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Resumen: La presente compilación reúne una breve selección de lostextos presentados en el XVII Congreso Internacional de la AsociaciónEspañola de Semiótica y el I Congreso Ibérico de Semiótica que tuvo lugarentre el 23 y 25 de noviembre de 2017 en la Universidade Nova de Lisboa.En dicho encuentro se dieron cita investigadores de distintos países con elobjetivo de reflexionar sobre el concepto de moda desde el punto de vistasemiótico. Abstract: This compilation gathers a brief selection of the texts presentedat the XVVII International Congress of the Spanish Association ofSemiotics (AES) and the I Iberian Congress of Semiotics (AIS) that tookplace from 23rd to 25th of November, 2017 at the Universidade Nova deLisboa. In this meeting, researchers from different countries met to reflecton the concept of fashion from the semiotic point of view.

The Transition Revisited: From Compression to Cuidado MANUEL ARTIME. España: en busca de un relato. Dykinson, 2016, 344 pp.PATRICIA M. KELLER. Ghostly Landscapes: Film, Photography, and the Aesthetics of Haunting in Contemporary Spanish Culture. U of Toronto P, 2016, 259 pp.GERMAN LABRADOR MENDEZ. Culpables por la literatura: imaginación política y contracultura en la transición española (1968-1986). Akal, 2017, 670 pp.SANTIAGO MORALES RIVERA. Anatomía del desencanto: humor, ficción y melancolía en España 1976-1998. Purdue UP, 2017, 231 pp.LUIS MORENO-CABALLUD. Cultures of Anyone: Studies on Cultural Democratization in the Spanish Neoliberal Crisis. Liverpool UP, 2015, 288 pp.-. Culturas de cualquiera: estudios sobre democratización cultural en la crisis del neoliberalismo español. Madrid, Acuarela, 2017, 299 pp.H. ROSI SONG. Lost in Transition: Constructing Memory in Contemporary Spain. Liverpool UP, 2016, 212 pp.

Esta investigación se enmarca en el seno de los estudios sobre disponibilidad léxica en Español como Lengua Extranjera (ELE) en Portugal y tiene como objetivo central averiguar los referentes de la cultura española que moviliza un grupo de estudiantes universitarios, con el propósito de evaluar sus resultados de aprendizaje y, en función de estos, reflexionar acerca de posibles ajustes en la planificación y en el método de enseñanza de dicho contenido, tomando por base el inventario de referentes culturales del Plan curricular del Instituto Cervantes (PCIC), un documento orientador para la práctica pedagógica en ELE. Para ello, se llevó a cabo un estudio exploratorio en el que se cotejó la producción léxica de 40 estudiantes universitarios de la unidad curricular “Cultura Espanhola Contemporânea” con el contenido del mencionado repertorio del PCIC en sus distintas fases (aproximación, profundización y consolidación) a fin de determinar su grado de coincidencia. Los resultados indican que los informantes activaron muchos referentes culturales del ámbito histórico-político, en consonancia con los contenidos programáticos de la asignatura, y pocos estereotipos, lo que apunta hacia la validez de las estrategias docentes implementadas para la transmisión de la dimensión cultural de la lengua española en este contexto académico.         Esta investigação enquadra-se no âmbito dos estudos sobre disponibilidade lexical em Espanhol como Língua Estrangeira (ELE) em Portugal e o seu objetivo central, tendo por base o inventário de referentes culturais do Plano Curricular do Instituto Cervantes (PCIC) - documento orientador para a prática pedagógica em ELE – é averiguar que referentes da cultura espanhola ativa um grupo de estudantes universitários, no sentido de avaliar os seus resultados de aprendizagem e, em função dos mesmos, refletir sobre possíveis ajustes no que concerne à planificação e ao método de ensino do referido conteúdo. Para o efeito, realizou-se um estudo exploratório em que se comparou a produção lexical de 40 estudantes universitários que frequentam a unidade curricular “Cultura Espanhola Contemporânea” com o conteúdo do mencionado repertório do PCIC nas suas distintas fases (aproximação, aprofundamento e consolidação), com a finalidade de determinar o seu grau de coincidência. Os resultados indicam que os inquiridos ativaram muitos referentes culturais do âmbito histórico-político, em consonância com os conteúdos programáticos da disciplina, e poucos estereótipos, o que remete para a eficácia das estratégias docentes implementadas no processo de transmissão da dimensão cultural da língua espanhola no contexto académico. This investigation is part of the research on lexical availability in Spanish as a Foreign Language (SFL) in Portugal. Its main goal is to determine the references of Spanish culture indicated by a group of university students, with the purpose of evaluating their learning outcomes and, based on these, reflect on possible adjustments in the planning and teaching method of this content, based on the inventory of cultural references of the Instituto Cervantes Curriculum Plan (ICCP), a guidance document for pedagogical practice in SFL. To this end, an exploratory study was carried out in which the lexical production of 40 university students of the curricular unit “Contemporary Spanish Culture” was compared with the content of the ICCP repertoire in its different phases (approximation, deepening and consolidation), in order to determine their degree of coincidence. The results indicate that the informants activated many cultural references from the historical-political sphere, in line with the syllabus of the subject, and few stereotypes, which points to the validity of the teaching strategies implemented to transmit the cultural dimension of the Spanish language in this academic context.

In 2009, Spanish public broadcaster RTVE released 50 años de, a series of documentaries on Spanish cultural icons, trends, and audiovisual memories of the last fifty years. Within that framework, its episodes seem to work towards the felicitous continuation of the Renanian vote for the Spanish nation. The series, which draws its raw materials from the vast archive of RTVE, attempts to achieve that purpose by persistently putting to work different structural and formal devices in the filmic treatment of the selected footage. There is nothing intrinsically extraordinary in this, except for the cultural perplexity that it produced in one of the most contentious peripheries of that Spanish nation, Catalonia, and on the very cusp of divisive times. Through my analysis, I show some peculiarities of nation formation in postdictatorial Spain. I also posit that this peculiar peripheral construction of the nation is not that extraordinary throughout the history of Spain.

While we often use the expression \"If these walls could talk...\" as a reminder of the historical events that have transpired within our built environments, we might also use the saying to frame a discussion of the affective power of our surroundings. Our buildings provide the backdrop for our lives, but these structures are far from passive. Rather, their designs guide users to engage with the space and to act in certain ways. After nearly 160 years, the walls of the Belmont Mansion located in Nashville, Tennessee, have surely heard many stories. Aside from standing witness to the lives of one of Tennessee's most prominent families, the mansion's walls also have their own story to tell. This study considers one facet of the spatial shaping of the domestic sphere, specifically examining the example of Adelicia Acklen's bedroom wallpaper in her Nashville home. In this study, I suggest that the room's Don Quixote wallpaper enhances the space's rhetorical capacity, encouraging a specific kind of moral instruction for the members of the Acklen family.

This paper aims at defining the concept of cinema of austerity, establishing its chronology and identifying its primary examples among the feature films made in the Iberian Peninsula between 2007 and 2016. These films will be discussed from a sociological, cultural and aesthetic perspective in order to analyse the representations of Iberian societies during this period. This research will particularly focus on elements such as the types of characters appearing in those movies –their human geography– and the types of spaces in which the narratives take place –their symbolic geography.

The latest component to be included within the teaching of most foreign languages is the cultural one. This is in spite of the fact that language cannot be isolated, learned, or analyzed out of context. Culture is part of that context and a linchpin of the competences needed for language learners to communicate successfully in the society where the languages they are learning are spoken. In this article, I bring to the forefront of the Spanish as a foreign language classroom issues like homosexuality and coloniality.

Daniel Sánchez Arevalo’s films gravitate around families, and specifically relationships within couples and between men and women. Nonetheless, his cinematographic universe is significantly masculine. This paper will analyze how the notion of masculinity is portrayed in his films and how it is linked with contemporary trends in thinking about it. The changes in notions of gender and masculinity that took place after Franco’s death and especially after the early 2000s are the ideological--and temporal--frame in which this analysis is contextualized. The conclusion achieved is that Sánchez Arévalo’s masculine characters display a plural masculinity associated with the disappearance of a monolithic model. This paper proposes four archetypes found in the Madrilenian filmmaker oeuvre: the sensitive, indecisive and confused coetaneous man; the frustrated father, symbol of a superseded and outdated masculinity; the queer male; and one concrete case of mockery of submissive men inspired in the calzonazos type. The old model of patriarchal, hegemonic, and heteronormative masculinity is condemned in these films, whereas the recent historical context demands a masculinity based in new values such as equality, tolerance, and sensitivity.

Aguirre-Otieza explores Antonio Muñoz Molina's recuperation of Max Aub's literary testimony of uprootedness for Spanish national culture. Muñoz Molina's reading is inflected by the concept of cosmopolitan memory as it has been developed in Holocaust studies. Muñoz Molina's recuperation can be critiqued for his controversial use of the Holocaust as a template for a transnational cultural history based on a supposedly shared Jewish past. Muñoz Molina generalizes on two levels: he turns Aub into an exemplary witness of two historical junctures--the Spanish Civil War and World War--and he subsumes both junctures under the general rubric of totalitarianism. As a result, Muñoz Molina paradoxically downplays Aub's main tropes of testimony, the alias and the apocryphal, and disregards his testimonial poetics of alterity, plurivocality, and opacity in favor of a rhetoric of equivalence, univocality, and self-evidence that is derived from cosmopolitan memory. Thus, Muñoz Molina turns Aub into a precursor whose place he tries to symbolically usurp--along with other Jewish authors, Aub is made to occupy a trans-historical topos to which Muñoz Molina wants to discursively return.