José Gabriel Rodríguez Pazos

Este artículo es un estudio del significado y alcance de la influencia personal en John Henry Newman. Se propone este principio como clave hermenéutica de su biografía, acción evangelizadora y visión educativa en la universidad y se lo contrasta con sus estudios y doctrina en ámbito histórico-teológico y filosófico. Es posible hacer un paralelismo entre los principios de influencia y disciplina en los que Newman cifra la esencia e integridad de la universidad y la influencia personal y el asentimiento real en el desarrollo biográfico. Esta interpretación resulta esclarecedora para comprender la vida y enseñanza del autor sobre la autoformación.

No matter how simple Hemingway’s writing might seem at first sight, the apparent simplicity is supported by a remarkable complexity at various different levels. When Hemingway says that «prose is architecture, not interior decoration» (Death in the Afternoon, 191), and that it is the hardest of all things to do, he means that there is a very careful process of selection of lexical items and their accurate syntactic arrangement in the text. Hemingway was a very conscientious writer. The present article analyses the different senses of truth that govern his work and influence his aesthetics —which include his «principle of the iceberg»— and it also discusses the essence of what «getting the words right» consisted of in the case of the American writer: economy, simplicity, and an effort to write poetry into prose.

No matter how simple Hemingway’s writing might seem at first sight, the apparent simplicity is supported by a remarkable complexity at various different levels. When Hemingway says that «prose is architecture, not interior decoration» (Death in the Afternoon, 191), and that it is the hardest of all things to do, he means that there is a very careful process of selection of lexical items and their accurate syntactic arrangement in the text. Hemingway was a very conscientious writer. The present article analyses the different senses of truth that govern his work and influence his aesthetics —which include his «principle of the iceberg»— and it also discusses the essence of what «getting the words right» consisted of in the case of the American writer: economy, simplicity, and an effort to write poetry into prose.

This article was published in the journal PRINCIPE DE VIANA, vol. 219, 2000.
In his novel THE SUN ALSO RISES, Ernest Hemingway makes an artistic recreation of the city of Pamplona and its fiesta of San Fermín, basing the narrative upon his own experiencies of 1924 and 1925. The writer elaborates a fictional internal field of reference from a real external field of reference. This article analyses the series of elements of Pamplona and its fiesta that the author includes in his work, how the selection of elements is carried out, how Hemingway uses these elements in order to convey certain ideas and feelings to the reader, the symbolic value he ascribes to them and to what extent the internal field of reference goes, sometimes, beyond its actual model, due to the requirements of the literary creation.

The last translation into Spanish of Ernest Hemingway's The Sun Also Rises is analysed here from the perspective of Sperber and Wilson's theory of relevance. Taking their concept of context as a starting point, four different contexts are considered: the context envisaged by Hemingway, the one brought to bear by the translator as reader of the original, the one envisaged by the translator as writer of the Spanish version, and, finally, the context brought to bear by the reader of the translated text. Mismatches between the different contexts result into cases of very apparent lack of correspondence between the original and the translation. The article tries to show that Sperber and Wilson's concept of context can account for the causes of the main deficiencies of a literary translation and, consequently, provide some useful guidelines for professional translators.

In two articles published in the North Dakota Quarterly in two consecutive years, Max Nänny (1997, 1998) analyses what he calls “chiastic patterns” of repetition and their narrative functions, in a number of short stories written by Hemingway. Nänny observes that there is some kind of parallelism between the use of chiastic patterning on the sub-narrative level of syntax and cohesion and the tendency to use a similar scheme
at the level of the narrative, and he distinguishes the following functions, which he illustrates with passages taken from Ernest Hemingway‟s short stories: 1) back and forth movement, 2) opposition, symmetry, and balance, 3) framing, 4) centering. There is a number of very obvious instances of chiastic repetition throughout The Sun Also Rises which undoubtedly have an iconic function of centering. The current paper analyses three instances of chiastic patterns in this novel and compares them to the corresponding passages in the Spanish translations of The Sun Also Rises published in Spain to date: Guarnido-Hausner (1944), Solá (1979), Adsuar (1983), Martínez-Lage (2002), and Adsuar-Hamad (2003).

Although –in a very simplistic way– Oscar Wilde has been presented as some kind of martyr of the gay movement, the truth is that his homosexuality went along with a longing for God and a particular attraction towards the Roman Catholic Church which have been rarely discussed. The current article presents the spiritual itinerary of the Irish writer, which concluded with his being received in the Roman Catholic Church when he was on his deathbed. Besides, information regarding his life, his stay at Oxford University, his family, his relationship with lord Alfred Douglas and the trial after which resulted in his being sent to prison.

En esta conferencia se explica el planteamiento de la Via Media que John Henry Newman sostuvo durante su etapa anglicana y la trascendencia que en ese contexto tuvo el Tracto 90, punto de inflexión clave en el proceso que concluyó con la recepción del santo inglés en la Iglesia católica.