Los manrique: de Antonio de Trueba al Conde de Barcelos

Con la publicación de las Leyendas genealógicas de España, en 1887, el escritor vizcaíno Antonio de Trueba (c. 1819-1889) “recuperaba” y divulgaba entre sus lectores un corpus de antiguas narraciones prácticamente desconocidas por ellos

Una Melusina vasca: "La dama de Vizcaya"

Proceeding from the oral tradition, some legandary narrations were incorporated to the Geneology of the Haro with the proposal to exalt and dignify the family history. As it is known, since the 13th Century it's a common practice of the cultural productions of determinated sectors of the European aristocracy. From the beginning of the articulation of one of the tales, La Dama de Vìzcaya, in different levels of signification, they express their most important units and the relations which establish different sectors (social, cultural, mythical...) of the activity and human thoughtsProcedentes de la tradición oral, varias narraciones legendarias fueron incorporadas a la genealogía de los Haro con el propósito de exaltar y dignificar la historia familiar. Como es sabido, se trata de una práctica habitual en la producción cultural de determinados sectores de la nobleza europea desde el siglo XIII. A partir de la articulación de uno de los relatos, La Dama de Vìzcaya, en diferentes niveles de significación, se ponen de manifiesto sus unidades más relevantes y las relaciones que establece con diferentes ámbitos (social, cultural, mítico...) de la actividad y el pensamiento humanos

Zorrilla y la poética del éxito: Sancho García

The Drama Sancho García (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 formula or art of drama, 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 theatricality, the principal virtue of Zorrilla’s dramaturgy, he chose, among other options, 1) an adequate dramatic model (tragic composition), 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.El drama Sancho García (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 arte o fórmula dramática / de la fórmula o arte dramático 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 teatralidad, principal virtud de la dramaturgia de Zorrilla, se trata, entre otros, de la elección de un modelo dramático adecuado (composición trágica), 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

Significado y tradición de un relato mítico. Los orígenes de la Casa de Haro

The article present sums up a research on the meaning and the tradition of a mythical tale, carried out under two different outlooks: synchronic (through the analysis of 40 European renderings of che same legend) and diachronic (by considering the different «manipulations» of the tale throughout history). It is a medieval story whithin the mythical cycle of Mélusine whose heroes are Diego López and Íñiguez Guerra, the fourth and fifth Lords of Biscay according to the geneaology of the Haro Family, held in chapter IX of the Livro de linhagens. that was written between 1340 and 1344 by Pedro de Barcelos.El artículo resume un estudio sobre el significado y la tradición de un relato mítico, realizado desde una perspectiva sincrónica ( mediante el análisis de cuarenta versiones europeas de la misma leyenda) y diacrónica (observando las diferentes «manipulaciones» de que ha sido objeto a lo largo de su historia). Se trata de un relato medieval, perteneciente al ciclo mítico de Melusina, cuyos sucesivos héroes son Diego López e Íñiguez Guerra, señores de Vizcaya cuarto y quinto, según la genealogía de los Haro contenida en el título IX del Livro de linhagens, compuesto entre 1340 y 1344 por Pedro de Barcelos

Moinhos de vento e varas de queixadas: o perspectivismo e a economia do pensamento

O artigo passa em revista uma série de confrontos entre o que poderíamos chamar de percepções "perspectivistas" e "naturalistas" do mundo: o processo de cristianização do ocidente medieval, o declínio da magia européia, o apogeu e crise da caça às bruxas no início da Idade Moderna e o argumento de um clássico, o Dom Quixote de Miguel de Cervantes. Trata-se, em cada caso, de motivos característicos da grande narrativa do triunfo da razão e do contraste entre o pensamento racional e seus contrários que, examinados em detalhe, mostram porém a coexistência de pensamentos, o caráter imediato e reversível de suas transformações. A noção de perspectivismo permite assim agilizar a descrição histórica das reformas epistemológicas e dessubstancializar as noções antropológicas de "racional" e "não-racional". No final do texto são sugeridas algumas vias de estudo sobre o encontro entre os xamanismos ameríndios (o universo do qual é tomada a noção de perspectivismo tal como aparece no artigo) e suas reelaborações recentes.<br>The article reviews a series of confrontations between what we could dub 'perspectivist' and 'naturalist' perceptions of the world: the process of Christianization of the medieval west, the decline of European sorcery, the apogee and crisis of witch-hunting at the dawn of the Modern Age and the publication of Miguel de Cervantes' Dom Quixote. Each case deals with themes characteristic of the grand narrative of the triumph of reason and the contrast between rational thinking and its opposites which, when examined in detail, actually reveal the co-existence of modes of thinking, as well as the immediate and reversible character of their transformations. The notion of perspectivism thus enables a more nuanced and versatile historical description of these epistemic reforms and the de-substantialization of anthropological notions of the rational and the irrational. The text concludes by suggesting some ways to study the encounter between Amerindian shamanisms (the universe from which the notion of perspectivism as it appears in the article is taken) and their recent re-elaborations