Filología

Este trabajo presenta la intervención llevada a cabo en 4º de la ESO con el fin de mejorar las habilidades de comprensión y escritura de textos argumentativos y narrativos, objetivo unido al logro de avances en la reflexión de los adolescentes sobre el tema del sexismo. Ofrece la descripción detallada del procedimiento de enseñanza-aprendizaje seguido y los resultados logrados en las distintas actuaciones realizadas. Sostiene que el tema de la discriminación de la mujer posee un gran interés para los estudiantes de este nivel y resulta motivador para el aprendizaje de distintos objetivos curriculares. Defiende finalmente que los progresos en el campo lingüístico y literario se pueden alcanzar con éxito junto al desarrollo de la  conciencia ética y el pensamiento crítico.

This article describes a research project carried out at the University of Cantabria, Spain. Having identified a lack of communication between different levels of the education system, the co-authors have carried out qualitative research ("long interviews" with Primary and Secondary CLIL teachers) in order to identify the best methodological guidelines to be followed in CLIL classes. These guidelines have been summarized in a CLIL-methodology Decalogue to be used at the Tertiary Level.

Although Dashiell Hammett is well-known as the creator of the hard-boiled detective hero, at the beginning of his writing career he also published a few short stories in which he criticized this fictional stereotype. This paper draws attention to those stories, from Hammett’s first, “The Barber and his Wife”, which is a surprising attack on male chauvinism, to his western and adventure stories where he explores the contradictions of the fictional hard-boiled hero. Finally, the detective in The Maltese Falcon, Sam Spade, is considered in the light of the self-critical image of this stereotype as portrayed in these little known early stories. Spade emerges as a far more complex character than some interpretations would take us to believe, an ambiguous figure who should not be confused with other versions of the hard-boiled detective.

This essay examines Jonathan Franzen's novel Freedom (2010) and explores the symbolic way in which this novel uses the urban and regional spaces/places of the United States. Franzen's use of space/place is related to Francis Scott Fitzgerald's The Great Gatsby (1925), as well as to Franzen's previous novels, his well-known Harper's essay (1996), and other writings like "A Rooting Interest" (2012) or his memoir The Discomfort Zone , where he scrutinizes his own position as a writer and his attitude towards nature. Franzen's environmental concerns in the novel are also considered from the perspective of ecocriticism. The conclusion is that following Fitzgerald's example, Franzen uses the East and West (and the urban locales of the inner city and the suburbs) as a backdrop to explore not only the meanings and interpretations of the word freedom (as has been repeatedly pointed out) but also the hopes and aspirations shared by the people of his country, the different dimensions and contradictions of the amalgam of promises and myths known as the American Dream.

This article reviews the implications of two film categories developed in the last few decades (the transnational and post-Westerns) and applies them to two films produced in Ireland and usually not identified as such. After a review of the concepts of post-Westerns and transnationalism, two eScholarship provides open access, scholarly publishing services to the University of California and delivers a dynamic research platform to scholars worldwide. examples from Afghanistan (The Kite Runner) and Turkey (Once Upon a Time in Anatolia) are provided to illustrate the proposed category. A review of the cultural implications of the West in Ireland follows, with examples from James Joyce's Dubliners and John Ford's film The Quiet Man.

Enrique Urbizu belongs to the ‘New Generation’ of Basque film directors
who (together with Medem, Bajo Ulloa, de la Iglesia and Calparsoro)
‘were greeted as the new generation supposedly destined to carry
the flame of Basque cinema forward’ in the 1990s (Santaolalla 1999,
311). Of all these directors probably the one who has received the
least critical attention is Urbizu, maybe because he belongs much
less to the ‘auterist tradition’ of Spanish and Basque cinemas (Evans
1999) than some of his fellow directors. This tradition may have been
particularly harmful to Urbizu’s reputation, since he has frequently
been considered ‘un cineasta de perfil “industrial”’ (Benet 2005, 68),
a genre specialist rather than an auteur. This article vindicates the
value of genre studies in Spanish cinema, following the call made by
Beck and Rodríguez Ortega to ‘explore the interrelationships between
national cinemas, transnational media flow and genre as discursive
frameworks for constructing meaning’ (2008, 18), reviews Urbizu’s
career, and considers some of Urbizu’s films from a generic perspective,
specifically through the lens of a subgenre which has inherited and
modified the features of a classic Hollywood genre: the post-Western.