In the first section of Un número finito de veranos , the gaviera’s language takes shape through vocabulary learned in a course to become a boat skipper. Understanding the symbolic value of the maritime lexicon requires tracing nautical jargon and navigation techniques. Through language and poetic and musical references to the figure of the sailor or the pirate, the ship becomes a metaphor for life’s voyage and for the dichotomy between what is visible and what is hidden in the human condition, while love and its ups and downs are described as a journey in the midst of a storm. Even so, Luque advises setting sail rather than ceasing to live for fear of danger.
Carmen Martín Gaite (1925-2000) occupies a prominent position in the mid-twentieth-century Spanish literary generation thanks to the originality of her narrative and essay writing. Professor José Teruel edited her Obras completas and wrote her biography, which won the 2025 Comillas Prize. This biography is essential for understanding her creative and vital universe. Due to the wide range of sources used and his deep knowledge of her work, Teruel has been able to connect her private life, public image, and interpretation of her work.
This note examines the use of exhortatory speeches and their rhetorical effects in Naufragio y Peregrinación (1610) by Pedro Gobeo de Vitoria. Whether military or religious in nature, the speeches in this work play a structuring role, underscoring the importance of national origin and providence in moments of crisis. However, a close reading reveals a process of literary stylization that exposes the internal tension experienced by the Spanish Jesuit between the novelized rendering of his ordeal and the veracity of the narrated events. This tension ultimately neutralizes the transformative force of the speeches’ message.
This article aims to analyse themes and techniques of Terenci Moix’s book Lleonard examining both the original Catalan edition and the Castilian translation. The novel recounts the life and linguistic and artistic training of the man and the writer. The novel is the result of much reflection, largely due to Franco’s censorship, but also to the author's irreverent personality. Along with his obsessive search for the truth about the suicide of the successful writer and playwright Lleonard Pler, Moix presents a sarcastic portrait of the 1960s, the ‘Década’ and of a composite city-homeland: Barcelona, which experiences the disillusionment of postmodernity through the illusion of freedom of mass culture.
José Luis Guerín’s The Academy of the Muses is a celebration of language and its seductive power. The film is structured around hermeneutic triangles, in which two interlocutors engage in dialogue while a third, often absent, becomes the focal point of their exchange. Desire unfolds through language, which becomes a space of projection and interpretation. The intermedial dimension is central; literary texts are read, discussed, and transposed into the film, gaining new life and aesthetic resonance. Guerín does more than merely quote the texts; he stages them, turning literature into an active narrative agent. The journey to Sardinia introduces an ethnopoetic element, reconnecting language with its oral and ritual origins. Thus, the film reflects on the transformative power of language and its ability to traverse and connect different media.
