Department of Languages and World Literatures

... Santiago Montero QUEIROZ, JosÉ 1. y otros, Interfaces do Sagrado. Em véspera de Milénio, Olho d'Agua, Sao Paulo, 1996; COSTA DRITO, ÉNIo JOSÉ DA y SILVA GORGHULHO, GILBERTO, Religiño Ano 2000, Edi9oes Loyola, Sáo Paulo, 1998, ...

Presidio, Dios: ideas para mí tan cercanas como el inmenso sufrimiento y el eterno bien. Sufrir es morir para la torpe vida por nosotros creada, y nacer para la vida de lo bueno, única vida verdadera ¡Cuánto, cuánto pensamiento extraño agitó mi cabeza! Nunca como entonces ...

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"Certain critics have pointed out specific connections between Alvar Núñez Cabeza de Vaca’s Naufragios and Biblical episodes or symbolism, mostly linked to the New Testament and to the figure of Paul. However, in this article I explore an Old Testament palimpsest that lies beneath this colonial text: the
story of Joseph, son of Jacob (Genesis 37-50). Not only are Joseph and Cabeza de Vaca —as portrayed in the Naufragios— typologically linked by the image of the suffering hero. The Biblical and Colonial narratives also share a common
theme: the account of a «stranger in a strange land». More importantly, I show how the chronicle follows the basic structure of this Biblical episode. Cabeza de Vaca, as does Joseph in the Old Testament, portrays himself as a suffering hero, albeit a victorious one"

"The time in which the people of the Island of Barataria liken
Don Quijote’s squire Sancho Panza to the figure of King Solomon,constitutes the only explicit mention of the legendary Biblical monarch in Cervantes’ entire masterpiece.
This paper seeks to show that this allusion to the figure of Solomon is actually the culmination of a series of intertextual echoes of Hebrew legends in Don Quijote. Although the
association between the squire Sancho Panza and King Solomon is evident in different ways throughout the novel, the paper focuses especially on a series of events linked to the episode of Sancho’s governorship in Barataria.
The shadow of King Solomon in Don Quijote is not only that of the monarch described in several books of the Bible, but also the mythical Solomon popularized in diverse Hebrew and specifically Judeo-Spanish legends that circulated throughout Spain in the Middle Ages."

A reading of José Saramago´s novel O Evanghelo segundo Jesus Cristo (The Gospel according to Jesus Christ) in view of ancient biblically themed Jewish and Christian texts which have been excluded from the canons of the Hebrew, Protestant and Catholic Scriptures reveals a high level of what can be designated inverse intertextuality. In order to reconstruct of the life of Jesus, Saramago appropriates episodes, characters, and symbols from the Bible itself as well as from those ancient apocrypha and transforms them such that they often acquire a significance opposite to the one given them in their source texts. In this way, Saramago performs a particularly bold and personal type of exegesis which serves to overturn or dismantle certain assumptions considered essential by the Biblical tradition. Likewise, the novelist employs a series of literary and hermeneutical techniques akin to those used in ancient apochryphal texts. As in a Hebrew midrash, Saramago retells a sacred story from a different perspective, in this case that of the weak and underprivileged. Similarly, the Jewish technique of derash is echoed in his desire to fill in the gaps left unexplained in the canonical Gospels. A detailed analysis of the main characters and of recurring symbols in the novel brings to light a systematic, if at times subtle, glorification of the small and the powerless as points of resistance against those mighty forces that wish to dominate and silence them. At the center of this struggle stands a profoundly human Jesus who searches fruitlessly for answers to some of the fundamental questions that continue to plague humanity: Why did evil and pain come into the world? Why does God punish human beings? Why must man be tormented by the anguish of guilt?

El tratado De fide catholica contra Iudaeos de Isidoro de Sevilla es una obra de especial interés. Isidoro empleó los testimonia bíblicos para elaborar los dos libros del De fide: el primero un auténtico tratado de Cristología; y el segundo un tratado apologético antijudío. Se trata de un trabajo que conecta la tradición patrística antigua con la literatura polémica y antijudía medieval. Además pone de manifiesto la influencia de esta obra en las medidas antijudías de los reyes visigodos, como demuestra el hecho de que, poco tiempo después de la redacción de esta obra isidoriana, el rey Sisebuto ordenó el año 616 la conversión forzosa y consiguiente bautismo de los judíos de su reino. Por último, De fide catholica es un magnífico ejemplo de la exégesis bíblica practicada por Isidoro, cuyo afán didáctico le impulsaba a aclarar los distintos niveles de interpretación de los textos sagrados.

Son numerosos los motivos que hacen de El justo Lot, del dramaturgo granadino Álvaro Cubillo de Aragón, una comedia bíblica de gran interés y originalidad. Éstos no se reducen al desafío de abordar un relato bíblico ciertamente difícil de adaptar al teatro, o de la presencia en la obra de repetidas acusaciones a la monarquía reinante, sino que también se desprenden de su propia liminalidad genérica, al situarse entre el auto sacramental y la comedia. Del primer género, El justo Lot logra sacar partido de un meticuloso trabajo exegético y una reflexión teológica cuidadosa que aborda inteligentemente los aspectos más espinosos del relato bíblico. Del segundo, la posibilidad de entretener al público con un trabajo de indudable valor cómico que no menoscaba sino que sintoniza hábilmente con la belleza de su verso y con la inteligencia con la que está diseñada la totalidad de la obra.