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Journal articles on the topic 'Bestiarier'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Martín Pascual, Llúcia. "La tradición de los bestiarios franceses y su influencia en la Península Ibérica." Estudios Humanísticos. Filología, no. 36 (November 29, 2014): 115. http://dx.doi.org/10.18002/ehf.v0i36.1147.

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<p>Resumen</p><p>Este trabajo pretende realizar, en primer lugar, una descripción de los textos de los bestiarios conservados en francés en verso y en prosa, éstos últimos tanto de temática moral como amorosa. Una vez realizada esta descripción, observaremos como se ha producido la evolución de la materia animalística, hecho que propicia el cambio de perspectiva de unos textos religioso-morales a otros amorosos. Finalmente, intentaremos demostrar que los bestiarios en prosa franceses, tanto amorosos como morales influyen en la configuración de los bestiarios toscanos, fuente a su vez de los bestiarios catalanes.</p><p>Palabras clave: Bestiarios, <em>Physiologus</em>, tradición animalística, bestiarios franceses, bestiarios catalanes, bestiarios amorosos.</p><p>Abstract</p> <p>This paper aims, first, make a description of texts in French bestiaries preserved in verse and prose, with moral issue and loving. After this description, we see how there has been the evolution of matter animalistic, that causes the change of perspective about moral-religious texts to other loving. Finally, it will be shown that the bestiaries in both French prose loving and moral, makes influence in shaping the Tuscan bestiaries, in turn source of Catalan bestiary.</p><p>Key words: Bestiary, <em>Physiologus</em>, animalistic tradition, French bestiaries, Catalan bestiary, loving bestiaries.</p>

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2

Gramusset, François. "En el arca de Arreola, carne y palabra se buscan (sobre su Bestiario de 1958)." LA PALABRA, no. 26 (January 15, 2015): 85. http://dx.doi.org/10.19053/01218530.3256.

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Este artículo es un análisis del compendio "zoológico" presente en Bestiario de Juan José Arreola. El acercamiento al universo imaginario de Arreola se aborda en primer lugar a través de la puesta en diálogo del Bestiario con el Physiologos, texto embrionario de los bestiarios de la tradición occidental y en segundo lugar a través de un análisis de texto. En esencia se pretende subrayar el modo en que los animales del bestiario (a través de su lexicalización) se encarnan en representaciones imaginarias, vinculadas éstas con los tiempos primordiales. Para tal fin estudiamos tres paradigmas clasificatorios de la carne animal que denominamos: tierra, aire, agua. Dicha clasificación pretende dar cuenta de la significación espiritual de la palabra en el libro de Arreola y a la vez reflejar la manera en que los animales del bestiario simbolizan la carne humana, hecha posible a través del lenguaje poético.Palabras clave: Figuración literaria; zoología; símbolo; animalidad; bestiario.

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3

De Barros Dias, Isabel Maria. "«Parir por la boca». vicisitudes de un tema sorprendente del imaginario de la comadreja." Lectura y Signo, no. 10 (December 29, 2015): 73. http://dx.doi.org/10.18002/lys.v0i10.2652.

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<p align="JUSTIFY"> </p><p><strong>Resumen </strong></p><p align="JUSTIFY"> </p><p>Estudio de un motivo impactante recurrente en bestiarios: la comadreja que da a luz a través de la boca. Se muestran diferentes variantes de este <em>topos</em> y se debate su origen, probablemente una anécdota procedente de la mitología antigua, específicamente la historia de Galantis, sierva de Alcmena, que ayudó en el nacimiento de Hércules. Esta historia fue versificada por Ovidio de forma magistral y se encuentra también en Eliano. Su recuerdo persistió aún en algunos textos medievales.</p><p align="JUSTIFY"> </p><p>Palabras Clave: comadreja; bestiario; motivos literarios; fuentes; mitología clásica</p><p align="JUSTIFY"> </p><p> </p><p align="JUSTIFY"> </p><p><strong>Abstract</strong></p><p align="JUSTIFY"> </p><p>Study of an impressive recurrent motif in Bestiaries: the weasel that gives birth through the mouth. Different variants of this <em>topos</em> are shown and its origin is discussed, probably a tale from Ancient mythology, specifically the story of Galanthis, servant of Alcmene, who helped the birth of Hercules. This story was masterfully versified by Ovid, and it can also be found in Aelianus. Its memory still lasted in some medieval texts.</p><p align="JUSTIFY"> </p><p>Key Words: weasel; bestiary; literary motifs; sources; classical mythology</p><p align="JUSTIFY"><span style="font-family: 'Book Antiqua', serif;"><span lang="es-ES"><br /></span></span></p>

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4

González García, Francisco. "Nuevos bestiarios en la literatura española contemporánea." Lectura y Signo, no. 11 (December 20, 2016): 83. http://dx.doi.org/10.18002/lys.v0i11.4754.

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<p>El artículopretende mostrar cómo el bestiario, una de las formas literarias más antiguas que existen, se<br />mantiene vigente en la literatura española de los siglos xx y xxi. A partir de varios bestiarios de escritores<br />contemporáneos (Javier Tomeo, Gustavo Martín Garzo, Daniel Nesquens, Ángel García López, etc.),<br />proponemos una taxonomía que ayude a clarificar su utilidad actual. Revisamos, asimismo, las características<br />del género, constatando no solo su vigencia, sino también su actualización y revitalización.</p><p><br />Palabras clave: bestiario, animales, monstruos, literatura española, contemporánea<br /><br />The article shows how the bestiary, one of the oldest literary forms, are still valid in the Spanish literature<br />of the xx and xxi centuries. From several bestiary of contemporary writers (Javier Tomeo, Gustavo<br />Martín Garzo, Daniel Nesquens, Angel García López, José María Merino, José Luis Sampedro, Juan Jacinto<br />Muñoz Rengel, etc.), we propose a taxonomy to help clarify the current use of the Spanish bestiary.<br />In addition, we review the definition and characteristics of the genre.</p><p><br />Key words: bestiary, animals, monsters, Spanish literature, contemporary</p>

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5

Campbell, Emma. "Sound and Vision." Romanic Review 111, no. 1 (May 1, 2020): 128–50. http://dx.doi.org/10.1215/00358118-8007985.

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Abstract As moralized works of natural history that are simultaneously scientific and religious, medieval bestiaries combine the modes Bruno Latour terms reference [REF] and religion [REL]. Bestiaries challenge the dualisms Latour identifies as central features of Modern thinking: they foreground the mediated nature of the world, they ground their descriptions in textual traditions and religious doctrine rather than direct observation, and they represent nature as articulate rather than mute. Latour’s modes help us understand the multimodal nature of bestiaries in ways that refuse the Modern preconceptions that often determine the reception of these texts today. Bestiaries in turn expose certain Modern biases that persist in Latour’s modes of existence, most notably in the crossing of the referential and religious modes [REF•REL]. This essay explores the larger implications of this problem by focusing on the operations of the religious mode [REL] in medieval bestiaries—a mode that includes reference [REF] but does not cross with it as a separate mode. Latour’s dismantling of the Modern opposition between world and words invites a reassessment of how we conceptualize the agency of language in the modes of existence.

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6

Hawhee, Debra. "Bestiaries, Past and Future." Rhetoric Society Quarterly 47, no. 3 (May 12, 2017): 285–91. http://dx.doi.org/10.1080/02773945.2017.1309929.

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7

Honegger, Thomas. "The Legacy of the Bestiaries in Chaucer and Henryson." Reinardus / Yearbook of the International Reynard Society 12 (September 15, 1999): 45–65. http://dx.doi.org/10.1075/rein.12.05hon.

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Abstract The influence of bestiaries on Chaucer and Henryson is not an obvious one. Thus, Chaucer avoids explicit allegorizations and merely hints at the allegorical dimension of his animals. Yet, he makes use of the ready symbolism of (bestiary) animals in his similes and characterizations of protagonists. Henryson, on the other hand, applies the technique of allegorical interpretation of animals - a typical feature of the bestiaries -to the protagonists of his Aesopic and Reynardian fables.

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8

Eguiarte, Enrique A., and Mauricio Saavedra. "Bestiario agustiniano." Mayéutica 44, no. 97 (2018): 5–30. http://dx.doi.org/10.5840/mayeutica201844971.

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9

Martínez, Anel, and María José Gallardo-Rubio. "Bestiario profano." La Colmena, no. 101 (May 9, 2019): 109. http://dx.doi.org/10.36677/lacolmena.v0i101.12005.

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La artista visual Anel Martínez (Larvae) presenta una selección de obra en tinta china y papel de algodón que encarna mediante la oscuridad los terrores y deseos nocturnos que reptan en la imaginación.

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10

Varty, Kenneth, and Debra Hassig. "Medieval Bestiaries: Text, Image, Ideology." Sixteenth Century Journal 28, no. 1 (1997): 203. http://dx.doi.org/10.2307/2543245.

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11

Dines, Ilya. "Mnemonic verses in medieval bestiaries." Reinardus / Yearbook of the International Reynard Society 22 (December 16, 2010): 50–64. http://dx.doi.org/10.1075/rein.22.04din.

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Mnemonic verses were one of the most popular tools for medieval teaching. These verses are attested in all genres of medieval literature, but strangely enough they are rare in medieval bestiaries, which are primarily a didactic genre. My paper will discuss a previously neglected case of one Second Family late thirteenth-century bestiary of English origin, namely Oxford, Bodleian Library MS Bodley 533. Surprisingly, in this manuscript there are eleven sets of verses, mostly quatrains of so-called Leonine hexameters, which represent sui generic summaries for the chapters on various bestiary creatures. The present article discusses for the first time these previously unpublished verses and analyzes their function in the manuscript.

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12

Dines, Ilya. "Mnemonic verses concerning animals and birds in Cambridge University Library, Ms Oo. Vii.48." Reinardus / Yearbook of the International Reynard Society 32 (December 31, 2020): 62–70. http://dx.doi.org/10.1075/rein.00038.din.

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Abstract This article is devoted to an essentially unknown fragment containing a collection of thirteenth-century mnemonic verses about animals and birds. It is a logical continuation of a study I published in 2010 in Reinardus about the entire corpus of mnemonic verses that appear in medieval Latin bestiaries. As the core of that investigation, I chose a late thirteenth-century English bestiary of the so-called Second Family (Oxford, Bodleian Library, MS Bodley 533). In that article I suggested that further research would likely uncover more such examples in non-bestiary manuscripts. This was confirmed in 2018 by a newly discovered fragment in Cambridge University Library, MS Oo.vii.48, containing the verses present in MS Bodley 533, and additional verses about animals and birds. Using this fragment, I put forward the idea that there was an established medieval tradition of collecting and keeping organized mnemonic verses devoted to animals and birds. I argue that finding these verses from bestiaries and other sources together in one fragment sheds light on the interrelations of bestiaries and other genres.

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13

Clark, Willene B. "Medieval Bestiaries: Text, Image, Ideology.Debra Hassig." Speculum 74, no. 2 (April 1999): 424–26. http://dx.doi.org/10.2307/2887082.

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14

Makhov, Alexander E. "NARRATIVE VARIATIONS IN THE MEDIEVAL BESTIARIES." Folklore: structure, typology, semiotics 2, no. 4 (2019): 31–49. http://dx.doi.org/10.28995/2658-5294-2019-2-4-31-49.

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15

YAPP. "A NEW LOOK AT ENGLISH BESTIARIES." Medium Ævum 54, no. 1 (1985): 1. http://dx.doi.org/10.2307/43628861.

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Martín Pascual, Llúcia. "La 'Disputa de l'Ase' y otros equinos parlantes en la literatura catalana medieval." Lectura y Signo, no. 10 (December 29, 2015): 101. http://dx.doi.org/10.18002/lys.v0i10.2653.

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<div class="WordSection1"><p><strong>Resumen</strong></p><p>El presente trabajo se centra en la figura del animal parlante – el asno y el caballo– que discute con el hombre acerca de la dignidad humana o simplemente presenta una situación paródica relacionada con la crítica a los estamentos religiosos. Nos referimos especialmente a dos textos del siglo XIV, la <em>Disputa de l’Ase</em> de Anselm Turmeda y la narración burlesca anónima escrita en verso <em>Disputació d’en Buch ab son cavall</em>. Además constatamos algunas fábulas de Francesc Eiximenis con protagonistas animales que reflexionan sobre lo que piensan de los humanos. </p><p>Palabras clave : fábulas, disputa, asno, caballo, bestiarios, Anselm Turmeda</p><p> </p><p><strong>Abstract</strong></p><p> The aim of this paper is to study the singular characteristic of the animal wich speak with humans –generally the ass and the horse. The works are about the human dignity in a parodic situation, in other to critisize religious stablishment. We are talking aobut two pieces of 14th century: Disputa de l’Ase of Anselm Turmeda and am anonymous burlesque story called Disputació d’En Buch ab son cavall. Also, there are some fables of Francesc Eiximenis with talking animals, and they argue very angrily about human dignitiy.</p><p>Key words: fables, discussion, ass, horse, bestiaries, Anselm Turmeda</p></div><p><br clear="all" /> </p>

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17

Maciel, Maria Esther. ""Zoopoéticas contemporâneas"." Remate de Males 27, no. 2 (November 13, 2012): 197–206. http://dx.doi.org/10.20396/remate.v27i2.8636004.

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My paper analyses some 20th century bestiaries, focusing on two types of the so-called contemporary “zooliterature”: the one characterized by fantastic/imaginary roots and the one marked by realistical, ethical, and ecological traits. The purpose is, through a critical vision of the western zoological traditions and an approach suitable to the theoretical demands of the contemporary world, to investigate how animals have been portrayed fictionally by writers who subvert or reinvent the bestiaries of the past. This article also discusses the question of the animals and their possible subjectivity, by examining the contributions of Jacques Derrida and J.M.Coetzee to recent debates on this matter in the fields of philosophy and literary theory.

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18

Cifarelli, Paola. "Ilya Dines, Mnemonic Verses in Medieval Bestiaries." Studi Francesi, no. 166 (I | LVI) (April 1, 2012): 117. http://dx.doi.org/10.4000/studifrancesi.4574.

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Dalla Bontà, G. "BESTIARIES: A NEOBARBARIC ENCYCLOPE DIA OF STRATEGIES." Siberian Philological Forum 11, no. 3 (September 30, 2020): 39–50. http://dx.doi.org/10.25146/2587-7844-2020-11-3-51.

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In the context of Dmitry Alexandrovich Prigov’s audacious “lifelong” project, an encyclopedic perspective can be traced quite clearly through various approaches, languages and methodologies throughout the artist’s creative career. Prigov’s Bestiaries not only deviate from the traditional path of encyclopedic genealogy; they are the prototype of later, more pronounced taxonomic projects, and even act as a reference to what he called his “lifelong project”. Our task is to show how the Bestiaries series is not only a study of the Russian cultural space, but is also the very concept of Prigov’s anthropology from the beginning of the history of culture to the present day in a post-Soviet and even post-human perspective, thus asserting itself as a proto-encyclopedia of his New Anthropology. In the process of researching, methods such as theoretical, general philosophical analyses (systemic method, analysis, analogy, synthesis) were used, including the analysis of texts, interviews and artistic production of Prigov. The sociological methods are also taken as the basis for drawing conclusions and the main approach moves from a semiotic and poststructuralist point of view, especially the theory of culture of Yuri Lotman, the philosophy of Giorgio Agamben and George Bataille. Thus, we have outlined the importance of the Bestaries in presenting the theory of cultural evolution of Dmitry Prigov and his “new anthropology”, referring to this series on the role of the visual conclusion of his new anthropological system

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20

Diekstra, F. N. M. "ThePhysiologus, the bestiaries and medieval animal lore." Neophilologus 69, no. 1 (January 1985): 142–55. http://dx.doi.org/10.1007/bf00556871.

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Bussino, Giovanni R., and Franco Zangrilli. "Il bestiario di Pirandello." Italica 79, no. 4 (2002): 565. http://dx.doi.org/10.2307/3656064.

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22

Zangrilli (book author), Franco, and Michela Meschini (review author). "Il bestiario di Pirandello." Quaderni d'italianistica 26, no. 2 (June 1, 2005): 128–30. http://dx.doi.org/10.33137/q.i..v26i2.9004.

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23

Trubiano, Marisa S. "Il bestiario di PirandelloZangrilliFranco, Il bestiario di Pirandello.Fossombrone: Metauro Edizioni, 2001. Pp. 167." Forum Italicum: A Journal of Italian Studies 35, no. 2 (September 2001): 584–85. http://dx.doi.org/10.1177/001458580103500221.

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24

Piñero Moral, Ricardo Isidro. "De fábulas y bestiarios: la estética de los animales en la Edad Media." Estudios Humanísticos. Filología, no. 35 (December 15, 2013): 85. http://dx.doi.org/10.18002/ehf.v0i35.1672.

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25

YAPP, W. B. "Medieval knowledge of birds as shown in bestiaries." Archives of Natural History 14, no. 2 (June 1987): 175–210. http://dx.doi.org/10.3366/anh.1987.14.2.175.

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Dines, Ilya. "The problem of the Transitional Family of bestiaries." Reinardus / Yearbook of the International Reynard Society 24 (December 31, 2012): 29–52. http://dx.doi.org/10.1075/rein.24.03din.

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It is already almost 100 years since Montague Rhodes James divided all bestiary manuscripts that were known to him into groups or families. Since then, his scheme has undergone several revisions, and the table established through the modifications of McCulloch and Yapp shows five families of bestiary manuscripts, that is BIs, Transitional, Second, Third and Fourth. The present article will treat in detail the so-called Transitional Family of manuscripts, which includes six late twelfth- and thirteenth-century manuscripts, and is undoubtedly the most puzzling of the families. Not only the structure of the family, but also its proper placement in the above mentioned table has been subject to debate. My analysis of the textual sources of each chapter of the Transitional Family shows that, contrary to the arguments of earlier scholars, it was the Second Family bestiary, together with manuscripts of BIs and H-type BIs, were the main components used in the composition of the Transitional Family, rather than the Transitional Family (as its name implies) having been the basis of the Second Family. Moreover, I argue that the manuscripts of the Transitional Family, contrary to earlier classifications, do not represent a homogeneous group, but rather form four distinct subfamilies.

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Muratova, Xenia. "The Illuminated Bestiaries in the English Franciscan Culture." IKON 3 (January 2010): 179–88. http://dx.doi.org/10.1484/j.ikon.3.75.

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Harris, M. Roy. "Bestiario valdese. Anna Maria Raugei." Speculum 61, no. 3 (July 1986): 697–700. http://dx.doi.org/10.2307/2851639.

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Failler, Albert. "L'éparque de l'armée et le bestiariou." Revue des études byzantines 45, no. 1 (1987): 199–203. http://dx.doi.org/10.3406/rebyz.1987.2211.

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30

DINES, ILYA. "The Copying and Imitation of Images in Medieval Bestiaries." Journal of the British Archaeological Association 167, no. 1 (September 2014): 70–82. http://dx.doi.org/10.1179/0068128814z.00000000026.

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Lettieri, Carmela. "Bestiario veneto e Bestiario italiano. Poeti e animali nel teatro di narrazione di Marco Paolini." Italies, no. 12 (December 1, 2008): 153–69. http://dx.doi.org/10.4000/italies.1271.

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Cesarotto, Oscar. "Todos los monstruos de la Tierra: bestiarios del cine y de la literatura." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 19 (July 31, 2020): 149. http://dx.doi.org/10.7203/eutopias.19.17883.

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Domínguez Cuenca, Daniel, and Norma Esther García Meza. "Zoológica, una aproximación al bestiario escénico." Investigación Teatral. Revista de artes escénicas y performatividad 10, no. 16 (October 28, 2019): 147–74. http://dx.doi.org/10.25009/it.v10i16.2609.

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Este trabajo aborda la puesta en escena de la obra Zoológica. Bestiario escénico para una actriz y objetos, estrenada en la ciudad de Xalapa, Veracruz (2016). Se analizan el uso, valores y sentidos simbólicos de los títeres, objetos y otros recursos escénicos con los que la actriz Tania Hernández Solís cuenta la vida de Alondra, la tiple veracruzana, en sus azarosos viajes como mujer pájaro alrededor del mundo. Zoologica, an Approximation to the Staging of a Bestiary AbstractThis article addresses the performance of Zoológica. Bestiario escénico para una actriz y objetos (Zoologica. A stage bestiary for one actress and objects), which premiered in the city of Xalapa, Veracruz (2016). The performance uses the symbolism of puppets, diverse objects, and other staging resources with which the actress Tania Hernández Solís tells the life of Alondra, the musical revue performer from Veracruz, in her travels as a “bird woman” around the world.Recibido: 28 de mayo de 2019Aceptado: 12 de octubre de 2019

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Vitali-Volant, Maria G. "Il bestiario araldico di Gianna Manzini." Italies, no. 10 (October 1, 2006): 117–37. http://dx.doi.org/10.4000/italies.556.

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Baehr, Antonia, and Cécile Schenck. "Abecedarium Bestiarium. Portraits d’affinités en métaphores animales." Ligeia N° 153-156, no. 1 (2017): 126. http://dx.doi.org/10.3917/lige.153.0126.

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36

Trachsler, Richard. "Das "Heraldische Bestiarium" Johannes' de Bado Aureo." Reinardus / Yearbook of the International Reynard Society 9 (December 31, 1996): 145–60. http://dx.doi.org/10.1075/rein.9.12tra.

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Zusammenfassung Der Beitrag befaßt sich mit einem kleinen heraldischen Werk, das den Titel Tractatus Magistri Iohannis de Bado Aureo cum Francisco de Foveis in distinctionibus armorum trägt. Es handelt sich hierbei um ein Bandchen, welches, wohl zum gebrauch angehender Herolde, auf engem Raum die Grundbegriffe der Wappenlehre vermittelt. Heute in der Forschung nahezu unbeachtet, hat der Traktat im Mittelalter und der frühen Neuzeit eine beachtliche Verbreitung gekannt. Der Artikel steilt die Schrift in ihren historischen Kontext und untersucht, insbesondere für das Kapitel, welches über Wappentiere handelt und den originellsten Teil des Werks darstellt, Quellen und Ausrichtung.

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37

Houwen, Luuk. "Bestiaries in Wood? Misericords, Animal Imagery and the Bestiary Tradition." IKON 2 (January 2009): 203–16. http://dx.doi.org/10.1484/j.ikon.3.43.

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Martín, Llúcia. "Aquatic animals in the Catalan Bestiari." Reinardus / Yearbook of the International Reynard Society 21 (December 17, 2009): 124–43. http://dx.doi.org/10.1075/rein.21.09mar.

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Before entering into the main study on aquatic animals included in Catalan bestiary texts, a brief summary is presented on the history of preserved Catalan texts that contain a bestiary: a list of real or imaginary animals with their characteristics and corresponding symbolic reference. The aquatic animals present in the Catalan bestiary are the frog, the sawfish, the whale; we also consider a hybrid, the mermaid, and the crocodile, an animal which is not a fish but is closely linked with the aquatic environment. In many cases we can speak about textual coincidences with different traditions, from Latin Physiologi to medieval European texts. Peculiarities of the Catalan version are studied in connexion with the Tuscan tradition.

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March, Kathleen, Miguelanxo Murado, and Cary Evans-Corrales. "A Bestiary of Discontent / Bestiario dos Descontentos." World Literature Today 69, no. 1 (1995): 121. http://dx.doi.org/10.2307/40150926.

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40

Dines, Ilya. "The Earliest Use of John of Salisbury’s Policraticus: Third Family Bestiaries." Viator 44, no. 1 (January 2013): 107–18. http://dx.doi.org/10.1484/j.viator.1.103144.

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41

Kay, Sarah. "Post-human philology and the ends of time in medieval bestiaries." postmedieval: a journal of medieval cultural studies 5, no. 4 (December 2014): 473–85. http://dx.doi.org/10.1057/pmed.2014.35.

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Nigg, Joseph. "Transformations of the Phoenix: from the Church Fathers to the Bestiaries." IKON 2 (January 2009): 93–102. http://dx.doi.org/10.1484/j.ikon.3.33.

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Houwen, L. A. J. R. "Animal parallelism in medieval literature and the bestiaries: A preliminary investigation." Neophilologus 78, no. 3 (July 1994): 483–96. http://dx.doi.org/10.1007/bf01000364.

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Glauker, Johann B. "Kleine Typologie des Tagungsteilnehmers - Ein minimales Bestiarium congregarium." Informationen Deutsch als Fremdsprache 18, no. 4 (October 1, 1991): 452–57. http://dx.doi.org/10.1515/infodaf-1991-180416.

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Gallegos Rivera, Juan Carlos. "Decadencia, deconstrucción y revigorización de la fauna fantástica. Caracterización del monstruo mitológico en la narrativa mexicana reciente." Sincronía XXV, no. 80 (July 3, 2021): 417–47. http://dx.doi.org/10.32870/sincronia.axxv.n80.19b21.

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This article addresses the various ways in which the figure of the mythological monster is constructed in the recent short narrative by three authors: René Avilés Fabila, Cecilia Eudave, Fernando de León. The above is based on the original representation of these creatures in ancient and medieval bestiaries, and focuses, above all, on the core change in their characterization in current texts, which leads to scenarios of decadence, deconstruction or reinvigoration of the imaginary fauna, explained this as a result of the exhaustion of magical thinking before the scientific one.

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Rodríguez, Manuel. "Sobre Sebastian Fund. Las Bestias negras." La Palabra y el Hombre, revista de la Universidad Veracruzana, no. 45 (November 23, 2018): 79–80. http://dx.doi.org/10.25009/lpyh.v0i45.2653.

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Bestias negras de Sebastian Fund está inspirada en los monstruos quiméricos tanto de las culturas egipcia y griega, como de los bestiarios medievales. El autor busca plasmar una relación entre el imaginario colectivo donde viven estas criaturas y la realidad mediante una obra compuesta por grabados de gran tamaño realizados a colografía.

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Tarelli, Francisco. "El bestiario metafórico en "Doña Perfecta", de Galdós." Nueva Revista de Filología Hispánica (NRFH) 59, no. 1 (January 1, 2011): 119–34. http://dx.doi.org/10.24201/nrfh.v59i1.1035.

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Fecha de recepción:1 de julio de 2009. Fecha de aceptación:14 de octubre de 2010. Este ensayo se propone refutar la idea común de que Doña Perfecta de Galdós es simplemente una “novela de tesis” a favor de una visión más amplia y compleja. El análisis de unos símbolos animales de doble naturaleza (centauro, dragón, arpía y basilisco) y su función metafórica en el contexto narrativo ponen de manifiesto una estructura subyacente caracterizada por la ambigüedad y la duplicidad, en sus acepciones de calidad de doble y doblez. La duplicidad está, a la vez, estrechamente vinculada con el tema de la novela: el engaño y el autoengaño.

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De Cristofaro, Francesco. "Corporale di Gesualdo Il bestiario selvaggio della malattia." MLN 113, no. 1 (1998): 52–78. http://dx.doi.org/10.1353/mln.1998.0007.

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Mennell, D. Jan. "La Quimera en el bestiario de Roa Bastos." Nuevo Texto Crítico 3, no. 5 (1990): 159–70. http://dx.doi.org/10.1353/ntc.1990.0046.

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Escudero Baztán, Juan Manuel. "Notas para un bestiario sacramental calderoniano: el águila." Hipogrifo. Revista de Literatura y Cultura del Siglo de Oro 5, no. 1 (May 2017): 189–209. http://dx.doi.org/10.13035/h.2017.05.01.13.

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