Pub Date : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.29299
José Calvo Tello
Resumen: En este articulo se presenta el Corpus de novelas de la Edad de Plata, una coleccion de 358 novelas publicadas por autores espanoles entre 1880 y 1939. La seleccion de textos sigue criterios fijados por manuales de literatura. Los textos han sido codificados en XML-TEI, formato que tambien recoge los metadatos revisados de manera manual y las anotaciones linguisticas realizadas por herramientas automaticas. El conjunto de datos permite realizar descripciones estadisticas, evaluar hipotesis propuestas por otros investigadores o explorar nuevas correlaciones. Finalmente, se daran descripciones semanticas de diferentes subgeneros de la novela. Abstract: In this paper the Corpus of Novels of the Spanish Silver Age is presented, a collection of 358 novels published by Spanish authors between 1880 and 1939. The selection of the texts follows criteria from the studies of literature. The texts have been encoded in XML-TEI. In this format are also saved the manually curated metadata and the linguistic annotations by automatic tools. The data set allows calculating statistical descriptions of the novel, evaluate hypotheses by other researchers or explore new correlations. Finally, it will be presented semantic descriptions about several subgenres of the novel.
摘要:本文介绍了西班牙作家在1880年至1939年间出版的358部小说。文本的选择遵循文献手册中规定的标准。文本是用XML-TEI编码的，该格式还收集手工修订的元数据和由自动化工具执行的语言注释。数据集允许进行统计描述，评估其他研究人员提出的假设或探索新的相关性。最后，将对小说的不同子流派进行语义描述。摘要:本文介绍了西班牙银时代小说文集，是1880年至1939年间西班牙作家出版的358部小说的集合。= =地理= =根据美国人口普查，该镇的土地面积为。文本已经用XML-TEI编码。在这种格式中，自动工具还保存了人工编目的元数据和语言注释。该数据集允许计算小说的统计描述，由其他研究人员评估假设，或探索新的关联。最后,it will be介绍了语义descriptions about若干subgenres小说。
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Pub Date : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.26396
Carmen María López López
Resumen: El articulo estudia la presencia del cine en distintas novelas de Javier Marias. Esta presencia puede apreciarse no solo en temas y personajes, sino tambien en referencias explicitas que estan involucradas en el centro de la trama. Ademas de ofrecer un marco teorico acerca de los limites y desafios de los estudios filmicos y literarios, el articulo proporciona un analisis los elementos cinematograficos en sus novelas. En sintesis, el estudio pretende llenar un hueco en este enfoque interdisciplinar al que la critica especializada aun no ha dedicado una reflexion minuciosa. Abstract: The article studies the presence of cinema in several novels by Javier Marias. This presence is detected not only in topics and characters, but also in explicit references which are central to the plot. As well as providing a theoretical framework about the limits and challenges of filmic and literary studies, the article provides an analysis of the cinematic elements in his novels. In synthesis, the study aims to fill a gap in this interdisciplinary approach to which critics haves not yet paid enough attention.
摘要:本文研究了哈维尔·马里亚斯不同小说中电影的存在。这种存在不仅可以在主题和人物中看到，还可以在情节中心的明确参考中看到。这篇文章的目的是分析他的小说在电影和文学研究中的局限性和挑战，并分析他的小说中的电影元素。这篇文章的目的是提出一个跨学科的方法，在这个方法中，专业评论家还没有进行彻底的反思。= =地理= =根据美国人口普查，这个县的面积为。detected not only in .此在场和characters,明确中央》which are to the plot。As well As提供理论框架about the limits filmic and literary问题研究和挑战,the条提供an analysis of the cinematic elements in novels。综上所述，本研究旨在填补这一跨学科方法中评论家尚未给予足够重视的空白。
{"title":"LA NARRATIVA DE JAVIER MARÍAS EN DIÁLOGO CON EL CINE. CONFLUENCIAS ESTÉTICAS Y HORIZONTES POSIBLES","authors":"Carmen María López López","doi":"10.5944/SIGNA.VOL30.2021.26396","DOIUrl":"https://doi.org/10.5944/SIGNA.VOL30.2021.26396","url":null,"abstract":"Resumen: El articulo estudia la presencia del cine en distintas novelas de Javier Marias. Esta presencia puede apreciarse no solo en temas y personajes, sino tambien en referencias explicitas que estan involucradas en el centro de la trama. Ademas de ofrecer un marco teorico acerca de los limites y desafios de los estudios filmicos y literarios, el articulo proporciona un analisis los elementos cinematograficos en sus novelas. En sintesis, el estudio pretende llenar un hueco en este enfoque interdisciplinar al que la critica especializada aun no ha dedicado una reflexion minuciosa. Abstract: The article studies the presence of cinema in several novels by Javier Marias. This presence is detected not only in topics and characters, but also in explicit references which are central to the plot. As well as providing a theoretical framework about the limits and challenges of filmic and literary studies, the article provides an analysis of the cinematic elements in his novels. In synthesis, the study aims to fill a gap in this interdisciplinary approach to which critics haves not yet paid enough attention.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"100 1","pages":"575-600"},"PeriodicalIF":0.2,"publicationDate":"2021-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86245393","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 : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.26399
Eva Ariza Trinidad
Resumen: La teoria de los mundos posibles que plantean Lubomir Doležel, Umberto Eco y Thomas Pavel se aplica en esta propuesta a lo fantastico para concretar los rasgos ontologicos, cualitativos, cuantitativos y de homogeneidad / heterogeneidad que configuran la macroestructura de este tipo de mundos; un analisis que posibilita diferenciar este territorio ficcional de otros con que suele confundirse, como lo maravilloso y la ciencia ficcion. Asi, se proporciona una definicion de lo fantastico, alternativa a las actuales, que contempla las relaciones inter-mundos en que se fundamenta su especificidad ficcional. Abstract: In this paper, possible-world theory, as advanced by Lubomir Doležel, Umberto Eco and Thomas Pavel, has been applied to the fantastic in order to characterise its macrostructure through the identification of its defining features, namely, its ontological, qualitative, quantitative and homogeneity / heterogeneity traits. This analysis makes it possible to differentiate the fantastic from other fictional territories with which it is usually mistaken, such as the marvellous and science-fiction. Thus, an alternative definition of the fantastic is given by considering the interworld relations in which its fictional specificity lies.
摘要:Lubomir所构成的理论的世界中多尔ž,翁贝托回声和托马斯帕维尔这一建议适用于我怕来安排ontologicos特征定性、定量和均匀性/多样外围低倍组织这种世界;一种分析，使我们能够区分这个虚构的领域与其他经常被混淆的领域，如奇妙的和虚构的科学。因此，它提供了一种幻想的定义，一种替代当前的定义，它考虑了世界之间的关系，这是它虚构的特殊性的基础。Abstract: In this paper, possible-world theory, advanced by Lubomir多尔ž,翁贝托应和和托马斯·帕维尔,has been applied to the fantastic In order to characterise its macrostructure through the确定its defining特写browde、its ontological、定性,and homogeneity /家族traits。This analysis曾可能to differentiate the fantastic from other虚构的领土with which it is,错了,如the奇妙的and science-fiction。因此,an替代definition of the fantastic is进行虽然ngok interworld relations in which其虚构的specificity史蒂文·索德伯格。
{"title":"MUNDOS POSIBLES DE LO FANTÁSTICO. UNA APROXIMACIÓN A LA ESTRUCTURA DE MUNDO","authors":"Eva Ariza Trinidad","doi":"10.5944/SIGNA.VOL30.2021.26399","DOIUrl":"https://doi.org/10.5944/SIGNA.VOL30.2021.26399","url":null,"abstract":"Resumen: La teoria de los mundos posibles que plantean Lubomir Doležel, Umberto Eco y Thomas Pavel se aplica en esta propuesta a lo fantastico para concretar los rasgos ontologicos, cualitativos, cuantitativos y de homogeneidad / heterogeneidad que configuran la macroestructura de este tipo de mundos; un analisis que posibilita diferenciar este territorio ficcional de otros con que suele confundirse, como lo maravilloso y la ciencia ficcion. Asi, se proporciona una definicion de lo fantastico, alternativa a las actuales, que contempla las relaciones inter-mundos en que se fundamenta su especificidad ficcional. Abstract: In this paper, possible-world theory, as advanced by Lubomir Doležel, Umberto Eco and Thomas Pavel, has been applied to the fantastic in order to characterise its macrostructure through the identification of its defining features, namely, its ontological, qualitative, quantitative and homogeneity / heterogeneity traits. This analysis makes it possible to differentiate the fantastic from other fictional territories with which it is usually mistaken, such as the marvellous and science-fiction. Thus, an alternative definition of the fantastic is given by considering the interworld relations in which its fictional specificity lies.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"21 1","pages":"363-390"},"PeriodicalIF":0.2,"publicationDate":"2021-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82701245","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 : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.26763
Charo Lacalle
Abstract: This article explores the reconstruction of the historical memory of Arde Madrid, a comedy set in Madrid in the early sixties where Ava Gardner lived. References to the Spanish cinema of the fifties and the Hollywood runaway productions intermix with Ava Gardner’s biography, in order to celebrate an actress whose films set in Spain played a key role in the shaping of the myth. The revision of the Spanishness symbology associated with Franco dictatorship and the social portrait of that period make the series into a symbolic place of collective memory.
{"title":"AVA GARDNER EN LA ESPAÑA DEL DESARROLLISMO: LA RECONSTRUCCIÓN CINÉFILA DE LA MEMORIA SOCIAL EN LA FICCIÓN TELEVISIVA ESPAÑOLA","authors":"Charo Lacalle","doi":"10.5944/SIGNA.VOL30.2021.26763","DOIUrl":"https://doi.org/10.5944/SIGNA.VOL30.2021.26763","url":null,"abstract":"Abstract: This article explores the reconstruction of the historical memory of Arde Madrid, a comedy set in Madrid in the early sixties where Ava Gardner lived. References to the Spanish cinema of the fifties and the Hollywood runaway productions intermix with Ava Gardner’s biography, in order to celebrate an actress whose films set in Spain played a key role in the shaping of the myth. The revision of the Spanishness symbology associated with Franco dictatorship and the social portrait of that period make the series into a symbolic place of collective memory.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"52 3 1","pages":"555-573"},"PeriodicalIF":0.2,"publicationDate":"2021-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77671555","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 : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.29328
Julio Andrés Gracia Lana
-
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{"title":"GÉNERO Y CONCIENCIA AUTORAL EN EL CÓMIC ESPAÑOL (1970-2018) José Manuel TRABADO CABADO (ed.) (León: Universidad de León / EOLAS Ediciones, 2019, 439 págs.)","authors":"Julio Andrés Gracia Lana","doi":"10.5944/SIGNA.VOL30.2021.29328","DOIUrl":"https://doi.org/10.5944/SIGNA.VOL30.2021.29328","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"1 1","pages":"825-828"},"PeriodicalIF":0.2,"publicationDate":"2021-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75264358","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 : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.29323
Juan Gómez Espinosa
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{"title":"LEOPOLDO MARÍA PANERO: LOS LÍMITES DE LA PALABRA POÉTICA Clara I. MARTÍNEZ CANTÓN, Sergio SANTIAGO ROMERO y Javier DOMINGO MARTÍN (eds.) (Valencia: Tirant Humanidades, 2019, 384 págs.)","authors":"Juan Gómez Espinosa","doi":"10.5944/SIGNA.VOL30.2021.29323","DOIUrl":"https://doi.org/10.5944/SIGNA.VOL30.2021.29323","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"18 1","pages":"797-800"},"PeriodicalIF":0.2,"publicationDate":"2021-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74784601","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 : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.26474
Fernando Gómez Beceiro, N. A. Ramos, J. L. C. D. Paz
Abstract: Just after the eightieth anniversary of death of Antonio Machado, we turn our attention to two films whose speeches gravitate a deep immersion in his work and his personality. Directed by Arturo Ruiz- Castillo between the summer of 1952 and the spring of 1953, La laguna negra emerges as transposition of a romance of the Sevillian poet, while the post-war account Dos caminos seem to be nourished by a dense allegorical invocation of Machadian thought. Scarcely known and barely considered by historiography film, both films make up an unmistakable biology with an unusual semantic density that needs to be vindicated urgently.
{"title":"BILOGÍA FÍLMICA MACHADIANA: LA SOMBRA DE CAÍN SOBRE LA ¡HERMOSA TIERRA DE ESPAÑA!","authors":"Fernando Gómez Beceiro, N. A. Ramos, J. L. C. D. Paz","doi":"10.5944/SIGNA.VOL30.2021.26474","DOIUrl":"https://doi.org/10.5944/SIGNA.VOL30.2021.26474","url":null,"abstract":"Abstract: Just after the eightieth anniversary of death of Antonio Machado, we turn our attention to two films whose speeches gravitate a deep immersion in his work and his personality. Directed by Arturo Ruiz- Castillo between the summer of 1952 and the spring of 1953, La laguna negra emerges as transposition of a romance of the Sevillian poet, while the post-war account Dos caminos seem to be nourished by a dense allegorical invocation of Machadian thought. Scarcely known and barely considered by historiography film, both films make up an unmistakable biology with an unusual semantic density that needs to be vindicated urgently.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"144 1","pages":"473-499"},"PeriodicalIF":0.2,"publicationDate":"2021-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77560551","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 : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.29305
Massimo Leone
espanolResumen: Para discutir de manera razonable de alteridad, primero hay que definir la normalidad. La normalidad de los patrones que determinan la percepcion y la representacion de rostros humanos tiene que definirse a la vez en relacion a la neurofisiologia humana de la percepcion de rostros, resultado de la evolucion biologica de la especie, y a la influencia de una cultura visual sobre ella. La semiotica estructural y, en particular en analisis plastico de las configuraciones visivas, puede ser adoptada como metodologia para averiguar lo que una semiosfera cultural considera como nucleo de normalidad en la percepcion y especialmente en la representacion de rostros. Solamente en relacion con este nucleo se puede medir la distancia, a partir de ella, de rostros que una cultura visual considera como otros, anormales, o incluso ilegales. EnglishAbstract: So as to reasonably discuss about otherness, one should first define normality. The normality of patterns determining the perception and representation of human visages must be defined in relation to both the human neurophysiology of face perception, resulting from the biological evolution of the species, and the influence of a visual species on it. Structural semiotics, particularly the plastic analysis of visual configurations, can be adopted as methodology so as to ascertain that which a cultural semiosphere considers as its kernel of normality in the perception and especially in the representation of visages. Only in relation to such kernel can the distance from it of visages that a visual culture considers as other, abnormal, or even illegal, be measured.
为了合理地讨论他者，我们必须首先定义常态。正常模式决定了percepcion面孔和第八条作为必须每次在守护界定人类neurofisiologia percepcion面部,由于evolucion biologica的物种,并在视觉文化的影响了她。结构符号学，特别是视觉构型的塑料分析，可以作为一种方法来发现什么是文化符号学认为的感知正常的核心，特别是在面孔的表征。只有在与这个核相关的情况下，才能测量到与它的距离，从视觉文化认为是其他的，不正常的，甚至是非法的面孔。英语说明:为了合理地讨论其他事物，一个人应该首先定义正常。The patterns的normality of The perception and representation of human visages必须be defined in both The human neurophysiology of face perception,关于《生物evolution of The species所致,and The影响视觉species of a on it。结构上不可semiotics,特别是塑料analysis of visual configurations, can be as方法so as to ascertain that which通过文化semiosphere认为as its kernel of normality in the perception尤其是in the representation of visages。仅关于此类内核can the distance from it of visages that a视觉文化认为as other abnormal, or even illegal, be在。
{"title":"MALA CARA: NORMALIDAD Y ALTERIDAD EN LA PERCEPCIÓN Y EN LA REPRESENTACIÓN DEL ROSTRO HUMANO","authors":"Massimo Leone","doi":"10.5944/SIGNA.VOL30.2021.29305","DOIUrl":"https://doi.org/10.5944/SIGNA.VOL30.2021.29305","url":null,"abstract":"espanolResumen: Para discutir de manera razonable de alteridad, primero hay que definir la normalidad. La normalidad de los patrones que determinan la percepcion y la representacion de rostros humanos tiene que definirse a la vez en relacion a la neurofisiologia humana de la percepcion de rostros, resultado de la evolucion biologica de la especie, y a la influencia de una cultura visual sobre ella. La semiotica estructural y, en particular en analisis plastico de las configuraciones visivas, puede ser adoptada como metodologia para averiguar lo que una semiosfera cultural considera como nucleo de normalidad en la percepcion y especialmente en la representacion de rostros. Solamente en relacion con este nucleo se puede medir la distancia, a partir de ella, de rostros que una cultura visual considera como otros, anormales, o incluso ilegales. EnglishAbstract: So as to reasonably discuss about otherness, one should first define normality. The normality of patterns determining the perception and representation of human visages must be defined in relation to both the human neurophysiology of face perception, resulting from the biological evolution of the species, and the influence of a visual species on it. Structural semiotics, particularly the plastic analysis of visual configurations, can be adopted as methodology so as to ascertain that which a cultural semiosphere considers as its kernel of normality in the perception and especially in the representation of visages. Only in relation to such kernel can the distance from it of visages that a visual culture considers as other, abnormal, or even illegal, be measured.","PeriodicalId":54036,"journal":{"name":"Signa-Revista de la Asociacion Espanola de Semiotica","volume":"143 1","pages":"191-211"},"PeriodicalIF":0.2,"publicationDate":"2021-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80397600","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 : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.29311
Carmen Arocena Badillos
Resumen: Simone de Beauvoir definio a la mujer como el representante mas claro de la alteridad, surgida de un proceso manipulatorio. La mujer ocupa cada una de las cuatro posiciones del cuadrado semiotico con el que Eric Landowski ha representado las diferentes maneras de relacionarse con el diferente. La serie televisiva El cuento de la criada las refleja y formaliza la relacion de asimetria mediante oposiciones entre tipos de planos y la utilizacion reiterada de motivos figurativos. Abstract: Simone de Beauvoir defined women as the clearest representative of otherness, arising from a manipulative process. The woman occupies each of the four positions of the semiotic square with which Eric Landowski has represented the different ways of relating to the different. The television series The Handmaid’s Tale reflects them and formalises the relationship of asymmetry through oppositions between types of planes and the repeated use of figurative motifs.
摘要:西蒙娜·德·波伏娃将女性定义为他者最清晰的代表，产生于一个操纵过程。埃里克·兰德斯基(Eric Landowski)在符号学广场上描绘了与不同的人互动的不同方式，女性占据了四个位置中的每一个。电视连续剧《女仆的故事》通过平面类型之间的对立和形象主题的反复使用，反映并形式化了不对称的关系。摘要:西蒙娜·德·波伏娃(Simone de Beauvoir)将女性定义为“异质”的最明显代表，源于一种操纵过程。The woman occupies每of The four of The semiotic广场with which埃里克Landowski消除对你的有关的不同途径不同。The电视系列The Handmaid’s砍掉了反映并formalises The relationship of asymmetry through oppositions between types of计划and The至于use of figurative motifs。
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Pub Date : 2021-01-06DOI: 10.5944/SIGNA.VOL30.2021.27089
Blas Sánchez Dueñas
Resumen: La produccion lirica de Maria Victoria Atencia se eleva como un todo organico atravesado por unos mismos componentes poeticos y tecnicos. La importancia de lo cotidiano, la sustantividad de intertextos y referentes artisticos y el alcance de los entornos del paisanaje vital conforman algunos de los ejes discursivos centrales de su obra. El presente trabajo indaga en la trascendencia de los referentes sensoriales, en especial del sentido de la vista, como claves para elaboracion de una lirica donde el mundo exterior, captado sensorialmente, se convierte en onda de expansion desde la que emerge, convertido en poesia, el mundo interior de la autora. Abstract: Maria Victoria Atencia’s body of lyrical poetry stands as an organic whole woven together by a set of shared poetic and technical threads. The importance of everyday life, the substantivity of intertexts and artistic references, and the scope of vital landscapes constitute some of the central discursive axes of her creative practice. This work explores the transcendence of these sensorial references, especially the sense of sight, as key to the production of a unique body of lyrical works in which the external world, sensorially captured, becomes a wave of expansion from which the author’s interior world.
摘要:玛丽亚·维多利亚·阿滕西亚的抒情创作是一个有机的整体，由相同的诗歌和技术成分交叉而成。日常生活的重要性，互文和艺术参考的实质，以及重要景观环境的范围，构成了他作品的一些中心话语轴。本去查他在重要工作有关的视觉的感官,尤其是lirica elaboracion的地方,这是一个关键,如外界,收到了sensorialmente,变成了波长安排从初生,成为她的诗,内部的世界。Abstract: Maria Atencia胜利’s body of lyrical poetry theater) as an有机全食超市woven by a set of shared poetic and technical threads在一起。《每日重视life, The substantivity of intertexts and重要艺术》,and The scope of landscapes中央的some of The discursive裁减发表她的创作实践。This work explores the transcendence这些术》,特别是the sense of sight, as key to the production of a unique body of lyrical works in which the external world, sensorially暴力,becomes a wave of安排from which the:提交人的内心世界。
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