Dramaturgia de la cotidianidad en la obra de Laura Papo Bohoreta

In this paper, we will look into the work of Laura Papo Bohoreta, a Sephardic author who lived and created in the first half of the twentieth century. Given that all her works are written in her native Jewish-Spanish language, our goal in this work is to point out the specifics of her creativity, in order to bring it closer to a wider readership. We especially aim to emphasize her enlightening role, and the role of guardian of tradition, culture, and language which she created and inherited. A particularly important segment on which her overall creativity is based is the role of women in society at that time. With this work, we will show how Laura Papo, through her female characters and their struggle, paved the way for Sephardic women to achieve their intellectual development and the process of affirming a woman outside her home.

Un sintagma extraído de la novela El gran teatro de Manuel Mujica Láinez nos permite entrar de manera directa en el tema que propone tratar este número sobre las relaciones y contactos entre América Latina y Europa, en nuestro caso en lo literario. Álvaro Abós, autor del libro Al pie de la letra – Guía literaria de Buenos Aires (2011) escribe que el secreto del teatro Colón es para Mujica Láinez el secreto del entramado que también explica la Argentina, el fruto de »nuestros heterogéneos aportes« (Abós, 2011, 112). Álvaro Abós elije el espacio físico del teatro Colón, su estilo ecléctico, »consecuencia de las diferentes nacionalidades y estilos de los arquitectos que intervinieron en la obra« (Abós, 2011, 110).

Un sintagma extraído de la novela El gran teatro de Manuel Mujica Láinez nos permite entrar de manera directa en el tema que propone tratar este número sobre las relaciones y contactos entre América Latina y Europa, en nuestro caso en lo literario. Álvaro Abós, autor del libro Al pie de la letra – Guía literaria de Buenos Aires (2011) escribe que el secreto del teatro Colón es para Mujica Láinez el secreto del entramado que también explica la Argentina, el fruto de »nuestros heterogéneos aportes« (Abós, 2011, 112). Álvaro Abós elije el espacio físico del teatro Colón, su estilo ecléctico, »consecuencia de las diferentes nacionalidades y estilos de los arquitectos que intervinieron en la obra« (Abós, 2011, 110).

This paper aims to present the short story Monseñor Sabetay by the Spanish writer Rafael Cansinos Asséns published in the book The Jews in Sefarad. Episodes and Symbols. This text, intense and poetic, tells the story of the meeting between the author and the great Rabbi and Sephardic playwright of Bulgarian origin Šabetay Djaen which took place in Madrid during the period of the Second Republic. The work discusses not only the meeting between the two writers but also the process of reconciliation between the Spanish and the descendants of the Spanish Jews, expelled in 1492, from different, though partially convergent, cultural spaces and experiences. Here the Castillian Spanish space, represented by the writer Cansinos Asséns, whose Jewish origin is acknowledged, and the Bosnian space, represented by the work of the playwright Šabetay Djaen, whose literary development tool place partly in Bosnia, come together. Some characteristics of Cansino’s Jewish works are highlighted in the story and the dramatic work of Šabetay Djaen is also presented through the critical readings of his work by some contemporary intellectuals and scholars in Bosnia