pleasure Principle, which the founder of psychoanalysis wrote in the shadow of the virus. In reading Freud’s attempt to write a psychology of death in the context of this funereal period of history, I argue that he set out first, a mythological theory of viral law concerned with the death drive, before turning to second, a techno-scientific, biological theory of the same law characterised by microbial immortality. Beyond this exploration of Beyond the Pleasure Principle, in the third part of the article I turn to a reading of Lacan’s interpretation of Freud’s work, where viral law becomes a story of cybernetics and nihilistic mechanisation. Here, perfect mechanisation, and the endless oscillation between message and noise, looks a lot like living death. Finally, I take up Derrida’s critique of Jacob’s molecular biology and, by extension, Freud’s theory of microbial immorality, that he thinks privileges an idea of repetitive sameness and opens up a space for cultural politics concerned with immunity against otherness. Derrida’s key point here is that this biological fantasy ignores the reality of viral sex that enables evolution to happen. What this means is that the other, even in its microbial form, is ever present, and that we must recognise the importance of difference to the possibility of social, political, and economic change. (shrink)

A fashionable approach to the interpretation of Athenian drama concentrates on its context in performance at Athenian festivals, and sees both the festivals and the plays as products of the Athenian democracy. In this paper it is argued that, whereas the institutional setting inevitably took a particular form in democratic Athens, that was an Athenian version of institutions found more generally in the Greek world, and even in the Athenian version many features do not seem distinctively democratic. Similarly in (...) the interpretation of particular plays themes have often been said to be democratic which are better seen as concerns of polis-dwelling Greeks in general, and the notion that plays questioned Athens' democratic values because the democratic ethos of Athens consciously encouraged the questioning of Athens' democratic values is far from certain. (shrink)

Although the reception of John Dewey's _Art as Experience_ has not been totally ignored by secondary literature, the few works that have dealt with the subject have been restricted to the English-speaking context, and more specifically to the United States. This essay sought to consider the reception of Dewey's book on aesthetics in the context of Spanish-speaking countries, with special attention to Mexico, Spain, Colombia, and Argentina. The hypothesis put forward and supported here is that _Art as Experience_ had (...) a late reception due to political and cultural factors in these countries and that it is at present that we really find a deeper reception of this work, with an increasing number of publications about the subject. (shrink)

Language experience shapes the gradual maturation of speech production in both native and second languages. Structural aspects like the connectedness of spontaneous narratives reveal this maturation progress in L1 acquisition and, as it does not rely on semantics, it could also reveal structural pattern changes during L2 acquisition. The current study tested whether L2 lexical retrieval associated with vocabulary knowledge could impact the global connectedness of narratives during the initial stages of L2 acquisition. Specifically, the study evaluated the relationship between (...) graph structure and L2 learners’ oral production in the L2 and L1. Seventy-nine college-aged students who were native speakers of English and had received classroom instruction in either L2-Spanish or L2-Chinese participated in this study. Three tasks were used: semantic fluency, phonemic fluency and picture description. Measures were operationalized as the number of words per minute in the case of the semantic and phonemic fluency tasks. Graph analysis was carried out for the picture description task using the computational tool SpeechGraphs to calculate connectedness. Results revealed significant positive correlations between connectedness in the picture description task and measures of speech production in the phonemic and semantic fluency tasks. These correlations were only significant for the participants’ L2- Spanish and Chinese. Results indicate that producing low connectedness narratives in L2 may be a marker of the initial stages of L2 oral development. These findings are consistent with the pattern reported in the early stages of L1 literacy. Future studies should further explore the interactions between graph structure and second language production proficiency, including more advanced stages of L2 learning and considering the role of cognitive abilities in this process. (shrink)

The purpose of this paper is to evaluate the quality of Environmental, Social and Governance (ESG) reporting of Spanish companies listed in the IBEX-35 stock index Firstly, it establishes four requisites for quality in ESG reporting. Secondly, it evaluates whether ESG reports comply with these requirements. Using a benchmark tool based on GRI3 we can conclude that the GRI has resulted in some standardization of corporate social and environmental reporting, particularly as regards to format, but their approach to indicators (...) is unlikely to produce high quality information that is relevant, comparable, complete and accessible to all stakeholders. Also, there seems to be evidence that reporting is orientated to satisfy shareholders and investors´ demands rather than to other stakeholders´. (shrink)

There are hardly any instruments to measure teamwork behaviors from an individual approach. This applies both in interprofessional teams or not, and in teams involved in health, social care, and other areas. The Individual Behavior Analysis scale measures efficacious behavior in work teams. It is one of the few instruments proposed in the literature to measure personal skills necessary for teamwork. Only a previous exploratory analysis of the scale was informed in another study. This article analyzes its internal structure using (...) different confirmatory factor analyses and its internal consistency, with a sample of 815 employees working for Spanish social organizations in the geriatric field, both private and public. The results of the definitive version adapted to Spanish, referred to as Individual Behavior Analysis −25, indicate a good fit of the model to the data and good reliability. Factor analysis confirmed the existence of two factors: Communication skills and Acceptance, with good internal consistency coefficients. This scale is a useful instrument for assessing, based on the reviewed literature, two of the most important individual skills an efficacious team should have. (shrink)

There is an increasing demand by society that university students demonstrate competitive skills to enable them to achieve greater success when entering the workplace. Creativity and life satisfaction correlate positively with academic performance, productivity, and excellence in the working environment. The presence of creativity and emotional intelligence in the curriculum and teaching methods in Spanish universities, however, is surprisingly lacking. Studies that examine gender differences in these variables provide conflicting results. The purpose of our research is to analyse the (...) changes produced in both creativity and life satisfaction in university students by a positive emotional and creative intervention and explore individual differences by gender. The methodology used was a quasi-experimental pre- test/post- test design with experimental/control groups. Three hundred university students from the Community of Madrid completed three exercises that evaluated creativity and life satisfaction. The results show significantly higher results in creativity and life satisfaction in women, who continued to achieve high results after the intervention. Finally, we discuss the need for emotional and creative education in universities and focus on the employability and the guarantee of equal opportunities through the development of these competencies. (shrink)

Resumen: El presente trabajo se centra en el análisis del Anteproyecto de reforma de la legislación civil española en materia de capacidad jurídica de las personas con discapacidad publicado recientemente por el Gobierno español. Su objetivo consiste en determinar la adecuación de las principales modificaciones planteadas en este anteproyecto a las exigencias del artículo 12 de la Convención Internacional sobre los Derechos de las Personas con Discapacidad tal y como han sido interpretadas por su Comité en la Observación General Nº1 (...) Abstract: This paper focuses on the analysis of the prelimimary Draf Law of reform of the Spanish civil legislation on legal capacity of persons with disabilities, published by the Spanish Government on September 26th 2018. Its aim is to determine the conformity of the main modifications proposed in this preliminary Draft to the requirements of article 12 of the Conventionon the Rights of Persons with Disabilitiesas interpreted by its Committee in the General Comment Nº 1. (shrink)

The objective of this study is to analyze the relationship between views and social interaction generated by YouTuber videos in Spanish. A quali-quantitative analysis is conducted on a sample of 100 videos, 10 YouTube channels, 997 minutes of video, with 116,934,321 views, 12,297,021 likes/dislikes, and 1,041,191 comments on YT, 306,000 retweets/favorites on TW and 140,852 comments, shares, and reactions on FB. The existence of social media tools on YouTube does not in itself guarantee interaction by users who prefer to (...) watch videos and adopt a passive attitude. In this analysis, we propose a social interaction indicator that takes into account the total number of social media reactions made on social networks and the age of the video. Cultivating realistic conversation and interaction on platforms with audiences numbering in the millions represents a serious challenge for YouTubers. (shrink)

Our study examines the expression and position of subjects in L2 acquisition, two phenomena that are studied within the framework of the Interface Hypothesis. The first version of the IH predicts that interface properties involving syntax and another cognitive domain may not be fully acquirable in a second language. The second version of the IH predicts that formal properties involving the syntax-semantics interface are unproblematic to acquire in L2 grammars compared to the vulnerable properties integrating syntax with the higher level (...) of pragmatics. We test these IH versions in L2 Spanish as acquired by L1 Greek speakers, a language combination understudied in the literature. Both languages share the null subject parameter, but still the IHs predict incomplete command at the syntax-pragmatics interface. Two acceptability judgment tasks were designed for Spanish: the first task tested null/overt subjects in referential contexts and the second task tested preverbal/postverbal subjects in informational contexts. Participants were L1 Greek intermediate and advanced learners of Spanish and native speakers of Spanish. In the first task, both experimental groups showed target-like distribution of null/overt subjects in most non-contrastive and contrastive contexts, except for the advanced group in unambiguous referential contexts. In the second task, the respective groups accepted felicitous preverbal subjects with unergative verbs, but diverged from native-like distribution of postverbal subjects with unaccusative verbs in neutral contexts. The L2 groups showed a high preference for unfelicitous preverbal subjects with both intransitive verbs in informational contexts, contrary to the subject inversion patterns of the control group. The results obtained were not consistent with the IH predictions, and other factors such as the type of subject, verb class and context played a role in L2 performance. (shrink)

In this paper the scientific trajectory of Spanish influential biochemist Alberto Sols (1917–1989) is presented in comparative perspective. His social and academic environment, his research training under the Cori's in the US in the early 1950s and his works when coming back to Spain to develop his own scientific career are described in order to present the central argument of this paper on his path from physiological research to research on enzymatic regulation. Sols' main contributions were both scientific and (...) academic. He and his collaborators not only contributed to biological knowledge on the biochemistry of metabolic regulation but to the active reception of biochemistry in the Spanish academia and to update of Spanish medical education. -/- . (shrink)