El Abencerraje : una lección de virtud en los albores del confesionalismo filipino
Between 1561 and 1565 the three known versions of El Abencerrage —Cronica, Diana and Inventario — were printed. The moral lesson of these works, based on the principles of the humanism, is opposite to the process of confessionalization promoted by the Hispanic Monarchy in those dates. From the reconstruction of those three writing contexts —and knowing the courtesan faction to which the successive adapters of the work belonged: Jimenez de Embun’s servant, Jorge de Montemayor and Antonio de Villegas— this work attempts to prove, from the studies on the Spanish Court, how the first Spanish Moorish novel was, understood as an ideological discourse, a frontal attack against Philip the II’s confessionalism arised from the political opposition.
Hacia un tiempo nuevo: fortunas y adversidades de una Monarquía en transición (1550-1560)
El artículo ofrece un recorrido por los principales acontecimientos históricos que jalonaron la década de 1550 con el fin de explicar las causas del profundo cambio cultural observado en España a comienzos del reinado de Felipe II. Para ello, se reconstruye la política internacional de Carlos V (particularmente en el Imperio), se dibuja la evolución de la espiritualidad española desde tiempos del cardenal Cisneros y se analizan las luchas faccionales que dividieron la Corte de los Habsburgo desde comienzos del siglo XVI. Estos tres hilos narrativos confluyen a la postre en el relato pormenorizado de los sucesos acaecidos en el seno de la Monarquía Hispana durante el período de transición entre los reinados del Emperador y el Rey Prudente, que culminarían con el descubrimiento de los focos luteranos de Sevilla y Valladolid y la adopción de una política intransigente y confesional por parte de la Corona.
Shoeless Joe: Fantasy and the Humor of Fellow-Feeling
In his essay on Jean Paul Friedrich Richter, Thomas Carlyle writes of a humor that manifests itself in smile rather than laughter. "Richter is a man of mirth," says Carlyle, whose humor is "capricious . . . quaint . . . [and] heartfelt" (15). The three adjectives represent for Carlyle the essence of what he terms "true humor" because they suggest Richter's enormous respect for humanity. "True humor," he goes on to say, "springs not more from the head than from the heart; it is not contempt, its essence is love; it issues not in laughter, but in still smiles, which lie far deeper" (17). These smiles are not Hobbesian smirks of superiority1 but genuine signs of compassion for, sympathy toward, and empathy with the object of the humor. Carlyle further provides a direct link between humor and both pathos and nobility; the link is the smile of the caring man. For Carlyle, this smile is one of "fellow-feeling":