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La presente tesis doctoral tiene como propósito analizar las fuentes clásicas y contemporáneas que alimentan el imaginario de la poeta Aurora Luque (Almería, 1962) a través de una serie de referentes que, recuperando las palabras de Andújar Almansa, configura su "ADN poético" (Andújar Almansa en Luque 2008b: 13). Tomando como punto de partida la teoría intertextual incluida en Palimsestos. Literatura de segundo grado de G. Gennette, se recorrerán los poemarios de la autora almeriense publicados entre 1982 y 2014 en busca de señales literarias que conduzcan a sus puntos de origen, representación última de las afinidades lectoras de la poeta. El contenido de esta tesis está distribuido en tres grandes bloques temáticos: el primero de ellos está dedicado a la palabra comprometida de Aurora Luque donde se examina la inspiración literaria que la autora ha hallado en la realidad circundante y en el devenir de la historia y la intrahistoria; el segundo se ocupa por extenso de las fuentes clásicas en su poesía (Safo, Catulo, Epicuro, Platón, la mitología clásica) y de los puentes que se establecen entre la antigüedad, la modernidad y las exigencias de lo posmoderno; finalmente, el tercer bloque se reserva al estudio de las manifestaciones literarias y artísticas cercanas en el tiempo: entre el siglo XIX y el advenimiento del séptimo arte, así como en los diferentes períodos del siglo XX, Luque encuentra ciertos referentes con los que se siente hermanada (Sophia de Mello, Luis Cernuda, Friedrich Hölderlin, Emily Dickinson) porque la conectan, una vez más, con los preceptos básicos de la antigüedad clásica. ; This PhD Dissertation aims to analyze the Classical and Contemporary sources present in Aurora Luque's poetical imaginary. Starting from Gennette's intertextual theory included in Palimpsests. Literature in the Second Degree, and in order to unveil those literary marks that allow us to better understand the ultimate representations of the poet's literary affinities, I will explore Luque's published work between 1982 and 2014. The thesis is divided into three major blocks: the first is dedicated to Luque's "political word" and it examines the literary inspiration that the author has found in the surrounding reality as well as in the course of History and "Intrahistoria"; the second focuses on the Classical sources in her poetry (Sappho, Catullus, Epicurus, Plato, Classical Mythology) and it analyzes the connection between antiquity and postmodernism; and finally, the third block is dedicated to the study of Contemporary literary and artistic manifestations: Luque's poetical referents, many of which can be found in the advent of cinematography and in the literature of the 19th and 20th century (Sophia de Mello, Luis Cernuda, Friedrich Hölderlin, Emily Dickinson), inevitably connects her to the cardinal canons of Classical Antiquity.

El artículo propone la vigencia del estudio de las relaciones literarias como campo de la literatura comparada y aplica el concepto a las literaturas de la Península Ibérica a partir de tres grandes campos: la creación de instituciones, las relaciones de contacto y la presencia literaria de temas ibéricos. Se concluye que estas relaciones dibujan un marco de conflictos y de encuentros a partir de los deseos de modernización y de la necesidad de dar respuesta a los diferentes debates políticos. ; This article states the validity of the study of literary relations as a field in comparative literature and applies the concept to the literatures of the Iberian Peninsula focusing on three major areas: the creation of institutions, contact relationships and the existence of Iberian-themed literary works. We conclude that these relationships delineate a framework of conflicts and complicities springing from a yearning for modernization and the need to respond to the different political debates.

This thesis deals with narrative and discursive resources found in the works of five Chicana writers who write in Spanish in the eighties: Lucha Corpi, Gina Valdes, Miriam Bornstein, Erlinda Gonzales-Berry and Margarita Cota-Cárdenas. This study analyzes some literary devices that link the production of these five Chicana writers with minor literature and the concept of contact zone; furthermore this project studies how these writers create a transcultural and transnational literature. This study will argue that these five Chicana writers are "conspirators in contact zones" and their literary works have been regarded as minor literature. Deleuze and Guattari define a minor literature through three main characteristics; firstly the deterritorialization of language, secondly the political element, and finally, the collective value. The writers discussed in this thesis are configured as conspirators because they fight against the dominant discourses creating other possible narratives that demonstrate the process of exclusion and discrimination that they have endored as Chicana women writing in Spanish in the US. My work also shows how by writing in Spanish, this group of Chicana writers open spaces from where is it possible to resist to a dominant discourse and deconstruct hegemonic form. In addition, this study shows how these writers act as conspirators in an area that Mary Louise Pratt calls "contact zone," a space "where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination: such as colonialism, or are their aftermaths as they lived out across the globe today" (Imperial Eyes 7). Following the idea of "contact zone," it's clear that the Chicana writers I analyzed have lived in these spaces, for different reasons, and have experienced culture shock and relations of domination and subordination. As a result of these experiences, their works can be defined as transcultural. In these works we find to a greater or lesser extent, what according to Pratt contain cultural productions that occur in the contact zones: "Autoethnography, transculturation, critique, collaboration, bilingualism, mediation, parody, denunciation, imaginary dialogue, vernacular expression miscomprehension, incomprehension, dead letters, unread masterpieces, absolute heterogeneity of meaning and related hazards will also present" (Arts of the Contact 37). My dissertation chapters discuss how using Spanish, these Chicana writers construct poetic spaces and intertextuality from domestic situations, and create a minor literature that questions the concepts considered stable and homogeneous like the idea of nation, language and identity. Furthermore these women also propose their own feminism ranging from the personal to the collective, acting like true conspirators in contact zones. My study is necessary for several reasons. The first reason is because the literary critics overlooked the works of Chicana writers written in Spanish. Although these authors have not been totally ignored by critics, especially Chicano critics, the fact is that these studies have focused on the ones written in English translated into English. A second reason is that there is no study that has grouped these five writers (Lucha Corpi, Gina Valdes, Miriam Bornstein, Margarita Cota-Cárdenas and Erlinda Gonzales-Berry) as representatives of a Chicano literature written in Spanish in the eighties. The presence and contribution of Chicano literary woman remained in the dark for a long time. In the eighties there was an awakening of Chicano literature produced by the female community, as the Chicano woman found its place in American editorials, This was due to the socio-political claims of Chicano movement and also the rise of the feminist movement and civil rights in full fervor during those decades. However, as discussed at various points in this dissertation writing in Spanish did not offer the same publishing conditions experienced by other contemporary Chicano writers writing in English. This thesis covers this lack of attention toward cultural production in Spanish written by women, and shows the need to assert the Spanish language as a vehicle of expression of Chicano literature in the United States. Another reason for the need for this study its multidisciplinary theoretical approach. We understand that the works of these authors should not be regarded just as a purely literary product; in fact they also are tools to understand the variety of Chicano contexts, by revealing that confinement in a single battle or a single community is not possible. These writers show a creative desire that goes beyond spatial barriers that reinforce social differences and power relations based on race, class, sex, gender and national status. Supporting this perspective, a cultural and textual analysis of his works should incorporate transcultural argument that reveals two impossibilities: the existence of a single cultural heritage, as expressed by the Moroccan philosopher Abdelkebir Khatibi in his article "plural Maghreb", and the inability to oppose the cultural hegemony from positions based on absolute truths of race and ethnicity. In conclusion with this study I aim to contribute and join the effort of a literary criticism that tries to overcome reductionist, unambiguous and stereotyped criteria, showing the reality of a Chicano space with a large internal diversity both for the various themes used, the diverse language skills, and for different regions of origin.

Volver al mundo constitutes an exceptional case in the Spanish reception of Friedrich Hölderlin. Assuming the slope of the literary modernity inaugurated by the German author more than two centuries ago, the novel of González Sainz discovers the implications that its message acquires transferred to a context of political disenchantment. Its great contribution to contemporary Spanish narrative consists in undertaking this problematic from its linguistic root: on the one hand, González Sainz discovers the manipulation that conceals all ideological appropriation of language, on the other hand, explores the possibilities that offers the novelistic genre to plant a critical discourse in front of this reality. The present article examines the different forms of meeting and separation that Volver al mundo tests with the work of Hölderlin, to discover how all of these open to a reevaluation of literary language and its capacity for investigation. ; Volver al mundo constituye un caso excepcional en la recepción española de Friedrich Holderlin. Asumiendo la vertiente de la modernidad literaria inaugurada por el autor alemán hace más de dos siglos, la novela de González Sainz descubre las implicaciones que adquiere su mensaje trasladado a un contexto de desencanto político. Su gran aportación a la narrativa española contemporánea consiste en abordar esta problemática desde su raíz lingüística: por un lado, González Sainz descubre la manipulación que encubre toda apropiación ideológica del lenguaje, por el otro explora las posibilidades que ofrece el género novelístico para plantear un discurso crítico frente a esta realidad. El presente artículo examina las diferentes formas de encuentro y desencuentro que Volver al mundo ensaya con la obra de Hölderlin, para descubrir cómo todas ellas desembocan en una revalorización del lenguaje literario y su capacidad de indagación.

El artículo reivindica el valor de las Humanidades para los tiempos presentes, y apunta la capacidad que han demostrado disciplinas como la Teoría de la Literatura y la Literatura Comparada para proponer correctamente los términos del debate, gracias a su vocación por la transversalidad, la cultura popular o marginal y por el desplazamiento efectuado en ellas desde la noción de "lectura" como mera transcripción al de "lectura" como análisis e intervención política. ; Paper claims the value of Humanities for present times, and remarks the ability showed by disciplines as Literature Theory and Comparative Literature to correctly propose the terms of the debate, because of its vocation across disciplines, popular or underground culture and of its displacement from "reading" as just transcription to "reading" as analysis and political involvement.

The Malvinas War is a central chapter in Argentine history, both because of the events that led to it, and because of its immediate consequences: the end of the military dictatorship and the return of democracy in December 1983. One of the most original methods to explore this capital event is the uchronia, the utopia in History, by asking the question "what would have happened if .?". Far from being a mere fictional resource, the uchronia allows us to think about history from "its shadow", from its unrealized aspects. From this focus, specific to comparative literature, we propose to analyze three uchronies about the Malvinas War: Argentinos. a vencer! by Juan Simeran (2012), Dalle mie ceneri by Giampietro Stocco (2006) and Machines Like Me by Ian McEwan (2019). ; La Guerra de Malvinas constituye un capítulo central de la historia argentina, tanto por los acontecimientos que llevaron a ella, como por sus consecuencias inmediatas: el fin de la dictadura militar y el regreso de la democracia en diciembre de 1983. Uno de los modos más originales de explorar este suceso capital es la ucronía, la utopía en la historia, a partir de plantearse el interrogante "¿qué hubiera pasado si…?". Lejos de ser un mero recurso ficcional, la ucronía permite pensar la historia desde "su sombra", desde sus aspectos no realizados. Desde esta focalización, de carácter comparatista, nos proponemos analizar tres ucronías sobre la Guerra de Malvinas: Argentinos… a vencer! de Juan Simeran (2012), Dalle mie ceneri de Giampietro Stocco (2006) y Machines Like Me de Ian McEwan (2019).

This article critically reviews the main debates and literature produced by international relations and comparative politics scholars connecting religion to the eruption of violence. Centrally, it argues that, despite fierce fractionalization in other fields of study, academic work on the religion-violence nexus seems to be reaching an emerging consensus between rationalist and constructivist approaches, approximating what Katzenstein and Sil have recently dubbed "eclectic theorizing." It also surveys the virtues and weaknesses of current work, and suggests avenues for future research. ; Este artículo discute los debates centrales de la literatura académica sobre religión y violencia producida por los estudiosos de las relaciones internacionales y la política comparada. El argumento central es que, a pesar de que en otros campos de estudio las aproximaciones racionalistas y constructivistas se enfrentan como explicaciones alternativas, en los estudios sobre religión y violencia parece estar surgiendo un consenso que las combina, al estilo de lo que Katzenstein y Sil bautizaron recientemente "teorización ecléctica". El artículo destaca las virtudes y deficiencias del trabajo existente, y sugiere vías para investigaciones futuras.

Identification with political parties in Latin America is analyzed in two dimensions: volume and composition. In general, the literature focuses on the analysis of volume, as measured by the percentage of citizens identified with parties. However, two co

The international evidence shows that the spending of sub-national governments depends on unconditional transfers from the central government. This evidence makes relevant the following question: What is the optimal design of inter-governmental transfers? In this article we provide an answer to this question. The main contribution of this article is the characterization of optimal unconditional intergovernmental transfers. We also contribute to the literature, by providing empirically verifiable hypotheses on how the federal transfers from the central government depend on the interregional inequality of income, the distribution and magnitude of interregional spillovers of sub-national expenditures, and the deadweight labor costs associated with taxation and intergovernmental transfers.

El estudio aborda el tratamiento que ha merecido el mito del héroe Perseo en la LIJ (Literatura Infantil y Juvenil) publicada en España en el siglo XXI. El análisis ofrece las claves que caracterizan las lecturas de Christian Grenier, Geraldine McCaughrean, Lucy Coats, Ana María Shua y Maria Angelidou. La actualización del mito se basa en propuestas como, entre otras, la sociología política, la hibridación con otros mitos, la asociación con la fantasía moderna, la percepción cotidiana de lo extraordinario, la recreación literaria o estética, la versión en 'tweets', etcétera, las cuales subyacen en los textos y los justifican pedagógicamente. ; Our study deals with the treatment of the myth of the hero Perseus in the Children's Literature published in Spain in the 21st century. The analysis offers the clues that characterize the readings of Christian Grenier, Geraldine Mc-Caughrean, Lucy Coats, Ana María Shua and Maria Angelidou. The updating of the myth is based on proposals such as, among others, political sociology, hybridization with other myths, association with modern fantasy, daily perception of the extraordinary, the literary or aesthetic recreation, versions into tweets, etc. All these keys underlie the texts and justify them pedagogically.

Distinguido por el deseo de democratizar determinadas zonas de la institución literaria chilena a través del ejercicio de la lectura crítica, el hilo conductor de este ensayo de literatura comparada es el contratiempo que la poesía trae a los tiempos de censura. Para Paula Cucurella la literatura de Nicanor Parra y la filosofía de Jacques Derrida, aunque diferentes entre sí, se vuelven comparables a partir del marco estético-político que delinea el tratamiento de la censura Marked by the desire to democratize certain areas of the Chilean literary institution, through the exercise of critical reading, the common thread of this comparative literature essay is the resistance that poetry brings in times of censorship. For Paula Cucurella, Nicanor Parra's literature and Jacques Derrida's philosophy, although different from each other, are comparable within the aesthetic-political framework that delineates the treatment of censorship.

In recent decades, increased scholarly attention has been paid to the interactions between immigration, media coverage, framing, and the rise of populism. This paper draws on these interactions to systematically review peer-reviewed articles related to media representations of immigrants and refugees in Brazil and the United Kingdom (UK). The objective was to identify the tone used in such representations and the research methods applied in the articles. This is the first systematic literature review that compares studies on media and immigration including both Western, Educated, Industrialized, Rich, and Democratic (WEIRD) and non-WEIRD countries. This paper uses Preferred Reporting Items for Systematic Reviews and Meta-Analysis (PRISMA) to collect, map, and systematize 47 peer-reviewed articles published in the past two decades. The findings show that, in the studies we analyzed, the tone of representation of refugees in the media in both countries is negative. Mass media underrepresent the main actors and use stereotypes and discourses of otherization. This paper contributes to our understanding of the differences between studies, including those conducted in the UK and Brazil, and calls for more comparative studies that include countries from the global south and global north. It also demonstrates the standardization of frames and tone of representation on immigration in both countries, suggesting similar patterns across different countries.

Daniela Serna (Medellín, 1991) conducts research and creates works of art on the transition between a literary verbal object and a visual artifact of a plastic and esthetic nature. Her work expands on the idea of formal literature, where the temporal and sensorial dimensions are in the reader's imagination, to propose visual poems that encourage an experience of meaning that augments or blurs the limits of what is possible. This review deals with a set of works, the core topic of which enables multiple readings, which are carefully selected using a collection of ideological, political, and esthetic signs that the artist brings into her work and that allow us to question the relationship between the represented fictional world and the reader or observer's representation. ; Daniela Serna (Medellín, 1991) investiga y crea sobre el tránsito que se produce entre el objeto verbal de origen literario y el artefacto visual de carácter plástico y estético. Su obra expande la idea de la literatura formal, donde las dimensiones temporales y sensoriales se experimentan en la imaginación del lector, para proponer poemas visuales en los cuales propicia una experiencia de sentido que amplifica o diluye los límites de lo posible. En esta reseña se abordan un conjunto de obras, cuyo eje central permite múltiples lecturas, tamizadas por una reserva de signos ideológicos, políticos y estéticos en los cuales la artista inscribe su obra, y que permiten interrogar la relación entre el mundo ficcional representado y la representación que el lector/espectador realiza.