In this work, I present the need to reflect on a new typology for the classification of the printed Romancero, considering the editorial motivation that promoted the publication of these materials in the first half of the 16th century. Although critics have currently accepted that some labels confuse more than they explain (for example, Romancero erudito) and have seen that the chronological stages set by neotraditionalism are not fulfilled from the perspective of empirical evidence, it is a current nomenclature, assumed as good and repeated both in research papers and in manuals for use.

Although the first anthology of Mexican poetry dates from 1833, Alejandro Higashi argued in his seminal volume PM-XXI-360 that the primary role of the anthology in Mexico changed in 1966. Traditionally a genre that presents a selection of previous work shaped by a certain notion of taste, the anthology took on an overtly prescriptive role with the first edition of Poesía en movimiento, edited by Octavio Paz, Alí Chumacero, José Emilio Pacheco, and Homero Aridjis. This text has remained in print ever since, and has privileged a practice of "demanding poetry" that has been taken up by later anthologies. The chapter also discusses the "cloning lab" of the anthology and how this phenomenon can be discerned in the profusion of anthologies published since the 1980s.

En el presente estudio, se muestra la trayectoria editorial del romancero de historia antigua, desde el análisis de las etiquetas de género poco delimitadas y tendientes a desvalorizarlo hasta su dignificación como género serio, con un trasfondo histórico, poder divulgativo y respaldo en fuentes documentales. Para ello, se analizan las estrategias editoriales presentes en los proyectos más importantes del quinquenio 1546-1551 (el Cancionero de romances, de Martín Nucio; la Silva de varios romances, de Esteban de Nájera; los Romances nueuamente sacados de historias antiguas dela cronica de España, de Lorenzo de Sepúlveda y los Quarenta Cātos de diuersas y peregrinas historias, de Alonso de Fuentes), así como las trayectorias de lectura, líneas temáticas y posibilidades interpretativas que resultaron de cada proyecto. El análisis comparativo de los romanceamientos de las traducciones de obras eruditas y clásicas permitió identificar otras estrategias compositivas y prestigiosas que colocaron al romance de historia antigua en el mismo nivel que sus fuentes. Finalmente, se describe el esfuerzo de los humanistas por dignificar el subgénero, desde la vinculación de éste con otros prestigiosos hasta su comparación con otros hechos históricos que evidencian su valor de verdad y de perpetuación de la memoria histórica.

In this work I expose the need to reflect on a printed Romancero’s new typology that considers the editorial motivation that promoted the publication of these materials in the first half of the 16th century. Although critics have currently accepted that some labels confuse more than they explain (for example, Romancero erudito) and have seen that the chronological stages set by neotraditionalism are not fulfilled from the perspective of empirical evidence, it is a current nomenclature, assumed as good and repeated both in research papers and in manuals for use. Expongo en este trabajo la necesidad de reflexionar sobre una nueva tipología para la clasificación del Romancero impreso que tome en cuenta la motivación editorial que impulsó la publicación de estos materiales en la primera mitad del siglo XVI. Aunque la crítica más reciente ha aceptado en la actualidad que algunas etiquetas confunden más de lo que explican (por ejemplo, la de Romancero erudito) y ha visto que las etapas cronológicas marcadas por el neotradicionalismo no se cumplen desde la perspectiva de la evidencia empírica, se trata de una nomenclatura vigente, asumida como buena y repetida tanto en trabajos de investigación como en manuales al uso.

This study shows the editorial trajectory of the romancero of ancient history, from the analysis of vague genre labels tendingto devalue it, to its dignification as a serious genre, with historical component, informative power and documented capacity. To this end, the editorial strategies present in the most important projects of the period 1546-1551 are analyzed (the Cancionero de romances, by Martin Nucio; the Silva de varios romances, by Esteban de Najera; the Romances nueuamente sacados de historias antiguas dela cronica de Espana, by Lorenzo de Sep & uacute;lveda, and the Quarenta C & amacr;tos de diuersas y peregrinas historias, by Alonso de Fuentes), as well as the resulting reading trajectories, thematic lines and interpretative possibilities. The comparative analysis of the romances of the translations of scholarly and classical works made it possible to identify other compositional and prestigious strategies that placed the romance of ancient history on the same level as its sources. Finally, it describes the efforts of humanists to dignify the subgenre, from its connection with other prestigious ones to its comparison with other historical facts that show its value of truth and its value as perpetuator of historical memory.

En este artículo me propongo demostrar que el instrumental teórico de la crítica genética puede servir para analizar la variación pretextual/epitextual como el resultado de un proceso complejo de negociación entre fuerzas públicas y privadas una vez que la obra sale a la luz. El análisis de un manuscrito de Luis Cernuda (1982-1963), algunos publitextos de Hernán Bravo Varela (1979) y Coreografía del miedo, de Stephanie Alcantar (1990), expone las complejas relaciones entre obras muy diferentes que coinciden en una noción extendida del texto como proceso. Se trata de un enfoque novedoso que permite presentar el complejo diálogo entre los estados privados y públicos de una obra (entre sus reescrituras a través de distintas tradiciones e, incluso, entre sus interpretaciones) hasta su irrupción en las poéticas más recientes.

Éste es uno de esos casos en los que la brevedad del título no debe distraernos del calibre de los resultados de investigación que se presentan. Pero tampoco es un mal título: nada más para recordar a un precursor muy cercano en el rigor y la intención, aunque no en el método, viene de inmediato a nuestra mente la Bibliografía mexicana del siglo xvi de Joaquín García Icazbalceta (1886), reeditada modernamente nada más ni nada menos que por Agustín Millares Carlo en 1954…

Isabella Tomassetti, Cantaré según veredes. Intertextualidad y construcción poética en el siglo XV, Iberoamericana-Vervuert, Madrid - Frankfurt am Main, 2017, 352 pp. ISBN: 978-84-1692-218-5.

Throughout the nineteenth century, critics expressed serious doubts about the artistic and entertaining value of the romancero historiado. In the present study, I demonstrate that the coincidence of the authors’ historicist aspirations and the fictional component of their plots contributed to the process of dignifying the romancero in general and not just in the romancero historiado. Through a detailed reading of «I am staying in Giromena», «A day of San Antónå and «They are inside Jaen», I expose how the verisimilitude of the historical detail and the attractive, rather fictional forms, combine to satisfy the taste of the reading public without undermining its edifying power. Finally, it is clear that the limits between the historical and the literary were not as strict then as they are today.

Throughout the nineteenth century, critics expressed serious doubts about the artistic and entertaining value of the romancero historiado. In the present study, I demonstrate that the coincidence of the authors' historicist aspirations and the fictional component of their plots contributed to the process of dignifying the romancero in general and not just in the romancero historiado. Through a detailed reading of "I am staying in Giromena", "A day of San Antona and "They are inside Jaen", I expose how the verisimilitude of the historical detail and the attractive, rather fictional forms, combine to satisfy the taste of the reading public without undermining its edifying power. Finally, it is clear that the limits between the historical and the literary were not as strict then as they are today.

En un libro memorable desde su propio título, Perché leggere i classici?, Italo Calvino pensaba que era una suerte no haberlos leído a edad temprana para “leggerli per la prima volta nelle condizioni migliori per gustarli”…

I analyze the patterns of rewriting evident in the different versions of several romances published in the first edition of Martin Nucio's Cancionero de romances and in the second, of 1550. They are gruoped together under the concept of publishers' versions (those that are introduced in the same printing presses, with the purpose of offering improved texts). Although it is very likely that some of these versions come from a courtly oral substrate, the vast majority are textual modifications made in order to offer more extensive and detailed versions. This phenomenon forces us to rethink the fragmentary nature attributed to the romancero viejo.

Analizo los patrones de reescritura entre las versiones de varios romances publicadas en la primera edición del Cancionero de romances de Martín Nucio y la segunda, de 1550, bajo el concepto de versiones editoriales (aquellas que se construyen dentro de las mismas imprentas con el propósito de ofrecer textos mejorados). Aunque es muy probable que algunas de estas versiones procedan de un sustrato oral cortesano, en su gran mayoría se trata de arreglos textuales para proponer versiones más extensas y detalladas, fenómeno que obliga a repensar la naturaleza fragmentaria atribuida al romancero viejo.

More than a decade ago, the Literary Studies Program of El Colegio de San Luis and the Institute of Linguistic and Literary Research of the Universidad Veracruzana joined forces to undertake the study, rescue and dissemination of writers, works, and literary phenomena that could be called "rare", due to the lack of knowledge or neglect that both academia and literary critics have had towards them. The 14 articles in this book are the result of a genuine interest in settling this debt with the literary tradition in Mexico. In these pages, a group of specialists from prestigious higher education institutions, approach from a philological, literary criticism, historiography, cultural studies or intellectual biography perspective, to the analysis of singular texts, either for their style, or for the peculiar treatment of their themes, or simply because in their time they were ahead of generic determinations, aesthetic trends or group editorial processes, covering a broad period from the late eighteenth century to the twilight of the twentieth. As a whole, the gaze of these 14 study proposals focuses on the writing excluded from the Mexican canon, in search of the exceptional detail, the seed of that which opposes the norm, or the subjectivities that stand out as an anomaly in the great cultural processes that our country has experienced. Observed in their particularity, the works that integrate this corpus reveal themselves as a sort of refutation to the impositions of the literary histories of the preceding centuries, by recognizing that also those who advanced along falsely marginalized itineraries were involved in negotiations, transgressions, influences and important variants in the field of tradition. Prior to this academic effort, there was no specific bibliography in the academy on many of the topics, authors or perspectives discussed here, which makes Rare. The excluded writing in Mexico a rigorous compendium, as well as a guide to search for the other names that made up the ranks of Mexican literature.

Although the work of Elsa Cross has been recognized for its formal merits, the study of compositional strategies which characterize her work seems distracted by an interest in the religious and mythological themes that have characterized her poetry. In this work, I analyze the transformation of compositional strategies which can characterize her work in different periods, especially in the aspects related to her aesthetic exploration on the extension of the frontiers of perception in the Siddha Yoga.

Although the work of Elsa Cross has been recognized for its formal merits, the study of compositional strategies which characterize her work seems distracted by an interest in the religious and mythological themes that have characterized her poetry. In this work, I analyze the transformation of compositional strategies which can characterize her work in different periods, especially in the aspects related to her aesthetic exploration on the extension of the frontiers of perception in the Siddha Yoga.

Aunque durante mucho tiempo se sospecho que los romances en fuentes impresas del siglo xvi estuvieron siempre precedidos por versiones orales que circulaban en los margenes del pliego suelto y el libro, los estudios mas recientes demuestran que en la hechura y circulacion del romancero subyace una logica interna de naturaleza editorial o ratio typographica . German Orduna, con sus estudios sobre el romancero, inauguro una brecha importante hacia una concepcion mas rica y compleja de un romance que se construye en un plano donde su primera fundamentacion fue la composicion escrita.