Cecilia Belchi Arévalo y María Martínez del Portal, eds: Estudios sobre José Luis Castillo-Puche

Review of: Cecilia Belchi Arévalo y María Martínez del Portal. eds. Estudios sobre José Luis Castillo-Puche, Murcia, Academia Alfonso X El Sabio, 1988, 165 pp

Evidence Informed Checklist Increase Patient Experience of Quietness During a Hospital Stay

This checklist is made to be used by staff at hospitals, especially nurse managers and quality improvement specialists. A staff member can pick and choose what items on the checklist are feasible to implement within their organization. Ongoing quality improvement strategies are suggested in the checklist to remain abreast of ways to mitigate noise in hospitals

Zorrilla y la poética del éxito: <i>Sancho García</i>

The Drama <i>Sancho García</i> (1842), well received at the time by the public and by the critics, occupies a strategic position in the trajectories of Spanish Romanticism and of Zorrilla’s oeuvre. However, it has not received enough attention, overshadowed as it has been by more popular works of this author. The article underlines some keys of this particularity, in its historical and cultural context. These keys outline certain features of the author’s <i>formula or art of drama</i>, arisen from a conjunction of good choices, at the different levels and stages of his playwriting, these choices seeking to satisfy the requirements of the popular and conservative public they were meant for. Sustaining <i>theatricality</i>, the principal virtue of Zorrilla’s dramaturgy, he chose, among other options, 1) an adequate dramatic model (<i>tragic composition</i>), closer to romantic drama than to classic tragedy; 2) a narrative frame —historical-legendary, medieval and Spanish—, with high doses of suspense and excitement, 3) his skilful recreation by means of proceedings and materials that were very well known —particularly in the legendary tradition of narration and in the theatre of that time and of Zorrilla himself—, attaining great effect, and 4) the skilful performances of the actors, etc.<br><br>El drama <i>Sancho García</i> (1842), bien acogido por el público de su tiempo y por la crítica, ocupa una posición estratégica en las trayectorias del romanticismo español y de la obra de Zorrilla. Sin embargo, no ha recibido suficiente atención, eclipsado por títulos más populares de su autor. El artículo destaca algunas claves de esa notoriedad, en su contexto histórico-cultural. Perfilan determinados rasgos del <i>arte</i> o <i>fórmula dramática</i> / de la <i>fórmula</i> o <i>arte dramático</i> del autor, surgida de la conjunción de una serie de aciertos, en los distintos niveles y etapas de la producción teatral, encaminados a satisfacer las demandas del público, popular y conservador, al que iba dirigido. Sustentando la <i>teatralidad</i>, principal virtud de la dramaturgia de Zorrilla, se trata, entre otros, de la elección de un modelo dramático adecuado (<i>composición trágica</i>), más cerca del drama romántico que de la tragedia clásica; de un armazón narrativo —histórico-legendario, medieval y español—, con fuertes dosis de suspense y emoción; de su hábil recreación mediante procedimientos y materiales muy conocidos —en especial en la tradición legendaria del relato y en el teatro de la época y de Zorrilla—, de gran efectismo; del buen oficio de los actores, etc

Paisaje y sociedad de alta montaña en <em>De Madrid a Nápoles</em> (1861) de Pedro Antonio de Alarcón

The passage from <em>De Madrid a Nápoles</em> (1861) in which Pedro Antonio de Alarcón describes the alpine landscape is a relevant document, as it contains the first detailed depiction of Mont Blanc’s range that we come across in the history of Spanish travel literature. In the text, Alarcón sets an archaic lifestyle ideal against material progress linked to the birth of the modern metropolis under industrial revolution. This outlook anticipates the strong conservative attitude towards social changes that will increasingly be adopted by the Spanish writer in the last years of his life. From this alpine description emerge distinctive romantic clichés associated with an aesthetic dear to Alarcón that unexpectedly blend with a religious vision of nature. Furthermore, we analize the role of Bædeker’s travel guide book on Switzerland (whose 4^th edition, published in 1859, is well known to Alarcón) and the traces it has left in this extensive passage.<br><br>El extenso pasaje en el que Pedro Antonio de Alarcón describe, en <em>De Madrid a Nápoles</em> (1861), el territorio alpino es un valioso texto documental ya que constituye la primera descripción pormenorizada de la cadena del Mont Blanc que se registra en la tradición española de la literatura de viajes. Advertimos el propósito de contraponer un ideal de vida arcaico a la fe en el progreso material que anima a la metrópoli nacida a remolque de la revolución industrial, lo que presagia el conservadurismo ideológico de Alarcón. La descripción pone de manifiesto viejos clichés románticos, a cuya estética permanece Alarcón en parte apegado, y que se alían de manera inesperada con una visión espiritualizada de la naturaleza. Se sopesa además la huella que la guía turística Bædeker sobre Suiza, cuya 4.ª edición (1859) el autor lleva consigo en su viaje, deja en el fragmento descriptivo alpino

Tristes tópicos cervantinos: periferia e identidad en algunos acercamientos posmodernos a Cervantes

For almost two decades, a group of North-american specialists in Cervantes have speculated americanist interpretation of Miguel de Cervantes’ novels, and namely of Don Quixote and Persiles y Sigismunda. In this article, the author analyzes the ideological bases of such a hypothesis as a posmodern critical theory of identity.Desde hace casi dos decadas, un grupo de cerventistas norteamericanas ha especulado con una interpretación americanista de las novelas de Miguel de Cervantes, en especial el Quijote y Persiles y Sigismunda. En el presente artículo, su autor analiza las bases ideológicas de tal hipótesis como una teoría arraigada en un posmodernismo crítico identitario

Post-Franco Theatre

In the multiple realms and layers that comprise the contemporary Spanish theatrical landscape, “crisis” would seem to be the word that most often lingers in the air, as though it were a common mantra, ready to roll off the tongue of so many theatre professionals with such enormous ease, and even enthusiasm, that one is prompted to wonder whether it might indeed be a miracle that the contemporary technological revolution – coupled with perpetual quandaries concerning public and private funding for the arts – had not by now brought an end to the evolution of the oldest of live arts, or, at the very least, an end to drama as we know it

TRES PERSONAJES DE CASTILLO-PUCHE EN BUSCA DE UN CAMINO

(…)This is a study of the characters, Enrique. Julio, and Luis, protagonists of «Sin Camino», «Con la muerte al Hombro», y «El Vengador» respectively,  and how their life-adventures show the similarities of their aims as well as their different reactions towards the events which guide them on their search (…)(…)Al considerar las tres primeras novelas de José Luis Castillo-Puche, los críticos, generalmente, las han estudiado en el orden de su publicación; primero Con la muerte al hombro de 1954, seguida de Sin camino de 1956 y después El vengador de este mismo año l. El autor inclusive lo hace así apoyándose en la cronología de su vida que le sirve de base para sus novelas (…