The literary and cultural scholar Joseba Gabilondo has exerted considerable influence on the
field of Basque and Iberian Literary Studies. His scholarly work often generating attention for
his opinions expressed about canonical Basque Literature and authors. This article returns to
his publication of Apokalipsia guztioi erakutsia. Although the book obtained
the "Erein Narratiba" award in 2009, the collection gained no scholarly attention and hardly
received any critical reviews. But recent changes have occasioned a second look, an in-depth
critical reading, that seems timelier than ever. The literary scholar Gabilondo would, of
course, agree; since, as he conceded to Gorka Erostarbe in a recent interview concerning,
among other issues, the Covid-19 pandemic: "Our new horizon is not history, but apocalypse".
Gabilondo fictionally scaffolds his reflections on issues that have long concerned him as an
intellectual and have occupied most, if not all, of his scholarly work. The lack of worldliness
and roundness of his fictional proposal in favor of a literature-of-ideas does
not do away with the overwhelming impression the reader is left with. Indeed, we have been the
recipients of a shrewd revelation. Admittedly, a revelation that twinges the reader who shares
the author's fears.
Artikulu honek gogoeta egiten du bertsogintzak 1936tik gaur arte bete dituen funtzioen inguruan. Funtzio horien aldian aldiko agerraldietatik aztertzen da zein izan diren aldaketa nabarmenenak bertsoen artearen betekizun sozial eta kulturaletan: zer bide egin den bertsoak sortzearen herri-jarduera biluziaren praktikatik (bertsogintza) jardueraren inguruan eratu den mugimendu sozial hain arrakastatsura (bertsolaritza). Testuinguru horretan aztertzen dira, besteak beste, garaien eta ikusmoldeen bilakabidearen adierazgarri berezi modura, tradizionalki bertsoetan zirigai izan diren emakumeen irudikapenak, eta, kontrastean, azkenaldian generoaren gaiak irabaziz joan den presentzia.
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