The following arricle describes the fictional speaker from Roy;d comments as long asrhe fe<tture from a lirerary narrative which may be atrached to the gcnre of rhc novel',.;hisrory. It is a shallow <lnrtly.sis of the sender which uses sotne tools tfom rhe dassicsemiotics. Article produced as a tribute to rhe fourth centenary of the pie ce.

In this article, after setting Riva Agüero' s thesis in its right historicalframework, the author describes its contents and assesses its values, acentury ago from dissertation day.

Este artículo considera los primeros momentos de Corpus Barga como novelista.Los textos presentados aquí, Pasión y muerte o Mary y los AltosHornos y Apocalipsis o El amigo del hombre, ambos publicados en 1930,son novelas que cuestionan la institución del amor en dos de sus supuestosmás endebles: el interés económico y el adulterio.

Taking the perspective of classic semiotics, this article analyzes the explicit poetics inDelgado· s Parque, and looks for the related links between literary postula tes and themeanings in the book, a task made possible through an examination of the semanticlevels of discourse.

In this article, so me prose excerpts belonging to García Márquez are analyzed under thetheory of rhythm in Spanish in order to better understand this aspect of his work.

This article shows some texts where Inca Garcilaso describes the religion of the Incasin the Royal Commentaries; and in which, in his own way, the fictional narrator seeksto match with it, the essential truths of the Western Christian religion. Previously,our article contextualizes, with regard to the topic, the literary discourse of thislofty writer belonging to the Hispanic-American Renaissance. The original versionof this paper was read in the Jesuit University Antonio Ruiz de Montoya on theoccasion of the four-hundredth anniversary of the zenith book of the Inca.

El presente artículo estudia el libro, la Peregrinación de Bartolomé Lorenzo antes de entrar en la Compañía, del padre jesuita Joseph de Acosta, escrito en 1586, en su configuración de obra literaria; apartándose de las lecturas que lo aceptan como una biografía puntual o como un relato de verdades. Nuestra lectura convoca diversas categorías vigentes de la teoría literaria y de la teoría de la ficción.

El presente artículo explica el uso de la sextina, una forma estrófica medieval, en el libro Sextina y otros poemas de Carlos Germán Belli. Luego de una descripción del arte de escandir la sextina y de trazar un breve recorrido de esta forma versal, se describen algunos usos eruditos que logra Belli en el trabajo poético que exhibe en dicho libro. Finalmente, se da una muestra de la cumplida ejecución de los rigores de la sextina en un texto del poeta y se resaltan sus resonancias amorosas.

Este artículo presenta la obra en verso y en prosa del escritor prerrenacentista Diego de Silva y Guzmán. Explica su papel en los inicios de la creación literaria castellana en el Perú y América. Comenta la importancia del Poema del descubrimiento del Perú y de La toma del Cuzco, que son, respectivamente, el primer libro de poesía y la primera novela escritos en español con temas del Nuevo Mundo.

Sorne texts by Garcilaso in which he himself talks about his mastery of the generallanguageof the incas, and of what he calls the secret language of the solar dynasty are hereexposed. Then these declarations are set within the fictional and artistic constructionwhich elevated him ro glory.

Tomo 2. Páginas [425]-442

Páginas 165-205

El presente artículo indaga a la luz de una rápida confrontación intertextual el parentesco entre dos ilustres amadores de las literaturas hispánicas, procurando establecer algunas líneas doctrinarias de su azaroso ejercicio. Es también un elogio a dos grandes novelistas castellanos que tratan como nadie las aventuras terrestres del corazón humano.

En este breve estudio se indaga, a la luz de una rápida confrontación intertextual, el parentesco entre dos personajes femeninos de la literatura peruana (Juana la Campa y Vilma, la nana de Julius), procurando establecer algunas líneas que se entrecruzan en los discursos que explican artísticamente su azaroso oficio. El presente artículo fue leído en Caraz, ciudad natal de C. E. Zavaleta, con ocasión del homenaje al que, en el año de 2009, llamaron diversas instituciones civiles y culturales del país.

This article shows some notes about the poetic adventure of Trilce, from the general level of the conception of the artwork to the specific level of the verse production, where the rhythm of pedal cadence acts as axis that structures the senses with the lost syntax of speech.

This paper studies the two most important texts with which Spanish prose begins in Peru: Códex vindobunensis and Anónimo sevillano. At a time when history was a literary genre, this paper examines the moments of fiction, as well as the rhetorical resources present in those first two artistic discourses. Complementarily, it highlights the case of the foundation of Piura specified by the Anónimo.

El presente artículo, apoyado en las herramientas de la semiótico clásica, analiza al enunciador y al enunciatario, actantes ficcionales de El poema del descubrimiento del Perú (1538), de Diego Silva y Guzmán.

This article seeks to connect the original legend of Peru with the artistic narration of the Inca’s country that Garcilaso proposes in the Royal Comments. After recalling the legend of Peru at the beginnings of the 16th century, it explains about some fabulous narrations which were already part of the imaginary of the America discoverers. Furthermore, it describes the emergence of the hybrid, Spanish and Indian legends, which appeared after Cajamarca’s capture.

Manco Inca’s rebellion to recover the vast territory of the Andes, which the Spaniards had turned into the Hispanic Kingdom of Peru just four years earlier, was an undertaking meticulously narrated by various Castilian writers of the 16th century in Peru. Contemporary narratives such as that of the irreproachable royal chronicler Gonzalo Fernández de Oviedo, supported by very serious testimonies, coexist with other more imaginative narratives, albeit occasional, such as the one written in Cuzco in 1539 by Diego de Silva y Guzmán, the son of the novelist Feliciano de Silva —the one of “la razón de la sinrazón” [The reason for the unreason] in the first lines of Don Quixote—. In this paper we confront these two modes of narration of our early Spanish writers, i.e., that of the stories (not free of fantasy) where the aim is to tell the truth and that of those where fiction ove...

This paper studies one of the most important texts which marks the beginning of Spanish prose in Peru: the story of Miguel de Estete in pursuit of the greatest sanctuary of the South Sea, Pachacamac. At a time when history was a literary genre, this work examines the artistic places of the narrative discourse of this singular writer. Undoubtedly, his text was the first detailed vision of the splendor of the Andean country and its highly developed culture.