Hispanic Research Journal-Iberian and Latin American Studies最新文献_第2页

Descendants of Aztec Pictography: The Cultural Encyclopedias of Sixteenth-Century Mexico 阿兹特克象形文字的后裔:16世纪墨西哥的文化百科全书

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-07-04 DOI: 10.1080/14682737.2023.2217020

J. Stair

引用次数: 0

Emotions and Migration in Argentina at the Turn of the Twentieth Century 20世纪之交阿根廷的情感与移民

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-07-04 DOI: 10.1080/14682737.2023.2217022

A. Libertun

ıtulo cuatro que aborda el reto de redefinir la hispanidad y el pasado colonial desde una perspectiva intercolonial. Un reto importante, pero desde luego no abordable en un tomo. En este ultimo cap ıtulo, Park explora algunas concepciones de la identidad pac ıfica como la de Carlos P. R omulo, Diosdado Macapagal, ambos oficiales del gobierno filipino, de la d ecada de los sesenta, cuyas declaraciones solo tienen finalidad diplom atica. Tambi en explora con detenimiento las concepciones del ya mencionado novelista Abad, subrayando la lamentable anulaci on mutua de los filipinos y de los hispanoamericanos en la imaginaci on de identidad, una noci on claramente influida por las Imagined Communities de Benedict Anderson (London: Verso, 1983), de cada uno de estos dos pueblos (124). Abad propone una clave para subsanar esta laguna: Jos e Rizal (129). A tenor de ello, Park prosigue sus reflexiones partiendo del hecho hist orico de la publicaci on en 1976 de la novela rizaliana Noli me tangere por Biblioteca Ayacucho (Caracas). El resultado es una exploraci on muy prometedora de Leopoldo Zea, que con su lectura de Heidegger y de la noci on del ser como proceso captado por el “ser” como infinitivo en lugar de ser un sustantivo (superando la traducci on cl asica de Sein und Zeit del fil osofo espa~ nol Jos e Gaos (131), hace una relectura o un redescubrimiento de la figura rizaliana y las ramificaciones de tales planteamientos que van m as all a de los descubrimientos de placas y monumentos, en tiempos de la presidencia de Diosdado Macapagal (141), y que se acercan a la noci on de tornaviaje, que no es un hecho o un mero sustantivo (142) sino que, de acuerdo con una lectura renovada del Dasein heideggerriano, es un proceso constante, un reto continuo que solo puede llevarse a cabo en “atreverse a ser transpac ıfico” (143). Aqu ı todo lo anecd otico, espor adico y narrativo confluye. M as que logros, este cuaderno de bit acora de Park nos brinda retos que pueden resumirse con las siguientes palabras: abrirse a m as tornaviajes de buceos m as profundos y exploraciones m as hondas para superar la circunstancialidad de los datos recogidos y colocarlos como piezas de la caza en un muestrario m as transparente, coherente y organizado. Es decir, deletrear mejor lo transpac ıfico a la luz de los retos actuales de un mundo cada vez m as globalizado.

第四章从跨种族的角度解决重新定义西班牙裔和殖民过去的挑战。这是一个重要的挑战，但在一本书中肯定无法应对。在后一章中，朴槿惠探索了一些和平身份的概念，如卡洛斯·P·罗穆洛、迪奥斯达多·马卡帕加尔，他们都是20世纪60年代的菲律宾政府官员，他们的声明仅用于外交目的。他还详细探讨了上述小说家阿巴德的概念，强调菲律宾人和西班牙裔美国人在身份想象中不幸地相互取消，这一概念显然受到这两个民族（124个）本尼迪克特·安德森（伦敦：维索，1983年）想象中的社区的影响。阿巴德提出了弥合这一差距的关键：何塞·里扎尔（129岁）。有鉴于此，朴槿惠继续根据1976年加拉加斯阿亚库乔图书馆出版的里扎利亚纳小说《诺利·梅坦格尔》的历史事实进行反思。其结果是对利奥波多·泽亚的一次非常有希望的探索，他通过阅读海德格尔和存在作为一个过程的概念，将“存在”理解为不定式，而不是名词（克服了西班牙哲学家何塞·高斯（131）对塞恩·泽特的经典翻译），重新审视或重新发现了里扎利亚人的形象，以及这些方法的后果，这些方法超越了板块和纪念碑的发现，在迪奥斯达多·马卡帕加尔（Diosdado Macapagal，141岁）担任总统期间，他们接近了托纳维斯塔（Tornavia）的概念，这不是一个事实或仅仅是一个实质性的概念（142），而是根据对海德格尔（Dasein Heideggerrian）的重新解读，这是一个持续的过程，一个持续的挑战，只能在“敢于跨太平洋”（143）中进行。在这里，所有的轶事、零星和叙事都融合在一起。除了取得的成就外，这本公园的比特阿科拉笔记本还为我们带来了挑战，这些挑战可以用以下几句话来概括：向更多更深入的潜水和更深入的探索开放，以克服收集数据的偶然性，并将其作为狩猎的一部分放在更透明、更连贯和更有组织的样本中。也就是说，根据日益全球化世界当前的挑战，更好地拼写跨太平洋的内容。

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引用次数: 0

“Miss Spain in Exile”: Isa Reyes’ Escape from the Spanish Civil War “流亡中的西班牙小姐”:伊萨·雷耶斯逃离西班牙内战

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-07-04 DOI: 10.1080/14682737.2023.2217012

C. Byrne

rehearsal” (118, 126) when “dress rehearsal” is meant; “a contextual approach that makes emphasis on” (138). And why does a book referring to theatre productions (at times to their appearance) not have any visual illustrations? By locating Lorca’s plays within Spanish theatre history, their reception, and discussing possible influences on them, P erez-Sim on has done much to challenge accepted critical views. However, such contextualization often comes at the expense of detailed textual analysis. (In Chapter 2, the imbalance is striking.) Yet Baroque Lorca is constantly stimulating and, in a scholarly way, provocative. It is a serious contribution to the critical literature on Lorca’s theatre and will surely form a fruitful starting point for future studies.

“彩排”(118,126)是指“彩排”;“强调上下文的方法”(138)。为什么一本提到戏剧作品(有时提到它们的外观)的书没有任何视觉插图?通过定位洛尔卡的戏剧在西班牙戏剧史，他们的接受，并讨论可能对他们的影响，佩雷斯-西姆昂已经做了很多挑战公认的批评观点。然而，这种语境化往往是以牺牲详细的文本分析为代价的。(在第二章中，这种不平衡是惊人的。)然而，巴洛克式的洛尔卡总是令人兴奋，而且以一种学术的方式，具有挑衅性。这是对洛尔卡戏剧批评文献的重大贡献，必将为今后的研究提供一个富有成效的起点。

引用次数: 0

El codi torbat: De la poesia experimental a l’escriptura conceptual 托巴特密码：从实验诗到概念写作

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-07-04 DOI: 10.1080/14682737.2023.2217018

Jordi Marrugat

personal and the political which relates to the feminist struggle for power and public visibility. After looking at the photographs by Garcia and Caturla, still limited by the cultural structures of the period, the chapter analyses the more ambitious and innovative work produced by Colita, a member of Barcelona’s Gauche Divine. What I find fascinating in Colita’s work is her use of irony, scrutinized by Sendra through a photograph of two secretaries acting as slaves of the male character of publisher Jorge Herralde (173). Without the complicity of the viewer in activating its irony, this photograph would be complicit with, rather than critical of, patriarchy. Sendra resorts to Donna Haraway’s concept of irony to make sense of this (173), but I would suggest that another way of looking at it would be through Judith Butler’s vindication and re-appropriation of the term “queer,” which has been a tool for discrimination in the dominant culture. A similar re-appropriation can be observed in a 1976 photograph of a demonstration against the criminalization of female adultery with Montserrat Roig and Maruja Torres wearing placards stating “Jo tamb e s oc ad ultera” [I’m an adulterer too]. This photograph is not discussed in the book, but it fits Sendra’s view of Colita’s clever visual irony. Sendra concludes by stressing that the works she studies are “founded on heterogeneity and multi-sensoriality, [and speak] to us about literature and photography not as representations, but as material objects and social agents” (191). She notes that the promising Barcelona of the neighbourhood associations, social movements, and the defiant texts of her corpus does not bear fruit until the twenty-first century, when exhibitions and other collective efforts related to the recovery of popular memory have made the history of the city’s margins less “elusive” (194). It could be argued that Catalan culture expressed in Catalan could have been more visible in Sendra’s monograph as, even under the restrictions imposed by the dictatorship, it voiced its resistance through its different, forbidden, clandestine language. Nevertheless, this a good, perceptive, and insightful book that successfully achieves its goal by seeking and discussing dissent in visual and literary texts of a challenging period.

个人的和政治的，这与女权主义者争取权力和公众知名度的斗争有关。在看了加西亚和卡图拉的照片之后，仍然受到那个时期文化结构的限制，这一章分析了科利塔更雄心勃勃和创新的作品，科利塔是巴塞罗那Gauche Divine的成员。我觉得科利塔的作品最吸引人的地方是她对讽刺的运用，森德拉通过一张照片仔细观察了这一点，照片上的两个秘书是出版商豪尔赫·埃拉尔德(Jorge Herralde)的男性角色的奴隶。如果没有观众参与激活它的讽刺，这张照片将是与父权制的同谋，而不是批评。Sendra借用Donna Haraway的反讽概念来理解这一点(173)，但我认为另一种看待它的方式是通过Judith Butler对“酷儿”一词的辩护和重新使用，“酷儿”一词在主流文化中一直是歧视的工具。在1976年的一张照片中，我们可以看到类似的重新挪用，照片上是一场反对将女性通奸罪定为刑事犯罪的示威活动，示威者与蒙特塞拉特·罗伊(Montserrat Roig)和马鲁贾·托雷斯(Maruja Torres)穿着写有“Jo tamb es oc and ultera”(我也是通奸者)的标语牌。这张照片没有在书中讨论，但它符合森德拉对科利塔巧妙的视觉讽刺的看法。森德拉最后强调，她研究的作品“建立在异质性和多感性的基础上，[并向我们讲述]文学和摄影不是作为表现，而是作为物质对象和社会代理人”(191)。她指出，充满希望的巴塞罗那的邻里协会、社会运动和她语料中的挑衅文本直到21世纪才结出果实，那时展览和其他与恢复大众记忆有关的集体努力使城市边缘的历史变得不那么“难以捉摸”(194)。可以说，用加泰罗尼亚语表达的加泰罗尼亚文化本可以在森德拉的专著中更加明显，因为即使在独裁统治强加的限制下，它也通过不同的、被禁止的、秘密的语言表达了它的反抗。然而，这是一本优秀的、敏锐的、富有洞察力的书，通过在一个充满挑战的时期的视觉和文学文本中寻找和讨论不同意见，成功地实现了它的目标。

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引用次数: 0

La memoria como enfermedad en Anatomía de la memoria de Eduardo Ruiz Sosa 爱德华多·鲁伊斯·索萨的记忆解剖学中的记忆作为一种疾病

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-05-04 DOI: 10.1080/14682737.2022.2134658

Gustavo Faverón Patriau, Carolyn Wolfenzon

RESUMEN Anatomía de la memoria (2014) es la prima novela del escritor mexicano Eduardo Ruiz Sosa. En ella, según proponemos, diversos fenómenos de carácter histórico, político e ideológico —desde la revolución marxista hasta la represión estatal, pasando por los traumas, tanto psíquicos e individuales como históricos y colectivos, que son la consecuencia de esos fenómenos en sus actores— son complejamente revisados a la luz de metáforas referidas a la enfermedad, tanto física como mental (incluyendo, de manera significativa, la melancolía, en un contrapunto barroco con el clásico tratado isabelino de Robert Burton cuyo título parafrasea: The Anatomy of Melancholy).

《记忆的解剖》(2014)是墨西哥作家爱德华多·鲁伊斯·索萨的第一部小说。建议说,在她的各种现象的历史、政治和意识形态性质—从马克思主义革命到国家的压制,精神创伤,因此历史和集体和个人,是造成这些现象的演员—隔离墙有关的订正根据隐喻,无论是身体还是心理疾病(包括,显著地,忧郁,这是罗伯特·伯顿(Robert Burton)的《忧郁的解剖》(The Anatomy of Melancholy)的巴洛克式对位。

引用次数: 0

Spain, the Second World War, and the Holocaust: History and Representation. Edited by Sara J. Brenneis and Gina Herrmann. Toronto: University of Toronto Press, 2020. Pp. 736. $125 (hardback). ISBN 9781487505707 西班牙、第二次世界大战和大屠杀：历史与表现。由Sara J.Brenneis和Gina Herrmann编辑。多伦多：多伦多大学出版社，2020年。第736页$125（精装本）。ISBN 9781487505707

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-05-04 DOI: 10.1080/14682737.2022.2134666

D. Omlor

features, for example in Jos e de la Rosa’s Vampiro, where it is unclear whether Sibila is happy to have achieved the undead status she sought or whether her lot is miserable survival as a “tortured unquiet soul” (123). The interesting possibility of both supernatural and realist readings is also considered in the case of Tamparillas’s “Sangre de mi sangre, carne de mi carne” that foregrounds the tensi on between the two (130). While the plot summaries and analyses of Part 1 are necessary, since many readers will be unfamiliar with the subject matter, the structure has some disadvantages: most readers will need to refer back to Part 1 from Part 2 to remind themselves of what is going on in the text under discussion; and some repetition is inevitable. The comparative approach adopted in Part 2 is anticipated to some extent in Part 1, where there is a clear effort to forge links both among the texts treated (39, 90), and with those of other writers such as Ira Levin (88) and Melville (99). There are some efforts, too, to link the events recounted with the contemporary world: that Erzsebet B athory’s wealth allows her to perpetuate her crimes is linked to the prosecution of celebrities on historical sex-related charges (107). The style is occasionally marred by errors (“subsequently discovering his infidelity to her, her jealousy leads her to destroy him,” 55), and inelegance: (“where the vampires have moved on to, to try to rid the world of them,” 144). However, this monograph is the result of solid and painstaking research and is likely to achieve seminal status in its field.

例如，在Jos e de la Rosa的《吸血鬼》（Vampiro）中，尚不清楚西比拉是否为获得她所追求的亡灵地位而感到高兴，或者她作为一个“饱受折磨的不安灵魂”的悲惨生存（123）。Tamparillas的《Sangre de mi Sangre，carne de mi carne》也考虑了超自然和现实主义阅读的有趣可能性，该书突出了两者之间的紧张关系（130）。虽然第一部分的情节总结和分析是必要的，但由于许多读者对主题不熟悉，这种结构也有一些缺点：大多数读者需要从第二部分回到第一部分，以提醒自己所讨论的文本中发生了什么；一些重复是不可避免的。第2部分采用的比较方法在一定程度上可以在第1部分中预料到，在第2部分中，我们显然努力在所处理的文本（39，90）之间以及与Ira Levin（88）和Melville（99）等其他作家的文本之间建立联系。也有一些努力将所讲述的事件与当代世界联系起来：Erzsebet B athory的财富使她得以继续犯罪，这与名人因历史性相关指控而被起诉有关（107）。这种风格偶尔会被错误（“后来发现他对她不忠，她的嫉妒导致她摧毁了他，”55）和不雅（“吸血鬼已经转移到哪里，试图把他们从世界上赶走，”144）所破坏。然而，这本专著是经过扎实和艰苦研究的结果，很可能在该领域取得开创性的地位。

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引用次数: 0

Spanish Vampire Fiction Since 1900: Blood Relations. By Abigail Lee Six. New York: Routledge, 2019. Pp. 238. $160.00 (hardback). ISBN 9781138303836 1900年以来的西班牙吸血鬼小说:血缘关系。阿比盖尔·李·Six著。纽约:劳特利奇出版社，2019。238页。160.00美元(精装)。ISBN 9781138303836

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-05-04 DOI: 10.1080/14682737.2022.2134664

L. Davies

from is the visual arts. Such comparisons demonstrate how the anthology of the poetic texts discussed in this study can unlock many new investigations into the arts and culture of medieval Iberia. For instance, art history students could build on Twomey’s analysis of fountain imagery in verses to Our Lady of Guadalupe in an investigation of the medieval fountain at the monastery that housed this statue. Similarly, the author’s extensive analysis of garden imagery would provide exciting material for further studies of the influence of Islamic garden design in this region of the medieval Mediterranean. Twomey begins her book by discussing Marian miracles featured in the works of Gonzalo de Berceo and Alfonso X, the earliest vernacular poets of the period she is interested in. In the chapters that follow, her identification of numerous texts as containing the “earliest” examples of certain types of images must thus be understood as referring to the thirteenth century. Not included in her analysis is Marian imagery in Visigothic liturgy from the Peninsula, recently studied by Kati Ihnat (2016, 2017, and 2019). Twomey’s meaning of “earliest” as referring to the thirteenth century is sometimes obscured by the author’s use of much earlier biblical commentary and by the limited inclusion of dates throughout the book; although Twomey does provide dates for key authors in her introduction, which helps to orient the reader. Of particular value in this book is the author’s thorough references to numerous late medieval liturgical manuscripts from across Iberia’s kingdoms. These are sources that are significantly underutilized in cultural studies of medieval Iberia and so their inclusion here helps to make this book indispensable. Also of great value, especially to students, is the inclusion of English translations for the majority of the book’s numerous quotations, though a full appreciation of these texts rests on Twomey’s sensitive analysis of the secondary or tertiary meanings or contextual significance of the words. The inclusion of yet longer passages from these medieval poems would have only augmented this helpful aspect of the book. Separate indexes for the different images she studies—figures, objects, containers, plants, medicinal substances, and perfumes—will also prove extremely useful to future studies of all forms of Marian art from medieval Iberia. Indeed, students and researchers will be much better able to navigate the, at times, labyrinthine field of Iberian art and devotion thanks to Twomey’s book.

来自视觉艺术。这种比较表明，本研究中讨论的诗歌文本选集可以开启对中世纪伊比利亚艺术和文化的许多新的研究。例如，艺术史学生可以在特沃米对《瓜达卢佩圣母》诗句中喷泉意象的分析基础上，对这座雕像所在修道院的中世纪喷泉进行调查。同样，作者对花园意象的广泛分析将为进一步研究伊斯兰花园设计在中世纪地中海地区的影响提供令人兴奋的材料。Twomey在书的开头讨论了她感兴趣的那个时期最早的白话诗人Gonzalo de Berceo和Alfonso X作品中的玛丽安奇迹。因此，在接下来的章节中，她将大量文本认定为包含某些类型图像的“最早”例子，必须被理解为指的是十三世纪。Kati Ihnat（2016、2017和2019）最近研究了半岛西哥特礼拜仪式中的玛丽安意象，但她的分析中没有包括这一意象。Twomey所说的“最早”指的是十三世纪，有时由于作者使用了更早的圣经评论，以及全书中日期的有限性而变得模糊；尽管Twomey在她的介绍中确实为主要作者提供了日期，这有助于引导读者。这本书特别有价值的是作者对伊比利亚王国众多中世纪晚期礼拜仪式手稿的全面引用。这些资料在中世纪伊比利亚的文化研究中没有得到充分利用，因此将其纳入本文有助于使本书不可或缺。同样具有重要价值的是，尤其是对学生来说，本书众多引文中的大部分都包含了英文翻译，尽管对这些文本的充分理解取决于托梅对单词的二级或三级含义或上下文意义的敏感分析。如果将这些中世纪诗歌中更长的段落包括在内，只会增强本书的这一有益方面。她研究的不同图像——人物、物体、容器、植物、药材和香水——的单独索引也将被证明对未来研究中世纪伊比利亚所有形式的玛丽安艺术非常有用。事实上，多亏了托梅的书，学生和研究人员将能够更好地驾驭伊比利亚艺术和奉献精神的迷宫般的领域。

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引用次数: 0

The Sacred Space of the Virgin Mary in Medieval Hispanic Literature: From Gonzalo de Berceo to Ambrosio Montesino. By Lesley Twomey. Woodbridge: Boydell and Brewer, 2019. Pp. 496. £70 (hardback). ISBN 9781855663237.

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-05-04 DOI: 10.1080/14682737.2022.2134663

Maeve O’Donnell-Morales

引用次数: 0

Fonts antropomòrfiques en “Le Roman de Tristan le Blanc (xiv e siècle)”: Història d’un malentès crític 《勒布朗克（20世纪）》中的人物来源：一个批判性误解的历史

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-05-04 DOI: 10.1080/14682737.2022.2134660

Joan Mahiques Climent

RESUM El Tirant lo Blanch de Joanot Martorell (†1465) descriu al capítol 55 un escenari muntat per celebrar les noces dels reis d’Anglaterra on s’erigeixen diverses estàtues amb formes humanes o animals que fan rajar líquids. A través del Tiran le Blanc, traducció francesa atribuïda al comte de Caylus (†1765), alguns estudis crítics sobre disseny i iconografia de mecanismes hidràulics han adduït, d’aquest passatge tirantià, el cas de dues estàtues de nus femenins que fan rajar líquid, una dels mugrons i l’altra de l’òrgan genital. Aquesta tradició d’estudis, representada per investigadors com Waldemar Deonna (†1959), ha fet esment del Tiran le Blanc quasi com si es tractés d’un roman francès anònim, sense indicar que deriva de la gran novel·la que Martorell escrigué en català. En un dels treballs més rellevants sobre fonts antropomòrfiques, publicat el 1958, Deonna va perpetrar dos errors que posteriorment s’han anat transmetent d’un estudi a un altre: la novel·la canvia el títol pel de Tristan le Blanc i se n’endarrereix la datació al segle xiv. L’article que ara presentem contextualitza i aclareix aquest malentès crític, i per primera vegada, examina de manera conjunta aportacions crítiques sobre el Tirant lo Blanch i estudis sobre fonts antropomòrfiques.

结果约翰·马托雷尔（†1465）的《白枪手》在第55章中描述了一个庆祝英格兰国王圣诞节的山景，在那里，不同的州用人或动物的形式建立起来，进行液体烘焙。通过Caylus伯爵（†1765）的法语翻译《Tiran勒布朗克》，一些关于液压机构设计和图像的批判性研究从这篇暴政文章中引用了两种女性裸体辐射液体的情况，一种是马克隆，另一种是生殖器。这一研究传统，以瓦尔德马尔·迪奥纳（1959年†）等研究人员为代表，提到《白地拉那》几乎就像它是一部匿名的法国小说，但没有表明它源自马尔托雷尔用加泰罗尼亚语写的伟大小说。在1958年出版的一部最相关的关于拟人化来源的作品中，迪安娜犯了两个错误，后来从一项研究传到了另一项研究：小说改变了特里斯坦·勒布朗克的名字，并将日期推迟到下个世纪。我们现在发表的这篇文章将这种批判性的误解置于背景中并加以澄清，并首次共同回顾了对白龙的批判性贡献和对拟人化来源的研究。

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引用次数: 0

El itinerario religioso de José Cadalso: Creencia, filosofía y concepción utilitaria de la fe jose Cadalso的宗教旅程:信仰、哲学和信仰的功利概念

IF 0.1 4区社会学 0 HUMANITIES, MULTIDISCIPLINARY

Hispanic Research Journal-Iberian and Latin American Studies

Pub Date : 2022-05-04 DOI: 10.1080/14682737.2022.2134653

Francisco Castilla Urbano

RESUMEN La relevancia de la obra y figura de José Cadalso (1741–82) entre sus contemporáneos convierte la investigación sobre cualquier aspecto de su pensamiento en un instrumento valioso para establecer caracteres generales de la ideología de los ilustrados españoles. En este sentido, la evolución de sus actitudes e ideas sobre la religión no solo resultan de interés por sí mismas, sino que tienen el valor añadido de representar lo que probablemente sea el itinerario seguido por una parte importante de los escritores peninsulares de la segunda mitad del siglo XVIII. Lo que sigue quiere contribuir a su examen destacando tres aspectos relacionados con la religión en la vida y en la obra del gaditano: por una parte, el cambio de sus creencias personales, desde el catolicismo inicial hasta un distanciamiento progresivo que culmina al margen de la Iglesia. En segundo lugar, como consecuencia del proceso anterior, el planteamiento deísta presente en buena parte de sus obras. Por último, aparece dispersa en sus escritos una visión utilitaria de la creencia religiosa.

本文的目的是分析在西班牙，特别是在拉丁美洲和加勒比地区，西班牙语作为一种官方语言的使用情况，以及西班牙语作为一种官方语言的使用情况，以及西班牙语作为一种官方语言的使用情况。在这方面,对宗教的态度和思想的演变不仅本身感兴趣的,有高附加值的代表可能继续一方面重要作家半岛行程十八世纪后半叶。以下内容旨在通过强调加的斯人生活和工作中与宗教有关的三个方面来帮助他的研究:一方面，他的个人信仰的变化，从最初的天主教到逐渐远离教会，最终达到边缘。其次，作为上述过程的结果，自然神论的方法在他的许多作品中都有体现。最后，他的作品中弥漫着宗教信仰的功利主义观点。

引用次数: 0