Abstract The recent history of Ecuador is addressed, focusing on the figure of former president León Febres-Cordero, based on two projects carried out with the students of the Film School of the University of the Arts of Ecuador. In Delirar el archivo we start from the Deleuzian formula "writing is a form of delirium" in order to reread the images of Guayaquil's past. In Remontar la historia, likewise, a critical-creative methodology is used to redefine the visual archives of the newspaper El Telégrafo through recontextualizations in public space. The analysis of these audiovisual pieces allowed the configuration of a typology of images (erasure-image, mimetic-image, mixed-image, image-architecture and image-sculpture) and a series of principles on the use of files: openness, intertextuality, multiplicity, reflexivity and memory.

Resumen Se aborda la historia reciente de Ecuador centrando la mirada en la figura del expresidente León Febres-Cordero, a partir de dos proyectos realizados con las y los estudiantes de la Escuela de Cine de la Universidad de las Artes del Ecuador. En Delirar el archivo se parte de la fórmula deleuziana «escribir es una forma de delirar» con el fin de releer las imágenes del pasado guayaquileño. En Remontar la historia, igualmente, se utiliza una metodología crítico-creativa para resignificar los archivos visuales del diario El Telégrafo por medio de recontextualizaciones en el espacio público. El análisis de estas piezas audiovisuales permitió la configuración de una tipología de imágenes (imagen-borramiento, imagen-mimética, imagen-entreverada, imagen-arquitectura e imagen-escultura) y una serie de principios sobre el uso de los archivos: de apertura, de intertextualidad, de multiplicidad, de reflexividad y de memoria.

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 While those films have been lost, stills and reviews of film magazines published at the time of screening have been archived.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 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

ABSTRACT This article1 intends to highlight the characteristics of the postmodern Picturebook, specifically, the work of Anthony Browne, a British creator of recognized value in the conformation of this segment of the contemporary children’s edition, whose narrativization results from the triadic text-image-support. Revisiting Browne’s whole work, from a necessarily restricted and representative corpus, we propose to highlight the aesthetic-literary and formative potentialities of a significative production, recognizing his contribution to the consolidation of a new paradigm in Children’s Literature. Starting from previous investigations around Picturebooks, with emphasis on theorizations related to the concepts of intertextuality and metafictionality - founding strategies of the “writing” of the appreciated author -, formal, rhetorical-stylistic and ideothematic procedures are observed in a dialogical reading of the verbal and visual components, concluding about its demands at the level of reception, as well as its impact on the literary, critical and reflective education of its main readers. article Picturebook specifically Browne childrens children s edition textimagesupport. textimagesupport text image support. support text-image-support Brownes corpus aestheticliterary aesthetic literary production Childrens Children Literature Picturebooks writing “writing , formal rhetoricalstylistic rhetorical stylistic components reception readers

RESUMO Este artigo1 pretende evidenciar as características do livro-álbum pós-moderno, concretamente, na obra de Anthony Browne, criador britânico de reconhecido valor na conformação deste segmento privilegiado da edição infantojuvenil contemporânea, cuja narrativização resulta da relação triádica texto-imagem-suporte. A revisitação do conjunto da sua obra, a partir de um corpus necessariamente restrito e mais representativo, propõe evidenciar as potencialidades estético-literárias e formativas de uma produção sui generis, reconhecendo o seu contributo na consolidação de um novo paradigma da literatura para a infância. Partindo de anteriores investigações em torno das recentes tendências do livro-álbum, com destaque para teorizações relativas aos conceitos de intertextualidade e metaficcionalidade - estratégias fundadoras da “escrita” do autor apreciado -, observam-se procedimentos formais, retórico-estilísticos e ideotemáticos numa leitura dialógica das componentes verbal e visual, concluindo-se acerca das suas exigências ao nível da receção, bem como do seu impacto na educação literária, crítica e reflexiva dos seus destinatários preferenciais, embora não exclusivos. artigo livroálbum livro álbum pósmoderno, pósmoderno pós moderno, moderno pós-moderno concretamente Browne contemporânea textoimagemsuporte. textoimagemsuporte texto imagem suporte. suporte texto-imagem-suporte representativo estéticoliterárias estético literárias generis infância livroálbum, álbum, escrita “escrita , observamse observam se formais retóricoestilísticos retórico estilísticos visual concluindose concluindo receção literária preferenciais exclusivos

Résumé Lors de la parution en 2020 de la retraduction française du roman Dix petits nègres d’Agatha Christie, rebaptisé Ils étaient dix, la Christie Corporation a déclaré que cette nouvelle version de l’œuvre a[vait] du sens. Selon le communiqué, au siècle de l’auteure le langage était différent. Afin d’interroger le bienfondé de cet argument, notre étude porte sur la traduction et usage du terme Nigger/Nègre (nom/adjectif) en français métropolitain. Le corpus est composé de l’œuvre originale Ten Little Niggers (1939), sa traduction interlinguale (1940) et retraduction?(2020). Ces concepts-ci sont examinés dans la première partie de l’étude à l’appui des bases théoriques de l’intertextualité. La deuxième partie suit le parcours de la lexie aux États-Unis à travers notamment la popularisation de la comptine éponyme originale. La troisième partie vise à démontrer qu’à l’instar du statut sociolinguistique du N… word aux États-Unis, Nègre/nègre n’a jamais intégré le vocabulaire usuel du français. Ce sont-là autant d’éléments qui permettent de contester voire invalider l’argument présenté par les ayants-droits de l’auteure. La conclusion expose les résultats du baromètre des discriminations en France CRAN/IPSOS (2023) et souligne la nécessité de déconstruction de l’imaginaire colonial institutionalisé. 202 dAgatha d Agatha dix lœuvre l œuvre avait vait a[vait sens communiqué lauteure auteure différent dinterroger interroger argument NiggerNègre Nigger Nègre nom/adjectif nomadjectif nom adjectif (nom/adjectif métropolitain 1939, 1939 , (1939) 1940 (1940 retraduction2020. retraduction2020 . retraduction?(2020) conceptsci concepts ci létude lappui appui lintertextualité. lintertextualité intertextualité. intertextualité l’intertextualité ÉtatsUnis États Unis quà qu linstar instar N ÉtatsUnis, Unis, Nègrenègre nègre na n sontlà là déléments éléments largument ayantsdroits ayants droits lauteure. auteure. CRANIPSOS CRAN IPSOS 2023 (2023 limaginaire imaginaire institutionalisé 20 193 (1939 194 (194 retraduction202 retraduction?(2020 (202 2 19 (193 (19 retraduction20 retraduction?(202 (20 1 (1 retraduction2 retraduction?(20 (2 ( retraduction?(2 retraduction?( retraduction?

Abstract When the French retranslation of the novel Ten Little Niggers, by Agatha Christie, renamed They were ten, was published in 2020, the Christie Corporation declared that this new version of the work makes sense. According to the press release, in the century of the author the language was different. To question the validity of this argument, our study focuses on the translation and use of the term Nigger/Nègre (noun/adjective) in metropolitan French. The corpus is composed of the original work Ten Little Niggers (1939), its interlingual translation (1940) and retranslation (2020). These concepts are examined in the first part of the study in support of the theoretical bases of intertextuality. The second part follows the journey of the lexie in the United States, notably through the popularization of the original eponymous nursery rhyme. The third part aims to demonstrate that, like the sociolinguistic status of the N… word in the United States, the lexie Nègre/nègre has never integrated the usual vocabulary of French. These are all elements that make it possible to contest or even invalidate the argument presented by the author's heirs. The conclusion exposes the results of the CRAN/IPSOS discrimination barometer in France (2023) and underlines the need to deconstruct the institutionalized colonial imaginary. ten 2020 sense release different NiggerNègre Nigger Nègre noun/adjective nounadjective noun adjective (noun/adjective 1939, 1939 , (1939) 1940 (1940 2020. . (2020) intertextuality States rhyme N Nègrenègre nègre authors s heirs CRANIPSOS CRAN IPSOS 2023 (2023 imaginary 202 193 (1939 194 (194 (2020 (202 20 19 (193 (19 (20 2 1 (1 (2 (

Abstract: In the context of the “era of image reading”, animation is also a modern product, and Chinese animation has always been “transmitting images through images”. Chinese animation has become accustomed to borrowing cartoons from countries, such as Japan or European ones, and their creativity in animation thinking has been greatly suppressed, which is a devastating blow. By tracing the origin of animation thinking from a philosophical perspective, the evolution of human thinking and expression can be further understood. This helps researchers understand the evolution and evolving innovations of human culture, and thus better understand the relationship among culture, art and philosophy. Object thinking emphasizes breaking down complex problems into smaller components, namely objects. In animation, this can be interpreted as breaking down complex scenes and actions into separate objects, characters and elements. This object abstraction and correlation help animators better understand and design the interactions among characters, the movement of objects and the dynamics of the overall animation. Although the study of “Xiang thinking” has developed in the history of philosophy, it has not been directly related to the tracing of animation thinking and artistic reconstruction. In fact, it has a significant impact on animation thinking. Through the philosophical text analysis of animation works, researchers can dig out the philosophical themes, symbols and meanings in animation. This may include the interpretation of a particular animated work and how certain philosophical thoughts are expressed through the narrative, characters, visual elements, etc. Therefore, the study of object thinking has important practical significance for explaining the uniqueness of animation thinking. One of the goals of research may be to discover the intertextuality between animation and philosophy, which includes exploring how philosophical writings and thoughts are represented in animation, and accordingly, how animation affects philosophical thinking. Abstract era reading, reading , reading” product transmitting images. . images” countries ones suppressed blow perspective understood culture philosophy components elements Xiang reconstruction fact works themes narrative etc Therefore accordingly

Resumo: No contexto da “era da leitura de imagens”, a animação também é um produto moderno, e a animação chinesa sempre foi uma “transmissão de imagens por meio de imagens”. Os autores acostumaram-se a pegar emprestado desenhos animados de países, como o Japão ou países europeus, e sua criatividade no pensamento de animação foi bastante suprimida, o que é um golpe devastador. Ao rastrear a origem do pensamento de animação, a partir de uma perspectiva filosófica, a evolução do pensamento e da expressão humana pode ser mais bem compreendida. Isso ajuda os pesquisadores a entender a evolução e as inovações da cultura humana e, assim, perceber melhor a relação entre cultura, arte e filosofia. O pensamento objetal enfatiza a divisão de problemas complexos em componentes menores, ou seja, os objetos. Na animação, isso pode ser interpretado como a divisão de cenas e ações complexas em objetos, personagens e elementos separados. Essa abstração e correlação de objetos ajudam os animadores a entender e projetar melhor as interações entre os personagens, o movimento dos objetos e a dinâmica da animação geral. Embora o estudo do “pensamento Xiang” tenha se desenvolvido na história da filosofia, ele não está diretamente relacionado ao rastreamento do pensamento de animação e à reconstrução artística. De fato, ele tem um impacto significativo no pensamento da animação. Por meio da análise do texto filosófico das obras de animação, os pesquisadores podem descobrir os temas filosóficos, os símbolos e os significados da animação. Isso pode incluir a interpretação de um trabalho de animação específico e como determinados pensamentos filosóficos são expressos, por meio da narrativa, dos personagens, dos elementos visuais etc. Portanto, o estudo do pensamento objetal tem um significado prático importante, para explicar a singularidade do pensamento de animação. Um dos objetivos da pesquisa pode ser descobrir a intertextualidade entre animação e filosofia, o que inclui explorar como os escritos e pensamentos filosóficos são representados na animação e, consequentemente, como a animação afeta o pensamento filosófico. Resumo era imagens, , imagens” moderno transmissão imagens. . acostumaramse acostumaram europeus suprimida devastador filosófica compreendida assim filosofia menores seja separados geral Xiang artística fato expressos narrativa etc Portanto importante consequentemente

In the past one hundred years, two approaches to the study of the Book of Psalms have tended to dominate, namely form criticism and shape and shaping (canonical criticism). Other studies such as the theology of psalms, the poetics of psalms, the redaction of psalms, as well as psalms and intertextuality have also been done. These approaches to the Psalter will continue to be points of focus for studies - the recurrent trends. In the late 20th and early 21st centuries, other approaches to the Psalter emerged such as, among others, rhetorical criticism, liberation theology, feminist criticism, the psalms and spirituality, and so forth - the current trends. This article offers a summary of the current state of the form critical and the shape and shaping studies of the Psalter - the recurrent trends - and then moves on to examine a number of the 21st-century approaches to the book of Psalms - the current trends. The article concludes with some tentative thoughts about the future of psalm studies in the 21st century.

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.

Resumo O presente artigo visa uma análise combinada de duas produções do cineasta, escritor e pensador alemão Alexander Kluge, a saber o filme “A Patriota” (Die Patriotin) e o livro “Ataque Aéreo a Halberstadt em 8 de Abril de 1945” (Der Luftangriff auf Halberstadt am 8. April 1945). Ambas produções, de caráter marcadamente ensaísticas, guardam uma singular relação de intertextualidade, na qual trechos, temas e passagens da obra escrita são retrabalhados na obra audiovisual. Em especial, buscaremos destacar o tema da destruição em massa inaugurada no século XX através das guerras mundiais. Kluge posiciona o tema abordando a história alemã a partir da noção de experiência e de seu negativo, confrontado a pequena escala dos afazeres humanos com a grande escala da destruição em massa. Tanto em “A Patriota” como em “Ataque Aéreo a Halberstadt em 8 de Abril de 1945”, a composição se dá a partir da hibridização de matérias primas ficcionais e documentais, dado que o ataque aéreo que dá título ao livro ocorreu de fato na cidade natal de Kluge, durante a segunda guerra mundial mas, ao mesmo tempo, trechos ficcionais são desenvolvidos buscando enfatizar o valor heurístico da imaginação. cineasta A Patriota Die Patriotin Ataque 1945 Der 1945. . 1945) ensaísticas intertextualidade audiovisual especial mundiais negativo 1945, , documentais mas tempo imaginação 194 19 1

Abstract This article aims at a combined analysis of two works by the German filmmaker, writer, and thinker, Alexander Kluge, namely the film “The Patriot” (Die Patriotin, 1979) and the book “The Air Raid on Halberstadt on April 8, 1945” (Der Luftangriff auf Halberstadt am 8. April 1945, 1977). Both productions, of an markedly essayistic nature, maintain a unique relationship of intertextuality, as excerpts, themes, and passages from the book are rendered in the audiovisual format. In particular, the article will highlight the theme of mass destruction inaugurated in the 20th century in the context of two world wars. Kluge positions the theme by approaching German history from the notion of experience and its adverse manifestations, confronting the small scale of human affairs with the large scale of mass destruction. In both “The Patriot” and “The Air Raid on Halberstadt on April 8, 1945”, the composition is based on the hybridization of fictional and documentary raw materials, as the air raid that gives the book its title actually occurred in Kluge's hometown during World War II. At the same time, however, fictional sections are developed to emphasize the heuristic value of imagination. filmmaker writer thinker The Patriot Die Patriotin 1979 8 1945 Der 1977. 1977 . 1977) productions nature intertextuality excerpts themes format particular th wars manifestations , materials Kluges s II time however imagination 197 194 19 1

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 The objective of the text is to show the permanence in the social imaginary one of the main references in the history of graphic humor and comics in Brazil, “O Amigo da Onça”, a character created by Péricles Maranhão in 1943 and published as a cartoon in the magazine O Cruzeiro. The hypothesis is that the survival of the character over the time - which is resumed at times for continuity, at times for appropriation - is explained by some specific intertextual relations. It is a fluid narrative, that, in addition to always being rewritten, it overflows from its continent, assuming different formats.

Resumen El objetivo del texto es mostrar la permanencia en el imaginario social de una de las principales referencias en la historia del humor gráfico y de las historietas en Brasil, “O Amigo da Onça”, un personaje creado por Péricles Maranhão en 1943 y publicado como un dibujo humorístico en la revista O Cruzeiro. La hipótesis es que la supervivencia del personaje a lo largo del tiempo, que se reanuda a veces por continuidad, a veces por apropiación, se explica por algunas relaciones intertextuales específicas. Es una narración fluida, que, además de reescribirse siempre, se desborda de su continente, asumiendo diferentes formatos.

Resumo O objetivo deste texto é mostrar a permanência no imaginário social de uma das principais referências da história do humor gráfico e dos quadrinhos no Brasil, “O Amigo da Onça”, personagem criado por Péricles Maranhão em 1943 e publicado na forma de cartum na revista O Cruzeiro. Considera-se a hipótese de que a sobrevivência do personagem ao longo do tempo -que é retomado ora pela continuidade, ora pela apropriação- é explicada por algumas relações intertextuais específicas. Trata-se de uma narrativa fluida, que, além de sempre ser reescrita, transborda de seu continente, assumindo diferentes formatos.

ABSTRACT By assuming education from the disciplines and subjects from the link between the particular sciences, it is necessary to carry out a reorganization of knowledge, for which reason the treatment of intertextuality from a semiotic culture must be incorporated into the literary analysis. The present work is based on intertextuality as a contribution of a theoretical nature and as a methodological procedure that facilitates a better reception of the literary work. Its objective is aimed at socializing a methodological conception for the treatment of intertextuality as part of semiotic culture in literary analysis classes that includes methodological suggestions to incorporate this concept. To do this, it synthesizes the main theoretical-methodological elements associated with intertextuality, taking into account the use of theoretical level methods: analytical-synthetic, inductive-deductive, systematization and modeling. The study provides a contextualized perspective of literary analysis that emphasizes intertextuality, applicable not only to the Bachelor of Education career. Spanish-Literature that governs the department at the headquarters of pedagogical training in Cuba, but also the development of communication skills in the most diverse specialties.

RESUMEN Al asumir la educación desde las disciplinas y asignaturas a partir del nexo entre las ciencias particulares, es necesario realizar una reorganización de saberes por lo que debe incorporarse en el análisis literario el tratamiento de la intertextualidad desde una cultura semiótica. El presente trabajo se basa en la intertextualidad como aporte de carácter teórico y como procedimiento metodológico que facilita una mejor recepción de la obra literaria. Su objetivo está dirigido a socializar una concepción metodológica para el tratamiento de la intertextualidad como parte de la cultura semiótica en las clases de análisis literario que incluye sugerencias metodológicas para incorporar ese concepto. Para ello, sintetiza los principales elementos teórico-metodológicos asociados a la intertextualidad, teniendo en cuenta el uso de los métodos del nivel teórico: analítico-sintético, inductivo-deductivo, la sistematización y la modelación. El estudio aporta una perspectiva contextualizada del análisis literario que enfatiza la intertextualidad, aplicable no solo a la carrera Licenciatura en Educación. Español-Literatura que rectora el departamento en la casa matriz de la formación pedagógica en Cuba, sino también al desarrollo de habilidades comunicativas en las más diversas especialidades.

Abstract: This article analyses the presence of various references from the Classical Tradition in the poetry of Jaime Gil de Biedma. To do so, it studies his poetic conception through the invention of a "character" identified with the figure of the hero and establishes the difference between "poetry of experience" and "confessional poetry". It also examines the influence of his peers in his literary formation and explores the importance of intertextuality in his poetry, especially in the Classical Tradition. Thus, the central part of the work is based on an in-depth study of the presence of these references in five of his best-known poems: "Pandémica y celeste", "Epigrama votivo", "Himno a la juventud", "De senectute" y "De vita beata".

Resumen: En este artículo se analiza la presencia de diversos referentes de la Tradición Clásica en la poesía de Jaime Gil de Biedma. Para ello, se estudia su concepción poética a través de la invención de un «personaje» identificado con la figura del héroe y se establece la diferencia entre «poesía de la experiencia» y «poesía confesional». Asimismo, se examina la influencia de sus compañeros de generación en su formación literaria y se profundiza en la importancia de la intertextualidad en su poesía, especialmente de la Tradición Clásica. De este modo, la parte central del trabajo se basa en el estudio profundo de la presencia de estos referentes en cinco de sus poemas más conocidos: «Pandémica y celeste», «Epigrama votivo», «Himno a la juventud», «De senectute» y «De vita beata».

Abstract Once the comparative study between the story of the New Kingdom of The Two Brothers and The Story of Joseph in the Hebrew Bible has been established, the last theme of the transformations that the protagonist will undergo is analyzed from intertextuality. It considers the historical-geographical context, the intentionality, and the characteristics present during creation of the writing in which the story came to us, the Biblical Hebrew that has its origin in the Proto-Sinaitic. The latter, created in the Sinai Peninsula during the Middle Kingdom; the tradition of the narrative that we study, in the Jewish colony of Elephantine around the Axial period, circa the 6th century B.C. Thanks to lexical morphosemantics, the materiality of the text, which we propose as a “bridge text” in the Torah, is connected with the embodied cognition of the contemporary reader who remains inserted in the plot and we believe can participate in it as a “rite of passage”.

Resumen Una vez establecido el estudio comparativo entre el cuento del Reino Nuevo de Los dos hermanos y La historia de José en la Biblia hebrea, el último tema de las transformaciones que sufrirá el protagonista es analizado desde la intertextualidad. Se tiene en cuenta el contexto histórico-geográfico, la intencionalidad, y las características propias presentes durante la creación de la escritura en la que nos llegó el relato, el hebreo bíblico que tiene su origen en el protosinaítico. Este último, creado en la península del Sinaí durante el Reino Medio; la tradición de la narrativa que estudiamos, en la colonia judía de Elefantina en torno a la época axial, circa el siglo VI a.n.e. Gracias a la morfosemántica lexical, la materialidad del texto, que proponemos como “texto puente” en la Torah, es puesta en correlación con la cognición encarnada del lector contemporáneo que queda inserto en la trama y creemos puede participar en ella a modo de “rito de paso”.