• Digital Humanities and Cultural Heritage
• 2018-2022close
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Part of book: ISBN 978-1-009-10023-6QC 20221219

Desde el siglo XVII circuló, en numerosas copias impresas y algunas manuscritas (indicio tal vez de un cierto éxito), una pieza teatral titulada Lo que pasa en un torno de monjas, cuya adscripción genérica resulta dudosa (se publicó como comedia, puesto que se divide en jornadas, o actos, pero se la puede considerar más bien un entremés de extensión inusual) y cuya autoría es desconocida. Hace siglos se sembró la especie de que detrás del anónimo autor habría estado el rey Felipe IV. De ser cierta esta hipótesis, estaríamos ante el sorprendente descubrimiento de que el Rey Planeta fue un entremesista censurado por la Inquisición, puesto que la obrita entró en el Index Librorum Prohibitorum a comienzos del siglo XIX. Incluso puede aventurarse, tras el cotejo minucioso de su tradición textual, que la obra ya sufrió una mutilación parcial por la censura teatral en el siglo XVII. En este artículo se estudian ambos asuntos (el expediente inquisitorial, inédito hasta ahora, y la censura teatral temprana) y se analizan diferentes aspectos de la obra: autoría, personajes, argumento, etc. Se aportan también las coincidencias textuales con otra obra de la época con la que Lo que pasa en un torno de monjas presenta bastantes analogías: el poema de Francisco de Andrade Pensión del endevotado.

In 2004 Romeo and Juliet in Original Pronunciation (OP) was staged at Shakespeare’s Globe, inaugurating what Crystal would later define the OP movement (2016) - a movement aiming to restore the original sound of both the literary and non-literary works of the past. While academic literature suggests an irregular theatrical interest in the Shakespearean OP in the UK, it also demonstrates that such restoratory projects have proven increasingly appealing to the US audiences. The reasons why the North American theater goers' are attracted to the Shakespearean OP remain unclear. Based on a qualitative analysis of interviews with Paul Meier, the director of the theatrical and radio production A Midsummer Night’s Dream (2010, 2012) and two of his cast members, and complementing the findings with the study of promotional and non-promotional articles concerning the productions, this paper aims to shed light on the rationale behind the North American fascination with the Shakespearean OP. As Meier’s reflections gravitate towards the identity of the US as a former British colony, this study, relying extensively on literature review, is carried out both through the lens of literary/cultural history and of historical linguistics. Finally, though limited in its scope, this paper intends to pave the way for further studies on the relationship between the allure of the OP and the US culture, and thereby to enrich the area of investigation concerning Shakespeare's reception in the US and his role in the American culture.

Acerca de la vida del dramaturgo Damián Salucio del Poyo se sabe poco todavía, a pesar de los meritorios esfuerzos de algunos investigadores por discernir los datos ciertos para su biografía de aquellos que creaban confusión por referirse a personajes homónimos. Este trabajo trata de su período sevillano, el último de su existencia, que se inicia a principios de 1606, o poco antes. Partiendo de las aportaciones de estudiosos precedentes, pero sobre la base de documentación inédita en su mayoría, se establecen su fecha de nacimiento y los vínculos familiares, hasta hoy muy controvertidos y dudosos; se reconstruyen sus relaciones con directores de compañías teatrales -autores de comedias- y actores, así como con otros comediógrafos; se alude a sus beneficios eclesiásticos, actividades y negocios y, finalmente, se aborda su muerte en Sevilla ocurrida antes de diciembre de 1621. 

Der Fluyten Lust-hof by Jacob van Eyck (circa 1590-1657) is the largest collection of works for a solo instrument in the history of European music, which documents both the variety of techniques of early Baroque ornamentation and presents the vast repertoire of popular and folk songs of that time. It was that type of compositions that the blind recorder player also known as the Orpheus of Utrecht used to choose as the basis for his famous, improvised instrumental arrangements, which were later dictated by him in order to be published. After van Eyck’s death, his compositions lost popularity and were soon forgotten, and the new wave of interest in the works included in Der Fluyten Lust-hof only emerged in the 1970s along with the development of the historical performance trend. At present, van Eyck’s musical activity is relatively well explored, which we primarily owe to the work of Ruth van Baak Griffioen and Thiemo Wind. Despite that, some problems remain unsolved. One of the particularly important issues is related to the nature of separate compositions and the pacing in which they could be rendered at that time, which is still a subject of disputes among both musicologists and recorder players. Using three compositions as an example, this article presents a method to reconstruct this aspect of musical practice coming from the analysis of notation patterns and the comparison of the van Eyck’s ornamentation style with earlier written down compositions on the basis of which he created his improvisations. This last standpoint made it possible to show that the diminutions created by van Eyck in many cases do not have a purely technical character, and in some of them one can find numerous musical phrases indicative of a deeper connection between the variations included in Der Fluyten Lust-hof and lyrics of original songs and the specificity of their melodies than previously thought.

The objective of this study is to examine a potential conceptual expansion of the concept of Maqasid (essential purposes of Islam). The contemporary developments in the Maqasid al-Shariah, a popular goal theory of Islam, remains largely unchanged from the theoretical point of view, which was developed by the traditional Muslim scholars. Although the implementation of Maqasid al-Shariah has significantly grown, its theoretical development remains limited. Some current Maqasid thinkers, however, are prompted to make efforts to broaden this goal notion. They have entitled this new endeavor as ‘Maqasid al-Quran’ instead of Maqasid al-Shariah to imply a more expansive interpretation of Maqasid. They argue that the journey of Maqasid al-Shariah should continue until it achieves a larger paradigm which might give it a wider methodological ability to function outside of the Maqasid al-Shariah framework. The researcher has used library data in the form of text from the pertinent books and scholarly articles to analyze new theoretical prospects of Maqasid. This study discovers that, in contrast to Maqasid al-Shariah which primarily focuses on the normative aspect of Islam, Maqasid al-Quran has the potential to be a broad Islamic goal theory since it expresses the goals of the entire Islamic discourse irrespective of normative aspect. It was defined more broadly than Maqasid al-Shariah by traditional and modern Maqasid scholars. Moreover, its methodological scope is deemed broader than that of Maqasid al- Shariah.

Este artigo investiga a relação entre animais humanos e não-humanos no pensamento de Aristóteles, tomando como fonte principal seus tratados de zoologia e, dentre eles, a História dos animais. O objetivo central é discutir em que medida é possível identificar traços incontornáveis de antropocentrismo em Aristóteles, e, em caso positivo, em quais termos esse antropocentrismo é expresso. A partir da leitura de passagens diversas, e da análise filológica de determinados verbos empregados pelo filósofo, argumento que o dado antropocêntrico dos escritos de Aristóteles, embora presente, pode ser nuançado, em especial quando algumas espécies – como a esponja do mar – são abordadas pelo estagirita. Assim, concluo que a retórica antropocêntrica de Aristóteles aparece com mais frequência quando os animais são abordados em conjunto do que como espécies isoladas.

A pandemia causada pelo vírus SARS-CoV-2 (2019) evidenciou as desigualdades educacionais do país, criando desafios aos profissionais da educação, aos estudantes e aos familiares. Essa nova atmosfera refletiu no fazer docente e na prática cotidiana das inúmeras escolas do país, que com o avanço intenso da doença logo trataram de procurar meios e métodos para garantir o contato mínimo com os estudantes. Esse cenário de fragilidade desencadeou muitas preocupações sobre a relação escola-estudante. Diante disso, algumas questões surgiram: O que dizem os alunos? Como estão recebendo os conteúdos? Como se dá o acesso as aulas on-line? Situada a problemática, este artigo pretende apresentar algumas metodologias utilizadas com alunos do ensino fundamental II e do ensino médio, que visaram criar uma proximidade entre a escola, o professor e o aluno. Trata-se, portanto, de reflexões acerca de uma pedagogia das sensibilidades, que para além dos conteúdos oficiais presentes no currículo, considera as experiências e vivências dos estudantes.