Sergio Roura
SERGIO HERNÁNDEZ ROURA es licenciado en Letras Hispánicas por la UNAM y doctor en Teoría de la Literatura y Literatura Comparada por la Universidad Autónoma de Barcelona. Actualmente se desempeña como investigador de tiempo completo en el Instituto de Investigaciones Bibliográficas (UNAM). Formó parte de la Redacción de la revista Artes de México y ha sido becario del FONCA (Fondo Nacional para la Cultura y las Artes, 2010-2011 y 2012-2015). Es autor del libro Edgar Allan Poe y la literatura fantástica mexicana (1859-1922).
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El público mexicano del siglo XIX conoció a Hoffmann a través de traducciones en francés y en castellano; adaptaciones para ópera o ballet; textos críticos dedicados a discernir su valor y, por supuesto, también mediante obras mexicanas escritas bajo su influjo. En este libro se realiza una aproximación comparatista al fenómeno de esta recepción, con la que se evidencia cómo las obras y los géneros literarios cultivados por un autor extranjero se insertaron en el paso de la literatura mexicana hacia la modernidad, gracias a la asimilación de nuevos temas y formas de expresión.
Con ayuda de un vasto material bibliohemerógrafico (constituido por notas, artículos, anuncios, traducciones, textos apócrifos, críticas y obras literarias), así como la de la ubicación del fenómeno dentro de un marco contextual amplio, que excede el campo meramente artístico y literario, para considerar los factores políticos, económicos y culturales que conformaron el horizonte de expectativas de la época, se plantea esta investigación de literatura comparada que además de constituir una aportación a los estudios literarios del siglo XIX mexicano es asimismo una ampliación del conocimiento que se tiene sobre las relaciones entre las literaturas estadunidense, francesa y española en México.
Artículos
The objective of this article is to show through the review of two stories, «The Transition of Juan Romero» (1919) and «The Electric Executioner» (1929), the ideas that the creator of the Cthulhu Mythos had about ancient and modern Mexicans, working on the concepts linked to the construction of Otherness that cosmic horror involves and concluding that, despite the geographical proximity to the US, Mexican culture constitutes for the writer an exotic, wild and primitive Other.
The purpose of the article is to show the presence of E.T.A. Hoffmann and particularly his conception of the fantastic in a selection of texts by Mexican authors. For this, first, the contribution of his work is examined then, through the review of some examples it is shown to what extent the writers approached it and assimilated their contributions.
Based on the translations, articles, announcements, notes and mentions dedicated to E. T. A. Hoffmann appeared in the Mexican press, the reconstruction of the process of translation and circulation of the work of the German author in Mexico is presented. In this aspect of the phenomenon of reception it is possible to appreciate the change of horizon that took place in Mexican society about the work of the analyzed author as well as in terms of the circulation of German works during the 19th century and the first years of the 20th.
de lo imposible, así como de la insignificancia del ser humano en el vasto cosmos. Aunque en esta obra todos los pisteis o medios de persuasión (logos, pathos y ethos), descritos por Aristóteles, están presentes es evidente que dada la importancia del efecto, y por tanto del receptor del texto, el pathos tiene un lugar central.
Considering the psychogogical capacity of language, that is, its ability to seduce and to convince, this article inquires how this manifests itself in the construction of fantastic literature and in particular in the works of H.P. Lovecraft. Thus, it constitutes an approximation to the fundamental text of the Cthulhu cycle that highlights the rhetorical resources used by its author to convince the reader of the existence of the impossible,
as well as of human insignificance in the vast cosmos. Although in these tales all pisteis or means of persuasion (logos, pathos and ethos), described by Aristotle, are present, it is evident that, given the importance of the effect and therefore of the receiver of the
text, pathos has a central place.
The premiere of Les Contes d'Hoffmann, Jacques Offenbach's opera, was central for the dissemination of Hoffmann's literary work in Mexico. The reception of this work has been reconstructed from the interpretation of the notes, criticisms and announcements appeared in the press. This process is an illustrative example of the way in which this kind of shows became part of the public’s taste; also a phenomenon that allows us to understand how the work of the German was read and its assimilation in Mexico.
by society.
Reseñas
Papers
El público mexicano del siglo XIX conoció a Hoffmann a través de traducciones en francés y en castellano; adaptaciones para ópera o ballet; textos críticos dedicados a discernir su valor y, por supuesto, también mediante obras mexicanas escritas bajo su influjo. En este libro se realiza una aproximación comparatista al fenómeno de esta recepción, con la que se evidencia cómo las obras y los géneros literarios cultivados por un autor extranjero se insertaron en el paso de la literatura mexicana hacia la modernidad, gracias a la asimilación de nuevos temas y formas de expresión.
Con ayuda de un vasto material bibliohemerógrafico (constituido por notas, artículos, anuncios, traducciones, textos apócrifos, críticas y obras literarias), así como la de la ubicación del fenómeno dentro de un marco contextual amplio, que excede el campo meramente artístico y literario, para considerar los factores políticos, económicos y culturales que conformaron el horizonte de expectativas de la época, se plantea esta investigación de literatura comparada que además de constituir una aportación a los estudios literarios del siglo XIX mexicano es asimismo una ampliación del conocimiento que se tiene sobre las relaciones entre las literaturas estadunidense, francesa y española en México.
The objective of this article is to show through the review of two stories, «The Transition of Juan Romero» (1919) and «The Electric Executioner» (1929), the ideas that the creator of the Cthulhu Mythos had about ancient and modern Mexicans, working on the concepts linked to the construction of Otherness that cosmic horror involves and concluding that, despite the geographical proximity to the US, Mexican culture constitutes for the writer an exotic, wild and primitive Other.
The purpose of the article is to show the presence of E.T.A. Hoffmann and particularly his conception of the fantastic in a selection of texts by Mexican authors. For this, first, the contribution of his work is examined then, through the review of some examples it is shown to what extent the writers approached it and assimilated their contributions.
Based on the translations, articles, announcements, notes and mentions dedicated to E. T. A. Hoffmann appeared in the Mexican press, the reconstruction of the process of translation and circulation of the work of the German author in Mexico is presented. In this aspect of the phenomenon of reception it is possible to appreciate the change of horizon that took place in Mexican society about the work of the analyzed author as well as in terms of the circulation of German works during the 19th century and the first years of the 20th.
de lo imposible, así como de la insignificancia del ser humano en el vasto cosmos. Aunque en esta obra todos los pisteis o medios de persuasión (logos, pathos y ethos), descritos por Aristóteles, están presentes es evidente que dada la importancia del efecto, y por tanto del receptor del texto, el pathos tiene un lugar central.
Considering the psychogogical capacity of language, that is, its ability to seduce and to convince, this article inquires how this manifests itself in the construction of fantastic literature and in particular in the works of H.P. Lovecraft. Thus, it constitutes an approximation to the fundamental text of the Cthulhu cycle that highlights the rhetorical resources used by its author to convince the reader of the existence of the impossible,
as well as of human insignificance in the vast cosmos. Although in these tales all pisteis or means of persuasion (logos, pathos and ethos), described by Aristotle, are present, it is evident that, given the importance of the effect and therefore of the receiver of the
text, pathos has a central place.
The premiere of Les Contes d'Hoffmann, Jacques Offenbach's opera, was central for the dissemination of Hoffmann's literary work in Mexico. The reception of this work has been reconstructed from the interpretation of the notes, criticisms and announcements appeared in the press. This process is an illustrative example of the way in which this kind of shows became part of the public’s taste; also a phenomenon that allows us to understand how the work of the German was read and its assimilation in Mexico.
by society.