Entreérôsyphilía: amistades femeninas en la obra de Marina Mayoral

2002 ◽  
Vol 8 (1) ◽  
pp. 13-28
Author(s):  
Rosalía Cornejo-Parriego
Keyword(s):  
Triangle ◽  
2020 ◽  
pp. 5
Author(s):  
M. José Rodríguez Campillo

The human communication process is characterized by the set of rational activities that are carried out and that allow us to not only get information from the environment through perception but to infer new knowledge from already acquired. According to Relevance Theory, from the time we receive a linguistic ostensive stimulus, the recipient's mind starts automatically dierent types of processes, starting with the most mechanical decoding (grammatical process) and followed by other inferential nature, since the disambiguation and assignment relating to the identication of the sender's intention (pragmatic process): understanding a sentence or a text depends not only on the meaning of their surface structure but its inner meaning, of what implicit, in short. Similarly, when we read a novel, see a lm or contemplate an event, according to Cognitive Principle of Relevance (PCR), the human mind maximizes relevance, ie in the overall process of understanding, select those items most relevant, those who follow the path of least resistance, and that summarize the event, the movie or the play. Based, as we say, in the innate ability that every human being has to draw inferences, inferring meanings and select the most relevant information, we will discuss the title of the latest novel by Marina Mayoral, wishes to see, after reading the book, whether or not it meets the expectations we had wrought.


Triangle ◽  
2020 ◽  
Author(s):  
M. José Rodríguez Campillo
Keyword(s):  

Este volumen está formado por seis artículos. El primero de ellos es el de la propia autora, la Dra. Marina Mayoral, que nos agasaja explicándonos cómo ha concebido "La construcción de Deseos". A este primer artículo, interesantísimo, le sigue un trabajo de M. José Rodríguez Campillo en el que se analiza "El título Deseos en la obra de Marina Mayoral". A continuación, Anna Corts Curto se ocupa del análisis del "Universo íntimo de Marina Mayoral: Brétema". El cuarto artículo, de Christian Snoey, presenta un minucioso estudio sobre "Tiempo y tiempos en Deseos". "La Figura de Constanza en Deseos" es analizada por María Anguera y Marina Silva. Cierra el volumen una "Breve aproximación a la figura de Lilith en Deseos", a cargo de Abel Moreno.


1998 ◽  
Vol 75 (4) ◽  
pp. 435-442 ◽  
Author(s):  
Elena Olazagasti-Segovia
Keyword(s):  

PMLA ◽  
2001 ◽  
Vol 116 (1) ◽  
pp. 189-197
Author(s):  
Nuria Amat ◽  
Lori Ween ◽  
Oscar Fernández

Nuria Amat's view of literature between borders places her in the arduous trajectory of Spanish women writers, who have written their works from the periphery of Spanish fiction. Historically, few women have been among the canonical writers of Spain, and those who wrote were known for their ambivalent representations of their role as authors. Marginal writers of both sexes were forced to engage in literary disguises and subterfuges, “common and necessary practices for those who deviated from orthodoxy and convention” (Levine and Marson xxi). With the death of Franco in 1975, women writers of Spain such as Ana María Moix (b. 1947, Catalonia), Esther Tusquets (b. 1946, Catalonia), Marina Mayoral (b. 1942, Galicia), Lourdes Ortiz (b. 1943), Montserrat Roig (b. 1946, Catalonia), Cristina Fernández Cubas (b. 1945, Barcelona), and Rosa Montero (b. 1951, Madrid) began to explore their personal and national histories as the censorship ended. There soon followed a boom of female writers, who, “encouraged by the feminist movement and by all the changing atmosphere of the seventies, were able to find marketing success that soon made them visible” (Nichols 11).


2004 ◽  
Vol 12 (1) ◽  
pp. 43-50
Author(s):  
Santiago Martín

Marina Mayoral (1985), en un intento de desentrañar el posible significado de este poema, construye un entramado de «errores totales» (la confusión entre el norte y el sur...)  y «errores parciales» (la creencia de que el trigo es el agua...) para concluir que la paloma se- ría el poeta que plasma así –sobre todo en las dos últimas estrofas– la propia concientización de sus equívocos. Entonces, no sólo puede equivocarse la paloma, sino que,  además, el hombre «puede darse cuenta de que se ha equivocado, de que un error puede ser a un tiempo total y parcial, de que lo que no debe suceder, sucede» (Mayoral, 1985: 349–350), y, por ende, surgir la destrucción del instinto del animal. Así, el constante yerro de la palo- ma del fragmento se aprecia como la manifestación poética de un cúmulo de errores (parciales y totales), y, para más inri, la tragedia de la destrucción del instinto humano.


Triangle ◽  
2020 ◽  
pp. 15
Author(s):  
Anna Corts Curto

Painting scenarios where to place characters with their stories is one of the most complex tasks in characterizing the space of a literary work. Most authors change space each time they start a new novel. In the case of Marina Mayoral, we found a room of her own, a closed universe that has its well-defined contours. In Mayoral, the central space of each work is directly related to a term: Brétema. In this paper, we will try to draw contours in an amazing world that takes its name in La única libertad (Mayoral 1982) and that links all her works.


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