REV - RILCE - 2021, 37.1

Permanent URI for this collectionhttps://hdl.handle.net/10171/58793

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    «En el nombre de Dios Todopoderoso»: los tratamientos nominales en la «Relación autobiográfica» de Úrsula Suárez (1666-1749)
    (Servicio de Publicaciones de la Universidad de Navarra, 2021) Rivadeneira-Valenzuela, M. (Marcela); Contreras-Gutiérrez, A. (Alejandra)
    El presente trabajo se centra en el ámbito de los tratamientos nominales en la Relación autobiográfica, obra escrita por la monja clarisa Úrsula Suárez a principios del siglo XVIII. Reconocido –especialmente en español latinoamericano– no solo por su contenido, sino por la forma de escritura, este texto nos acerca a la dimensión interactiva de las relaciones sociales a través de la reproducción de usos dialógicos en los que abundan representaciones lingüísticas de gran espontaneidad. En este sentido, nuestro estudio revela rasgos de variación en el uso de tratamientos nominales en los ámbitos religioso, divino y familiar, en conjunción con formas pronominales y verbales de segunda y tercera persona, las cuales se emplean como rasgos de alternancia en tratamientos directos e indirectos; a su vez, se descubren estrategias estilístico-discursivas a través de la desvinculación de la segunda persona hacia estructuras de tercerización. Nuestros resultados permiten comprobar la utilidad del género autobiográfico conventual como documentación válida para analizar procesos de variación y cambio lingüístico en la historia de la lengua, particularmente relevantes en variedades regionales poco estudiadas.
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    De «madamas» y «madamitas»: un tratamiento galicado en la historia del español moderno
    (Servicio de Publicaciones de la Universidad de Navarra, 2020) García-Godoy, M. (Mayte)
    Post-classic Spanish had profound changes in its system of forms of address, including the nominal as well as pronominal forms. Such changes involved Gallicized appellations that were introduced in the 18th Century – both in the family (papá, mamá), and social settings (madama) –. Accordingly, in the parent-child relationship we find that the nominal forms of address papa/mamá favour the innovative use of tú instead of the conservative usted. Currently, it is not known whether Gallicized appellations in the social setting have favoured patterns of innovative forms of address. Having new empirical evidence, the purpose of this work is the research of the unknown history of the madama and madamita forms of address in 18th and 19th Century Spanish society, from the perspective provided by text corpus. This study will demonstrate how the modern usage of madama is quite different from its medieval use, and that, by temporal polygenesis, the Gallicized form of address would have appeared twice in the Spanish language, with different patterns of use and in different social strata.
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    La finalidad y el infinitivo preposicional del español: rasgos heredados desde la construcción final en el infinitivo actual
    (Servicio de Publicaciones de la Universidad de Navarra, 2020) Tordera-Yllescas, J.C. (Juan Carlos)
    In the current Spanish, there are different examples of infinitives introduced by a seemingly superfluous preposition: the infinitives can be preceded by the preposition de (Le dijo de ir), by the preposition a (Lo mandó a callar) and by the preposition para (Le dijo para ir de inmediato). The aim of this paper is to show that the presence of this preposition is intimately linked to the original final value of the infinitive and that this origin is translated in the current syntax of the exhortative and volitive verbs and in the lexical and grammatical aspect that the infinitive can express, according to the syntactic context. From the history of the language, it is intended to explain the current state of the infinitive.
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    García Santo-Tomás, Enrique, ed. Science on Stage in Early Modern Spain. Toronto: Toronto UP, 2019. 296 pp. (ISBN: 978-1-4875-0405-2) [RESEÑA]
    (Servicio de Publicaciones de la Universidad de Navarra, 2020) Barrera-Osorio, A. (Antonio)
       
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    «Nuevo mundo» de Miguel de Unamuno y «Declaración de un vencido» de Alejandro Sawa: dos novelas modernistas
    (Servicio de Publicaciones de la Universidad de Navarra, 2020) Kłosińska-Nachin, A. (Agnieszka)
    The article aims to establish an aesthetic relation between Nuevo Mundo (1895-1896) by Miguel de Unamuno and Declaración de un vencido (1887) by Alejandro Sawa. So as to compare the texts, a strategy of analysis is proposed, taking into account three criteria: the argument, the enunciation and the concept of the protagonist in the two novels. In parallel, a model of the modernist novel is established, resulting from the confrontation of Spanish prose fiction with the European and, to a lesser extent, Latin American modernist novel. The adopted method allows to confirm that both texts tell a story of a frustrated artist (decadent hero) and turn to a narrative perspective deliberately directed towards the inside of the protagonist. Relying on characters that combine the condition of the writer with journalistic activity, both Sawa and Unamuno depict a search for the basis of the position of the artist/intellectual in a changing and chaotic reality ruled by the laws of the market, a search which may be found in many European and Spanish modernist novels.
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    Regueiro Rodríguez, María Luisa. La meronimia. Cuadernos de Lengua Española 136. Madrid: Arco/Libros, 2018. 96 pp. (ISBN: 978-84-7635- 968-6) [RESEÑA]
    (Servicio de Publicaciones de la Universidad de Navarra, 2020) García-Pérez, J. (José)
       
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    Llera, José Antonio. Donde meriendan muerte los borrachos: lecturas de “Poeta en Nueva York”. Mérida: Editora Regional de Extremadura, 2018. 135 pp. (ISBN: 978-84-9852-555-7) [RESEÑA]
    (Servicio de Publicaciones de la Universidad de Navarra, 2020) Díez-de-Revenga, F.J. (Francisco Javier)
       
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    Cambio de estilo y proyección de estatus: tratamientos en la correspondencia cortesana de principios del s. XVI
    (Servicio de Publicaciones de la Universidad de Navarra, 2020) Campos, M. (Miguel)
    This paper analyses the personal style of the Count of Tendilla, captain-general of the kingdom of Granada, in his last collection of letters (1513- 1515). Specifically, the study focuses on an analysis of the changes in forms of address, depending on the image the Count wished to project of himself and the effect he wished to have on the recipient. The letters show two basic patterns in the forms of address: 1) etymological voseo –or use of “vos” as a second person singular pronoun; and 2) indirect forms of address (vuestra merced, vuestra señoría, vuestra alteza) in semantic and syntactic concordance, depending on the social value and emotional tone of the letter. The study unveils a widely varied repertory of grammatical and discourse strategies, such as the direct nature of vos, which makes it possible to bridge the gap between the interlocutors, the use of the vocative señor as a means of deference and attenuation, along with the use of indirect forms of address to acknowledge the noble status of the interlocutor.
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    Manuscritos e incunables en el entorno de los Reyes Católicos: el cancionero EM6
    (Servicio de Publicaciones de la Universidad de Navarra, 2020) Martos, J.L. (Josep Lluís)
    This work studies the external data and the internal ones of the cancionero EM6, which is an important novelty, having received very little codicological attention. This is the text of the so-called philology. This is, however, the starting point for a methodology that combines historiographical techniques with philological ones: the so-called material philology. Thus, the different sections of this cancionero are analyzed with ecdotic and philological criteria, from which the following is concluded: a) The textual stage of the Coplas de la vita Christi is immediately before its printed version and should be singled out in front of the testimony of the cancionero SA4a; b) the works that are copied next have differences of order, of duplicity and of mutilations with respect to the print form by Centenera in 1483, but they are undoubtedly a codex descriptus of this; c) it is delimited and confirms the materiality of the three printed sewn after Íñigo de Mendoza’s cancionero, whose dating coincides with the period of Isabel as queen of Portugal; d) it is determined that, like the three printed forms incorporated into this manuscript, the copy of the Repertorio de los tiempos comes from the incunabulum printed by Fadrique de Basilea in 1493 and not the one produced by Juan de Burgos in 1495. As a main conclusion, this cancionero is framed in the environment of the Catholic Monarchs and is attributed to Martín de Mendieta, a chamber man of the queen and of the Princess Isabel, from whom he keeps part of her personal books a few years after her death.