1 History and Arguments 2 Amassing State and Gathering Storm 3 Founding Exclusions 4 Interregnums of Coexistence and State-Building 5 Cohesion by Exclusion, Redux from Above 6 Superimposing Democratic Inclusion on Forgotten Exclusions 7 Angel of History and Patron Saint of Nationalism NOTES BIBLIOGRAPHY INDEX

Faith in Nation: Exclusionary Origins of Nationalism

OF DISSERTATION MODERNIDADES CONTRA-NATURA: CRÍTICA ILUSTRADA, PRENSA PERIÓDICA Y CULTURA MANUSCRITA EN EL SIGLO XVIII AMERICANO This dissertation studies the emergence of literary history and criticism in the Americas during the eighteenth century. It focuses upon the study of 1.) Natural history as a matrix of literary history and criticism; 2.) The geopolitical functions of literary history and criticism in the periodical press; and 3.) The recovery of manuscripts as a residual product of modernity. Texts associated with a hegemonic Enlightenment, such as “Disertación sobre el derecho público universal” by Francisco Javier de Uriortúa, are analyzed. Next, we study modern historical-critical thought as emphasized in the periodical press of Bogotá and Quito. Finally, the circulation of manuscripts is studied as an indicator of the participation of Spanish American authors in discussions about the Enlightenment. For the latter, the dissertation analyzes the development of theories of good taste in El Nuevo Luciano de Quito by Eugenio Espejo and in the Plan elementál del buen gusto en todo genéro de materias by Manuel del Socorro Rodríguez de la Victoria. The study challenges the epistemological conflict provoked by the handwritten condition of a considerable portion of scholarship from the eighteenth century, in which the projects of an American modernity become subjugated by the power of European print.

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Modernidades contra-natura: crítica ilustrada, prensa periódica y cultura manuscrita en el siglo xviii americano

Spain has been a fruitful locus for the European imagination for centuries, and it has been most often perceived in black-and-white oppositions -- either as a tyrannical and fanatical force in the early modern period or as an imaginary geography of a ‘Romantic’ Spain in later centuries. However, the image of Spain, its culture and its inhabitants did not evolve inexorably from negative to positive. From the early modern period onwards, it responded to an ambiguous matrix of conflicting Hispanophobic and Hispanophilic representations. Just as in the nineteenth century latent negative stereotypes continued to resurface, even in the Romantic heyday, in the early modern period appreciation for Spain was equally undeniable. When Spain was a political and military superpower, it also enjoyed cultural hegemony with a literary Golden Age producing internationally hailed masterpieces. Literary Hispanophobia and Hispanophilia in Britain and the Low Countries (1550-1850) explores the protracted interest in Spain and its culture, and it exposes the co-existent ambiguity between scorn and fascination that characterizes Western historical perceptions, in particular in Britain and the Low Countries, two geographical spaces with a shared sense of historical connectedness and an overlapping, sometimes complicated, history with Spain.

/pdf/literary-hispanophobia-and-hispanophilia-in-britain-and-the-4iyptsrfno.pdf

Literary Hispanophobia and Hispanophilia in Britain and the Low Countries (1550-1850)

Women’s Fashion Accessories examines the textual and visual representation of accessories in Iberian and Latin American cultural contexts ranging from the 1830s to the early 1900s. Drawing from gender studies, social anthropology, and cultural theory, I demonstrate how items of dress produced a symbolic arena in which cultural meanings and values were transformed and reshaped at both national and transnational levels. During this period, accessories reveal entire networks of negotiations and strategies that often involved significant issues of gender, race, class, and national identity on both sides of the Atlantic. Fashion objects were also metaphorical items in which the meaning of “modernity” in a peripheral context was negotiated, as well as a mechanism to debate the political and cultural approaches that would “modernize” Spain and postcolonial Latin America. This dissertation focuses on three essential pillars: 1) nationalism and the birth of Spanish-American nation-states, 2) the dissemination of journalistic and literary culture, and 3) the emergence of a fashion industry linked to consumption and economic growth. Of principal importance, middle-class women became active participants in the economy and expressed themselves through the consumption of certain fashionable items. I analyze these phenomena in Spain and Latin America, as well as their complex entry into modernity, by tracing the transnational circulation of accessories. Drawing from an interdisciplinary theoretical approach that connects a variety of disciplines in the humanities, my dissertation expands on recent debates in fashion studies, particularly those concerning clothing’s role in the construction of modernity and reconfiguration of nineteenth-century gender and social roles. In the first chapter, I discuss how accessories designed in Paris helped articulate the evolving idea of “modernity” and reinforced its artistic expression. The second chapter covers Spanish mantillas and Argentine peinetones, both of which were employed to identify and polarize the ideological gap between political groups. In subsequent chapters, I consider accessories of Asian origins––Spanish mantones de Manila and Mexican rebozos––in relation to issues of national identity, race, and social class. Finally, I analyze the role of corsets within the changing position of femininity and female participation in the public sphere.

Accesorios de moda femenina: género, modernidad e identidad nacional en el siglo XIX ibérico y latinoamericano

Author(s): Lopez, Ricardo | Advisor(s): Dougherty, Dru | Abstract: In this dissertation I argue that the modernist breakthroughs achieved by Jose Martinez Ruiz’s La voluntad (1902), Ramon del Valle-Inclan’s Sonata de otono (1902), and Miguel de Unamuno’s Niebla (1914) emerged as a response to the shortsightedness of the revolutionary politics that had taken root in Restoration Spain. I examine how these writers take the historical materials of their sociopolitical world—its tropes and uses of language—and reconstellate them as artworks in which the familiar becomes estranged and reveals truths that have been obscured by the ideological myopia of Spain’s radicalized intellectuals. Accordingly, I demonstrate that the tropes, language, and images that constitute La voluntad, Niebla, and Sonata de otono have within them a historical sediment that turns these seemingly apolitical works into an “afterimage” of Spain’s sociopolitical reality. Thus I show how sociopolitical critiques materialize out of the dialectic between historical materials and their artistic handling.Although La voluntad, Sonata de otono, and Niebla seem to eschew political themes, I contend that they are the product of their authors’ keen understanding of the politics of their moment. As such, these novels bear a critical relation to the sociohistorical that is based not on protest or denunciation but on the careful judgment and observation of the hidden patterns of Spanish society and turn-of-the-century revolutionary culture. Consequently, the stylistic affectations and rarefied conceits of these works are not so much rejections of the sociohistorical as aesthetic refashionings of it.Chapter 1 discusses the intellectual and socipolitical dynamics that led Martinez Ruiz, Valle-Inclan, and Unamuno to reconsider their understanding of literature’s place in society. In particular, the chapter examines how the positivist ideology that came to dominate liberal thought resulted in a leftist rhetoric that replicated the capitalist ethos it claimed to denounce and protest. This ideological incongruence came to the fore in the critical reception and public commotion of two plays, Juan Jose (1895) by Joaquin Dicenta, and Electra (1901) by Benito Perez Galdos, which prompted the three modernist writers to reconfigure their understanding of art and artistic autonomy.Chapter 2 argues that Martinez Ruiz’s La voluntad is a product of the lessons learned from the liberal euphoria that was unleashed by Galdos’s Electra. It traces how La voluntad, through its formal innovations and the texture of its language, steers away from the habit that many left-wing radicals had of reducing literature to a pseudo-sociology that conformed to their sociological principles and liberal platitudes. In doing so, the novel makes possible forms of thinking that had been increasingly obscured by the abstract rationalism of Spain’s liberal culture. Prior to this reading the chapter examines critically a reception history that has erroneously considered La voluntad as a sign of Martinez Ruiz’s turn away from the sociohistorical.Chapter 3 argues that Valle-Inclan’s Sonata de otono is not a withdrawal from or rejection of the sociohistorical but is rather an artwork that grounds itself deeply in the political dynamics of its historical moment. By examining the Sonata’s patterning of motifs and language, the chapter demonstrates how Valle-Inclan refashions the narcissistic and terroristic tendencies of revolutionary politics. Moreover, by refashioning these historical materials into a highly stylized and polished literary work, the Sonata vindicates moral virtues that had been discredited by the impatience and zeal of Spain’s radicalized liberals.Chapter 4 contends that Unamuno’s Niebla, despite its rarefied and humorous content, bears a critical potency with deep historical and political implications. By examining how Niebla plays with language and a series of motifs, the chapter reveals the novel’s critique of the sorry state of Spain’s revolutionary culture. More specifically, what Niebla throws into relief is the obsession that Spanish socialists have with modeling their politics after the revolutionary history and culture of France. The chapter then argues that Niebla vindicates the Spanish tradition of aristocratic idleness and offers it as a counterargument to the socialist acquiescence to all things French. By insisting on idleness as a space for critical agency, Niebla suggests that a tradition rejected offhand by socialists turns out to be a salutary exercise for a liberal polity.

https://escholarship.org/content/qt9fq222km/qt9fq222km.pdf?t=p6pils

Refashioning the Sociopolitical in Spanish Modernist Literature (1902-1914)

España exótica: La formación de la imagen española moderna

La imitación colectiva: modernidad vs. autenticidad en la literatura española

Guerras literarias del XVIII espanol relata el doble efecto que provoca en la Espana de esa epoca la incontenible penetracion de modas francesas, evidenciando que su caso es similar al de otros paises europeos del momento: se imita lo que se considera moderno o prestigioso, pero al mismo tiempo se reacciona contra lo que se percibe como una invasion humillante. Al estudiar la literatura espanola del XVIII como resultado de esa tension, no solo se enriquece su comprension, anadiendo rasgos y matices que ni se sospechaba que existieran, sino que se nos ayuda a comprenderla en sus propios terminos, descartando acercamientos y definiciones que, por haber sido pensados para otras realidades, solo pueden contribuir a distorsionarla y, en definitiva, a rebajar su importancia. De la lectura de estas paginas emerge pues la concepcion de una literatura dieciochesca espanola profundamente innovadora.

Guerras literarias del XVIII español: la modernidad como invasión.

? ,fi t ; * prematrimonial con Diego Pacheco, un senorito A "Y [l andaluz al que apenas acaba de conocer, supone -|. ~ j i? T un reto a la moral de la epoca que ha venido ' ~,4-rSu T Iintrigando a los lectores de Insolacion desde el l ~* {~ ~J*-'momento mismo en que se public6 la novela en 1889. Hasta hace un par de decadas, como en una especie de "affaire Dreyfus" de poca monta que se volviera contra el autor del "Yo acuso," la inmensa mayoria de los criticos responsabilizaba al naturalismo de la obra (o a su determinismo) del traspies de la arist6crata gallega: seguin eso, Gabriel Pardo formularia una tesis en la tertulia de la duquesa de Sahagun y, como parece indicar el titulo, la acci6n subsiguiente se encarga de probar su validez. En los ultimos veinte afios, sin embargo, esta lectura tradicional ha sufrido una revisi6n radical y ha sido sustituida por otra mas relacionada con

Un país poético y una polémica: Las interioridades de insolaciÓn

K L perifericos, por lo que la mayoria de las tendencias * en las literaturas que podrfamos denominar hegem6nicas aparecen asimismo en su literatura, pero con rasgos especfficos que les proporcionan un sentido distinto' Uno de los retos mis persistentes que se le presentan al estudioso de las letras espaiolas consiste precisamente en la delimitaci6n de esa singularidad, de modo que el andilisis de los principales atributos que la definen no se limite a una meca~nica trasposici6n de conceptos ex6genos que han sido pensados para describir

Jesús Torrecilla

Papers

España exótica: La formación de la imagen española moderna

La imitación colectiva: modernidad vs. autenticidad en la literatura española

Guerras literarias del XVIII español: la modernidad como invasión.

Un país poético y una polémica: Las interioridades de insolaciÓn

Exotismo y nacionalismo en la Sotana de estío