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Review: [untitled] Author(s): Elias L. Rivers Source: Hispanic Review, Vol. 68, No. 1 (Winter, 2000), pp. 80-82 Published by: University of Pennsylvania Press Stable URL: http://www.jstor.org/stable/474360 . Accessed: 25/03/2011 08:10
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Reviews

HR 68 (2000)

a reajustes continuos, no basta extraer el esquema del modelonarrativo, sino que se impone comprender c6mo son captadas y adaptadas las estructuras narrativas. En algunos romances orales vivos, ciertos segmentos de la intriga apuntan a significados de caracter simb6lico que contradicen la creencia en el repudio por parte del romancero hispinico de contenidos no realistas. Por el contrario, los motivos se estructuran dotindose de un doble significadorealista y simb6lico. En el cuarto ensayo se estudia la poetica de esa poesia colectiva. El autor analiza la adecuaci6n de f6rmulas a contextos ins61itos, la intriga como construcci6n de la cadena de secuencias, gracias a un lxico a disposici6n del refundidor. Subraya Catalan la importancia que en el romancero tiene la existencia de motivos con un doble haz de rasgos semainticos uno de significadoliteral y otro simb61ico. Es un placer leer este libro que explica tan claramente, con ejemplos concretos, las tesis del autor, y ver c6mo ratifica que estos textos no son reliquias de canciones preteritas ni f6siles de un sistema de pensar y sentir, ajeno e incomprensible a los portadores. Catalan devuelve el romance al lugar privilegiado y milagroso que le corresponde, al estudiarlo en las creacionescolectivas de los an6nimos trasmisores de la cultura tradicional del pueblo.
LILY LITVAK

University of Texas

La imaginacidn amorosa en la poesia del Siglo de Oro. (Anejo no. xxii de la revista Cuadernos de Filologia). By Javier Garcia Gibert. Valencia: Universitat, 1997. 132 pages. This slender volume, written by the author of a doctoral thesis completed at the University of Valencia in1990 and entitled Baltasar Gracidn y elficcionalismo barroco, begins with an excellent chapter on "Lafuerza de la imaginaci6n," which is an introduction to the theories concerning the imagination that were prevalent during the Renaissance and Baroque periods. These theories, derived from Plato, Aristotle, and ancient medicine, are further developed by medieval philosophers and theologians. Thismental faculty (also known as "la fantasia") functioned as a bridge between, on the one hand, the internal "common sense," which combined the data provided by the five external senses, and, on the other, the storehouse of memory and the rational activity of intellect (also known as "la estimativa o cogitativa"). Plato had emphasized dangerous errors of the imagination, and its distance from absolute...
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