CYRYLICKIE KRYPTOGRAMY W ŁACIŃSKIM TEKŚCIE – SEKRET CZY ŻART. KSIĘGA REGESTÓW SPRAW O GRANICE DÓBR WIELKOPOLSKICH W XV–XVII WIEKU W ZBIORACH BIBLIOTEKI KÓRNICKIEJ

Author(s): Krzysztof Pietkiewicz / Language(s): Polish Issue: 38/2021

The holdings of the Kórnik Library include a book of abstracts of lawsuits concerning the boundaries of estates in Greater Poland in the 15th–17th century, written in Latin. Its presumed author, the otherwise unknown Piotr Biernacki, had the ability to write in both the Latin and the Cyrillic alphabet. This article focuses on the reading and the palaeographic and linguistic analysis of several Latin sentences, one heading and more than 20 margin notes written in the Cyrillic alphabet. The Cyrillic handwriting found in the book is a Russian skoropis used in Ukrainian areas of Poland in the 17th century. When writing the Latin text with the Cyrillic alphabet, the author utilised the Polish language of the time in the reading of Latin. The cryptograms found in the book have a technical/informative nature and do not contribute any significant information to the text. In combination with the fact that the Cyrillic alphabet was not at all used in Greater Poland, the above suggests that the author was playing with the reader, who was thus forced to look for the meaning of the incomprehensible text.

DWIE NIDERLANDZKIE OPRAWY PLAKIETOWE W ZBIORACH BIBLIOTEKI KÓRNICKIEJ

Author(s): Tomasz Zuzek / Language(s): Polish Issue: 37/2020

This paper presents two rare 16th-century panel-stamped bindings from the collections of the Kórnik Library. Th e fi rst one, decorated with an impression of a panel depicting the personifi cation of the Christian virtue of Hope (Spes), protects the printed book published in 1545. Th e binding was made by a Netherlandish bookbinder working in Leuven, called Master IP, identifi ed with Jacob Pandelaert (d. ab. 1563). Th e second binding presents a Gothic motif of animals-in-foliage and protects a printed book published in 1550. Th e authorship of the panel (the so-called de profundis) is attributed to a bookbinder working in the town of ’s-Hertogenbosch (fr. Bois-le-Duc), Geraert van der Hatart (d. ab. 1540/1541). Both these bindings testify to the fact that the holdings of the Kórnik Library include gems of the West-European bookbinding craft .

BADANIE XV-WIECZNEJ ODBITKI KSYLOGRAFICZNEJ TURRIS SAPIENTIAE JOHANNESA METENSISA

Author(s): Tomasz Kozielec,Mirosław Wachowiak / Language(s): Polish Issue: 37/2020

In 2019, a 15th-century print entitled Th e Tower of Wisdom kept by the Kórnik Library in Poland was subjected to scientifi c examination. Th e main purpose of the examination of the hand-coloured image was the identifi cation of the technique of the application of the text and the illustrations. Th e conducted examination proved a thesis that it is an example of xylographic print. Moreover, the elemental composition of the paint layer was analysed, revealing no colours which were not used in the period of the object’s origin.

ODPOWIEDŹ NA POLEMIKĘ RÓŻY KĄSINOWSKIEJ I KOMENTARZ DO JEJ OSTATNIEJ MONOGRAFII ZAMEK W KÓRNIKU (2019)

Author(s): Katarzyna Janicka / Language(s): Polish Issue: 37/2020

Odpowiedź na tekst pani Kąsinowskiej rozpocznę od zauważenia, że jego celem nie jest merytoryczna dyskusja na temat architektury zamku kórnickiego, a jedynie zakwestionowanie – w całości – alternatywnej propozycji, nieakceptowanej przez urażoną Autorkę monografi i. Już na wstępie czytelnik dowiaduje się, że nie posiadam podstawowego warsztatu badacza architektury, a w swoim artykule przedstawiłam nie tyle propozycję, co „własną wizję kórnickiej rezydencji Górki”, której podstawę stanowi całkowite zanegowanie historii zamku kórnickiego w XV–XVIII wieku, przedstawionej przez Autorkę. Określa ona swój tekst jako polemikę, z czym, biorąc pod uwagę sposób budowania narracji opartej na ataku personalnym, a nie rzeczowych argumentach, trudno się zgodzić. Nie jest on także recenzją ani głosem w dyskusji, mamy raczej do czynienia ze zbiorem krytycznych, a przy tym lakonicznych komentarzy odnoszących się do wybranych fragmentów mojego artykułu. Można przy tym odnieść wrażenie, że Autorka ustosunkowuje się, przede wszystkim, do tych obszarów, które są jej dobrze znane, inne intuicyjnie neguje, jeszcze inne – co symptomatyczne dla całej narracji – pozostawia bez komentarza.

PORTRETY ALBRECHTA PRUSKIEGO I KSIĘŻNEJ DOROTY NA OPRAWIE ZE ZBIORÓW BIBLIOTEKI KÓRNICKIEJ. Z BADAŃ NAD IKONOGRAFIĄ WŁADCÓW W RENESANSOWYM ZDOBNICTWIE INTROLIGATORSKIM

Author(s): Arkadiusz Wagner / Language(s): Polish Issue: 36/2019

The collections of the Kórnik Library of the Polish Academy of Sciences include a set of printed textes by Jan Seklucjan with a handwritten dedication to Albrecht Frederick, Duke of Prussia (†1618). Their binding is decorated with plaquettes with portraits of Albrecht von BrandenburgAnsbach, Duke of Prussia (†1568) and his first wife Dorothea (†1547). The article analyses both compositions, providing the following conclusions: they were made in the Konigsberg circles of the so-called Formschneider between the end of the 1530s and the first half of the 1540s. Between the period in question and 1565, wooden plaquettes (blocks) with these portraits were kept by the Duke’s court bookbinder, Kaspar Angler. After his death they probably belonged to the workshop equipment of his pupil Wolff Artzt, although it is also possible that they were used by a local religious writer, bookseller and possibly also bookbinder – Jan Seklucjan. Both works are examples of adaptation in Konigsberg of a specific formula of Renaissance book binding decoration, being at the same time a bookplate, based on a rectangular portrait plaquette presented in the centre of the cover. Compositions of such works most often depended on the painted portraits – mainly from the workshop of Lucas Cranach the Elder. Both Konigsberg portraits, however, are marked by prolonged proportions, a landscape background, and the display of coats of arms at the bottom. This fact should be explained by the painting models that were probably related to paintings in Albrecht’s Konigsberg residence. It is impossible to decide definitely whether they were made by a painter employed at his court (e.g. Crispin Herrant), or imported. Nevertheless, they are an indirect testimony to the existence of a gallery of portraits in the Konigsberg Castle, which was created on a long-term basis and with passion by the Duke of Prussia.

KSIĘGA MIEJSKA ZBĄSZYŃSKA (1588–1914) – ZAPOMNIANE ŹRÓDŁO DO DZIEJÓW ZBĄSZYNIA W ZBIORACH BIBLIOTEKI KÓRNICKIEJ

Author(s): Magdalena Biniaś-Szkopek / Language(s): Polish Issue: 35/2018

The collections of the Kórnik Library include an aldermen’s register of Zbąszyń, which was kept between 1588 and 1914. For centuries, it was the most important book documenting the town’s life. The articles contains a detailed analysis of records entered in the volume. The text is accompanied by an annex containing the first list of the most important town officials – the mayors and wójtowie (Vögte).

ILUSTRACJE MARGINESOWE A PRAKTYKA CZYTELNICZA W KÓRNICKICH DIGESTACH JUSTYNIANA

Author(s): Joanna FROŃSKA / Language(s): Polish Issue: 34/2017

The present essay is a recapitulation and revision of the author’s research conducted on the Digestum vetus kept by the Kórnik Library of the Polish Academy of Sciences (Ms. 824) over the last fifteen years. It focuses mainly on the 230 illustrations in the manuscript’s margins and explores the ways they interpret the text and facilitate its understanding. The Kórnik Digest was copied in Northern Italy in the late twelfth century or around 1200, but it was illustrated possibly in Paris, in the 2nd quarter of the thirteenth century, with historiated initials and marginal images. At the same time, an early version of Accursius’s Glossa ordinaria was also copied. Sometime in the 1470s, the book was brought to Poland by Dziersław of Karnice, a papal collector and a canon of Płock and Cracow. The marginal images in BK 824 were made by professional illuminators, but they are consistent with the concept and function of the earlier relatively widespread practice of the marking of Roman law manuscripts with text-related drawings. The locations of the images, often shared with other manuscripts of the Digest, and their iconography, give us some insight into the common interests of medieval jurists. On the other hand, the marginal illustrations, which play the role of visual annotations, introduce a subject-based indexation of the text and sometimes also cross-references, allowing us to better understand medieval reading techniques.

POLITIČKE POSLJEDICE NEPREDSTAVLJAČKE UMJETNOSTI

Author(s): Slavoj Žižek / Language(s): Bosnian Issue: 37-38/2023

U Filozofiji historije Hegel daje divan opis Tukididove knjige o peloponeskom ratu: "njegovo besmrtno djelo je apsolutna korist za čovječanstvo proistekla iz tog konteksta."1 Ovaj bi sud trebalo protumačiti u svoj njegovoj naivnosti: na način da se, sa stajališta historije svijeta, peleponeski rat dogodio zato da bi Tukidid mogao o njemu napisati knjigu. Šta ako nešto slično vrijedi i za odnos između ekplozije modernizma i prvog svjetskog rata, ali u suprotnom smjeru? Veliki rat nije bio traumatski lom koji je poremetio naprednjaštvo 19-og stoljeća, nego reakcija na istinsku prijetnju uspostavljenom poretku: eksploziju avangardne umjetnosti, znanosti i politike koja potkopava uspostavljeni svjetonazor (umjetnički modernizam u književnosti – od Kafke do Joyce-a - , u muzici - Schoenberg i Stravinsky -, u slikarstvu - Picasso, Malevitch, Kandinsky -, psihoanaliza, teorija relativiteta i kvantna fizika, uspon socijaldemokratije...) To naprsnuće – najjače u 1913., annus mirabilis umjetničke avangarde – do te mjere razorno pri otvaranju novih prostora da bi spekulativna historiografija čak mogla doći u iskušenje- ustvrditi da je, s "duhovne" tačke gledišta, veliki rat iz 1914. izbio kao reakcija na taj Događaj prsnuća – ili, da parafraziram Hegela, užasi prvog svjetskog rata su cijena koju je čovječanstvo moralo platiti zbog pokretanja besmrtne umjetničke revolucije u godinama netom prije rata. Drugim riječima, mora se preokrenuti pseudo-duboki uvid o tome kako su Schoenberg et al predskazali užase rata u XX. vijeku: šta ako je 1913-ta taj pravi Događaj? Ključno je usredsrediti se na taj prijelazni eksplozivni trenutak između samodopadnosti kasnog 19. stoljeća i katastrofe prvog svjetskog rata – 1914. nije predstavljala buđenje iz sna, nego snažan i nasilan povratak patriotskog sna predestiniranog da spriječi istinsko buđenje. Činjenica da su fašisti i ostali patrioti mrzili avangardnu entartete Kunst nije tek marginalni detalj, nego ključna značajka fašizma. S takve pozadine trebamo pristupiti odnosu između moderne umjetnosti i užasa historije XX. stoljeća.

HOLIVUDSKE ŽENE: OD SKRIVENIH DOPRINOSA, INSTITUCIONALIZIRANOG NASILJA, BORBE IZ SJENE, DO POKRETA #METOO

Author(s): Alen Avdić / Language(s): Bosnian Issue: 37-38/2023

J edna od prvih asocijacija na Hollywood su žene u prelijepim, detaljno dizajniranim haljinama koje plijene pažnju na crvenim tepisima dok novinarima odgovaraju na pitanja o svom nadolazećem filmu ili, češće, o tome ko im je sašio haljinu, napravio štikle, izradio nakit. Suštinska pitanja o temama njihovih filmova, idejama ili motivima likova koje su utjelotvorile obično mahom bivaju prepuštene njihovim muškim kolegama.1 Raskošne svečane toalete su postale sinonimne s glamurom koji Hollywood nosi u svojoj karmi. Ako bismo usporedili slike starog, tzv. "zlatnog doba2 " Hollywooda, gala svečanosti koje su pohodile Marylin Monroe u njenoj sada već kultnoj bijeloj haljini iz 1955. ili Audrey Hepburn nagizdane angara biserima sa savremenim slikama s crvenog tepiha Angeline Jolie u široko komentarisanoj crnoj haljini s prorezom iz 2012. ili s onima od Nicole Kidman u crvenoj Diorovoj toaleti veoma lahko bismo uočili konstantu glamurozno odjevene, besprijekorno dotjerane ljepotice koja pozira fotografima sa zanosnim osmjehom i nepogrešivo doziranom dozom seksipila. Ta konstanta nam želi poručiti da su žene u samom srcu Hollywooda no to nije istina: žene danas ne čine ni polovinu filmske industrije. Na crvenom tepihu žene izgledaju kao da su upravo one zvijezde američke filmske industrije, ali na platnu glume glavne uloge samo u 15 posto filmova (McKinney 2015.). A taj postotak se skoro nije promijenio od 1930-ih: Filmovi koje Hollywood proizvodi uveliko nedovoljno predstavljaju žene i prikazuju ih na načine koji ih predstavljaju inferiornima u odnosu na njihove muške kolege. To seže do najranijih godina filma, kada su pogrešna predodžba da gledatelji više vole muške glavne uloge i sada opskurni skup internih pravila cenzure institucionalizirali rodne probleme kojima se industrija tek treba pozabaviti, probleme koji imaju implikacije daleko izvan kino dvorana.

Sprawozdanie z Ogólnopolskiej Konferencji Naukowej Aktion Zamość 1942-1943, Akademia Zamojska, Zamość, 28 lutego 2023 roku

Author(s): Anna Majdan / Language(s): Polish Issue: 1/2023

A Report on the National Scientific Conference Aktion Zamość 1942-1943, Academy of Zamość, Zamość, 28 February 202

Pomiędzy Mentorellą a Paryżem. Artystyczna wizja krakowskiego kościoła Zmartwychwstańców ojca Leona Zbyszewskiego (1832-1907)

Author(s): Dagny Nestorow,Rafał Nestorow / Language(s): Polish Issue: 3/2023

The paper is a study of the architecture and equipment of the Resurrectionist Church in Cracow, which was built between 1886 and 1887 by the Cracow house of the congregation, founded in 1885. It was the second Resurrectionist temple on Polish territory, after the Lviv church. The artistic vision of Father Leon Zbyszewski (1832-1907) CR had a fundamental impact on the temple. With the help of Father W. Orpiszewski, Zbyszewski developed an artistic vision for the church, where he referred to ancient and early medieval models, as well as the modern neostyle temple of Saint Pierre de Montrouge in Paris (1863-1872), built after a design by Émile Vaudremer. Leon Zbyszewski, collaborating with the Cracow architect and builder Wandalin Beringer, prepared a comprehensive artistic and ideological program for the church’s furnishings and decoration, including both the exposed roof truss, painting and sculpture decorations, the design of the altar partition, altars, music choir, pulpit and even pews and confessionals. The synthesis of Father Zbyszewski’s artistic experience produced a unique, yet modest, temple that successfully combined the patterns of ancient and medieval art, with an ideological program that was consistent with the congregation’s charism.

Between Mentorella and Paris. Father Leon Zbyszewski‘s (1832-1907) Artistic Vision of the Cracow Resurrectionist Church

Author(s): Dagny Nestorow,Rafał Nestorow / Language(s): English Issue: 3/2023

The paper is a study of the architecture and equipment of the Resurrectionist Church in Cracow, which was built between 1886 and 1887 by the Cracow house of the congregation, founded in 1885. It was the second Resurrectionist temple on Polish territory, after the Lviv church. The artistic vision of Father Leon Zbyszewski (1832-1907) CR had a fundamental impact on the temple. With the help of Father W. Orpiszewski, Zbyszewski developed an artistic vision for the church, where he referred to ancient and early medieval models, as well as the modern neostyle temple of Saint Pierre de Montrouge in Paris (1863-1872), built after a design by Émile Vaudremer. Leon Zbyszewski, collaborating with the Cracow architect and builder Wandalin Beringer, prepared a comprehensive artistic and ideological program for the church’s furnishings and decoration, including both the exposed roof truss, painting and sculpture decorations, the design of the altar partition, altars, music choir, pulpit and even pews and confessionals. The synthesis of Father Zbyszewski’s artistic experience produced a unique, yet modest, temple that successfully combined the patterns of ancient and medieval art, with an ideological program that was consistent with the congregation’s charism.

The Church of the Resurrection in Rome as a temple of the Polish- Lithuanian Commonwealth

Author(s): Maria Nitka / Language(s): English Issue: 3/2023

The paper examines the primary iconography of the interior design of the Church of the Resurrection in Rome, located in via San Sebastianello 11, reconstructed thanks to the archival materials. The interior of the church of the Resurrectionists in Rome was consecrated on November 5th, 1889, during the time of partitions and the lack of representation of the temple of the Polish nation in the Eternal City. The church until the 1979 renovation had a homogeneous decoration in the historicizing trend, which was bound together by polychromy in the type of “carpet polychromy” (Tapisseriemalerei), capturing the most semantically significant elements of decoration – stained glass windows and historical paintings. Iconography in the chancel referred to the Resurrection and the role of the Church in delivering this message. On the axis of the apse there was a stained-glass window with an image of the Risen Christ, flanked by two stained glass windows with representations of Immaculata and St. Joseph, whose cults were promoted in the Church by Pope Pius IX. The stained-glass windows also included the coats of arms of Pope Leo XIII and the founders. The main altar: a mensa from 1775, from the former church of St. Paul the First Hermit of the Pauline Fathers (formerly the Polish temple), over a wall-mounted canopy whose founder was Father Władysław Czartoryski, with an image of Our Lady of Częstochowa. The triumphal arch on the pillars framing the altar featured painted figures of St. Stanislaus and St. Sebastian, and on top of the rainbow arch was an image of the veraicon. Above the stalls there were figural paintings relating to the handing down the mission in the Church during various historical moments: The Ascension by Henryk Siemiradzki (on the south side) and The First Vows of the Resurrectionists and the Approval of the Congregation by Pius IX by Józef Unierzyski, enframed in a wooden frame with the coats of arms of Popes Gregory XVI and Pius IX. In the window area above it, there was the coat of arms of the Kingdom of Poland, while in the successive bays of the nave there were the coats of arms of Cardinal Mieczysław Ledóchowski and the Lithuanian Pogoń. Across the nave, there were two figural paintings by Franciszek Krudowski, depicting encounters with the Risen Christ on earth: Infidel Thomas and Noli me tangere. Therefore, the southern wall of the presbytery and nave depicted the presence of the Risen Christ on earth, while the northern wall pointed to the Church of Poland, from the formation of the Resurrectionists to the symbols of the state and the primate-interrex. The symbolism of the connection between the Universal Church and the Polish Church was developed on the choir wall, divided by the organ emporium into two tiers, in which stained glass windows were placed, in the lower one were the figures of the three Archangels and the Blessed Virgin Mary in the Annunciation scene, in the upper one were Saints Casimir and Josaphat, all stained glass windows were accompanied by coats of arms, whether of the Polish State or the founders. The Church of the Resurrection thus merged the iconography of the cult of the Resurrection of Christ with national representation, which was expressed both by the depicted saints and the extensive heraldic program. The emphasis on the cult of Christ and the saints of the Polish church has a reference to the first temple of the Polish nation of St. Stanislaus, whose main patron was the Blessed Savior; the image of St. Stanislaus also referred to the name of this temple. The presence of St. Josaphat, on the other hand, refers to the tradition of the Uniate hospice of Sts. Sergius and Bacchus, representing the Ruthenian nation. The iconography with images of St. Casimir, St. Josaphat, the Eagle and Pogoń coats of arms indicated that this was the temple of the First Republic, a buried state, which was represented in Rome by the Resurrectionists, the informal Polish ambassadors to the apostolic capital, who also protected and spread the Uniate rite. The saints present in the temple’s iconography and the emphasis on the relationship between the Polish Church and the Universal Church were also reflected in the Resurrectionists’ apostolic mission. The union of Church and state – altar and throne in the iconographic program of the Resurrection temple emphatically indicated that there would be no resurrection of the homeland without the Church, which was also confirmed in the political and social program of the Resurrectionist congregation.

Kościół pw. Zmartwychwstania Pańskiego w Rzymie jako świątynia Rzeczypospolitej Obojga Narodów

Author(s): Maria Nitka / Language(s): Polish Issue: 3/2023

The paper examines the primary iconography of the interior design of the Church of the Resurrection in Rome, located in via San Sebastianello 11, reconstructed thanks to the archival materials. The interior of the church of the Resurrectionists in Rome was consecrated on November 5th, 1889, during the time of partitions and the lack of representation of the temple of the Polish nation in the Eternal City. The church until the 1979 renovation had a homogeneous decoration in the historicizing trend, which was bound together by polychromy in the type of “carpet polychromy” (Tapisseriemalerei), capturing the most semantically significant elements of decoration – stained glass windows and historical paintings. Iconography in the chancel referred to the Resurrection and the role of the Church in delivering this message. On the axis of the apse there was a stained-glass window with an image of the Risen Christ, flanked by two stained glass windows with representations of Immaculata and St. Joseph, whose cults were promoted in the Church by Pope Pius IX. The stained-glass windows also included the coats of arms of Pope Leo XIII and the founders. The main altar: a mensa from 1775, from the former church of St. Paul the First Hermit of the Pauline Fathers (formerly the Polish temple), over a wall-mounted canopy whose founder was Father Władysław Czartoryski, with an image of Our Lady of Częstochowa. The triumphal arch on the pillars framing the altar featured painted figures of St. Stanislaus and St. Sebastian, and on top of the rainbow arch was an image of the veraicon. Above the stalls there were figural paintings relating to the handing down the mission in the Church during various historical moments: The Ascension by Henryk Siemiradzki (on the south side) and The First Vows of the Resurrectionists and the Approval of the Congregation by Pius IX by Józef Unierzyski, enframed in a wooden frame with the coats of arms of Popes Gregory XVI and Pius IX. In the window area above it, there was the coat of arms of the Kingdom of Poland, while in the successive bays of the nave there were the coats of arms of Cardinal Mieczysław Ledóchowski and the Lithuanian Pogoń. Across the nave, there were two figural paintings by Franciszek Krudowski, depicting encounters with the Risen Christ on earth: Infidel Thomas and Noli me tangere. Therefore, the southern wall of the presbytery and nave depicted the presence of the Risen Christ on earth, while the northern wall pointed to the Church of Poland, from the formation of the Resurrectionists to the symbols of the state and the primate-interrex. The symbolism of the connection between the Universal Church and the Polish Church was developed on the choir wall, divided by the organ emporium into two tiers, in which stained glass windows were placed, in the lower one were the figures of the three Archangels and the Blessed Virgin Mary in the Annunciation scene, in the upper one were Saints Casimir and Josaphat, all stained glass windows were accompanied by coats of arms, whether of the Polish State or the founders. The Church of the Resurrection thus merged the iconography of the cult of the Resurrection of Christ with national representation, which was expressed both by the depicted saints and the extensive heraldic program. The emphasis on the cult of Christ and the saints of the Polish church has a reference to the first temple of the Polish nation of St. Stanislaus, whose main patron was the Blessed Savior; the image of St. Stanislaus also referred to the name of this temple. The presence of St. Josaphat, on the other hand, refers to the tradition of the Uniate hospice of Sts. Sergius and Bacchus, representing the Ruthenian nation. The iconography with images of St. Casimir, St. Josaphat, the Eagle and Pogoń coats of arms indicated that this was the temple of the First Republic, a buried state, which was represented in Rome by the Resurrectionists, the informal Polish ambassadors to the apostolic capital, who also protected and spread the Uniate rite. The saints present in the temple’s iconography and the emphasis on the relationship between the Polish Church and the Universal Church were also reflected in the Resurrectionists’ apostolic mission. The union of Church and state – altar and throne in the iconographic program of the Resurrection temple emphatically indicated that there would be no resurrection of the homeland without the Church, which was also confirmed in the political and social program of the Resurrectionist congregation.

Академик Н. С. Державин и появата на първия институт за славянознание в Русия: Ленинград, 1931–1934

Author(s): Igor I. Kaliganov / Language(s): Bulgarian Issue: 47/2023

Стефан Дечев. Стамболов след Стамболов. История, политика и памет (1895–2020)

Author(s): Vassilka Tankova / Language(s): Bulgarian Issue: 47/2023

EWOLUCJA WZORCA GATUNKOWEGO PRZEPISU KULINARNEGO

Author(s): Izabela Kuśnierek / Language(s): Polish Issue: 10/2023

The culinary recipe is a genre that has undergone numerous modifications related to its transmission medium over the centuries. Originally, it functioned in the oral form, but with the development of writing, it began to appear in the written form as well. After the invention of audiovisual media, cooking advice began to be made available via television and, over time, also via the Internet (YouTube, Instagram, TikTok). The first recipes were formulated by people widely regarded as authorities, but later any Internet user could become a creator. The type of audience has also changed. The passive reader has become an active and dynamic co-creator of culinary advice.

Las Relaciones Geográficas del siglo XVI de Nueva España: Análisis del inédito "Mapa de Tequaltiche"

Author(s): Alberto Puig Carrasco / Language(s): Spanish Issue: 37/2023

During the year of 1577, the Council of the Indies sent a questionnaire to America to be answered by the Indian authorities. It was sent along with a written account and a painting of the area. Th anks to this, we have today a large documentary corpus, namely the Geographical Relations, which contains the map and written relations of Tequaltiche (Teocaltiche, Jalisco), one of the regional cabeceras de partido and which had great relevance during the Mixton War. Th e map, due to its recent discovery, is hitherto unpublished and has an essential importance to understand the historical evolution of the Altos de Jalisco during the sixteenth century. Th e Mixton War and its subsequent “pacifi cation”, as well as the control of the region during the Chichimeca War, mark the historical context in which this document is inserted. Th is, together with the fact that it presents the pre-Hispanic historical events, gives even greater importance to the map, since it allows to reconstruct to a certain extent the past of the Cazcanes from their point of view. In this paper, we will carry out the integral analysis of all the elements that make up the document, both external and internal, so that we can extract as much information as possible from it.

Concha Espina y el “solemne mandato” de la mujer: personajes femeninos y el discurso de la sección femenina en "Retaguardia" (1937)

Author(s): María Álvarez Álvarez / Language(s): Spanish Issue: 38/2023

The novel Retaguardia (1937) is a definitive demonstration of the radical ideological change experienced by Concha Espina during those years which led her to adopt much more traditional positions regarding women’s autonomy and freedom, a central aspect of her work. In this paper, we aim to study the confi guration and role of the female characters in the novel and their relationship to the Falangist premises that the author approached. Th e diff erent fi gures of the mothers, as well as those of the two protagonists, are of special interest. Th ey provide the core of Espina’s novel and the image of Spain that she wants to promote. She off ers an exceptional demonstration of what was expected of women from reactionary positions in the context of the Spanish Civil War, even though her old ideology leads to certain discrepancies from the offi cial discourse.

De extraterrestres, vírgenes y dictadura. "Del cosmos las quieren vírgenes" y la dimensión cultural de las palabras

Author(s): Marcos Arcaya Pizarro / Language(s): Spanish Issue: 38/2023

Based on a socio-critical analysis, this article aims to highlight ideological dominants articulated in Del cosmos las quieren vírgenes (1977) by E. Aldunate (1925-2005). For this purpose, the sociality transcoded in the textualization, particularly in its incipit, is questioned. In our proposal plays a primordial role the question (with unpublished accent) for the dictatorial sociohistorical context (1973-1990) in the dynamics that the text articulates, including the collective subject that conforms the text. Without to close the text to other readings and without ignoring the existence of nuances or denying productive contradictions, it is concluded that the novel studied in its ideological dominants refracts the out-of-text, giving priority to a positioning as a device in line with to the civil-military dictatorship.