Resumen: Este ensayo examina el devenir de las políticas lingüísticas en Puerto Rico, especialmente como consecuencia de los cambios políticos suscitados a mediados del siglo xx. El mismo presta especial atención a los debates suscitados en la Universidad de Puerto Rico como consecuencia del rectorado de Jaime Benítez Rexach. Así mismo se formula o se construye la idea de la lengua como una máquina de guerra utilizada por la élite letrada universitaria para adelantar su agenda política y cultural de corte hispanófilo. Esto implica el análisis de la construcción del sujeto colonial puertorriqueño y su participación o performance en la sociedad.
Abstract: A long tradition of commentators has already noted the presence of scientific motifs in Camões’s poetry, especially in Os Lusíadas . Writing at the height of Portugal’s maritime explorations and discoveries, it is not surprising that Camões echoed not only the collective enthusiasm of the period but also the wonder provoked by geographical and scientific novelties associated with these voyages. Indeed, Camões’s knowledge about the natural world was vast and Os Lusíadas is rich in geographical, botanical, and astronomical details. It has not been noted, however, that in his epic poem Camões takes a clear position in a lively intellectual debate that divided Portuguese intellectuals throughout the sixteenth century. The polemic was centered around the conditions, the methods, and the most influential agents for the acquisition of knowledge about nature. The fact that Camões addresses these topics confirms the importance of the debate in Portuguese society and adds a further element for the characterization of his intellectual profile.
Abstract: This article studies the Camonian sonnet “Amor é um fogo que arde sem se ver” as a critical contemplation on love as an emotion, concept, and form of relation of the Portuguese poet to writing. It considers the formal qualities of the sonnet and its rhetorical register as indications of how Camões conceives of love as an abstraction and as a topic of poetry and human experience. Camões’s polysemous understanding of love is partially based on Petrarchan precedents while also sharing affinities with the work of French poet Louise Labé (1520/ 22–1566) and other poets. While the sonnet is part of a tradition of poems of philosophical definition, it ultimately fashions love as a problem of knowledge and as a poetically privileged object that foregrounds the shortcomings of logic and ratiocination.
Abstract: The myth of Actaeon, as it appears in Lusiads , IX, 26, has long been read as alluding to King Sebastian’s neglecting of government obligations (which very much included marriage) in favor of hunting. It has also been recognized how Camões links this at the time widely held idea to the neo-platonic view that the absence or rejection of erotic love is an essential part of the lack of universal love, which amounts to universal disorder. This article attempts a new reading, in the light of immediate political circumstances and contemporary intertexts that have not yet received full attention. Juan de Mena’s Coronación , the Coplas de Mingo Revulgo (with Pérez de Guzmán’s commentary), and a set of anonymous 1571 Avisos al rey don Sebastián , immensely popular texts at the time, as well as documented rumors, provided an intertextual background that allowed contemporary readers to fully decode this passage as satire pointing at the king’s perceived homosexuality.
Resumen: La Revolución cubana ha creado durante décadas un imaginario utópico que se presentó simultáneamente como horizonte de plenitud social y como destino histórico inevitable. Sin embargo, la profunda crisis política y económica —acentuada tras la caída del bloque socia-lista— erosionó ese horizonte y produjo un desplazamiento desde el ideal del buen lugar hacia configuraciones cada vez más asociadas al no-lugar: espacios físicos y discursivos marcados por la ruina, la precariedad y el desencanto. En este contexto, la utopía deja de operar como motor de transformación y se convierte en un significante vacío cuya pérdida de eficacia reconfigura la experiencia cotidiana de los sujetos y las formas culturales que estos producen. Este artículo sostiene que Nadie (2017) de Miguel Coyula documenta el fracaso del proyecto revolucionario cubano y lo reinscribe como un no-lugar simbólico, donde la ruina material, el borramiento cultural y la ironía post-utópica reconfiguran la subjetividad contemporánea.
