And we're going to start with table five.
Middle Ages and historical fiction, in which we
will listen to four speakers in order.
First will be Miriam López Santos, who is a professor of Didactics and Literature
at the University of León, where she earned her doctorate with a thesis on the
Spanish Gothic novel and is the author of various books, articles and critical
editions dedicated to aspects related to Gothic, fantasy and horror.
For example, the keys to the castle, interpretive keys to the gothic novel
in Peter Lang in 2020 and also highlights his work in front of the gothic
novel portal of the Miguel de Cervantes Virtual Library.
And the title of his presentation is The Green Devil in the Black Forest.
830 Continuity and transformation of the medieval imaginary.
So, Miriam, whenever you're ready. Go ahead.
That sounds perfect.
Many thanks to the event organizers,
Antonio, and Israel.
No, it's not there.
Azucena doesn't tell me she's not here because I don't know her.
We haven't spoken.
Should we tell him, then?
And Antonio was telling you, uh, these days, a few days ago
and yesterday or today, or since it's been such a long day, right?
Didn't I know? Yes, if my intervention in the
historical novel cycle came in here, does it say so? Yes.
So, I'll just keep going.
Go ahead with it. Okay?
Well, I've titled it.
Ah, okay, okay, perfect.
Hello, Israel.
Uh. And he titled his communication
The Green Devil in the Black Forest in 1930. Uh?
Because it's one of those Spanish gothic
novels that I cataloged.
I went back to cataloging a few months ago, uh, to
review the catalog, because of course, you know
that new ones appear, new ones are discovered,
not new ones, there are works that are already there.
Hmm. I finally found this novel that I had seen in
catalogs, but hadn't been able to get my hands on.
I've managed to locate it, eh.
Regardless of all the characterization
of the Spanish Gothic novel.
Uh, this is it.
Hey, hey, I'll tell you the whole title: The Green Devil
in the Black Forest, or Happy and Dorothea, A New, Instructive
Novel, Published in 1830 by Ignacio Torre Soldevila. Right?
And practically unknown, especially in analysis.
As I was saying,
Huh? It was, mmm
It is one of those Gothic novels, but the only one in
which, being of the irrational variety, it has a
figure that we can consider supernatural, which
in this case would be that devil that appears in the title in front of all the
eh, eh,
The Gothic novels of this movement, where the
supernatural element is justified in the
rational or is inserted more into the territory
of horror, as happens with the other works.
Well, uh, before getting into this more
theoretical subject, uh, I did want to point
out that, uh, the novel appeared for sale
in Madrid, in the Munici Ana bookstore in
1830 and it appears in several catalogs,
hence I was on the trail because it appears
cataloged in several works that were Gothic,
clearly because they were translations.
The historic underground tomb of the Duchess or Maria,
or the abandoned girl, Luisa de Augusto, or The Cabin
in the Valley, etc. Then it was indeed linked to that
public, to those readers of the time who
were looking for this other type of works.
Now, focusing on the plot, well, uh.
I was lost in catalogs.
As I mentioned, and even in Ferreras it
appears with the initials JT s, eh?
In others, in other catalogs, such as Anonymous.
And I've tried to find something by this author and
haven't found any other work, so it could be a pseudonym.
I also tried to find out if it was a translation, but I couldn't find it, huh?
But no, that doesn't mean that new
data can't appear from now on.
In the end, it narrates the adventures and escapades of a young man
who, after the mysterious death of his father, finds himself involved
in a series of inexplicable events that will lead him to discover a
supernatural reality hidden in that gray area of ​​the black forest.
There's an initial childhood story that you can imagine a
family tragedy that will encompass his life, huh?
His father is found dead on a slab under inexplicable circumstances.
Signs of injury. Horror.
The affected mother dies a few days later.
A few months later, a typical argument.
Later on, a shepherd boy finds Dorothea, huh?
Orphaned, destitute. And a relationship begins.
After that marriage, a mysterious voice begins.
He warns them, eh, that their destiny will change drastically.
And here begins the most interesting part of the escape,
as they cross that black jungle and are guided by a
grotesque-looking old man to a hidden, totally extravagant world.
Huh? Where they will witness scenes of terror
and violence that defy human reason.
So there they discover a hellish realm that is
dominated by, uh, this mmm green
devil, which is a demonic entity, uh?
Disturbing.
And he's already commenting on the ending.
Well, I don't need to because I'm going to say it,
but the father didn't really die, but was condemned
to hell, etc., and then he grants them freedom.
That story, after all, is based on all the tropes
of Gothic, of classic Gothic: Heroes in danger, plots, eh, horror, eh?
Family tragedies, a suffocating atmosphere,
a punishment that rewards, huh?
And all this structure that writes it al al,
to, to the genre,
to the historical subgenre of the Gothic novel,
because it presents that special element, different
from that other Spanish tradition, which is the
presence of that green devil in an environment
marked by the suffocation caused by the natural space.
That's why I've brought you here, in this first instance, huh?
Those eco-gothic anxieties, eh?
It's described in a horror style, huh?
And like a prelude to hell, huh?
Dominated by that demonic character, huh?
The presence of the demon and its insertion into that
wild natural landscape I am describing, as well as
its antagonistic role in the plot or the description
of its properties, then demand an intertextual
look at that medieval literature.
Also because of the presence of that devil and how he's been
described, seeking his literary roots and an eco-Gothic
vision in which the forest is presented as a constant threat. Huh?
This mmm.
I won't dwell on the characteristics of the devil, since you're medieval here.
Much more expert, huh?
But the devil that appears to us in this,
in this, uh, in this space, is it a devil, uh?
That it's marked by folklore,
by superstition, huh?
But it is also based on all the inquisitorial
manuals, treatises on monologic matters,
books of wonder, secrets, etc. that
could speak of this character or this being.
But we're interested in this idea of ​​the devil in texts, in narrative texts,
right?
As a triggering element of fear responsible for
evil and human suffering, it obeys the postulates
demanded by Gothic writers and will determine its role in the plot.
In fact, the devil in the novel draws from this medieval demon,
who had abandoned his status as a historical entity to become
another character present in the texts, which is partly formed,
as I say, from this collective imaginary, both religious,
philosophical, popular and folkloric, right?
Is there a coexistence, on the one hand,
from the majestic Satan, Dominus, lordly
dominus to the Dante Eiffel, eh?
What is the mocking devil, huh?
Clumsy, etcetera, eh, the devil!
So what do we find?
Yes, uh
It manifests, uh, a series of tricks,
uh, deceptions and ploys and uh, their
terrible consequences, uh?
As well as an ending that represents, which is the
novelty, especially if it's starring the devil of
virtue, the triumph of virtue. Right?
Facing condemnation, huh? The abandonment
to passions, which is also strange. Not
so much if we understand it in the dynamics
of 19th-century literature, but rather
in the figure of the devil.
Eh Feliz and Dorotea are haunted by the weight of the past.
They venture into the woods near their cabin, guided by a
trembling, muffled voice that confirms, as I told you before,
your luck will soon change and an unforeseen incident will
lead you to an unknown place where you will find the ultimate remedy for your
ills. Eh?
Hey! There, eh, is where, eh.
Inviting them to climb a barely accessible crag as
proof of these claims, to watch in horror as their
house appears before their eyes engulfed in flames.
This is why the progress will begin. Right?
The progress of history, huh?
The mystery surrounding the whispering voice is
linked to the plot, to the gothic motif of creation,
of suspense, of the fascination with sinister terror,
eh, but it is also enriched by the tradition of example, eh?
In which this devil appears representing a series of
characters, the devil induces and induces sinful
thoughts and desires to offer favors in exchange for the
soul or to control human or animal bodies,
tempting the hero so much that he ends up, eh?
The holy hero ends up being defeated thanks to divine intervention.
As we know from the exemplar that happens in the Green Devil,
the turning point is determined by that fire that
we just saw caused by the devil himself.
We understand, right?
Well, it's after this that all the events
that are going to happen take place, huh?
Well, the protagonists will start making decisions.
Well, few, because they are influenced and influenced by the person who guides
them, eh?
And it makes itself present through an old man who is
going to move through, uh, that jungle on a stormy journey
full of terrors, although it is not materialized or made
explicit at any time, that he makes a pact with the demonic
entity, we can assume that there is a breakdown of will,
an abandonment to its dispositions in the hope of a final benefit.
The devil transfigured into an old man as a folkloric
motif, eh allows him not only to give realism to the text
but also to offer a reliable, harmless figure that enables
him to access, through persuasion, his true ends.
And I quote again, you are already convinced of your misfortune.
If you want to find relief in it,
follow me. Then it is from, uh, from
that moment in which we find, uh,
this figure, uh, this, uh, the transit serves her.
We are witnessing a transition from a diabolical
preternatural entity to a fantastic supernatural
subject that occurs in this 19th-century
literature of the late 18th and early 19th centuries.
Until, uh, mmm.
It appears explicitly or in characters that refer to
these entities with a demonic personality like those we already know.
As the century progresses, the 17th, 19th century, sorry, transgressive,
irreverent and rebellious characters appear throughout the journey
they undertake in a voyage that takes on almost initiatory overtones.
Eh, Felix and Dorotea find themselves immersed in a series of experiences
that expose them to a growing sense of threat and vulnerability.
Hey, Mmm hey! The presence of the non-human, constantly recreated
throughout its journey, bursts forth with a disturbing intensity,
immediately awakening mechanisms of superstition that are
activated through a process of cultural mediation.
Through all these ideas we were discussing earlier, that
is, as they say, from a Gothic perspective, right?
For example, Parker points out that when we enter the forest,
uh, we don't have a fear of the forest, but what is activated
through a process of cultural mediation are our fears of
forests that we have read about throughout the entire EH.
The history of literature is the idea we have of Del Bosque.
We went down to the base and there was another one
of the fragments and we learned more about it.
A terrifying fear confused and stunned us.
I don't know which of the two would be more enthusiastic.
Our hair stood on end at such a spectacle.
In this sense, what they are going to experience is
what Sybil has defined as the plant stalking.
That is, that space, uh, that natural
space that becomes an actor.
He observes them, stalks them, dominates them, and, uh, the forest
appears linked to that figure, it is configured as a space of limits, a
territory that oscillates between the bewitched, that which bewitches,
between what traps and what is capable of transforming.
And a scene of profound symbolic weight occurs in which
the characters succumb to an absolute loss of will.
Victims of that terror they do not understand.
Does the unsettling reappearance of the old man after a period of
enigmatic absence reinforce this atmosphere of the supernatural?
His return, however, is not in the
form it had previously been
presented, but in the form of, uh,
uh, of, uh,
This new being appears as the famous green devil, huh?
And I quote you, eh, in a very, eh, in a very diverse way
and I quote: His outfit was no longer the same without a
long green tunic tied with a ribbon of the same color,
with sandals and a tall hat, also green.
Was his face also green, very bright, and in his right hand
did he carry a trident of extraordinary size, eh?
So we see that a transformation has taken place, a transmutation, right?
The narrative reinforces the ambiguous and disturbing
nature of the demonic apparition, intensifying the
feeling that the protagonists have been dragged into a
wild space where the rules of reason and logic are suspended,
an absolute delight for the diabolical
element, and thus abandoned to the irrational.
The text then takes on a totally gothic atmosphere, perfect for
exploring all these themes that gothic literature likes: traumas,
transgression of norms, insertion into the forbidden, and so on.
Hey, the demon we discovered
here is a medieval demon, huh?
Had,
Well, I had.
I don't know what happened between the two of them.
Hey? He is a medieval demon. Hey?
That?
Uh, yeah, what? Uh.
Can we do it in the studio? What's up, huh?
It appeared, eh.
We have a conscious image of a dark demon.
Hey, hey, red.
Huh? Mmm.
With tints that include a mix of red and black.
But this green devil we can find, uh, in the
beginnings in the Codex Riga, which is also known
as the Devil's Bible, which is the manuscript,
a 13th-century manuscript that contains an
illustration, uh, a whole face in which a green
devil appears, uh, with a green head, uh, big,
red eyes and a threatening expression.
And the image moves away from demonic representations.
As I mentioned, it's more in dark reddish tones, which causes
this perception of green to evoke the unknown, the supernatural, and evil.
And we could associate it with everything
la la eh
the assimilation of green with evil through, well, the arabesque.
But if you look at it from a cinematic
perspective, every time poison or an evil
character appears, it is often shown to us through the color green.
I don't know if you're thinking about it.
Even if it's in Wicked right now,
or is it green, or is it the typical
scene when he's pouring a
poisonous potion that's green, huh? So, huh.
It is precisely this symbolic confluence of elements that determines
the classification of the work to the Gothic genre, and in it nature
is not the stage, as we mentioned, but an active agent that enhances
transgression, otherness, metaphysical unease, and where the
supernatural element is not limited to shaping the space, but
becomes the protagonist as the true one responsible for the succession of events.
From here on out, from when they experience all this, right?
Will they go through a series of tests,
as I was saying before, in which they
establish a relationship with their
own nature? As you can see in the
fragment you have there.
And once they pass this series of tests, they
arrive at, the terror gives way to horror
because the scenario of hell will be recreated,
which will be the last of the stops.
Once they have crossed the entire forest, they have already suffered this series of
trials.
This space, this writing with remarkable plastic
richness, is built from the technique of excess,
which is also very typical of Gothic novels, in
which exaggeration and hyperbole appear and
function as constant mechanisms of sinister sublimity.
The narrative, far from being limited to a mere descriptive exposition,
delves into the imaginary of the ominous, where each element that
appears reinforces the feeling of oppression and fatality.
It is chosen.
The protagonist, as we know, has become a witness to that reality that
defies the limits of his enlightened reason, and that is why he describes
with horror everything he observes, trapped in a moral and existential
crossroads.
His speech, uh, is marked by uncertainty and unease, and
reveals a constant dialectic between fear and fascination,
while repeatedly questioning whether the decision to
follow the old man or the inescapable tacit pact that he has
dreamed he has come with him, has been the right choice.
Thus, the text refers to the tradition of those medieval versions of hell, where
the protagonist assumes the position of a pilgrim, condemned to contemplate
eternal punishments before returning to reality transformed by the revelation of
absolute horror.
Well, for example, some of the scenes, the noise of the
chains that was there made us want to look over.
How awful!
Naked men dragging formidable chains, huh?
One of those guarding those wretches was armed with his
trident and dressed in the same suit as the others.
We passed through another large room where there was a group of men who
seemed to be made of marble, because they were not observed moving, etc.,
etc. And a series of rooms followed. Hey, tell me until when because I
don't know if I've gone past that point, that's why I lost track of the time.
Excuse me, we're starting now, huh?
And I'm finishing up now, and it goes through a series
of rooms and will reach the end where it tells them
that they are the last ones to have arrived at this
place, but that they are the first ones to leave it, and that's all.
In conclusion, the green devil is a symbol of the chaos
that emerges in the novel and embodies the philosophical
and spiritual tensions of the 19th century, a period
marked by the erosion of religious certainties
and the irruption of secular thought.
Like all Gothic novels, it not only captures the anxieties
of its time, but also inaugurates a new way of representing evil.
Eh More than an agent of temptation, the ultimate administrator of a world
where justice has ceased to be a reflection of transcendental truth and
has become an unforgivable mechanism of domination.
Huh? Thank you very much.
Thank you so much, Miriam.
And then, uh.
Carlos Benjamín Pereira will
speak, and he must be online.
Wait.
I don't know if Carlos, can you confirm that you are there.
Good afternoon, very good afternoon.
The person I'm referring to, Carlos Benjamin, is a graduate in Geography,
History, History Section, Solidarity Award, End of Career, Diploma of
Advanced Studies and PhD candidate in Medieval History at the University of
Oviedo.
He is interested in the field of Hispanic medieval digital culture, with
special emphasis on psychological knowledge (I'm sorry,
paleo-psychological,
graphic and exotic), geography, bibliography and neo-medieval teaching
resources.
Novels, films, and comics.
He has primarily taught at the Faculty of Geography and History of the
University of Oviedo and at a dozen secondary schools in Asturias.
He is a co-founder and member of the Editorial Board of Memorándum, Journal of
Historical Studies of the University of Oviedo.
He is a regular contributor to the society and power territory.
Journal of Medieval Studies of the University of
Oviedo and is coordinator of the Center Working Group.
Historical novels and picture books of children's literature.
Developed at the Secondary Education Institute.
Jerónimo González is also a member of the Editorial Board of Platero.
Review of Children's and Young Adult Literature, Promotion
of Reading and School Libraries of the CPR Training Center.
But no, I don't know the acronym.
I'm sorry, Carlos from Oviedo, and he has participated in almost a
hundred courses and congresses as an attendee, speaker, and organizer.
The title of his presentation is Umberto Eco, The Name of the Rose and the
Principality of Asturias and Carlos, whenever you want, you have the floor.
Okay, fine?
First of all, I would like to congratulate the organizing institutions
of this third
conference, the Rey Juan Carlos University of Madrid and the University
of Santiago de Compostela.
And special thanks to professors Antonio Huertas Morales and Reyes, and to Martín
Marcos for his kind invitation to participate in these third conferences
between archive and fiction.
Why has He been the subject of this communication, of this presentation?
Firstly, because this year marks the tenth anniversary of the death
of Umberto Eco, an author who I believe is very well known.
We'll talk a little bit about everyone in it.
Secondly, because in four years, in 2030, a series of major events will be
commemorated: the 50th anniversary, the half-century since the publication
of his well-known debut novel, The Name of the Rose.
Thirdly, on a personal and totally subjective level, because
The Name of the Rose is my favorite book for many
reasons related to my medievalist training.
And in 4th place, because as an Asturian I feel a bit inclined to investigate,
uh, some ways of linking, of connecting The Name of the Rose with the
Principality of Asturias, perhaps the best known, the awarding of the
Prince of Asturias Prize in 2000 to Umberto Eco in the Power, sorry, in the
PowerPoint he presented.
It therefore included a kind of introduction before talking
about ECO's connection with Asturias in relation to a few brief biographical
details.
Although he is, I think, a very well-known character, and issues of a
certain type, well,
related to the novel, the film adaptation, the comic book versions, the
video game, etc., etc.
In fact, since his birth in 32,922 in Alexandria, it is worth mentioning, I
believe as fundamental milestones, his doctorate in Philosophy at the
University of Turin, in the year 54, with a thesis on the aesthetics of Saint
Thomas Aquinas.
That is to say, he will not only be a professor of semiotics, he will
be a renowned bibliophile medievalist, a polymath, a polymath
sorry, of a Renaissance character in the strict sense.
His teaching and research at different Italian universities, in the case of
Florence, Turin, Milan, etc. But above all, that chair of semiotics in the
late 60s and early 70s onwards, in the case of Bologna, which are his most
outstanding works.
I know he is a very well-known author who is probably saying things you already
know,
but I think it is essential to contextualize the vast erudition of
Master Greco.
At the essayistic level, it is necessary to mention fundamental
titles that, moreover, also lay the foundations of my medievalism,
such as "you ask apocalyptic fables about open" and so many others.
And at the novelistic or essayistic level, at the novelistic level, his first
work.
We mentioned the name of Rosa, but also other well-known ones such as Baldo,
Lino,
Foucault's Pendulum, The Story of Before and so many others.
It is not the purpose here, obviously, to discuss his life or all his works.
But yes in power.
I wanted to mention a little about that name of the rose, that fundamental
international bestseller, which I believe is, uh.
Perhaps it's a personal opinion, but I believe there is no work that compares to
this
from the point of view of historical novels set in medieval settings, not even
remotely, the Pillars of the Earth by Ken Follett, etc., etc. Okay.
He included in the PowerPoint presentation, before discussing the
relationship with Asturias, some very generic information about the Art Deco
novel.
From its original publication in Italian in Bombean, in Bilbao
in 1980 to the first Spanish translation published in Barcelona by Lumen.
Two years later, in 1982, he mentioned some of the Spanish editions.
The editorial year included some images and comments relating
to the essays that a good number of Italian researchers
dedicated to the novel from different historical, philosophical,
literary, etc. aspects. In 1987, Lumen published
the translation from the Italian.
And then I have here, well, a novel that I mention here as well.
I don't know if it will be possible to see it.
I don't think the camera is letting me see it, oh well.
It is titled Abbeys, Labyrinths and Pixels: Transmedia
Narratives, which is the name of the rose and is a small book.
It's 100-something pages, but it's very significant.
The author is Fran Mateo.
It was published -1 year ago.
The University of the CAP.
And well, I think it's important from the point of view of that interpretation
of what would be a bit of the dissemination of Eco's novel in languages
​​that
are not only literary, but also filmic, bibliographic, and so on.
He also mentioned with images the well-known film adaptation, the
documentaries from 1986 and 2004, the famous television miniseries
that did not reach the same literary quality, the comics by Milo Manara
which curiously appear together in the Catalan edition and not as they
are published in Spanish in two, in two entries, the video games,
the board games, the extensive merchandising.
In other words, I believe that a great deal has been written about
this novel; there are even conferences and doctoral theses.
I believe it is very well known and widely publicized that
They are a.
Perfect echo and the name of pink.
This is,
evidently and currently History of Communication and Humanities in the year
2000.
It will therefore record what would be the data.
Various identifiers for members and female members.
The jury's word and, above all, the most important reason why the Eco prize was
awarded.
You tell me.
These are connection problems.
I don't know if he's perfectly fine, if he's a little better now.
At least we can hear the image if it keeps cutting out, but then we can hear
it properly.
May I?
I don't know what the problem is with this connection.
I apologize. I am here.
Please just try again another time.
But it won't let me. Do you have any...?
Here's another option.
Yes, yes, let's move on to the next
speaker and give it a try.
Try connecting again in about half an hour to see
if the connection is a little better. No luck?
Come on.
Thank you so much, Carlos, and I'm very sorry.
I have it now.
Okay, so we move on to the third speaker at the table, who is
alucinaron, I don't know if I pronounced it correctly.
Azucena, who holds a doctorate in the Medieval Studies program at the
University of Santiago de Compostela, has already participated on
several occasions in the activities organized by Professor Antonio
Huertas in relation to nineteenth-century history.
And now she is working on her doctoral thesis on the use of the Middle Ages
in 19th-century Spain through the historical novel, under the direction
of Professor Israel Sanmartín Barros, with whom she also works on
historiography issues.
The title of the presentation Azucena is Urraca, first of León, in the
nineteenth-century historical novel by Patricia de las Costuras.
The liberal use of the medieval queen.
So Azucena, whenever you want, go ahead.
Can you hear me?
I have to.
I don't have to give the class, otherwise they're green, they're green.
This deserves it.
Ah, okay.
Well, many thanks to Professor Bautista Bonet for the
presentation and also to Professor Isla de San Martín and
Antonio Huertas for allowing me to be part of the organization and to present
here today.
Well, the work I am going to do today is a reflective experiment on the
construction of the history of Spain.
Uh, the construction of Queen Urraca and how this medieval
queen is used by the nineteenth-century liberal regime
based on popular demand and the gender conception in
which the medieval queen and the nineteenth-century queen are conceived.
On the other hand.
To do this we will analyze how a 19th century author reflects a medieval queen,
Magpie, the first of Castile and León.
In his historical novel The Count of Cádiz, Espino.
And we are going to do it based on a series of theoretical
works that we can organize into three points.
Firstly, intellectual history, because what we do is a work of historiography
and we do it by studying texts within their contexts, based on a methodology
and theoretical foundations.
Two The History of Gender by Joan Wallace Scott and the Kings Studies.
Gender history, on the one hand, allows us to see gender as an
analytical category that depends on the context in which it
develops, and on the other hand, studies allow us to link
gender as an analytical category with the importance of the
queen in the structure and historical fiction.
Finally, we have the political thinking of the class, and this
theoretical tool works from the fact that the historical novel
functions for us as a channel of dissemination for nineteenth-century
liberal political discourse.
With this we can understand that the historical novel is a place where
popular demands are concentrated, a concept that, according to Laclau,
produces a political discourse and is also a place where those popular demands
materialize.
In this case.
So we'll see how this popular demand is met, huh?
Does this popular liberal demand to legitimize the 19th-century
queen Maria Cristina de Borbón, or Isabel II, merge with the
popular demand to have a history of Spain and will it blossom
into the creation of a first magpie of León, who functions
according to specific gender parameters, some of them
continuations of the Middle Ages and others that will be new,
eh? For this, we are going to, uh, take a series of steps.
First, let's see that Urraca was a real person.
Secondly, it is that he is a character who was built from his
own time until today, from a series of texts, documents, sources.
For us.
And finally, we will see how this is reflected in the 19th century
by Patricia de las Costuras in her historical novel.
This is where we will see the nineteenth-century context and how the
novel
materializes the liberal popular demand through the categories of genre and
originality.
So, let's begin by introducing Urraca.
He is a controversial figure from his time to the present day.
As I said, the different sources offer
us different and opposing views.
However, there are a number of historical statements that we can affirm, and those
are the ones we have on screen.
I have chosen not to give a speech about the entire history of Urraca.
Yes, and only.
To account for the characteristics that we know more or less
for certain according to the documents, huh?
That's right. The.
She is a character who had to fight for her legitimacy as queen.
She is the first queen in her own right in the history of Spain and Europe.
Daughter of Alfonso VI and Constance of Burgundy, she ruled
the Kingdom of León for 17 years after the death
of her only brother, Sancho Alfonso.
Alfonso.
Much of the nobility and clergy distrusted her ability to lead and govern
because she was a woman.
And we will see that this same situation is what will happen with Isabel
II in the 19th century, although for her the law had to be altered and
for Urraca it did not, although it was necessary to constantly reaffirm her
authority.
Secondly, she lived through a disastrous marriage that was key to the succession
of Spanish medieval history.
She was married to Alfonso I of Aragon, the Battler, after the death of her first
husband.
This second marriage was imposed by Urraca's father, and the
incompatibility of the two spouses divided the Iberian Peninsula
between supporters of one and supporters of the other.
Finally, the marriage was annulled due to consanguinity.
Finally, we must highlight that Urraca faced a kingdom marked by chaos.
Its historical context is one of constant war and social unrest.
Extensive relationship with the Church, especially with the Bishop of Santiago de
Compostela, Diego Jiménez, and resistance against the Almoravids.
Finally, Urraca was able to maintain the territorial unity of a
kingdom that her son Alfonso would later inherit. 7th.
We now turn to the sources from which this medieval magpie is reconstructed.
On one hand we have the sources contemporary to the queen, the history of
Santiago
de Compostela, which has an ecclesiastical and Galician perspective
that
shows her as an ambitious, unstable and sinful woman.
Then we have the chronicle of Fonsi Emperatriz, which has a dynastic
perspective.
Here she is seen as the mother of the emperor who ruled in difficult times and
The main focus is on Queen Urraca as a mother.
Then we have the Andalusian chronicle.
Agustina, who does indeed give an account of the witness of the social and civil
order.
Then we have sources such as the late diploma of Urraca Primera
and the record of council data, which allow us to see empirically
how the Queen was exercising power and doing so
as she could within her own context.
On the other hand, we have the medieval sources that come after Urraca's
life, but still in the Middle Ages we have the Rebus Hispania and Rodrigo
Jiménez de Rada, which offer a critical view of the Queen.
Focusing on the failure of her marriage to Alfonso I of Aragon,
the Quran and with Mundi and the history of Spain of Alfonso X
collects the traditions of the previous Mmm.
And they place Urraca within the genealogy of the kings of
Castile and León, but a moralistic tone is always adopted regarding her personal
life.
The accumulation of this data and its interpretations by later Asturians
created
and recreated the figure of Urraca from the Middle Ages, passing through the
different histories of Spain that were made, from Juan, from Mariana in the 16th
century to Modesto Lafuente and already in the second half of the 19th century.
Modesto Lafuente portrays this queen as a disturbance of order who let
herself be carried away by her private life and allowed it to influence her
political government.
He sees her as a cause of the scandals,
wars, and turmoil of her time.
Today, historiography seeks to debunk all these myths about Urraca.
Thus, Magpie the First is no longer treated as an accident in the line of
succession, but as a bold politician who inherited a kingdom on the verge
of collapse and managed to hand it over to her son Alfonso VII, intact and
strengthened.
She is recognized as the woman who proved that the throne of León was not a matter
of sex, but of leadership ability.
We have a paradigmatic example in the work of Hermelinda Portela
and María del Carmen Pallarés, which has also helped me to understand
all those sources through which Queen Urraca is constructed in the medieval
party.
But with all this we can reflect on the history of Spanish
historiography, in the sense that new histories have been
created, from medieval chronicles to current historiography.
But here I want to stop to talk about the nineteenth-century
historical novel as another link in this Spanish history.
We have already been talking about the historiographical importance of the
historical novel, in the sense that it is a great tool for dissemination.
And above all, by understanding it within the romantic historiographical
context in which history as a science did not yet exist as such.
And it is here that we understand the novel that concerns us today, which is
the Count of Conde Espina, by Patricia de las Costuras.
Yesterday we said that most of these authors of these
nineteenth-century historical novels expressly state that
they do not try to make what they relate true, but truthful.
But Patricia's expulsion is an exception within this.
And he declares himself a faithful historian, as well as making constant
allusions to a chronicle that he never says what it is.
At least in the editions I saw, eh.
Is Patricia Rosco one of those public writers that Professor Gonzalo
Pasa Mar was talking about? Is she an intellectual or proto-intellectual,
as Professor Luis Bautista would say, eh?
He is a politician, journalist, playwright, historian, photographer,
critic and romantic writer, and a member of the Royal Spanish Academy.
And above all, it is important to highlight that it was liberalism
moderate. In
The historical context in which it is published, his novel belongs to the end
of the ominous decade.
That period between 1823 and 1833, the last stage of the
reign of Ferdinand VII, had responded to a reestablishment of absolutism in Spain.
At the same time, liberal conspiracies were taking place.
This is important, huh?
Because I want to emphasize that in the ominous decade, and especially towards
the
end, there were already circles of liberal intellectuals, such as Patricio
Velasco.
In this context, our author's context also pertains to the
succession problem of Ferdinand VII, who found himself without male children.
A girl, Isabel II, is born on October 10, 1830 and is named
the legitimate heir to the Spanish throne.
We also know that Ferdinand VII carried out the pragmatic sanction,
abolishing the phallic law that prevented women from ruling.
In other words, there is a change in the law to give legitimacy to Isabel II as
future queen.
This caused the division of Spain between
liberals and Carlists, thus creating the two sides.
Huh? Where is the liberal side the one that supports it, huh?
These queens?
Therefore, we find three queen figures in this work: Maria
Cristina de Borbón, Urraca I and Isabel II, which we can study
with those theoretical tools of the prince and gender history.
First, because they are female figures who exert power over a specific context.
They are figures of reigning women, legitimate heirs and queens.
In the case of Urraca and Isabel and Regent in the case of Maria Cristina,
they
are female figures who have an influence on their context.
The very existence of this work by Patricia de las Costuras is a
product of the influence of the mere existence of the future Queen
Isabel, who at this time was only two years old, but who would embody
the liberal ideals of the various late nineteenth-century intellectuals.
If we consider our theoretical tool of gender history, Joan Wallace
Scott tells us that gender is not constructed from four elements,
which are those we can see on screen, but I am going to explain them by
observing how it would apply to both the medieval queen on the one
hand and the nineteenth-century queen on the other.
First, we have the culturally available symbols, those symbols that
evoke multiple and often contradictory representations of gender with the
Winship is in mind.
In this work we discuss the symbolism of power in both societies.
It is a masculine symbolism.
In the medieval case there is the symbol of the warrior king, judge and protector.
This continued into the 19th century.
But there is also the existence of a public opinion that contrasts
what is expected of a woman with what is expected of a queen.
Secondly, normative concepts, which are those concepts that
advance, interpretations about symbols that attempt to limit and
contain their metaphorical possibilities, are the concepts that
are expressed in religious, educational, scientific, legal and
political doctrines and acquire fixed binary oppositions.
What is feminine is feminine and what is masculine is masculine.
In both cases we find a social norm according to which women
cannot exercise command because they are not capable.
In the case of the Middle Ages, although Urraca's case is an exception,
canon law and feudal customs dictated that the king had to be a man.
In the nineteenth century we find the same situation.
But Fernando VII, as we saw, had changed that rule.
Thirdly, having institutions and social organizations is the
reference to all the institutions that legitimize
the normative concepts of gender that we have just seen.
In the medieval case, the legitimizing institutions are the feudal system
and the Church, and in the nineteenth-century case they are the army
and politics.
And finally, subjective identity, which refers to the construction
of gender identity based on the previous elements.
Taking into account here also the fact that real men and women
do not always satisfy these symbols literally.
Magpie first is magpie first.
And the same goes for Maria Cristina and Isabel II.
However, we can see that there is a need to legitimize the 19th-century queen for
the functioning of the liberal system, and for this, the first step is to find a
reflection in the Middle Ages.
Patrick of the seams can be seen as an attempt to.
From this emerges the figure of Urraca I, extracting her from those
earlier sources and placing her in the nineteenth-century present,
anticipating the situation of a Spain that already had a
female heir in whom it would pour the liberal ideal.
We will see how a magpie is painted that follows all these symbols
we have seen and that ultimately creates a confusing interpretation of the queen.
She has many flaws, but at the end of the day she is the legitimate queen and as
such
she must be respected and needs to be surrounded by people who know how to
guide her.
Thus we see how we view the culturally available symbols
that provide a queen who reflects her role as a
woman, to give offspring, to give an heir.
Thus, Patricio de las Costuras exposes a raca mother of Alfonso VII and
also expresses the anger of the Galicians when Urraca, under the command
of Pedro de Lara, of course, sits on the throne of her son.
I say, of course, because Urraca could not decide on her own, by herself, to sit
on the throne.
It also emphasizes the different topical characteristics
of what a woman is and what a woman in power is.
Thus it says that no matter how used a woman is in her projects, no matter how
much she is accustomed
to witnessing great events and to being involved in them, when the time comes for
a fight, her strength abandons her.
It also refers to his character, which, despite
his ambitious nature, falters on
that occasion and he has to hide it.
She's ambitious, but at the end of the day, she's a woman.
The weaker sex, so brutality disgusts her because her nature is to be sweet to
soothe men.
Here Patricio del Arco Sura expresses the idea about Urraca that she
is deluded regarding her position of power and does not understand what her
advisors tell her.
Here we have that idea that it is important.
Consider the people the queen surrounds herself with and how her actions harm
these people.
In this story, we have Urraca again as a mother, but also Urraca as a
queen, who is governed by a male figure, in this case Don Pedro de Lara,
who, as the author says, was the one who governed everything in his
house and who, insensibly and by force of flattery, came to acquire
such ascendancy over the spirit of Doña Urraca that she did not know how to take
a step without his advice.
However, the author constantly talks about the queen's beauty.
The queen has to conform to the normative concepts of the female gender and meet an
ideal of beauty.
The Queen of Castile is constantly defined by her beauty.
She is the queen of beauty, as it says here, who has seduced two chivalrous
characters, the Count-Aide-de-Camp of Spina and the Count of Lara.
And you must choose between the two of them.
The plot of the second volume is basically this.
On the other hand, and as always happens with women in power, she is labeled as
capricious and arrogant.
She is also extremely haughty, inconsistent in love, but always
beautiful and always with undeniable rights to the throne of Castile.
Beatriz from the sculpture is predicting the way in which she will characterize
Isabel II.
Years later, it is an example of how gender symbolism is repeated about a
queen.
Of course, the same applies to the Kings.
The thing is, being the queen makes it a more isolated case, and its
characteristics are directly attributed to her gender.
It is a case study.
This is because there are a number of institutions and social
organizations that operate according to these stereotypes.
In the medieval case, the feudal system dictates the tasks that a king must carry
out.
And within this institution, Urraca is often defined by her
status as the daughter of Alfonso VI of Castile.
Here the author puts Alfonso VII but he is referring to Alfonso VI.
It's normal with so many Alfonsos.
But.
But this institution is the one that establishes the heir to the throne, and
that should be emphasized.
This idea is constantly repeated.
And the medieval institution that governs realities is the Church.
In this case, it is the Church that must calm the unrest caused by the queen's
senseless actions.
We can also include here that it is the Church that declares her marriage to
Alfonso the Battler null and that this will grant her freedom.
Ultimately, Urraca is a queen constructed by her gender.
That is what has determined their identity.
She is a daughter, a mother, a lover; she is beautiful, capricious, tyrannical, and
evil.
When he exercises power.
Fragile and naive.
When she does not exercise it and it should be exercised by her.
Whatever the case, it always and at the same time, it always has to be protected.
But the queen herself is aware of her position and is the object of all kinds
of suspicion.
Yes, all kinds.
If they see her with a man.
But most importantly, at the end of the novel, Magpie is the one who holds the
power and ends up learning that she must not give it up to anyone.
Thus, what we finally have is the reconstruction of a medieval queen that
responds
to the theoretical gender elements of the nineteenth-century queen.
Given the contextual situation of a succession crisis, given
the fact that the heir to the throne was a two-year-old girl, a woman.
And here the theoretical tool of political thought comes into
play; in the novel it is a cultural product that serves as a bridge
between liberal political discourse and the people.
It is with this idea in mind that we move on to the conclusions, which are more
like conclusions.
These are issues.
Historical figures are constructed from the accumulation of sources
whose production and interpretation respond to the different popular
demands of the societies that produce and/or receive them
and that construct their political discourse.
From that point on.
We have before us a novelistic recreation of Magpie First in a grand plot,
completely serialized.
This novel adheres to the normative canons of the genre.
It portrays the Count of Espina as a chivalrous hero and Urraca as a queen who
is a victim who must be saved, but who wields power even though she does so
with the shortcomings that come with her condition.
Woman's condition.
The novel is a cultural product, but it carries implicitly, in this case through
the conception
of the queen, a political message in this way, which is the nineteenth-century
historical novel.
It is not only the construction of political discourse, it is also the
object of
popular popularization of a nineteenth-century Middle Ages.
The historical novel presents itself to me as another link in the chain of
extrusion towards the author.
It has the historian's intention and also does something that is generally seen as
something typical of our reality.
It is the history of women. And so we can say that the history
of women, the history of gender, is in itself a popular demand
that works for the construction of discourses of power.
Patricia de la escultura is already giving value, albeit with her clichés
and through her 19th-century context, to a medieval woman as a figure of power.
That's all, thank you.
Thank you very much, Azucena.
And now we move on to the last one.
Yes, the latest version. Yes.
And we'll see if we can get Carlos Pereira
to reconnect so we can listen to him.
But anyway, let's move on to the last one, the very last one of those
scheduled presentations, which will be that of Pablo Fernández Pérez,
who is already a Doctor of Medieval Studies from the University of
Santiago de Compostela and whose research has focused on the study of
the medieval apocalypse from a historical and historiographical perspective.
In addition, as part of the team working on Medieval History and Historiography
at the University of Santiago, he has also worked on different topics related
to the historical novel and has already collaborated on several occasions in
these activities organized by our dear Antonio Huertas.
The title of Pablo's presentation is the apocalyptic medieval
earthquake in the 19th-century historical novel.
Yes, Pablo, whenever you want.
Forward.
Well, thank you very much for the presentation.
I'll see if this works.
And well, also all my colleagues in the
organization of this event for creating
this space where we can talk and discuss
with the 19th century as the focus, right?
From different points of view, and I,
well, I'm going to talk about a topic,
an aspect of this nineteenth-century
Middle Ages, to use the terms Azucena.
But Azucena.
Where is it going? Like I said.
Can we consider that it is somewhat outside of
the major themes, the major processes we have
been talking about, not the processes of
nation-building, not the legitimization of
political systems, which in some way is certainly
related, but is it related, like many other
cultural products that we have seen throughout these days, eh?
With that interest in the wondrous dimension
of the Middle Ages and in other kinds of
of issues.
Uh, and I'm going to talk about historical
novels, indeed, mainly about two.
But above all, what I'm going to try to do is, uh, take a detour
outside of the historical novel, talking about other things
that existed in the 19th century, which aren't historical
novels, but in which medieval polytheism is present. I'm
going to try to use those other things, that little detour,
to contextualize the historical novel or the use of the
medieval police in the historical novel, uh?
And that's what I'm most interested in. Right?
And well, regarding either of these two issues,
I will try to raise some reflections or questions
at the end based on what we have seen.
Well.
Medieval alcoholism is a relatively common
element, with a relative presence
in 19th-century historical novels.
We could certainly think of very different and
varied examples, but I, as an example, am going to
bring two, two specific examples, not because
they are the most representative, or the most
important, or anything like that, but because
they are two examples that I know better than I do.
I think they can be useful to us, as I say, as an example, without any further
pretension.
The first example, the first text of the first
novel that I want to bring up is this novel, The
Hidden Man of Valencia, published in 1852, eh, by
a Valencian author and very linked to the Valencian
regionalist movement, Vicente Boix, eh?
A figure whose work includes stories,
novels, poems, figures, and, uh, as there
were many others in this specific era, this
particular novel, Valencia, uh, well, it
is based on, it does not present us with a
character, uh, who appears in the context
of the Germanic revolt in Valencia, uh?
A supposed rebel leader who claims
to be, uh, the grandson of the
Catholic Monarchs and who attributes
to himself, or to whom, uh?
The confirmation of a series of existing prophecies.
We'll see them circulating now.
Since the late Middle Ages, regarding the hidden one, this character
is identified with the hidden one, who is a messianic character that we will see
now.
What is its origin?
Well, this is an example.
It's a historical episode that's
supported by chronicles. Isn't it?
It tells us about the purity of this character in the Germanic traditions.
Escolano in his decades, Prudencio Sandoval,
The History, The Life of Emperor Charles V and some others.
And is he, uh, as I say, a messianic character, uh, that we
can trace back to texts from the time of the Catholic Monarchs,
like this book of great deeds of John, which is the first one he mentions, uh?
That messianic figure in disguise, huh?
Although it gives it some specific connotations within
real Catholic contexts, which will later change in Germanic ones.
And in the novel, it's different.
So this is a concrete example, nothing more.
We'll leave it at that.
It is an example that uses, as I say, real medieval
prophecies in quotation marks, not existing,
circulating in the Middle Ages.
And then we have other examples that offer us
prophecies that we can consider invented or fictitious.
One of these cases is that of the red novel in red,
the page of those with golden hair, published in
1857, also by an author from the field of rationalism,
in this case the Galician rationalism Benito y
Ceto, a figure similar to Vox.
In a sense, this is Galician history; it has poems, it has novels, and this is one
of them.
In this case, the novel.
Its central theme is all the political intrigues that
take place in the context of the reign of García,
known as García of Galicia. Right?
And within this web of intrigues, of palace
political disputes, in this context, he
introduces some apocalyptic elements.
For example, he refers to this supposed prophecy of the old man
of the night's dreams, in which he speaks of the Andrade family
and of an Andrade who will be so good that the
memory will last, that is, until the end of time.
Is it a prophecy, in principle, fictitious,
invented, although I have sketched it in a note, eh?
This information tells us that the night dreams is a place located in the nursery,
where,
according to tradition, an old man lived who prophesied the events of the country.
Well, here we have an example of a prophecy in fictional theory, although we
could
already make a first reflection, which is that it is not really so relevant whether
we are talking about real prophecies or fictional prophecies, because in
themselves
supposedly real prophecies also include fictional elements.
In the Middle Ages, the invention of authorship of
prophecies, the manipulation of content, is a constitutive element.
Therefore, we could even say that historical novels are.
In this sense.
One more layer, a contemporary layer.
Within the whole process of creating fictions that is inherent
to the history of the medieval police, right?
But anyway, these will just be two examples.
Not strictly.
What interests me most, what interests me most, is.
To show how, in some way, these kinds of examples
that I have just given, and many others, are
merely the tip of the iceberg of a broader
phenomenon that is occurring in the 19th century
and in general in Europe, which is the recovery
and dissemination of the medieval apocalypse.
And I'm going to give some examples of this process.
What you can see on screen are different
19th-century editions of a text called
Mirabilis Liber, a compilation of medieval
prophecies that was printed in France,
in Paris, at the beginning of the 16th century, in 1524.
It is a text that has hardly been studied,
probably because, as I say, it is a
compilation of civil procedure.
It's a sort of repository of medieval prophecies from a medieval police
station.
It's a kind of medieval detritus.
It is not a treatise, it does not have an argument,
it is simply collecting medieval subjects
and putting them here in this text.
However, it is a text that was fundamental in the
spread of medieval literature in the 19th century from France to other places.
The compilation of this Mirabilis Liber was reissued
for the first time in 1831 and circulated both in France and other countries.
Attributed to a certain Jean.
Beat No.
Which will become other places, other figures.
In Spain he is called Juan de Guerra.
In Italy.
Iron Johannes in England.
John Garro.
But it is also.
As I said before, not a made-up author.
Well, he.
The text is from Mirabilis Liber, which was republished during this period of the
19th century.
It contains prophecies attributed to all these medieval figures. No.
To Joachim of Fiore, Catherine of Siena, Vincent
Ferrer, Thomas Aquinas, John of Roca Tallada.
The great figures, Some of the great figures of medieval politics
will be collected here and will circulate in the 19th century.
From these editions onwards.
As I say, we will even have some text in France
from 1131 called New Mirabilis, Liber
mirabilis, Liber, whose author will be,
uh, a certain Adrian, but they give a
mysterious figure linked to certain secret societies.
This is one example.
Another example of this revival, which I'm referring to in the
medieval period of the 19th century, are the most popular, best-known Trovas de
Bandar.
It is an original Portuguese text from the beginning of the 16th century
and that is based
in medieval prophecies, specifically.
Not in these, in the figure of the undercover agent.
The central figure presented in this text is the commanding troops.
Although later, from the end of the 16th and 17th centuries, they would
become a fundamental text for the construction of what has been called
Sebastianism.
It is a text that ceased to circulate in the 17th
century and was collected again,
rediscovered, and widely disseminated.
Both Portugal and other places.
No, some of the editions are made in Barcelona,
​​in London, from the 19th century we have a first
edition in 1809 and from there many others.
And this recovery of this text will be fundamental for the entire construction
of what will later become the cultural Sebastiánism, right?
With some of the examples we see on the screen,
the plays of Garrett, texts by Manuel Claudio
Antonio Nobre, Alfonso López Vieira, EH, etc.,
etc. until we get to Pessoa and figures that are
already, uh, bigger figures, let's say.
And this process of recovering medieval production in the 19th century was also
reflected in Spain. Wasn't it?
Here, in some cases, translations of French texts will arrive, such as
this oracle of about 40 in the following years, which is a collection of ancient
and modern prophecies.
Et cetera et cetera.
It is originally composed by Luis Orden and translated in Spain.
It is a text that uses, among other texts from Mirabilis Liber,
which it combines with other sources, the prophecies, the
prophecies of events, the most renowned prophecies.
Also another kind of collection of medieval prophecies that is printed in
Madrid in versions 49 or these texts.
The prophecies relating to the current state, the destiny
of the world, the empire, the Great Monarch, etc.
I bring here, uh, one of the prologues or the prologue of one of these texts of the
famous prophecies, collections of the most renowned prophecies, signed by an
editor, the anonymous editor who declares the following: Convinced that we are
dispensing a good to our fellow human beings, we give public light a most
interesting
collection of prophecies, each more remarkable and extraordinary than the
last, which will not fail to cite a lively interest in thinking,
philosophical and Christian souls.
They are useful, he says, to governments, to nations, and also to the historian.
He tells the writer and the man who, resting from his labors, in his modest
lodging, spends the evening narrating the miracles that God works in punishment for
the horrors of humanity.
So this is a little bit.
The tone that predominates in this type of text.
Well, based on all these issues that I
have tried to present, we can conclude
with some reflections, and also some questions.
In a way, no.
Let's say, uh, with respect to the use of
medievalism in historical novels, we could
think about it by analyzing it simply from the point of view of genre, right?
We could look, for example, for Gothic influences, influences
of other kinds of issues that would later be reproduced in
the historical novel up to the present day.
But in light of this whole context of the recovery of the medieval
position that I have tried to present, we can also understand the
use of medieval politics in these historical novels as part of a
process that is taking place within the cultural field in a more
general way, in a process in which there is an attempt to use the
medieval process to construct environments in some way, to
construct historiography of both the present and the past, ideas
of the present and, ultimately, political or cultural hegemonies.
And if we look at it from this other perspective, we
could propose different readings of historical
novels than if we did it only from one version, from
the genre, not from the repetition of certain topics.
A second reflection could also follow the line
of the political use of the Middle Ages.
We have talked about liberalism's use of the Middle Ages.
I have also brought in authors linked to regionalism from before,
but in this whole world of recovering medieval opposition we
are also going to have figures of a very different type.
For example, one of the Spanish authors who most
and best received and nurtured this dissemination
of medieval politics was José Domingo Corbacho,
a priest, a Valencian priest linked to Carlism.
He was very active in spreading Carlist
and traditionalist ideas.
What he called Spanishness, etc., through newspapers like the Catholic one, in
which.
In which he secondarily included a section dedicated
to prophecies in which he reproduced and interpreted
texts such as the Mirabilis, Liber and many others.
He also has a treatise in defense of the great monarch,
which is a more interpretive position on prophecies,
creating messianic predictions applied to his own time.
Etc.
Why am I bringing this up?
Because I think that in some way, uh.
This
This variety, this great heterogeneity of political profiles,
can make it difficult or more complex to interpret the political
use of the Middle Ages and specifically medieval polytheism in the 19th century.
No, at least it complicates things in terms of factions of
one against the other, because we are seeing that material
goods are being used by liberals, by regionalists,
by Carlists and by all kinds of fauna.
Therefore, perhaps other applications could be sought that are
not limited solely to the political sphere and are linked to other interests.
As we have been discussing so far.
Another point we could make is the importance of editors and,
in a way, the consideration of editors as authors.
Not all these figures are recovering the prophecies,
spreading them, printing them, giving them new contexts in which to function.
I think they can also be understood in some way as authors, right?
Or at least give them importance, huh?
That novelists, surely in what has to do with dissemination, with presence, with
making the Middle Ages present, right?
And well, then the last thought is a question that I think has
also come up, which is in some way the absence of audiences.
We would have to try—I don't know how to think about doing it—how
to make the audiences present in all these kinds of explanations,
because from them we could reconstruct more accurately how all
these materials work in relation to the public spheres
that are being built at this moment.
Regarding the use of emotions and other issues.
And well, this is a bit of what I wanted to present.
Well, thank you very much, Pablo.
Let's make one last attempt with Carlos.
Good afternoon.
Can you hear me? Now we can hear you
perfectly, huh? Good, good afternoon.
I would like to pick it up where I left off, which is impossible.
First of all, I apologize. Right?
The relationship with the internet.
I don't know what the problem was, but it seems he's already recovering.
Any problems? I'll tell you about it.
Perfect.
I was saying that the figure of Umberto Eco and his work are very well known.
We simply provided some context and mentioned the awarding of the Prince
of Asturias Award for Humanities and Communication in 2000.
The second attempt, highlighted by teaching and research career,
especially by that performance, the Chair of Semiotics at the
corresponding University in Italy, and above all by the commitment,
by the ethical commitment, is not a character who was very committed
from an ethical point of view to all the issues to analyze.
And a second point of connection between ECO and Asturias has to
do with the translator, the Argentinian, the Buenos Aires poet and translator.
Ricardo de Acuerdo is an author who is linked to Asturias for
a reason, although he was born in Buenos Aires.
He was based in Spain, in Barcelona, ​​for decades and in recent
years he has lived and worked as a translator, but above all, also as
a poet with philosophical traits in Gijón, in Asturias, a
place he used to come to before that residence in Gijón.
Plenty of time during the summers to give some lectures, to recite
verses, present poems, etc. A third point of connection would be
another fundamental figure linked to the Spanish translation of
the name of the rose, a vehicle that is the now deceased Tomás de Tomás
de la Asunción, Recio García or simply Tomás Recio, a very important
figure in the Asturian cultural scene of the second half of the 20th century.
He is an author who was not born in Asturias, he was born in Soria, but he
spent
a good part of his teaching and research career in Oviedo.
Specifically, he was a professor of Latin and director of the former male
and female institutes of Oviedo, that is, the Alfonso Segundo and the Instituto de
acuerdo a de Oviedo.
Currently, he is an author who has translated many Latin texts, who has
prepared educational manuals, who has coordinated publishing series
of translations, especially the Lumen series in Gredos, etc., and who
is the translator, as I say, Soriano, but an adopted son of Oviedo, is a
translator of Latin texts, both individual words and texts, aphorisms,
entire paragraphs, etc. That is to say, the three great names of the
novel: the writer, the translator of the work into Spanish, and the
translator of the Latin texts have Asturian ties.
Fourthly, in the PowerPoint that Antonio Sevilla sends him.
No, unfortunately we cannot make it available due to technical issues.
He mentioned a leading magazine in the Asturian literary and
cultural scene of the 1980s, which is Cuadernos del Norte.
It was financed by the Savings Bank of Asturias, it was directed
by the now deceased Juan Cueto Alas and in issue number 14,
corresponding to the year 82, that year in which Lumen, in
Barcelona, ​​translated Eco's text into Spanish, it did not
include a monograph, but it did include a fairly
extensive dossier on Eco and on the subject of Umberto Eco.
It includes, on the one hand, what would be a bit of a prologue, the introductory
part of the novel and the pine tree, a chapter and on the other hand, an article
of his on one of his topics of interest which would be, uh.
Well, Beatus of Liébana, regarding the commentary on the Apocalypse of
Saint John and everything related to the Parousia, the end times
and the matter, I don't know if you are listening to me.
Yes, yes, now perfectly. Okay, fine.
I mention that the Cuadernos del Norte number 14 is not a monograph, but one
issue is quite extensive.
It contains what would be, well, the introduction and first chapter of The
Name of the Rose.
The same year that the translation and study of one of the themes fundamentally
loved by Eco was given, which was, well, everything related to the Apocalypse
of Saint John and everything related to the Parousia at the end
of times, questions of millenarianism, etc.
Consider that Eco had a deep friendship with Fran, his beloved FNR. The whole
subject of the bibliography was very much connected.
This same issue of the magazine, which I call a non-monographic dossier,
contains four other texts by specialists, writers, professors of Literature
from the University of Vigo, and other institutions such as Carmen Bobes.
To elaborate a bit on the contents, plot, storyline, and characters
of this novel, the point of connection would be an article that the now
retired professor, Professor of Aesthetics at Ohio University,
Isabel Álvarez, had published in other magazines, in this case from
the 90s, with the same practical reason, a magazine directed by
Fernando Savater, the philosopher in which they collaborated.
Well, not only philosophers, but also economists, sociologists, historians,
and so on. It's not a well-known and prestigious magazine either.
And he published a four-page article, but with the layout and scope typical of the
magazine.
Obviously, the extension is longer, entitled The Echo That Does Not
Cease, where I analyzed the motive in a rather direct way.
The reason for the success of Eco's novels was already evident in
this first one, The Rose of 80, and he had recently published his
second historical novel, Foucault's Pendulum. A seventh
possibility for linking Asturias with Eco's novel is the fact that
a German group put it in PowerPoint because the name is unpronounceable.
A fairly successful German folk metal group from recent years, basically
in Covadonga, in the incomparable setting of the Basilica of Cangas de Onís of the
Royal Site.
When I felt like going to Onís, I had recorded a music video on the PowerPoint,
and I linked to the link in case there was time to watch it.
It's not fair where that piece of music was titled.
Precisely Bernabé Barros is the name of the Rose.
OK.
Another possibility, in 8th place, would be the fact that the
current tourist parador of Cangas de Onís, which corresponds
to the building and grounds of the old Benedictine monastery of
San Pedro de Villanueva for almost 40 years, almost daily
reproduces every day or five times a day the film adaptation of
Jaca, not of the novel by Eco and includes in the visits for those
people who are tourists or interested, a series of dramatizations
of medieval and holy nature with respect to what would be a little
explanation of the monastery, the places, the history, the legends, etc., etc.
I insist that the points of contact between the novel, I mean with Asturias,
are many.
Here I simply wanted to establish some specific milestones.
Moreover, if we reread, reread, reread the novel again and again, we
will see that, for example, when the protagonists Guillermo de Vázquez
and the novice only manage to penetrate the library and describe some
of the codices, very close references appear among those pieces.
For example, to the historiographical cycle of the Asturian chronicles.
That commentary by Beatus on the Apocalypse, Saint John
who had so much influence, Romanesque art, etc., etc.
I don't want to take up too much time, I simply wanted, as I say, to establish
some milestones.
I insist, due to technical issues, the PowerPoint cannot be viewed there alone.
Antonio.
And in that PowerPoint, well, collected.
So, there were covers, images, and even several links, several
links to the integrated ceremony of the Prince of Asturias Awards
of 2000, to a news report on Spanish Radio and Television about
Eco's death in 2016, in which those images of him receiving the
Prince of Asturias Award in recognition of his musical career were shown again.
No, I was with that German folk metal group that had that song, The Name
of the Rose in the Comparable Marco de Covadonga, etc.,
and then, well, links to the different articles.
Some people may be interested in the text-to-PDF link for those certain
magazines.
I think that for this and other reasons it's worth pointing out that
dependence, that close link between Eco and Asturias, don't you?
The author, who will also publish texts in these Northern Notebooks
in time, according to the translator, the translator of the Latin texts.
And finally, which I almost forgot, there is an Asturian writer
and university professor who, a few years after the publication
of Xavier Frías Conde's novel, published a small book in Asturian,
those in Spanish, where he made a parody of the plot, the characters
and all the aspects included in Eco's novel, A Novel That Is Enormous.
It's not a detective novel, it's a historical novel, it's a philosophical
novel, it's an artistic novel, etc., etc.
I don't want to go on any longer, I just want to say thank you and apologize again
for the technical problems.
Thank you so much.
Thank you so much, Carlos.
These things happen with hybrid conferences; sometimes the
connection just doesn't work well, so don't worry at all.
Thank you so much for your input.
I don't know if there are any questions, comments,
or reflections, but what has happened to me...
Did you like it a lot?
It's an approach that goes beyond where we
usually go, those of us who are starting out in politics, right?
I mean,
Does that mean that in the 19th Middle Ages
it was also used with others, with others?
For other purposes or not?
That's the question.
Is there a non-political use of the
Middle Ages in the 19th century?
What you have suggested goes in that direction.
Yes, that's the question.
I ask the questions and that's it.
Lily
I wanted to ask you something, okay?
The historiography of the 20th and 21st centuries is
steeped in and full of talk about, that is, it makes history of women, right?
It is a historiographical renewal that represents a new history.
Could you say that this novel is history? Could you
say that this author is writing women's history?
Do you think we could
register this work?
In that historiographical current, eh?
And then another question, huh?
I think the three ladies who have appointed the three queens are working.
I think they're working at the same time, right?
Or should I ask, are they working at the same time?
So, is Urraca really a magpie, or is she
Isabel II in the writer's head?
and professor
Pablo, huh?
Okay, uh, uh.
I see a certain disconnect between everything he's said. No.
Hey, Novel, hey?
Prophecies.
A kind of.
Have you also been infected by the debris?
No. Huh?
And I want to ask him, uh.
Mmm. That text from the.
That one. That compilation of prophecies.
Huh? I don't know. It was translated into Spanish.
It wasn't translated, huh.
Mmm mmm. Eh.
What's the reason for grouping everything together and presenting it like this,
huh?
And what does that have to do with, with,
with, with the medieval period?
So, in the Middle Ages, all those prophecies were separate,
and if they were put together there, and who was that invented author?
No? Why is there a fictional author who's
an invention of the editor? What's behind all that?
Because I find it very significant,
and above all, I think so.
If you say that no work has been done, it seems to me
that at least you should answer a couple of questions.
So what happens?
I didn't quite understand it.
It had a transposition in Portugal, just like in France, and
they translated it into Portugal and nothing more.
Shall I start, then?
Well, thank you very much for the question,
and if I went on longer than expected before,
the answer would take even longer, but
I've left that first part of
from the EH
of cultivation of the genre in the
historical subgenre in English
literature and then move to France.
So it's true that the Middle Ages were
first the setting, eh, that shaped that
novel, that Gothic novel, eh?
Obviously, it also had a political undertone in its
origins, but once the formula crosses those boundaries
and adapts to the political, social, literary, and
economic circumstances of the country that adopts
it, it also has to pass through that filter of adapting,
of adjusting to the new country and the new aesthetic. Right?
So, initially, all the translations were already done, right?
Many of them are located, huh?
The characters were in a time and place
that was generally medieval and Spanish, right?
So, of course, huh?
It had political undertones that
saved the translations and that
later became pure scenery to
accompany the scenes of both horror and terror.
It's true that the initial space-time
chronology was later surpassed, right?
Medieval and Spanish or Mediterranean
and passed to A1A1 present, to a
present past, that is, to a
contemporaneity.
And they were already in place, huh?
In that reality of the time of the late 18th
or early 19th century, especially.
Then that scenery becomes a character, but
a character, eh, endowed with elements of
terror in this case, that haunted the
characters and enveloped them.
That atmosphere of disturbance,
a sublime, ominous atmosphere, etc.
I don't know if Rafael has answered you
then, with the idea that in the Middle Ages 19.
Sure, I think, I think, uh, from my, my lack of
knowledge with what, with your, with your
perspective, sure, is what we know, uh?
I think there's an issue here,
a kind of consensus, right?
Where the Middle Ages are grouped only
for the retirement of politics, history
and things like this, well, before that
it doesn't stop in other areas, of course.
Studies
mainly with other perspectives.
I think that has as much value
for me as what can't be written,
or perhaps only for young people, like
something.
Of course, obviously it could be used if we
think about the authors, well, recently I'm
doing a study with a colleague who's at the
University of León, about Agustín Pérez
Zaragoza, who is perhaps the one most people
know, well, he was civil governor, we've
discovered that he was civil governor during
the time of Maria Cristina, and he dedicated
himself to the work, but well, there will be
some political interest, of course, but the
purely literary interest of searching, I
think, transcends that political interest.
There was a taste, at least that's the point of view I start from.
There was a taste that went beyond those limits
and became a literary product more than a political
one, at least in those works that are partly a shadow, a big lie.
Because if Azucena also studies those novels
here, they all come under the label of historical
novel, which I have argued they are not.
But no, I don't have a rigid stance that I'm going
to defend above all else, based on the idea that
fear is what underpins the discourse.
So you think the Middle Ages in this
case is a suitable setting for generating terror?
That's how the originals, the Goths, created it, also from a
perspective of superiority, that we've finished with this.
Everything in that section has been studied. I didn't study it.
I studied.
It is studied in the theorists of Gothic, riots,
etc. Eh, that it was a situation of privilege,
that had that social class that saw how it was
the end of one era, another was beginning.
I wanted to bring back those ancient periods in
which there were conventions and society
was established in a certain way.
That's how it all started.
Then, of course, it can't be maintained.
Is that why theorists say that the Gothic novel is English, huh?
In, of, of everything, from all points of view.
Because it is deeply nationalist, of course,
once it explodes with the number of novels that
were produced in England, Ireland, the area,
well, it loses those initial connotations
because it could not be defended in that way either
in France, which practically reached that point,
and much less in Spain when they attacked what
was essentially Spanish, beyond the fact that
some were anti-inquisitorial, etc.
Uh, uh. In.
Hey, your book, No Robotics.
Is that a book?
It has to do with a relationship between the creators.
And actors are how.
How has this been received?
This suffering?
Because of course, we are also present.
And let's forget about political correctness,
because it depends on the school that received it.
Of course, it's been a bit controversial
because what I've really tried to do is,
uh, contradict the claims in the manuals
that there was no Gothic novel in Spain.
That, first of all, is not real and it is obvious that it is not real.
But of course, I think it should be done.
No, I'm not accusing anyone, it's simply due to a lack of knowledge.
In the end, as can happen to all of us if we venture into other worlds.
And of course, if you define the Gothic novel as an English product, eh?
And then you say, on the other hand, that in Spain there was none but the funeral
gallery.
That clashes with every aspect of the funeral gallery.
It's a translation.
It was written as a parody of the genre in France.
In other words, it's based on a lack of knowledge.
But of course, there are several aspects of reception
there, those of the fantasy genre, where I come from
now, from the other side of the Complutense, which
gave me greetings for you and from and from and from the side of the 19, eh?
And the acceptance has been the best on the side of cultural studies.
More so in the United States or England, where they
noticed that a study was lacking in Spain, huh?
But in the
The world of the 19 has always treated me very well, but it is true
that they have remained just that, in some very bad novels.
No? We're no longer talking about quality.
I won't go into the specifics there.
But yes, I do feel that it's a work
that has had an interesting reception.
At least I finished the edition because of those outfits.
The new one.
And I don't know if I've answered you.
If you want, I can answer whatever you want later.
I think it depends a bit on whether the women's movement exists
or not, or on how you understand the historical novel. If,
for example, I understand it as part of historiography, as
another link in the chain, then you could say it's about women,
but it would be a starting point, and in any case, not women's
history, but gender history, right?
But it is very interesting to see how in the 19th century, female figures from the
Middle Ages were already being valued.
And uh, I'll take this opportunity to answer
1/2 because, mmm, I don't know if the author
had the 19th-century queens in mind because
I'm not the author, but mmm I analyzed it as
if they did, that Urraca is a reflection of
both of them, the two powerful female figures
at that time, Maria Cristina de Borbón and
Isabel II, and then
I don't know
a bit
taking the lead in the representation.
The political use of the Middle Ages in novels: In
many of them there is indeed a political use, but
at the same time there is also an aesthetic
representation of the Middle Ages,
often through the exoticism of the Arabs.
So I think it's also important to mention that, and that's it.
Okay.
Let's see.
The different functions.
Let's see first.
It is if everything is disconnected, because in.
They are essentially things.
Well, in principle, these are things that are disconnected.
No, I mean, there's no apparent connection
between the novels and the texts.
These other texts that I've presented, right?
As far as I know, the novels are not directly based on those texts.
What I was trying to do was suggest that these two things were happening
at the same time, and that perhaps we can think about them together
and how that can give us another perspective, perhaps on novels.
That was the intention, huh?
Regarding the text itself, this is the Mirabilis book I'm talking about.
Let's see, the materials that make it up were already
brought together at the end of the media.
This is a compilation.
At the end of the media, different compilations of prophecies were created,
some handwritten, others printed.
This is one that was printed.
Therefore, at that moment a series of materials come together.
Some were Joaquín and others Roca, and others, well, other types of
authors, other types of authors that were circulating.
A compilation is put together and printed, in principle, on the 16th.
That compilation, the one from the 16th, has not been studied.
There is an article that studies it, and what has certainly
not been studied by either side is the subsequent dissemination
of that text, which has been extensive, especially in 19,
in which we have French sections and from there it
circulates in other parts of Europe.
And it circulates Here it is among the author, sometimes, sometimes
not, sometimes attributed to this author who is called or is called Yan de
bachiller.
Juan Hierro, Claro, depending on how authors from different
geographical areas refer to the text to call it one thing or another, right?
I don't tire myself out there.
Well, all of this.
In principle, he is an author invented by the editor.
Probably so, or taken from somewhere.
That author is certainly not in the original compilation of the 16th author
who appears in the 19th.
It was translated
It was not fully translated into Spanish, but since
it was known, and some Spanish authors quoted it,
they sometimes took fragments and translated them.
This is what happens, for example, with this man that José Domingo mentioned.
He collects fragments, puts them in his newspaper, and
translates them from that text and others as well.
It's not that this text is a panacea.
In Portugal, what I presented there is not, in principle, related
to the text of a certain booklet that I presented there as another
independent example; the Mirabilis liber is about
the recovery of the troops of Bandar. Right?
And those reissues that the 19 volumes have are
fundamental for everything that is built in the 19 later.
Regarding Sebastián Ismo in culture in general, right? But it
was also a well-known text in Portugal, and we have Portuguese
authors who also use it, and I think that says it all.
Um, I wanted to ask the first speaker, if I may, a question as a specialist in
Gothic novels.
Well, I'm 51 years old, but when I was younger, in my early twenties
or thirties, I really enjoyed reading Gothic novels and I wanted
to know if there was a question from the specialists in
the Spanish scene of the 19th century.
Is there anything comparable to Maci?
Luis El monje, William Beck, Formate, the mature
monk, Andraste's Italian-style works, Mysteries,
Rodolfo, etc. What authors and works could you
recommend to a reader who is not a specialist?
Can you hear me, Carlos?
Perfect.
I'm saying this very quickly because we're way over time. Right?
Uh. From the works of Pascual Pérez y
Rodríguez, uh, which you can consult.
I think they're good.
I think on the internet, uh, The
Bloody Urn or The Gothic Tower.
Well, the title is longer, but to keep you in mind those
two, the bloody urn or the gothic tower.
Although I have to say that defending this line of thought is also
something that some people defended back in the day, eh,
From the 19th, huh?
I also consider that the translations could be understood
as original because they are very far removed from the original text, right?
And for example, this one.
We had a translation by the monk in 1820 and
another by the abbess, which at that time
were banned in their country of origin and
circulated here during the Liberal Triennium.
So, well, that too.
But if you want to go, I'd tell you the novel, right?
The funereal gallery of specters and bloodied shadows.
But it is the one that is best known.
It could be, but those are just stories.
If I may ask one more question
If I'm no longer a burden to you.
Yes, of course, go ahead.
I would like to ask one more question.
Yes, uh,
The novel by Umberto Eco.
The Name of the Rose has been described as a historical novel, aptly a
detective novel, a philosophical novel, etc. A Gothic novel in the strict sense,
The Name of the Rose.
Or can some nuance be established?
Are you asking me questions that make it clear I'm
addressing a different audience than usual?
eh, eh?
Gothic can be understood as a historical subgenre, huh?
That limited to a specific period from the end of
approximately 64,764 from the castle of Otranto
until 1820, with precisely the Errabundo mountain.
And outside of that, huh?
It is true that there is a current line that comes
more from Anglo-Saxon studies that understand
that Gothic transcends the genre, it is a mode
that adapts to certain circumstances and
sponsors works that arise when, when the
narratives of the plot begin to flourish.
So now we're in another era of Gothic, perhaps
especially Gothic in Latin America, huh?
From there, Mariana, Enrique, Mónica Ojeda or anything like that, eh?
Could they
So, what am I getting at?
That depends on what people are obviously going to tell you.
Maybe I do, but there are specialists in Italian Gothic architecture who do
believe it has Gothic elements.
Sure, huh?
But that it was classified as gothic.
I don't think so, but what gothic elements does it have?
Yes, of course, they are, they are.
I just wanted to make a point.
Clearly, the Gothic novel is typically from the 19th century.
He mentions, for example, the castle of Otranto. By Horace.
Okay, okay.
Evidently, Umberto Eco wrote the work in 80.980.
It simply does not participate due to chronology, he told us precisely
in that sense of recovering elements reminiscent of the classic Gothic novel.
In that sense, perhaps it can be considered as such, not that it is a
Gothic novel.
Of course, of course, if the gothic novel, if in that part it was clear,
in the recovery, in the recovery of the entire atmosphere, uh, the technique of
suspense.
But in the end, I think that if we base ourselves on the
genres that best correspond to the structure of a detective novel, right?
Why is the central theme, despite the fact that there may
be terror or horror experienced by the different
characters at certain moments, huh? Hmm.
The fact that it's a cursed book,
etc., well, that can be understood, right?
The common thread is suspense, it is the identification
of who has committed those murders which is
accompanied by elements of terror and horror,
depending on the moment in the novel.
Well, yes, but that's also what I was telling you,
that Gothic art isn't just limited to that
circumstance or that medieval past.
In fact, current Gothic is more linked to those
current narratives of trauma that accompany us
in our daily lives, that the medieval past has not
completely disappeared and Bakhtin's chronomole
has already been surpassed in that sense.
But already at that time, in the 19th century
itself, as I was saying, when they place, well, I
don't know, with Cornelia, because Ah, well,
well, not so much there, but eh, with texts that are written at that very
moment.
So no, it's not just the medieval
past, but the reality is that
of that historical moment.
Thank you very much and congratulations to all three of you for your
presentations, because they were extremely interesting.
Greetings from Asturias. Likewise.
Thank you so much.
Uh, I don't know if there are any more questions.
Antonio, and we're closing.
And well, we'll close the session, and thank you to
Professor Miriam López López Santos.
We were really looking forward to having people who would work in gothic music
here.
We have all read her book and I am very glad to know that it has been
reissued, expanded and corrected precisely because although, well,
Gothic literature in Spain has its own particularities, which
she also described in her historical novel, right?
They are contemporaneous in so many
moments and there is that medieval
space of castles, crypts, and
hermitages, but with a different use.
And those of us who study and have been studying
that imagined Middle Ages are so interested
in how two movements or two types of novels
refer to the same time, the same
space, but with such different uses.
And how they are lost, recovered, and maintained.
I think it's extremely interesting.
I would tell Azucena that it would be
very interesting to study Urraca,
who has been one of the key characters
in the novel and in contemporary
historical fiction.
Thinking about that one, Magpie
of Lourdes, by Lourdes Ortiz.
Perhaps it not only engages with history, but also with that
nineteenth-century novel, and it would be very interesting to study.
And I won't say anything more to Pablo because I already told him at the time.
I am increasingly convinced that it would be
extremely interesting to draw bridges between
that 19th-century millenarianism and all of esotericism.
Nor did the New Age movement, which was also behind it and which
inspired much of the rise of the contemporary novel at the end
of the 20th century, greatly encourage him to begin that
journey which I believe would be very, very productive.
And with that, I think we can consider
the discussion closed.
I just sent Professor Clausen the invitation
to the Times and
Let's quickly change tables so Professor San Martín
can present it, and we'll get started.