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such vile thoughts that I was afraid of my own rage. (Mi madre sentía una insistente satisfacción en tentarme los genios, en los que el mal iba creciendo como las moscas al olor de los muertos. La bilis que tragué me envenenó el co- razón y tan malos pensamientos llegaba por entonces a discurrir que llegué a estar asusta- do de mi mismo coraje) (2002: 172). After thinking that he will escape to the Spanish coast, he meticulously plans her death and waits until she falls asleep. Pascual’s grotesque matricide, one of the most disturbing episodes in Spanish

seit Antonio Rey Hazas: „Introducción a la novela del Siglo de Oro, I (Formas de narrativa idealista)“, in: Edad de Oro 1 (1982), S. 65-105. 4 Alan Deyermond („The Lost Genre of Medieval Spanish Literature“, in Hispanic Re- view 41 [1975], S. 231-259) identifiziert, in Anlehnung an Northrop Frye und mit Rückgriff auf die angelsächsische Terminologie, solche Typen als romance. In der spanischsprachigen Forschung hat sich diese Begrifflichkeit nicht durchsetzen kön- nen; immerhin wird in letzter Zeit vom missverständlichen Lexem novela für diese Genres Abstand

tiempos posmodernos. Santa Fé de Bogotá: CEJA, 1999. 15 Apr. 2009 < virtual/publicaciones/hipertxt-lit/hipertexto_fcs.html>. Rodríguez López, Joaquín. “Ser o no ser ciberbardo, esa es la cuestión. Diez cuestiones a propósito de la narrativa digital.” 2000. 15 Aug. 2009 <>. Romero, Dolores. “Spanish Literature in the Digital Domain: Culture, Nation and Narrations.” Literatures in the Digital Era: Theory and Praxis. Eds. Amelia Sanz and Dolores Romero. Newcastle

. Ródenas Moya 2005: 309, 311. 19 From an intermedia perspective on the role of Charleston, chotis, foxtrot and flamenco in Spanish literature, film and painting of the avant-gardes cf. Links 2016. Claudia Rosiny, in turn, concentrates on the technical medium film and its relation to dance aesthetics by analyzing examples from the first decades of the century as well as of contemporary performances (cf. Rosiny 2013). 20 Cf. Ródenas Moya 2005: 312. As opposed to a Eurocentric perspective on the notion of ›freedom to move‹, in the historical context of the origins

.These difficulties can partly be explained by the adherence to the two-parent paradigm, but they are also a consequence of legal policy decisions whose conformity with the child’s best interests is questionable.The entrenchment understand parenthood resulting from heterologous ARTs as a different type of parenthood: in recent Spanish literature see, e.g., with further references, Farnós 49-51; Benavente, 6, 32. 17 See e.g. paragraph 63 of the Report on Principles concerning the establishment and legal conse- quences of parentage ("the White Paper"), drafted by the committee of

French chivalric romance (cf. Warning 1978), research that followed Erich Auerbach’s ground-breaking study of Divina Commedia (cf. Auerbach 1967). In Chrestien de Troyes’s Yvain, for instance, the eponymous hero suffers a loss of self in the first course but then regains it in the second course so that he is integrated into court society. In a study of Garcilaso’s second eclogue, Stephan Leopold has recently shown that figurative typology continues to be used in early modern Spanish literature (cf. Leopold 2012). In Guzmán de Alfarache, figurative typology is

, Frankfurt/M. 1985, S. 200-223. Simson, Ingrid: Das Siglo de Oro. Spanische Literatur, Gesellschaft und Kultur des 16. und 17. Jahrhunderts, Stuttgart/Düsseldorf/Leipzig 2001. Sloterdijk, Peter: Kritik der zynischen Vernunft, Frankfurt/M. 1983. Sloterdijk, Peter: Gespräche über Gott, Geist und Geld, Freiburg i. Br. 2014. Smith, Paul Julian: Writing in the Margin. Spanish Literature of the Golden Age, Oxford 1988. Sobejano, Gonzalo: „De la intención y valor del Guzmán de Alfarache“, in: Ro- manische Forschungen 71 (1959), S. 267-311. Soeffner, Hans

“Ukrainian literature is more exotic and unknown for the Polish community than for instance Spanish literature.”29 In Poland, Ukrainian culture was dominated and subordinated much like Polish culture was on the European level. In an article, published in the Warsaw-based Ukrainian language journal My (We), Rudnyts’kyi declared in 1934 that Brzo- zowski could well have been acknowledged as one of the leading European intellectuals of his time, if only he had chosen a different language for his publi- cations—or if someone would have prepared a selection of his works

. Außem, Gabriele: Thematisierung von Frauenerwerbstätigkeit im spanischen kom­ merziellen Theater, Frankfurt am Main [u.a.]: Peter Lang, 1999. Ayendez-Alder, Ruth: "Revision critica de El maleficio de Ia mariposa de Federico Garcia Lorca" in: Hispanic Journal, 6.2./1985, S. 149-163. "Imagery and theme in EI maleficio de Ia mariposa" in: Zdenek, Joseph W. (Hrsg.): The world of nature in the works of Federico Garcia Lorca, York: Spanish Literature Publisher, 1980, S. 63-72. B. : "El Teatro. Apolo, Arco Iris" in: La Acci6n, 28.09. 1922, S. 5 . Bachmann, Kirsten

Modern Spanish Literature and Art, Lon- don: Tamesis, S. 13-24. Caballero Wangüemert, María M. (1992): »Rodríguez Juliá: Una ojeada sobre Puerto Rico, entre la burla y la compasión«, in: Revista Iberoamericana, 58. Jg., Nr. 159, S. 367-378. Cabranes-Grant, Leo (2006): »Hidden Camara. The Photographic Theatre of Edgardo Rodríguez Juliá«, in: Marcy E. Schwartz/Mary Beth Tierney-Tello (Hg.), Photo- graphy and Writing in Latin America. Double Exposures, Albuquerque: Universi- ty of New Mexico Press, S. 193-208. Cabrera Infante, Guillermo (1999): Mea Cuba, Bogotá