Resumen La fortuna de los especialistas del fenómeno del orfismo ha experimentado un giro espectacular con el descubrimiento relativamente reciente realizado por Giulia Rossetto, quien identificó un texto en hexámetros desconocido hasta la fecha en un palimpsesto cuya scriptio superior es un texto en árabe sobre la vida de unos santos. Este texto destaca por su lenguaje literario artificial, propio del género épico, y se distingue por la presencia abundante de discursos directos. Su estilo es arcaizante, ya que se reutilizan fórmulas homéricas, aunque también resuenan expresiones de otros textos (Rossetto 2021), entre los que se destacan las Rapsodias, las Dionisíacas de Nono y los Himnos órficos. La conexión entre los hexámetros de Sinaí y otros textos sigue aun sin definirse, especialmente en cuanto a la dirección de su influencia. En este trabajo, tras presentar las condiciones del códice y las características materiales del texto, así como una introducción a su contenido, se discutirán algunas de las posturas críticas que ha suscitado este hallazgo.

Abstract Orphic studies specialists have recently been fortunate due to Giulia Rossetto's discovery of an unknown hexameter text within a palimpsest, which had Arabic script on its surface. This text stands out for its artificial literary language, typical of the epic tradition, and the presence of direct speech. Its archaic style is characterized by the reuse of Homeric formulas and echoes phrases from various texts, such as the Rhapsodies, Nonnus' Dionysiaca, and the Orphic Hymns (Rossetto, 2021). The intertextual links between the Sinai hexameters and these texts, especially the direction of their influence, are yet to be established. This paper will detail the codex's condition, describe the text's material features, summarize its content, and explore the academic discussion it has ignited.

Resumen En la Estoria de Espanna (capítulo 755) de Alfonso X, se transcribe el villancico “En Cannatannaçor Almançor perdio ell atamor”, el testimonio documentado más antiguo de la lírica popular y el primero que se conserva en lengua española. Partiendo de la premisa de que este poema es un microrrelato (o minificción), este artículo se divide en tres partes: 1) rasgos más característicos que se les atribuyen a estas narraciones: brevedad, narratividad, ficcionalidad, elipsis, prosa vs. verso; 2) contextos en que se inserta el villancico en el pasaje de la oralidad a la escritura: intratextual, metatextual, intertextual y extratextual; 3) problemas de interpretación de los hechos históricos y de los textos que los narran.

Abstract In Alfonso X’s Estoria de Espanna (chapter 755) it is recorded the poem « En Cannatannaçor Almançor perdio ell atamor », the oldest document of the popular lyric poetry and the first one in the Spanish language. Based on the premise that this poem is a microfiction (or minifiction) this article is divided in three parts: 1) the main features attributed to these texts: brevity, narrativity, fictionality, ellipsis, prose vs. verse; 2) the contexts in which this poem is inserted in its passage from the orality into the writing: intratextual, metatextual, intertextual y extratextual; 3) problems of interpretation of the historical facts and of the texts which narrate them.

Résumé Dans l'Estoria de Espanna (chapitre 755) d'Alfonso X, le villancico « En Cannatannaçor Almançor perdio ell atamor » est transcrit le plus ancien témoignage documenté de poésie lyrique populaire et le premier conservé en espagnol. Partant du principe que ce poème est un micro-récit (ou mini-récit), cet article est divisé en trois parties : 1) les traits les plus caractéristiques attribués à ces récits : brièveté, narrativité, fictionnalité, ellipse, prose vs. vers ; 2) les contextes dans lesquels le chant s'insère dans le passage de l'oralité à l'écriture : intratextuel, métatextuel, intertextuel et extratextuel ; 3) les problèmes d'interprétation des faits historiques et des textes qui les relatent.

Abstract When observing the translations of the institutional anaphoric account of the third typical edition of the Roman Missal in the various vernacular languages, it is noted that there is no longer a consensus regarding the translation of the expression Pro Multis as there was in the translations of previous editions. This expression has its origins in the “Fourth Poem of the Servant” by Isaiah and is used in the words spoken over the chalice in the institutional narrative of Mark and Matthew, establishing an intertextual relationship. This article aims to be a contribution that deepens the comprehension of this relationship for a better understanding of the Pro Multis, with no intention, however, of presenting a definitive solution to the questions that involve its translation. For this, it is proposed to present the main points that encompasses the debate regarding the referred translation; to validate the intertextual relationship between the Isaiah text and the New Testament texts that are the object of this study through appropriate criteria; to search, in the Old Testament context of the Hebrew term, that was translated as Multi, its original meaning and, in possession of these data, to verify what meaning the term acquires and what meaning-effects this intertextual relationship produces in the words pronounced over the chalice in Mark and Matthew and in the liturgy of the Latin Church.

Resumen Al observar las traducciones del relato anafórico institucional de la tercera edición típica del Misal Romano en las diversas lenguas vernáculas, se advierte que ya no existe un consenso en cuanto a la traducción de la expresión pro multis como hubo en las traducciones de las anteriores ediciones. Esta expresión tiene su origen en el “Cuarto Poema del Siervo” de Isaías y se utiliza en las palabras pronunciadas sobre el cáliz en los relatos institucionales de Marcos y Mateo, estableciendo una relación intertextual. El presente artículo aspira ser una contribución que profundice la comprensión de esta relación para un mejor entendimiento del pro multis; sin embargo, no pretende presentar una solución definitiva a las cuestiones que envuelven su traducción. Para ello, se propone exponer los principales puntos que abarcan el debate en torno a la referida traducción; validar la relación intertextual entre el texto de Isaías y los textos del Nuevo Testamento que son objeto de este estudio a través criterios adecuados; buscar en el contexto antiguo testamentario del término hebreo, que fue traducido por multi, su significado original y, en posesión de estos datos, verificar qué significado adquiere el término y qué efectos de significado produce esta relación intertextual en las palabras pronunciadas sobre el cáliz en Marcos y Mateo y en la liturgia de la Iglesia latina.

Resumo Ao observar as traduções do relato anafórico institucional da terceira edição típica do Missal Romano nas diversas línguas vernáculas, nota-se que não há mais consenso a respeito da tradução da expressão pro multis como havia nas traduções das edições anteriores. Tal expressão tem sua origem no “Quarto Poema do Servo” de Isaías e vem utilizada nas palavras pronunciadas sobre o cálice nos relatos institucionais de Marcos e Mateus, estabelecendo-se uma relação intertextual. O presente artigo almeja ser uma contribuição que aprofunde o entendimento dessa relação para uma melhor compreensão do pro multis, sem ter, no entanto, a pretensão de apresentar uma solução definitiva para as questões que envolvem a sua tradução. Para isso, propõe-se apresentar os principais pontos que abarcam o debate a respeito da referida tradução; validar a relação intertextual entre o texto isaiano e os textos neotestamentários que são objeto deste estudo através de critérios apropriados; buscar no contexto veterotestamentário do termo hebraico, que se traduziu por multi, o seu sentido original e, em posse desses dados, verificar que sentido o termo adquire e que efeitos de sentido produz essa relação intertextual nas palavras pronunciadas sobre o cálice em Marcos e Mateus e na liturgia da Igreja latina.

Abstract: In the 1920s Westernization and modernism characterized the cultural life of big Japanese cities, and the cinema quickly became the main entertainment of the urban masses. In this decade studios began to shoot movies following the cinematic techniques and narrative styles of European and American cinema, and increased production of film adaptations of Western literature works popular at that time. This paper focuses on the adaptations of German literature works, specifically of Gerhart Hauptmann plays, produced in Japan during the 1920s. While those films have been lost, stills and reviews of film magazines published at the time of screening have been archived. The study draws on these materials and examines the intertextual and intercultural relations between the films and the literary works. It provides a brief overview on the reception of German literature in Japan, compares the plays and films analysing the permutations in narratological elements, and offers insights on how cultural, political, and social context influenced the directors’ adaptation process. Abstract s cities masses lost archived elements political directors process

Resumen: En los años 1920, la occidentalización y el modernismo caracterizaron la vida cultural de las grandes ciudades japonesas, y el cine rápidamente se convirtió en el principal entretenimiento de las masas urbanas. En esta década, los estudios comenzaron a rodar películas siguiendo las técnicas cinematográficas y los estilos narrativos del cine europeo y americano, y se aumentó la producción de adaptaciones de obras literarias occidentales que eran populares en ese momento. Este artículo se centra en las adaptaciones de obras literarias alemanas, específicamente de las obras de Gerhart Hauptmann, producidas en Japón durante los años 1920. Aunque esas películas se han perdido, se conservan fotogramas y reseñas publicadas en revistas de cine de la época. En este estudio se analizan estos materiales y se examinan las relaciones intertextuales e interculturales entre las películas y las obras literarias. Se proporciona una breve descripción de la recepción de la literatura alemana en Japón, se comparan las obras teatrales y las películas analizando las permutaciones en los elementos narratológicos, y se ofrece una perspectiva sobre cómo el contexto cultural, político y social influyeron en el proceso de adaptación de las obras teatrales. Resumen 1920 japonesas urbanas década americano momento alemanas Hauptmann perdido época narratológicos 192 19 1

ABSTRACT This article presents an intertextual dialogical analysis of the trajectories of life, work and thought of teachers and writers Lindanor Celina and Maria Lúcia Medeiros, from Bragança (PA), Brazil. Both debuted in the literature of the Amazon in Pará with fictional prose highlighting the transgressive and insubmissive female characters. Their books are Estradas do tempo-foi (1971) and the novel Menina que vem de Itaiara (1996), by Lindanor Celina, and the collection of tales Zeus ou a menina e os óculos (1988), by Maria Lúcia Medeiros. In methodological terms, this research has a qualitative, documentary approach. Thus, it is understood that there is an intertextual approach in the writers’ trajectories of education, female training, and childhood. life Medeiros PA, PA , (PA) Brazil characters tempofoi tempo foi 1971 (1971 1996, 1996 (1996) 1988, 1988 (1988) terms qualitative Thus education training childhood (PA 197 (197 199 (1996 198 (1988 19 (19 (199 (198 1 (1 (

RESUMO O presente artigo traz uma análise dialógica intertextual da trajetória de vida, da obra e do pensamento das professoras e escritoras bragantinas Lindanor Celina e Maria Lúcia Medeiros. Ambas estrearam na literatura da Amazônia paraense com prosas ficcionais dando destaque às personagens femininas transgressoras e insubmissas. São seus livros: Estradas do tempo-foi (1971) e o romance Menina que vem de Itaiara (1996), de Lindanor Celina, e a coletânea de contos Zeus ou a menina e os óculos (1988), de Maria Lúcia Medeiros. Em termos metodológicos, esta pesquisa é de abordagem qualitativa, do tipo documental. Assim, entende-se que há aproximação intertextual nas trajetórias de educação, formação feminina e infância das referidas escritoras. vida Medeiros insubmissas livros tempofoi tempo foi 1971 (1971 1996, 1996 , (1996) 1988, 1988 (1988) metodológicos qualitativa documental Assim entendese entende se educação 197 (197 199 (1996 198 (1988 19 (19 (199 (198 1 (1 (

Abstract: The purpose of the article is to study the creative development, the aesthetic and the philosophical searches of Stanislav Shumytskyi’s work within the cultural and historical process of the 60s of the 20th century. The basis of the methodological approach in this research work is a complex systematic study, which is based on a qualitative combination of theoretical research methods. In particular, analysis, synthesis, generalization, interpretation, abstraction, as well as descriptive, comparative, juxtaposition method, comparative-historical method, intertextual method, in particular its intermedial principles, were applied for a detailed consideration of Stanislav Shumytskyi’s work. This research highlights Stanislav Shumytskyi’s unique aesthetic and philosophical pursuits in the 1960s cultural-historical milieu. Emphasis is laid on relevance of Shumytskyi’s creative legacy for contemporary literature. The study enriches understanding of the cultural climate in the period, especially regarding the Ukrainian Sixtiers movement. Abstract development Shumytskyis Shumytskyi s th century methods analysis synthesis generalization interpretation abstraction descriptive comparative method comparativehistorical principles culturalhistorical milieu literature period movement

Resumo: O objetivo do artigo é estudar o desenvolvimento criativo e as buscas estéticas e filosóficas da obra de Stanislav Shumytskyi dentro do processo cultural e histórico dos anos 60 do século XX. A base da abordagem metodológica deste trabalho de pesquisa é um estudo sistemático complexo, que se baseia em uma combinação qualitativa de métodos teóricos de pesquisa. Em particular, análise, síntese, generalização, interpretação, abstração, bem como método descritivo, comparativo, de justaposição, método histórico-comparativo, método intertextual, em particular, seus princípios intermediários, foram aplicados para uma consideração detalhada da obra de Stanislav Shumytskyi. Os principais resultados obtidos no âmbito desta pesquisa científica devem ser considerados com a comprovação das características das buscas estéticas e filosóficas da obra de Stanislav Shumytskyi dentro do processo histórico-cultural dos anos 60 do século XX e o significado da herança criativa do artista para o processo literário moderno. Resumo 6 complexo particular análise síntese generalização interpretação abstração descritivo comparativo justaposição históricocomparativo, históricocomparativo histórico-comparativo intertextual intermediários históricocultural moderno

Abstract There are different resources explored by contemporary narratives addressed to young people. In this sphere is the graphic narrative The Art of Charlie Chan Hock Chye, a work with historical, social, and artistic relevance which constitutes the corpus of this study. The objective is, from a metafictional perspective of the verbal, imagetic, and graphic, to understand how Liew’s multimodal work encourages the reader to know the backstage of this and other books, promoting the fading of the boundaries between the real and the fictional. Besides that, we will highlight how the author approaches, simultaneously, the history of Singapore and the fictional biography of a reputed cartoonist, paying homage to the art of comics. For this, we start from the theories of metafiction (Hutcheon, 1984; Waugh, 1988), intertextuality (Genette, 2006), and the language of comics (Postema, 2021). people Chye historical social study verbal imagetic Liews Liew s books that approaches simultaneously cartoonist Hutcheon, Hutcheon (Hutcheon 1984 Waugh 1988, 1988 , 1988) Genette, Genette (Genette 2006, 2006 2006) Postema, Postema (Postema 2021. 2021 . 2021) 198 200 202 19 20 1 2

Resumo Diferentes são os recursos explorados pelas narrativas contemporâneas endereçadas aos jovens. Nesta esfera está a narrativa gráfica A arte de Charlie Chan Hock Chye, corpuscom relevância histórica, social e artística do presente estudo. Objetiva-se, a partir de uma perspectiva da metaficção nas linguagens verbal, imagética e gráfica, compreender de que forma a obra multimodal de Liew incita o leitor a conhecer os bastidores da criação artística desta e de outras obras, promovendo um esmaecimento entre o real e o ficcional. Além disso, buscamos destacar como o autor aborda, simultaneamente, a história de Singapura e a biografia de um cartunista ficcional renomado, rendendo uma homenagem às histórias em quadrinhos. Para isso nos utilizaremos das teorias de metaficção (Hutcheon, 1984; Waugh, 1988), da intertextualidade (Genette, 2006) e da linguagem dos quadrinhos (Postema, 2021). jovens Chye histórica estudo Objetivase, Objetivase Objetiva se, se Objetiva-se verbal obras disso aborda simultaneamente renomado Hutcheon, Hutcheon (Hutcheon 1984 Waugh 1988, 1988 , 1988) Genette, Genette (Genette 2006 Postema, Postema (Postema 2021. 2021 . 2021) 198 200 202 19 20 1 2

Resumen El ensayo aborda las confluencias intertextuales entre Sartre y Barthes, a la luz de los fundamentos presentados por los aparatos críticos de las obras completas de Barthes. Trabajando con un corpus en el que destaca la réplica de “El grado cero de la escritura” a la pregunta sobre “¿Qué es la literatura?”, se especulan afinidades fundamentales entre el hombre inesencial sartreano, lanzado a la gratuidad de la existencia, y el sujeto discursivo barthesiano, atrapado en el arbitrariedad del signo. El objetivo es demostrar que, en ambos casos, la “conciencia desdichada”, desprovista de abrigo metafísico, recupera el sentido de la experiencia en una lucha contra las palabras. Es la misma contingencia que lleva a admitir, de ambas partes, la posibilidad de un conocimiento imaginario, vinculado a la acción de una conciencia imaginante fuera de la órbita de los signos. Barthes escritura ¿Qué Qué literatura, literatura , literatura?” sartreano existencia barthesiano signo casos desdichada, desdichada desdichada” metafísico palabras admitir partes imaginario signos literatura?

Abstract The essay addresses the intertextual confluences between Sartre and Barthes, in light of the insights provided by the critical apparatus of the complete works of Barthes. Working with a corpus that highlights the response of Writing Degree Zero to What is Literature?, it conjectures fundamental affinities between Sartre’s inessential man launched into the gratuitousness of existence and Barthes’ discursive subject bound to the arbitrariness of the sign. The aim is to show that, in both cases, the “unhappy consciousness”, deprived of metaphysical shelter, recovers the meaning of experience in a struggle against words. It is the same contingency that leads to the acknowledgment, on both sides, of the possibility of an imaginary knowledge, linked to the action of an imaginative consciousness outside the orbit of signs. Barthes Literature, Literature , Literature? Sartres s sign cases unhappy consciousness, consciousness” shelter words acknowledgment sides knowledge signs

Resumo O ensaio trata de confluências intertextuais entre Sartre e Barthes, à luz dos estabelecimentos trazidos pelos aparatos críticos das obras barthesianas completas. Trabalhando com um corpus em que se destaca a réplica de O grau zero da escritura à pergunta sobre O que é a literatura?, conjectura afinidades fundamentais entre o homem inessencial sartriano lançado na gratuidade da existência e o sujeito discursivo barthesiano preso ao arbitrário do signo. Trata-se de mostrar que, nos dois casos, a “consciência infeliz”, ao desabrigo metafisico, recobra o sentido da experiência em um embate contra as palavras. É a mesma contingência que leva a admitir, de parte a parte, a possibilidade de um conhecimento imaginário, ligado à ação de uma consciência imaginante fora da órbita dos signos. Barthes completas literatura, literatura , literatura? signo Tratase Trata casos infeliz, infeliz infeliz” metafisico palavras admitir imaginário signos

In Matthew 26:28, Jesus links his blood to the forgiveness of sins during the Last Supper. Matthew's reference to "the blood of the covenant" in 26:28 is an allusion to Exodus 24:8, symbolising Jesus as a sacrificial offering that renews the covenant with God. References to Zechariah 9:9-13 and Isaiah 53:12 further link Jesus' death to the renewal of the covenant. For Matthew, the forgiveness of sins is a penultimate step for the renewal of the covenant that is the ultimate goal of Jesus' death. This article also contrasts Matthew's intertextual approach in the passion narrative with that of his prologue. It is argued that the shift towards allusions and echoes when explaining Jesus' death aligns with Matthew's strategy that can be described as a kaleidoscopic atonement theory, in which he weaves various Old Testament themes together to construct a comprehensive theory of atonement in Matthew 20:28 and 26:28.

Mark's shorter ending (16:1-8) is understood as a paratext, one that interrupts the existing text by forcing a relecture of the entire Gospel. It compels the intended readers to realign themselves with the provocative narration of Jesus as the atypical Messiah who challenges the physiognomic stereotypes of an honour-shame-based context. From this hermeneutical perspective, the reference text of Mark provokes a second text, the reception text, but does not replace it. Rather, it takes on motifs and themes of the first text as a kind of "interpretive development". This new reception text, which is embedded in Mark's original reference text, pushes the intended readers not only to re-read the Gospel, but also to re-understand it in light of Mark's provocative presentation of the "non-godly" bodily demeanour of Jesus. However, it would appear that the original intertextual relecture, prompted by the ending of Mark 16:1-8, did not wholly succeed. Its open-ended nature, coupled with its provocative interpretation of Jesus, probably created too much dissonance for an unknown author who eventually added the longer ending of 16:9-20 in a different vocabulary and style.

El objetivo de este estudio fue reflexionar sobre el desafío de la formación de la identidad profesional del farmacéutico clínico en un contexto de currículum no integrado y en un ambiente tradicional y especializado. Se desarrolló una investigación cualitativa orientada por las presuposiciones de la perspectiva etnográfica en la educación, utilizándose múltiples métodos de colecta de datos entre abril y julio de 2019. El escenario de la enseñanza experiencial fue una Farmacia Universitaria de la región sur de Brasil. Por medio de una descripción densa y con el uso de la reflexividad teórica e intertextual se presenta una narrativa que utiliza la voz de los participantes como ancla para dar visibilidad al proceso vivido. La ausencia de un estándar para el proceso de cuidado en la profesión farmacéutica, el currículum tradicional y la desarticulación entre teoría y práctica se constituyen en desafíos para que los estudiantes de Farmacia legitimen la práctica profesional farmacéutica centrada en el usuario.

The aim of this study was to reflect on the challenge of forming the professional identity of clinical pharmacists in the context of non-integrated curriculums and a traditional specialized environment. We conducted a qualitative study between April and July 2019 guided by the ethnographic approach to education, employing multiple data collection methods. The experiential learning setting was a university pharmacy in the south of Brazil. By means of a thick description and through the use of theoretical and intertextual reflexivity, we present a narrative using the voice of the participants as an anchor to provided visibility to the experienced process. The absence of a standard for the care process in the pharmacy profession, the traditional curriculum, and the lack of connection between theory and practice are challenges facing pharmacy students in legitimizing patient-centered professional practice.

O objetivo deste estudo foi refletir sobre o desafio da formação de identidade profissional do farmacêutico clínico em um contexto de currículo não integrado e em um ambiente tradicional e especializado. Desenvolveu-se uma pesquisa qualitativa orientada pelos pressupostos da perspectiva etnográfica na educação, empregando-se múltiplos métodos de coleta de dados entre abril e julho de 2019. O cenário de ensino experiencial foi uma Farmácia Universitária da região Sul do Brasil. Por meio de uma descrição densa e com uso da reflexividade teórica e intertextual, é apresentada uma narrativa utilizando a voz dos participantes como âncora para dar visibilidade ao processo vivenciado. A ausência de um padrão para o cuidado na profissão farmacêutica, o currículo tradicional e a desarticulação entre teoria e prática constituem desafios para os estudantes de Farmácia legitimarem a prática profissional farmacêutica centrada no usuário.

This study conducts a contextual, literary and theological interpretation of the theme of Zion in Isa 62:1-5 that focuses on the rhetorical and intertextual implications of Queen Zion. The method explicates the logical interrelationship and theological meaning of three enigmatic motifs in this passage-crown, renaming and marriage-within the literary and canonical context of the book of Isaiah. The study uses the mirror text theory adopted by Willem A. M. Beuken in Isaianic interpretation to consider the appearance of Queen Zion with these three conspicuous motifs. It is argued that Queen Zion retrospectively reflects the female Zion in Isa 1:7 (a daughter Zion) and 49:14-21 (an abandoned wife and childless mother) and prospectively foreshadows her in Isa 66:7-14 (a glorious mother). Furthermore, this study demonstrates that Isa 62:1-5 functions as a mirror text in the book of Isaiah and demonstrates how we conceive the reading of Isaiah as a unified whole.

Abstract The dialogical perspective which approaches literary texts within a web of relationships with other texts and discourses, past and contemporary, may be productive for the analysis, understanding, and translation of Shakespeare’s works. The intertextual connections that every literary text establishes with other discourses determine not only its meaning but also its texture. The purpose of the present essay is to emphasize the importance to identify the dialogical relations of Shakespeare’s plays for a deeper understanding of texts in their contexts, and for avoiding falling into reductionist interpretations or misconceptions. Also, to point out the relevance of taking intertextual phenomena into account in the act of translation, as it facilitates the translator’s mediating task of establishing a dialogue between the languages and cultures involved and making more informed and conscious choices. To showcase the effectiveness of identifying these meaningful relations, the intertextual relations of The Comedy of Errors with other texts and sources, the literary traditions prevailing at the time, and the Elizabethan cultural discourses are analyzed in light of Robert S. Miola’s proposal (2004). contemporary analysis Shakespeares Shakespeare s works texture contexts misconceptions Also translators translator choices sources time S Miolas Miola 2004. 2004 . (2004) 200 (2004 20 (200 2 (20 (2 (

Abstract: Introduction: The opening of the television series is a type of sequence with its own identity. Aims/Objectives: The main objective of this paper is to identify the configuration principles (segmentation, production, editing, sound and typographic composition) of the opening sequence of the television series Godfather of Harlem (MGM+, 2019-). The secondary objective of this research is to explore the relationship between the use of graphic resources and the creation of a brand around the series. Methodology: As a case study, the formal audiovisual analysis segments the analyzed fragment into several units, within the textual analysis. Results: The results identify many intertextual references, of retro inspiration, where the physical motif of paper and collage becomes objects of nostalgia. Discussion: The opening sequence introduces the key characters and provides information about the production but is also sensitive to the representation of the historical and social, political, and cultural context in which it takes place. Conclusions: Formal analysis of the opening provides insight into its use and its effective use to convey information, to establish tone and atmosphere, and to communicate the visual identity of the television series.

Resumen: Introducción: El opening de la serie de televisión supone un tipo de secuencia con una identidad propia. Objetivos: El objetivo principal de este trabajo es identificar los principios de configuración (segmentación, planificación, edición, sonido y composición tipográfica) de los créditos de la serie de televisión Godfather of Harlem (MGM+, 2019-). El objetivo secundario de esta investigación es explorar la relación entre el uso de recursos gráficos y la creación de una marca alrededor de la serie. Metodología: Como estudio de caso, el análisis formal audiovisual segmenta en varias unidades el fragmento analizado, dentro del análisis textual. Resultados: Los resultados identifican una gran cantidad de referencias intertextuales, de inspiración retro, donde el motivo físico del papel y del collage se convierte en objeto de nostalgia. Discusión: El opening presenta a los personajes clave y proporciona información sobre la producción, pero también es sensible a la representación del contexto histórico, social, político y cultural en el que se desarrolla. Conclusiones: El análisis formal del opening ofrece una visión profunda de su uso y de su empleo eficaz para transmitir información, establecer un tono y una atmósfera y comunicar la identidad visual de la serie de televisión.

This article reviews recent developments in Song of Songs scholarship with a focus on publications within the South African context. The article provides an overview of the interpretation of the Song of Songs and describes the main lines of research. Research on the Song of Songs continues the trends of recent years, with an emphasis on literal interpretation. However, there is renewed interest in patristics, allegorical interpretation as erotic or intertextual allegorisation, and reception history. Interpretation in the context of a myth seemed outdated, but it is also back. Southern African studies have contributed to these fields and to contextual studies.