"Articles ... présentés lors du 48e Colloquium Biblicum Lovaniense organisé à Louvain les 28, 29 et 30 juillet 1999..."--Pref.

Imagen y palabra: En torno a "El Cristo de Velázquez" es un análisis estilístico e interpretativo del Poema cristológico de Miguel de Unamuno. El poema está inspirado en el famoso cuadro del pintor español Diego Velázquez. Unamuno comienza a componer estos poemas poco después de haber publicado su magna obra, "Del sentimiento trágico de la vida" (1913). En el poemario el Rector expone todos sus pensamientos y pensamientos en torno a la figura de Cristo. Es un poemario con profundas raíces bíblicas. A través de cada poema, escrito en clásicos endecasílabos, el poeta refleja su profunda fe en el Cristo Crucificado. Junto a su obra póstuma, "Diario intimo", esta obra poética no deja lugar a duda de que el conflictivo don Miguel murió creyente. Se encuentra aquí, pues, el "Unamuno contemplativo" frente al "Unamuno agónico" de los críticos. Eliezer Oyola hace un examen minucioso de cada poema, notando las alusiones bíblicas, literarias, históricas y mitológicas.

In a new volume of her exegetical commentary, Sr. Aquinata Böckmann explores chapters 4–7 of the Rule of St. Benedict. They contain Benedict’s instruction of how to learn and live the spiritual art of monastic life that is focused on Christ. In her close reading of the text and its sources she pursues questions such as the following: How do general Christian rules help us to live in community? How does obedience lead us closer to Christ? How does silence build community? How does humility deepen our love for Christ and those around us? Never losing sight of the reality of monastic life, Sr. Aquinata weaves together Benedict’s wisdom and today’s challenges to show the crucial spiritual elements of his Rule.

This volume is a vision of Spanish literature seen through Pirandellian eyes. Those themes and techniques which Pirandello stamped with his name have actually characterized a segment of Spanish writing from the time of Cervantes. Professor Newberry first examines those writers who preceded Pirandello or could not have felt his influence and then those who acknowledged the Italian's mastery or who wrote in the ambience he created. She emphasizes how old are the Spanish themes that illusion and reality intermingle, that life is fiction and fiction life, that madness is often saner or preferable to sanity. Meticulously she chronicles the Spaniards' use of techniques associated with these themes—the play-within-a-play, the theater that mingles fiction and life, the breakdown of barriers between audience and stage, the autonomous character. Beginning with Cervantes's Don Quijote, where madness and sanity change the very nature of reality and illusion, she moves forward to Calderón's El gran teatro del mundo and other relevant works between Lope de Vega and Galdós. The author devotes a special chapter to the género chico and particularly the sainetes of Ramón de la Cruz, for these works kept Pirandellian concepts alive during the somewhat infertile eighteenth century. After examining Echegaray, whose romantic works she shows to be only part of his contribution, Professor Newberry turns to Ramón, whom she skillfully links to the cubist school of painting. There follows an extended discussion of Unamuno, particularly his novel Niebla with its famous autonomous character, Augusto Pérez. The second part of this book deals with those authors aware of Pirandello and his work. Professor Newberry begins with Azorín, whose enthusiasm for and understanding of Pirandello and the tendencies associated with him are greater than those of any other Spanish writer. Her brief examination of the Machado brothers shows how they have taken Pirandello's investigation into being and seeming and translated it into their own terms. Because his most popular work is not Pirandellian, few people have ever observed Pirandellian aspects in García Lorca's writing, but El Público and other works certainly contribute to this book. Casona, on the other hand, is enveloped by what Azorín described as the Pirandellian mist, although Casona's treatment of how reality and illusion intermingle is uniquely his own. Not limiting herself to discussing Grau's El señor de Pigmalion, a play often considered in relation to Pirandello, Professor Newberry brings up three other works that clearly indicate Grau's involvement in these themes and techniques. Indeed, one of his plays even incorporates a character Pirandello rejected, and rarely have Spanish playwrights broken down the barriers between stage and audience so completely as Grau does in Tabarín. Luca de Tena is shown to raise most Pirandellian problems in his plays, but unlike the Italian he systemically rules in favor of life, his conflicts are lighter, and their resolution is happier. Pedro Salinas, the last author Professor Newberry considers at length, is rarely studied as a playwright, but his plays show the characteristic imprint of Pirandello—fiction and reality are confused, there are problems of identity, he uses the autonomous character. Nonetheless, Salinas's basic view of life is diametrically opposed to Pirandello's, for he is filled with love, joy, optimism, and faith in the possibility of clarifying reality. Finally, the author looks at the Arte Nuevo group, particularly Sastre and Palacio, and she also considers Sotelo, who, like the other two, was influenced not only by Pirandello, but also by Thornton Wilder. Professor Newberry provides a consistently interesting picture of how Spanish literature has always shown great interest in those themes and techniques we have come to call Pirandellian and how it has given them a stamp uniquely its own. In an appendix the author includes a brief discussion of the Spanish works found in Pirandello's study.

La obra contiene, extractados, todos los libros de emblemas que se publicaron en español durante los siglos XVI y XVII. Se trata de un material de difícil acceso que de este modo se pone a disposición del lector, ya sea investigador o mero aficionado a la riquísima cultura simbólica cifrada en el género de la literatura emblemática. El libro se presenta en primera instancia como índice alfabético de los motivos iconográficos principales presentes en cada emblema. Pero, además, se podrá acceder a los emblemas mediante búsquedas realizadas a partir de los índices complementarios: de autores, lemas, fuentes y claves temáticas, aparte de los motivos iconográficos secundarios. Completa el volumen un glosario terminológico y de personajes que ayuda a la comprensión de los significados. El desarrollo de los estudios de emblemática en el ámbito internacional (existe una extensa Society for Emblem Studies) ha hecho aconsejable introducir traducción al inglés de los campos de información más relevantes. Y las ventajas que proporcionan las nuevas tecnologías han sido aprovechadas con la incorporación de un CD-ROM (ejecutable por igual en los sistemas Macintosh y PC) que agiliza la combinación de búsquedas complejas. Tanto el CD-ROM como el libro reproducen los grabados de los 1.732 emblemas estudiados.

A New Reference Grammar of Modern Spanish is a comprehensive, cohesive and clear guide to the forms and structures of Spanish as it is written and spoken today in Spain and Latin-America. It includes clear descriptions of all the main grammatical phenomena of Spanish, and their use, illustrated by numerous examples of contemporary Spanish, both Peninsular and Latin-American, formal and informal. Fully revised and updated, the sixth edition is even more relevant to students and teachers of Spanish. The sixth edition includes: • new chapters, providing more detail and examples of key areas of Spanish grammar; • an increased number of Mexican examples to reflect the growing interest in this country’s variety of Spanish; • new information for readers studying Spanish and French together; • a glossary of grammatical terms including English translations of Spanish terms. The combination of reference grammar and manual of current usage is invaluable for learners at level B2–C2 of the Common European Framework for Languages, and Intermediate High–Advanced High on the ACTFL proficiency scales.