Claves en la escritura de Lara Moreno: "Por si se va la luz" en el marco de la nueva narrativa rural

El propósito de este artículo es analizar la escritura de Lara Moreno en el marco de la narrativa neorrural. Nuevas tendencias literarias como el ruralismo o el giro hacia el campo suponen una reacción contra el poder hegemónico de las ciudades que emergió en el siglo XX. La ficción española ofrece en muchos casos un camino narrativo para explorar las representaciones literarias del ruralismo en el siglo XXI. Desde esta perspectiva, se propone profundizar en Por si se va la luz, una novela escrita por Lara Moreno en la que Nadia y Martín abandonan la ciudad para ir a vivir al campo ante el ascenso de la crisis económica. Este acontecimiento supone una grieta o un corte desde una perspectiva simbólica, de acuerdo con los diferentes ejes en que la novela se estructura: la tensión entre los espacios rural y urbano, los cruces entre los instintos animales, la sexualidad y la racionalidad, así como la relación que los personajes establecen con el lenguaje y el silencio para verbalizar la distopía desde un escenario rural. The aim of this article is to analyze the writing of Lara Moreno in the frame of neorrural narrative. New literary tendencies such as ruralism or the turn to the countryside suposes a reaction against the hegemonic power of cities which rise on twenty centuries. Spanish fiction offers in many ways a narrative camine to explore literary representations of ruralism in XXI century. From this perspective, it is proposed to delve into Por si se va la luz (2013) a novel written by Lara Moreno, in which Nadia and Martín leave the city to go to live to the countryside considering the rise of economic crisis. This event suposes a crack or cut on a simbolic way, according to the different axis in which the novel is structured: the tension between rural and urban spaces, the between animal instints, sexuality and rationality, so as to the relationship which character stablish with language and silence in order to verbalize the dystopia from the rural scenery.

Analytical Model of Transmedia Storytelling Ecosystems in Audiovisual Fiction: The Spanish Model of «The Ministry of Time»

Transmedia storytelling has been widely researched as a new topic in the last decade. The transmedia field includes many publications exploring the topic from different perspectives, but it lacks a standard methodology that allows the measurement of different case studies under a unified pattern. This research suggests a model for transmedia ecosystems that will allow researchers to study them in-depth. Authors suggest a potential configuration based on a simplified image of the transmedia universe, in which projects are divided into well-differentiated narrative systems, allowing the obtention of precise details on their basic functioning. This paper provides an original methodology able to observe the transmedia universes from different perspectives. To test the validity of the paradigm, the model has applied to the case study of the Spanish-fiction product, The Ministry of Time (El Ministerio del Tiempo, in the original language), because of the multiplicity of content renders its study as highly efficient. Thus, we encounter a new transmedia universe that allows precise measurement and the obtention of conclusive data. The positive results confirm that the new methodological approach meets the initial expectations. At the same time, it offers the possibility of obtaining much more information than the one the limited space of this article allows to explain, which opens the door to new lines of research in the future.

Emotional-Expressive Vocabulary Through the Prism of Gender Research (on the Material of Spanish Fiction Texts)

The article is devoted to the description of gender specifics of the use of emotionallyexpressive vocabulary in a literary text on the basis of communicative behavior of a female character and a male character. The article provides an overview of the history of gender research in linguistics and gender differences in language behavior. The definition of the concept of "emotionally expressive vocabulary" is also considered. The purpose of the study is to try to describe the use of emotionally expressive vocabulary depending on the gender of the speaker. Definitions such as "gender", "emotional vocabulary" and "expressive vocabulary" are given. Gender stereotypes of femininity and masculinity, the social roles of women and men, their pattern of behavior, as well as the asymmetry of social relations between men and women are reflected in their communicative behavior. Thus, stereotypes of female and male behavior affect the features of emotional communicative behavior. The main content of the theory of linguist R. Lakoff, the theory of dominance of B. Thorne and D. Cameron, D. Tannen are outlined. The study allowed us to state that communicative behavior in men and women has characteristic differences, in particular the means of its expression. The main differences in gender communication are identified, namely: conversation, status positions, sphere of communication, etc. Thus, emotionally expressive vocabulary is characteristic of both male and female speech. However, the means of its actualization differ. Emotionality in women is diverse (epithets, metaphors, exclamations, suffixes), and this can be explained by the fact that women's speech is more emotionally represented, while men's speech is less emotionally rich.

Language style in the negotiation of class identity in translated contemporary Spanish fiction

In the early novels of the Carvalho detective series by Manuel Vázquez Montalbán, set in the years of Spain’s transition to democracy, the negotiation of identities and political stance are paramount characterization resources. Given the role of speech in the construction of identity, translations may vary in the readings they afford beyond the detective aspects. We apply the sociolinguistic concepts of identity work and language style (albeit mediated by fictive orality), and the discourse analysis tools of Appraisal Theory, to analyse two working-class characters in Los mares del sur (1979) and in its English (1986) and Croatian (2007) translations. In Spanish the language style of both characters reflects class allegiance, involvement and tenacity, intense feelings, a direct interpersonal approach and a rejection of altercasting. Their vocabulary and quotations from external sources index their ideology. The English translation is the least aware of identity work through language style and interaction. The characters’ standardized speech shows less involvement, tenacity and intensity. The Croatian translation follows the source text literally; involvement is maintained within a fictive colloquial spoken variety. Both translations maintain directness and a contractive dialogic style, and both make references to class and ideology more explicit.