Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.27223
María Caballero Wangemert, J. Calvo
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{"title":"Reseña de: Luce y Mercedes LÓPEZ-BARALT. EL CUERPO MUERE Y EL VERSO VUELA: LA POESÍA METAFÍSICA DE PEDRO SALINAS Y LUIS PALÉS MATOS. (Madrid: Mandala Ediciones, 2018, 191 págs.)","authors":"María Caballero Wangemert, J. Calvo","doi":"10.5944/signa.vol29.2020.27223","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.27223","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"83 1","pages":"963-978"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83787256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.27161
Michel Braud
Abstract: Appeared in France at the end of the eighteenth century as a private form, the diary progressively became a literary genre during the nineteenth and twentieth century, and underwent various mutations at the end of the twentieth century. The trivialization of the genre at the beginning of the 21st Century is accompanied by new inflections that will be identified on the basis of three examples.
{"title":"EL DIARIO PERSONAL EN FRANCIA A PRINCIPIOS DEL SIGLO XXI: INFLEXIONES DE UN GÉNERO LITERARIO","authors":"Michel Braud","doi":"10.5944/signa.vol29.2020.27161","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.27161","url":null,"abstract":"Abstract: Appeared in France at the end of the eighteenth century as a private form, the diary progressively became a literary genre during the nineteenth and twentieth century, and underwent various mutations at the end of the twentieth century. The trivialization of the genre at the beginning of the 21st Century is accompanied by new inflections that will be identified on the basis of three examples.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"94 1","pages":"21-35"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83569134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.23400
I. G. Gil
Abstract: This paper examines two recent and opposite models for the study of the lyric genre: mimetic-narratological and performative, two important contributions of international literary criticism to the field. Nevertheless, they have had scarcely any repercussions in Spanish literary theory. First, we focus on the narratological applications to the study of poetic and lyric texts. Second, we address Jonathan Culler’s theoretical proposal developed in his book Theory of the Lyric, in which he rejects the assimilation of lyric poetry to the model of narrative fiction, and he proposes instead to investigate its singularity, not imitative but performative.
{"title":"NUEVOS ENFOQUES TEÓRICOS PARA EL ESTUDIO DE LA POESÍA LÍRICA","authors":"I. G. Gil","doi":"10.5944/signa.vol29.2020.23400","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.23400","url":null,"abstract":"Abstract: This paper examines two recent and opposite models for the study of the lyric genre: mimetic-narratological and performative, two important contributions of international literary criticism to the field. Nevertheless, they have had scarcely any repercussions in Spanish literary theory. First, we focus on the narratological applications to the study of poetic and lyric texts. Second, we address Jonathan Culler’s theoretical proposal developed in his book Theory of the Lyric, in which he rejects the assimilation of lyric poetry to the model of narrative fiction, and he proposes instead to investigate its singularity, not imitative but performative.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"32 1","pages":"495-521"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83160879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.23423
Mieke Vulkers
Abstract: The novels of Spanish author Antonio Munoz Molina generally are characterized as hybrids, inserting non-fictional genres within the frame of a novelistic work. Although Ventanas de Manhattan (2004) is presented as a diary or even as a travelling journal, this article argues that the work shows a hybrid generic form. Founded upon a theoretical frame, it establishes the components that lead to the characterization of the work as autofictional. Subsequently this article focuses on the construction of the first-person character as a fictional structure, based on literary archetypes.
{"title":"FLÂNEUR O VOYEUR: LA AMBIGÜEDAD DE LA FIGURACIÓN DEL YO EN VENTANAS DE MANHATTAN (2004), DE ANTONIO MUÑOZ MOLINA","authors":"Mieke Vulkers","doi":"10.5944/signa.vol29.2020.23423","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.23423","url":null,"abstract":"Abstract: The novels of Spanish author Antonio Munoz Molina generally are characterized as hybrids, inserting non-fictional genres within the frame of a novelistic work. Although Ventanas de Manhattan (2004) is presented as a diary or even as a travelling journal, this article argues that the work shows a hybrid generic form. Founded upon a theoretical frame, it establishes the components that lead to the characterization of the work as autofictional. Subsequently this article focuses on the construction of the first-person character as a fictional structure, based on literary archetypes.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"26 1","pages":"903-919"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91274994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.23947
Beatriz María Gómez Morales
Resumen: El potencial critico del humor en la comedia televisiva ha generado un extenso debate entre los investigadores de la ficcion televisiva. La sitcom, su principal exponente, ha sido valorada como vehiculo reproductor de la ideologia dominante por un numero significativo de estudiosos. Otros, en cambio, han destacado su capacidad transgresora. En este articulo se analizan las significaciones criticas o conservadoras de la comedia televisiva espanola de los ultimos 30 anos centrandonos, principalmente, en la introduccion de tematicas de actualidad y problematicas que conectan con las preocupaciones de la audiencia y su respectivo tratamiento narrativo. Abstract: The critical potential of humour in television comedy has generated an extensive debate among researchers of television fiction. The sitcom, its main exponent, has been valued as a reproductive vehicle of the dominant ideology by a significant number of scholars. However, others authors have highlighted their transgressive capacity. This article analyses the critical or conservative meanings of the Spanish television comedy of the last 30 years focusing, mainly, on the introduction of current issues and problems that connect with the concerns of the audience and their respective narrative treatment.
摘要:本文分析了西班牙电视情景喜剧中幽默的批判潜力，并对电视小说研究人员进行了广泛的讨论。它的主要代表人物是情景喜剧，许多学者认为它是主导意识形态的游戏工具。另一些人则强调了它的越界能力。在这篇文章中，我们分析了西班牙电视喜剧在过去30年里的批判或保守意义，主要集中在引入与观众关注相关的时事和问题以及他们各自的叙事处理。摘要:电视喜剧中幽默的关键潜力在电视小说研究人员中引发了广泛的争论。一直valued sitcom,其主要exponent,作为生殖vehicle of The伍德罗品德by录学者。然而，其他作者强调了他们的越界能力。本文分析了过去30年西班牙电视喜剧的关键或保守意义，主要集中在当前问题和问题的介绍，这些问题和问题与观众的关注及其各自的叙事处理有关。
{"title":"TELEVISIÓN CRÍTICA O INDUSTRIA DE LA RISA: EL CASO DE LA COMEDIA TELEVISIVA ESPAÑOLA (1990-2018)","authors":"Beatriz María Gómez Morales","doi":"10.5944/signa.vol29.2020.23947","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.23947","url":null,"abstract":"Resumen: El potencial critico del humor en la comedia televisiva ha generado un extenso debate entre los investigadores de la ficcion televisiva. La sitcom, su principal exponente, ha sido valorada como vehiculo reproductor de la ideologia dominante por un numero significativo de estudiosos. Otros, en cambio, han destacado su capacidad transgresora. En este articulo se analizan las significaciones criticas o conservadoras de la comedia televisiva espanola de los ultimos 30 anos centrandonos, principalmente, en la introduccion de tematicas de actualidad y problematicas que conectan con las preocupaciones de la audiencia y su respectivo tratamiento narrativo. Abstract: The critical potential of humour in television comedy has generated an extensive debate among researchers of television fiction. The sitcom, its main exponent, has been valued as a reproductive vehicle of the dominant ideology by a significant number of scholars. However, others authors have highlighted their transgressive capacity. This article analyses the critical or conservative meanings of the Spanish television comedy of the last 30 years focusing, mainly, on the introduction of current issues and problems that connect with the concerns of the audience and their respective narrative treatment.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"1 1","pages":"467-494"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83176655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.23775
Eszter Katona
Resumen: El objetivo del presente articulo es ofrecer un analisis abarcador sobre la recepcion en Hungria de la obra de Antonio Buero Vallejo. Mencionaremos las once traducciones y, despues, examinaremos, a traves de la critica de la prensa, los cinco estrenos hungaros de sus tres dramas: En la ardiente oscuridad, puesto en escena dos veces (1962, 1976); El sueno de la razon, montado en 1974; y los dos estrenos de La fundacion (1976, 1979). Para completar la recepcion hungara del autor mas destacado del teatro espanol de la posguerra, repasaremos tambien algunos escritos que divulgan su fama en Hungria. Abstract: The aim of this article is to give a comprehensive analysis about the reception of the work of Antonio Buero Vallejo in Hungary. We present the eleven translations and then, based on press criticism, analyse the five Hungarian premieres of three plays: In the Burning Darkness, staged twice (1962, 1976); The Sleep of Reason, debuted in 1974; and two premieres of The Foundation (1976, 1979). To complete the Hungarian image of the most prominent author of the post-civil war Spanish theatre, we also review some articles that popularized him in Hungary.
摘要:本文的目的是对安东尼奥·布埃罗·瓦列霍的作品在匈牙利的接受情况进行全面分析。我们将提到11个译本，然后通过媒体的评论，看看他的三部戏剧在匈牙利的5个首演:在燃烧的黑暗中，上演了两次(1962年，1976年);《理性之梦》，制作于1974年;以及基金会的两次首演(1976,1979)。为了完成对战后西班牙戏剧最杰出作家的匈牙利接待，我们还将回顾一些在匈牙利传播他名声的作品。摘要:本文的目的是对匈牙利对安东尼奥·布埃罗·瓦列霍作品的接受情况进行全面分析。我们呈现了11个译本，然后根据媒体的批评，分析了匈牙利三部戏剧的五部首映式:《燃烧的黑暗》(1962年，1976年);《理性睡眠》于1974年首次亮相;= =地理= =根据美国人口普查，该镇的土地面积为。完成《匈牙利prominent image of the most of the post-civil war[提交人的剧院,我们还审查一些文章,遂宁市popularized在匈牙利。
{"title":"ANTONIO BUERO VALLEJO EN HUNGRÍA","authors":"Eszter Katona","doi":"10.5944/signa.vol29.2020.23775","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.23775","url":null,"abstract":"Resumen: El objetivo del presente articulo es ofrecer un analisis abarcador sobre la recepcion en Hungria de la obra de Antonio Buero Vallejo. Mencionaremos las once traducciones y, despues, examinaremos, a traves de la critica de la prensa, los cinco estrenos hungaros de sus tres dramas: En la ardiente oscuridad, puesto en escena dos veces (1962, 1976); El sueno de la razon, montado en 1974; y los dos estrenos de La fundacion (1976, 1979). Para completar la recepcion hungara del autor mas destacado del teatro espanol de la posguerra, repasaremos tambien algunos escritos que divulgan su fama en Hungria. Abstract: The aim of this article is to give a comprehensive analysis about the reception of the work of Antonio Buero Vallejo in Hungary. We present the eleven translations and then, based on press criticism, analyse the five Hungarian premieres of three plays: In the Burning Darkness, staged twice (1962, 1976); The Sleep of Reason, debuted in 1974; and two premieres of The Foundation (1976, 1979). To complete the Hungarian image of the most prominent author of the post-civil war Spanish theatre, we also review some articles that popularized him in Hungary.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"9 1","pages":"549-581"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90278785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.23455
Luis Pablo Francescutti Pérez
Resumen: La comunicacion masiva ha sido y es un objeto privilegiado de la semiotica. A partir del testimonio de seis semiologos espanoles en este articulo se reconstruye la recepcion y aclimatacion de esa linea de estudios en Espana. Sus evocaciones parten de la llegada de la disciplina a mediados de los anos ‘60, continuan con su periodo de moda intelectual (anos ‘70) y con su insercion en las facultades de comunicacion (anos ‘80), y concluyen en la situacion actual, senalada por la falta de relevo generacional, el avance de paradigmas empirico-positivistas y las dudas sobre su continuidad academica. Abstract: Mass communication is a prominent field of study for semiotics. In this article the Spanish reception and institutionalization of this branch of semiotics is reconstructed. The data collected from the interviews with six distinguished Spanish semioticians allow following the process since its introduction in the mid Sixties to a formative phase in the Seventies, followed by its institutionalisation in the Eighties. These conversational narratives end at the current situation, where the difficulties for generational renewal and the ascendancy of empiricist methodologies and positivist paradigms raise serious doubts about the future of the sub-discipline.
{"title":"LA SEMIÓTICA DE LA COMUNICACIÓN MASIVA EN ESPAÑA: SUS AVATARES ACADÉMICOS CONTADOS POR SUS PROTAGONISTAS","authors":"Luis Pablo Francescutti Pérez","doi":"10.5944/signa.vol29.2020.23455","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.23455","url":null,"abstract":"Resumen: La comunicacion masiva ha sido y es un objeto privilegiado de la semiotica. A partir del testimonio de seis semiologos espanoles en este articulo se reconstruye la recepcion y aclimatacion de esa linea de estudios en Espana. Sus evocaciones parten de la llegada de la disciplina a mediados de los anos ‘60, continuan con su periodo de moda intelectual (anos ‘70) y con su insercion en las facultades de comunicacion (anos ‘80), y concluyen en la situacion actual, senalada por la falta de relevo generacional, el avance de paradigmas empirico-positivistas y las dudas sobre su continuidad academica. Abstract: Mass communication is a prominent field of study for semiotics. In this article the Spanish reception and institutionalization of this branch of semiotics is reconstructed. The data collected from the interviews with six distinguished Spanish semioticians allow following the process since its introduction in the mid Sixties to a formative phase in the Seventies, followed by its institutionalisation in the Eighties. These conversational narratives end at the current situation, where the difficulties for generational renewal and the ascendancy of empiricist methodologies and positivist paradigms raise serious doubts about the future of the sub-discipline.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"1 1","pages":"391-414"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75655796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.27194
R. Aparicio, Raquel Nogal Santamaría
Resumen: La presente compilacion reune una breve seleccion de los textos presentados en el XVII Congreso Internacional de la Asociacion Espanola de Semiotica y el I Congreso Iberico de Semiotica que tuvo lugar entre el 23 y 25 de noviembre de 2017 en la Universidade Nova de Lisboa. En dicho encuentro se dieron cita investigadores de distintos paises con el objetivo de reflexionar sobre el concepto de moda desde el punto de vista semiotico. Abstract: This compilation gathers a brief selection of the texts presented at the XVVII International Congress of the Spanish Association of Semiotics (AES) and the I Iberian Congress of Semiotics (AIS) that took place from 23rd to 25th of November, 2017 at the Universidade Nova de Lisboa. In this meeting, researchers from different countries met to reflect on the concept of fashion from the semiotic point of view.
{"title":"PRESENTACIÓN. MODAS, MODOS, MANERAS","authors":"R. Aparicio, Raquel Nogal Santamaría","doi":"10.5944/signa.vol29.2020.27194","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.27194","url":null,"abstract":"Resumen: La presente compilacion reune una breve seleccion de los textos presentados en el XVII Congreso Internacional de la Asociacion Espanola de Semiotica y el I Congreso Iberico de Semiotica que tuvo lugar entre el 23 y 25 de noviembre de 2017 en la Universidade Nova de Lisboa. En dicho encuentro se dieron cita investigadores de distintos paises con el objetivo de reflexionar sobre el concepto de moda desde el punto de vista semiotico. Abstract: This compilation gathers a brief selection of the texts presented at the XVVII International Congress of the Spanish Association of Semiotics (AES) and the I Iberian Congress of Semiotics (AIS) that took place from 23rd to 25th of November, 2017 at the Universidade Nova de Lisboa. In this meeting, researchers from different countries met to reflect on the concept of fashion from the semiotic point of view.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"512 1","pages":"167-170"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77058858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.27228
David Vázquez Couto
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{"title":"Reseña de: José Antonio PÉREZ BOWIE (ed.). LA TEATRALIDAD EN LA PANTALLA. REFLEXIONES SOBRE EL DIÁLOGO CONTEMPORÁNEO ENTRE CINE Y TEATRO. (Madrid: Catarata, 2018, 190 págs.)","authors":"David Vázquez Couto","doi":"10.5944/signa.vol29.2020.27228","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.27228","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"24 1","pages":"995-998"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83478066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-08DOI: 10.5944/signa.vol29.2020.23411
Antonio César Morón Espinosa
Abstract: Short Theater has become a drama enterprise phenomenon with noteworthy characteristics. The relationships of consumption are much more close, spontaneous and informal. It attracts a type of spectator who usually shuns traditional spaces. This article gives account of the socalled Minimum Theatre, which encompasses a group of actors, directors and playwrights in Seville, between 2012 and 2014. They developed an innovative drama project and were very committed to delve into the socioeconomic and political circumstances of the main years of the last largescale crisis in Spain.
{"title":"TEATRO MÍNIMO: ¿NECESIDAD DE FORMA O FORMA DE NECESIDAD?","authors":"Antonio César Morón Espinosa","doi":"10.5944/signa.vol29.2020.23411","DOIUrl":"https://doi.org/10.5944/signa.vol29.2020.23411","url":null,"abstract":"Abstract: Short Theater has become a drama enterprise phenomenon with noteworthy characteristics. The relationships of consumption are much more close, spontaneous and informal. It attracts a type of spectator who usually shuns traditional spaces. This article gives account of the socalled Minimum Theatre, which encompasses a group of actors, directors and playwrights in Seville, between 2012 and 2014. They developed an innovative drama project and were very committed to delve into the socioeconomic and political circumstances of the main years of the last largescale crisis in Spain.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"72 1","pages":"605-634"},"PeriodicalIF":0.2,"publicationDate":"2020-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84318941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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