Fernando Évora’s novel, O mel e as vespas (2015), tells the story of characters related to the origin, development and end of Cancino, a fictional space located in the Portuguese highlands. The progressof this small town and that of the central state, the capital, is not uniform; for this reason, the interaction of both generates conflicts that lead to the destruction of Cancino as a habitable space. The degenerative process of the place is sustained in irreconcilable dialectical relations and manifests its milestones with phantasmagorical appearances. Therefore, this work is divided into two parts. The first section, entitled “Relaciones dialécticas”, deals with the struggle of opposites manifested in Évora’s novel, which is notorious from the conception of the work; likewise, the main points of conflict structured in the narration are addressed. The second section, entitled ...

Within the Peruvian literary canon, Carlos Oquendo de Amat's only poetry book, 5 metros de poemas, has a place of particular importance. However, such work remained on the sidelines for a long time until it would be rediscovered by Mario Vargas Llosa, giving it the relevance it deserved within the Peruvian lyrical course. For this reason, in the present work an approach is made to the first critical receptions to the work of the Peruvian bard, as well as too much more extensive andelaborate works. Likewise, based on the philosophical postulates by Gustavo Bueno (1972), we will analyze and interpret the aforementioned collection of poems, uniting the formal aspects and the content to reveal its meaning; which, in turn, will be related to a critical stance towards society and the place of art and the subject in it.

Se busca sistematizar las ideas en la “Novela del licenciado Vidriera”, relato que forma parte de las Novelas ejemplares, en función a una reinterpretación de la teoría de lo fantástico. El texto será abordado como un relato clave dentro de la genealogía de la literatura fantástica, pues en ella se manifiestan características que son constitutivas de esta especie narrativa; razón por la cual, será insertada dentro del canon de lo fantástico como un antecedente del mismo. En consecuencia, dividiremos el presente trabajo en tres partes. En el primer capítulo, se analizarán las lecturas críticas hacia este relato cervantino. La recepción de la novela resulta clave para demostrar el error en el que ha caído la interpretación de las características del personaje principal (Rodaja, Vidriera, Rueda) y su problemática relación con la sociedad. Se debatirán las afirmacion...