Suchergebnisse

Venizia, por Joan de Rossi, 1558. ; Language note: Translated version. ; Translated from: Italian. ; Citation confidence: An exemplar has been cited in an established listing bibliography (such as Palau), or more than one copy is known to survive in more than one collection. ; Citation/reference: IB: 3997

Pamplona, por Carlos de Labayen, 1610. ; Language note: Translated version. ; Translated from: Latin. ; Citation confidence: An exemplar has been referenced in a major analytical bibliography, or inspected book in hand, by a member of the Iberian Books project team or a collaborating institution. ; Citation/reference: IB: 44022

Turino, por los herederos de Bevilaqua, 1590. ; Language note: Translated version. ; Translated from: French. ; Citation confidence: An exemplar has been referenced in a major analytical bibliography, or inspected book in hand, by a member of the Iberian Books project team or a collaborating institution. ; Citation/reference: IB: 2055

Venizia, Gabriel Giolito de Ferrari, 1558. ; Language note: Translated version. ; Translated from: Italian. ; Citation confidence: An exemplar has been referenced in a major analytical bibliography, or inspected book in hand, by a member of the Iberian Books project team or a collaborating institution. ; Citation/reference: IB: 9531

Madrid, en casa de Pedro Várez de Castro, 1598. ; Language note: Translated version. ; Translated from: Italian. ; Citation confidence: An exemplar has been referenced in a major analytical bibliography, or inspected book in hand, by a member of the Iberian Books project team or a collaborating institution. ; Citation/reference: IB: 202

Sevilla, Meinardo Ungut y Estanislao Polono y Conrado Aleman y Melchior Gorricio, 1494. ; Language note: Translated version. ; Citation confidence: An exemplar has been referenced in a major analytical bibliography, or inspected book in hand, by a member of the Iberian Books project team or a collaborating institution. ; Citation/reference: IB: 3553

Barcelona, por Sebastián Matevad y Honofre Anglada a costa de Rafael Vives, 1605. ; Language note: Translated version. ; Translated from: Italian. ; Citation confidence: An exemplar has been referenced in a major analytical bibliography, or inspected book in hand, by a member of the Iberian Books project team or a collaborating institution. ; Citation/reference: IB: 22908

Madrid, por Juan Flamenco y en la Imprenta Real a costa de Estéban Bogia, 1604. ; Language note: Translated version. ; Citation confidence: An exemplar has been referenced in a major analytical bibliography, or inspected book in hand, by a member of the Iberian Books project team or a collaborating institution. ; Citation/reference: IB: 46903

Cagliari, Francisco Guarnerio, 1591. ; Language note: Translated version. ; Translated from: Multilingual. ; Citation confidence: The work may be genuine, but there is a heightened possibility that this works could be a bibliographical ghost. An exemplar may survive in only a single copy, or there may be no known surviving copy. ; Citation/reference: IB: 7924

Lyon, Guillaume Rouillé, 1579. ; Language note: Translated version. ; Translated from: French. ; Citation confidence: The work may be genuine, but there is a heightened possibility that this works could be a bibliographical ghost. An exemplar may survive in only a single copy, or there may be no known surviving copy. ; Citation/reference: IB: 4876

Barcelona, s.n., 1566. ; Language note: Translated version. ; Translated from: French. ; Citation confidence: The work may be genuine, but there is a heightened possibility that this works could be a bibliographical ghost. An exemplar may survive in only a single copy, or there may be no known surviving copy. ; Citation/reference: IB: 4875

Burgos, en casa de Sebastián de Canas a costa de Pedro de Ossete y Antonio Cuello, 1603. ; Language note: Translated version. ; Translated from: Italian. ; Citation confidence: An exemplar has been cited in an established listing bibliography (such as Palau), or more than one copy is known to survive in more than one collection. ; Citation/reference: IB: 22904

Sevilla, Juan Varela de Salamanca, 1509. ; Language note: Translated version. ; Translated from: Greek. ; Citation confidence: The work may be genuine, but there is a heightened possibility that this works could be a bibliographical ghost. An exemplar may survive in only a single copy, or there may be no known surviving copy. ; Citation/reference: IB: 1202

Alcalá de Henares en casa de Juan Mey, vendese en casa de Juan de Medina en Madrid, 1553. ; Language note: Translated version. ; Translated from: Italian. ; Citation confidence: An exemplar has been cited in an established listing bibliography (such as Palau), or more than one copy is known to survive in more than one collection. ; Citation/reference: IB: 199

In this article we intend to briefly approach the dismantling of the logocentric word that is articulated in the novel The Art of the Word by Enrique Lihn. We will give account of how the novel insists- above all- on the hidden aggression behind discourses, especially that of the paternalistic imposition of language and the authoritarian nature that constitutes it. We will see that -in the novel- these attributes will be represented by the character of the Protector. It will allude to the dictators who have affected Latin America and more specifically will be talking about the dictator, Augusto Pinochet. But also, it will give account of how the discourses sponsored by these dictators are nothing more than a neurotic repetition of the old foundational discourses. In this case, we will analyze the subversion that Lihn makes of the different Hispano-American essays that served to shape the cultural, political and educational structures that prevail -to a greater or lesser extent- up to our days and that are perpetuated in dictatorships such as Pinochet's. We will analyze how Miranda- fictional space of the novel- will become for us the representation of the obscurities of the Spanish-American collective personality and of those perversions that have not been assumed by the conscious, so that they continue to perpetuate themselves in time. The analysis we will make of some intertexts will invite us to remember at each step the character of construction that the discourses have and will invite us to problematize the places in which these are disarticulated and in which they come to degrade our category of person. ; En este artículo pretendemos aproximarnos brevemente al desmonte de la palabra logocéntrica que se articula en la novela El Arte de la Palabra de Enrique Lihn. Daremos cuenta de cómo la novela insiste -sobre todo- en la agresión escondida detrás de los discursos, especialmente el de la imposición paternalista del lenguaje y el carácter autoritario que lo constituye. Veremos que -en la novela- estos atributos estarán representados por el personaje del Protector. Este aludirá a los dictadores que han asolado Hispanoamérica y más específicamente a Augusto Pinochet. Sobre todo, dará cuenta de cómo los discursos patrocinados por estos dictadores no son más que una repetición neurótica de los antiguos discursos fundacionales. En este caso, analizaremos la subversión que hace de los distintos discursos ensayísticos hispanoamericanos que sirvieron a la conformación de las estructuras culturales, políticas y educacionales que prevalecen -en mayor o menor medida- hasta nuestros días y que se perpetúan en dictaduras como las de Pinochet. Analizaremos cómo Miranda -espacio ficcional de la novela- se irá convirtiendo en la representación de las oscuridades de la personalidad colectiva hispanoamericana y de aquellas perversiones que no han querido ser asumidas por el consciente, de modo que siguen perpetuándose en el tiempo. El análisis que haremos de algunos intertextos nos invitará a recordar a cada paso el carácter de construcción que tienen los discursos y nos invitará a problematizar los lugares en los que estos se desarticulan y en los que llegan a degradar nuestra categoría de persona.