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Showing papers in "Hispanic Research Journal-iberian and Latin American Studies in 2016"


Journal ArticleDOI
Zira Box1
TL;DR: In this article, the authors analyze landscape sensibility as well as the landscape idea developed by the francoist nationalist discourse by trying to draw out three inherent elements in it: first, following Oliver Zimmer's work, the nationalization of nature, this is to say, the consideration that nature expresses the community's myths, events or memories; secondly, the naturalisation of the nation, that projects upon landscapes the capacity to determine the national character; finally, the power that landscapes have to impress human beings.
Abstract: Assuming the theoretical idea widely developed by Human Geography that landscapes are cultural constructions with the capacity to become symbolic elements within nationalist discourses, this article explores the context of early Francoism. The aim of these pages is to analyze landscape sensibility as well as the landscape idea developed by the francoist nationalist discourse by trying to draw out three inherent elements in it: first of all, following Oliver Zimmer’s work, the nationalization of nature, this is to say, the consideration that nature expresses the community’s myths, events or memories; secondly, the naturalisation of the nation, that projects upon landscapes the capacity to determine the national character; finally, the power that landscapes — especially, those considered as national landscapes — have to impress human beings.

15 citations


Journal ArticleDOI
TL;DR: The role of culinary nostalgia and the possibility it allows for a critique of the prevailing gender ideology of the Franco era in the television series Cuentame como paso and El Cuaderno de Mercedes was examined in this paper.
Abstract: This article examines the role of culinary nostalgia and the possibility it allows for a critique of the prevailing gender ideology of the Franco era in the television series Cuentame como paso and El Cuaderno de Mercedes (2004), the show’s accompanying cookery book. Now in its twelfth year, Cuentame — set in the late 1960s and through the Transition — has achieved strong critical and popular success. Cuentame’s connection to debates about historical memory in Spain has generated a series of expectations about its political content, which for many of its detractors have not been met; instead, they argue, it offers nothing short of a feast of sentimental nostalgia. As I contend, however, nostalgia is not simply escapist or apolitical. It in fact allows for a critical mediation between past and present, which in the case of contemporary Spanish cultural production is also significant for the alternative it provides to the ‘historical amnesia’ of the Transition. Cuentame’s culinary nostalgia is particularly ...

9 citations


Journal ArticleDOI
TL;DR: Villaronga's Pa negre as discussed by the authors explores the queering of the main character in relation to a wider spectrum of difference during Franco's dictatorship and in distinction from its nuevo cine con nino peers present in the film as Derridean 'phantom' intertexts.
Abstract: The ideologically opposed camps of the ‘two Spains’ have given rise to two corresponding ‘cines con nino’. From the final years of Franco’s dictatorship, and in greater numbers since the 1990s, films forming a nuevo cine con nino have appeared. Agusti Villaronga’s Pa negre (2010) shares commonalities with earlier features, but is unique in its queering of the childhood represented in the cines con nino. The figure of the ghostly gay child, per Kathryn Bond Stockton’s concept, is key to understanding how the first Catalan-language feature to win a Best Film Goya is the exception that proves the representational rules of the nuevo cine con nino’s retrospection on post-war childhood. The current study explores Villaronga’s queering of the main character in relation to a wider spectrum of difference during Franco’s dictatorship and in distinction from its nuevo cine con nino peers present in the film as Derridean ‘phantom’ intertexts. Villaronga’s adaptation of Emili Teixidor’s works, Pa negre (2003) and Retr...

7 citations


Journal ArticleDOI
TL;DR: In this article, the authors explore the debates regarding the use of fiction to represent traumatic twentieth-century experiences through an analysis of Jorge Semprun's Quel beau dimanche (1980) and L’ecriture ou la vie (1994), Antonio Munoz Molina's Sefarad (2001) and Alberto Mendez's Los girasoles ciegos (2004).
Abstract: This article explores the debates regarding the use of fiction to represent traumatic twentieth-century experiences. Through an analysis of Jorge Semprun’s Quel beau dimanche (1980) and L’ecriture ou la vie (1994), Antonio Munoz Molina’s Sefarad (2001) and Alberto Mendez’s Los girasoles ciegos (2004), it interrogates the value and morality of contemporary Spanish novelists’ use of fiction to explore the past. At the same time, this article seeks to build on a nascent field of critical investigation by drawing links between how novelists have written about two different historical experiences: the Spanish Civil War and the Holocaust.

7 citations


Journal ArticleDOI
TL;DR: In this paper, a comparative analysis of three works by Jorge Luis Borges, Juan Rodolfo Wilcock, and Roberto Bolano, the three devotees of Marcel Schwob's biographic mission in his work Vies imaginaires (1896) is presented.
Abstract: Through the analysis of three works by Jorge Luis Borges, Juan Rodolfo Wilcock, and Roberto Bolano — the three of them devotees of Marcel Schwob’s biographic mission in his work Vies imaginaires (1896) —, the present article analyses from a comparative perspective the use that Schwob made of irony and that used by the aforementioned triad of Latin-American authors. If irony becomes a kindly sceptical mechanism towards the world’s imperfections in the French author’s writing, it will gain greater rage and causticity in the Latin-American’s, where the narration of their fake biography books becomes a parody of the illustrated encyclopedic tradition. By grotesquely exaggerating the technocratic and avant-garde excesses of their characters, it will be manifest how irony — mainly studied here from the perspective of Soren Kierkegaard and Pierre Schoentjes — constituted an appropriated means through which Borges, Wilcock, and Bolano emphasized the negative determinants of the historical periods in which they lived.

6 citations


Journal ArticleDOI
TL;DR: The authors investigates the national and transnational dimensions of the representation of memory in two contemporary Uruguayan films, Esteban Schroeder's Matar a todos (Kill Them All, 2007) and Ana Diez's Paisito (Small Country, 2008).
Abstract: This article investigates the national and transnational dimensions of the representation of memory in two contemporary Uruguayan films, Esteban Schroeder’s Matar a todos (Kill Them All, 2007) and Ana Diez’s Paisito (Small Country, 2008). These films revisit the traumas and after-effects of the Southern Cone dictatorships that came to power in the early and mid-1970s. As co-productions, Matar a todos and Paisito rely on the representation of prosthetic memories, but the artificial nature of these memories may be problematic for different audiences. Thus, this article not only considers these films’ depiction of a traumatic past, but also their circulation in and beyond Uruguay and the challenge of engaging transnational audiences.

6 citations


Journal ArticleDOI
Felipe E. Ruan1
TL;DR: The authors examines the relative neglect of Lazarillo de Tormes castigado (1573) in literary studies and argues that the expurgated version of this work is an important part of the history of the work.
Abstract: By focusing on the interrelated topics of literary history, book censorship, and book history, the article examines the relative neglect of Lazarillo de Tormes castigado (1573) in literary studies. It argues that the expurgated Lazarillo is an important ‘missing’ part of the history of Lazarillo de Tormes (1554), and sets out to unearth the silences, gaps, and omissions that prevail around the censored text in the study and history of this canonical work. Acknowledging and understanding the relative ‘silencing’ of Lazarillo castigado (1573) in Lazarillo studies redresses a significant lacuna in the editorial, reception, and cultural history of the work. It also offers and establishes for readers a fruitful reciprocity for reinterpreting the 1554 Lazarillo and for reading the Lazarillo castigado.

6 citations


Journal ArticleDOI
TL;DR: In the introduction to Mujeres esclavas y abolicionistas, the editors begin by explaining the difficult circumstances under which their book was published as mentioned in this paper, their objective was to publish a scholar l...
Abstract: In the introduction to Mujeres esclavas y abolicionistas, the editors begin by explaining the difficult circumstances under which their book was published. Their objective was to publish a scholarl...

6 citations


Journal ArticleDOI
Dian Fox1
TL;DR: A detailed study of Ascanio Colonna's correspondence with the Éboli faction at court has been carried out in this paper, revealing that Cervantes sympathised and had close links with the first group.
Abstract: 1 See her article on this incident in this Special Issue dedicated to Fray Luis de León. immeasurably to our knowledge of Fray Luis’s biography.1 She has similarly discovered new material about Juan Rufo, such as his ambition to gain the post of Royal Chronicler, of which hitherto we knew nothing. Another aspect of her discoveries that merits attention is the recreation of the political world in which these writers operated. Marcantonio Colonna formed part of the so-called Éboli faction at court, and his son Ascanio kept up that link via his close friendship to Éboli’s wife Ana de Mendoza y de la Cerda and his sons Rodrigo and Diego. Indeed, while studying at Alcalá university, he seems to have acted as a sort of postman between Diego and his imprisoned mother. Most of the writers around Cervantes also had links with the Éboli faction and its successor groups at courts, sometimes called the Papal or Papist party in contrast to the ‘partido castellanista’ of the Duke of Alba, Mateo Vázquez, the Counts of Barajas and Chinchón, the King’s confessor Fray Diego de Chaves, and others. The Éboli faction were internationalist, liberal and tolerant in their views (within the parameters of what these terms could mean in the sixteenth century) and represented an ‘open’ Spain as opposed to the closed, inward-looking Spain that came to dominate by the end of the century. It will come as no surprise to anyone that Cervantes sympathised and had close links with the first group, but it is good at last to have the hard evidence of this via this remarkable and detailed study of Ascanio Colonna’s correspondence.

5 citations


Journal ArticleDOI
TL;DR: The miniseries Crematorio (Crematorium, Canal+, 2011) as mentioned in this paper discusses the convergence point of several social and textual currents that illustrate the condition of contemporary Spanish television as a local industry influenced by global change.
Abstract: This article discusses the miniseries Crematorio (Crematorium, Canal+, 2011) as the convergence point of several social and textual currents that illustrate the condition of contemporary Spanish television as a local industry influenced by global change. These currents include the strategy of Canal+ to expand by creating quality television, the influence of producers that look to the industrial modes of the United States, obvious references to contemporary Spanish social history, and the adoption of a visual and narrative language meant to yield the complexity associated with quality television of the HBO type. Crematorio shares HBO’s genre revisionism, increased realism, social critique, and psychological introspection, which overlap a new global trend of crime film and television, while acting and the attitude towards corruption reflect its local nature.

5 citations



Journal ArticleDOI
TL;DR: In this article, the authors show that understanding the nature of the poem's link to Horace is key to revealing its moral content, by providing a reconsideration of the evidence that ties Fray Luis's poem to Epode 2, before arguing that the crux of the Spaniard's interaction with his Roman forebear lies rather in hitherto-unremarked Horatian parallels for the central images of the garden and the sea, whose interaction underpins the development of the Spanish ode.
Abstract: Critics have long drawn attention to the moralizing tenor of Fray Luis’s opening ode, as well as to its profound links with Horace, and in particular his second Epode. These approaches, however, have not often been combined. This paper seeks to show that understanding the nature of the poem’s link to Horace is in fact key to revealing its moral content, by providing a reconsideration of the evidence that ties Fray Luis’s poem to Epode 2, before arguing that the crux of the Spaniard’s interaction with his Roman forebear lies rather in hitherto-unremarked Horatian parallels for the central images of the garden and the sea, whose interaction underpins the development of the Spanish ode. This study therefore offers a new reading of Fray Luis’s most famous poem, while also throwing important light on his practice of poetic imitation, and in particular his much-cited relationship with Horace, thus providing support for the recent scholarly trend to view Horace as a thematic source for his Spanish successor, as ...

Journal ArticleDOI
TL;DR: The Saldana Chapel as discussed by the authors is one of the earliest examples of flamboyant tracery and shield-bearing angels in Castile, and its carved retable with folding wings was almost certainly the kingdom's first.
Abstract: The funerary chapel of Contador Saldana in the convent of Santa Clara de Tordesillas near Valladolid has been described as one of the ‘purest’ manifestations of Burgundian influence in Castile. In contrast to the brick and stucco buildings which surround it, the Saldana Chapel is built out of limestone with tall lancet windows. Started in 1430, it includes some of the earliest examples of flamboyant tracery and shield-bearing angels in Castile, and its carved retable with folding wings was almost certainly the kingdom’s first. The chapel’s founder, Fernan Lopez de Saldana (c.1400–1456), was a converso, the son of a converted Jew, who rose to power meteorically at the court of the Trastamara king Juan II of Castile. This article considers the circumstances behind Saldana’s innovative choices, suggesting that he used architecture, sculpture and painting to fashion his own origins into a new, noble identity, and that his beliefs as a converso provide a key to understanding his patronage.

Journal ArticleDOI
TL;DR: The topic of post-authoritarian memory and mourning in Argentina has accreted a robust literature in recent years as mentioned in this paper and Queering Acts of Mourning in the Aftermath of Argentina's Dictatorship adds an ori...
Abstract: The topic of post-authoritarian memory and mourning in Argentina has accreted a robust literature in recent years. Queering Acts of Mourning in the Aftermath of Argentina’s Dictatorship adds an ori...

Journal ArticleDOI
TL;DR: The discourse on the rural world was one of the instruments of propaganda and indoctrination preferred by Franco's dictatorship as mentioned in this paper, where the country was used to praise the purity of its traditions, while propagandize the modernization that was to end its secular backwardness.
Abstract: The discourse on the rural world was one of the instruments of propaganda and indoctrination preferred by Franco’s dictatorship. The country was used to, firstly, praise the purity of its traditions, while, at the same time, propagandize the ‘modernization’ that was to end its secular backwardness. This article investigates this contradiction in two ways: firstly, by tracking it in different institutions of the regime (NO-DO, Institute of Colonization, Spanish Falange and its Women’s Section); secondly, by tracing its historical genealogy, that is: showing its pertinence to a modern bourgeois tradition which idealizes and at the same time stigmatizes peasants, considering them the ‘people’ at the core of the essence of the nation, but also some kind of barbarians who must be civilized.

Journal ArticleDOI
TL;DR: In this paper, the authors examine how the poetic voice operates in one of the odes dedicated by Fray Luis to his friend Pedro Portocarrero, focusing on three aspects: the structure of the reasoned argument that the voice presents.
Abstract: The article examines how the poetic voice operates in one of the odes dedicated by Fray Luis to his friend Pedro Portocarrero. It focuses on three aspects. First, the structure of the reasoned argument that the voice presents. Second, the combination in the voice of two literary traditions, one classical, the other biblical, and how this synthesis influences the definition of true virtue that the poem celebrates. Third, the biographical context of the voice and the question of its tone, which here, as in many poems by Fray Luis, is not easy to gauge.

Journal ArticleDOI
TL;DR: The idea behind this book is an intriguing and potentially very rewarding one: that early modern Spaniards of the Old Christian variety were obsessed with the idea New Christians, whether desc... as mentioned in this paper.
Abstract: The idea behind this book is an intriguing and potentially very rewarding one: that early modern Spaniards of the Old Christian variety were obsessed with the idea that New Christians, whether desc...

Journal ArticleDOI
TL;DR: In 1627, Lopez de Vicuna published the first edition of the works of the Cordoban poet Luis de Gongora y Argote (1561-1627) and gave it the intriguing title of Obras en verso del Homero espano as discussed by the authors.
Abstract: In 1627, Juan Lopez de Vicuna published the first edition of the works of the Cordoban poet Luis de Gongora y Argote (1561–1627) and gave it the intriguing title of Obras en verso del Homero espano


Journal ArticleDOI
TL;DR: In this article, the protagonist Lola undergoes a gradual psychological transformation, and all the intercalations and framing effects are marshalled around her, and drive this change, document it, and bring out its implications.
Abstract: One distinctive feature of Soldados de Salamina is the frequent intercalation of shots of archival (or apparently archival) material, in black and white, and of re-enactment scenes, usually in greenish tones. Another is the multiplicity of framing effects in the main action, involving still photographs, static and moving images on screens, and observed images and reflections. The interpolations always bring the past into contact with the present, while the framing effects draw from both past and present. Through her investigations, the protagonist Lola undergoes a gradual psychological transformation. All the intercalations and framing effects are marshalled around her, and drive this change, document it, and bring out its implications. Ultimately, Lola’s experiences and discoveries have a clear bearing on the situation of the post-Transition generation in Spain, and her efforts to negotiate past and present and Nationalist and Republican legacies point a way forward beyond reductive understanding and att...

Journal ArticleDOI
TL;DR: The role of theatre translators, or of Spanish playwrights-translators, has been seldom tackled, and the hundreds of versions of American or British plays are yet to be fully studied as mentioned in this paper.
Abstract: Spanish theatre professionals were responsible for the integration of foreign theatre in Spanish stages in Francoist Spain. The role of theatre translators, or of Spanish playwrights-translators, has been seldom tackled, and the hundreds of versions of American or British plays are yet to be fully studied. This paper focuses on Spanish author Jose Lopez Rubio, whose production, both originally written in Spanish and translated, has been thoroughly catalogued, using censorship archives as the main source of documentation. While compiling the catalogue it became clear that the number of translations signed by Lopez Rubio is higher than that of original plays. This catalogue is analyzed and a specific case study is presented: the Broadway musical Man of La Mancha. This production saw its second world premiere in Madrid, with the aid of the authorities in charge of the Theatre and Cinema General Directorate, in the Ministry for Information and Tourism, who favoured a positive image of the regime abroad.

Journal ArticleDOI
TL;DR: In this paper, the authors analyze how one of the scholars chosen was the Spanish writer fray Luis de Leon, motivated precisely by his public declarations about some textual errors of the old Vulgate.
Abstract: One of the main objectives of the Council of Trent was to spread Catholic doctrines and fight against heresy, which had been making good use of the benefits of the printing press. With this purpose in mind, Pope Sixtus V created in 1587 a new Vatican Printing Press to bring out new editions of all kind of religious works. From this project would emerge the so-called ‘Sistine Vulgate’, which was short-lived. This Pope also proposed the names of eight scholars, all of them theologians and experts in their own language, as correctors for the press. This article analyses how one of the scholars chosen was the Spanish writer fray Luis de Leon, just a decade after his own inquisitorial process, motivated precisely by his public declarations about some textual errors of the old Vulgate. A fundamental resource for this article is a corpus of six unpublished autograph letters by fray Luis, which provide us with unknown information about the circumstances of the invitation to Rome and which are published here for t...

Journal ArticleDOI
TL;DR: The authors gave an essentially descriptive account of the Spanish/Cakchiquel bilingual grammars written during the colonial era, which yielded important insights into the study of missionary linguistics.
Abstract: This paper gives an essentially descriptive account of the Spanish/Cakchiquel bilingual grammars written during the colonial era. The works of Domingo Basseta, Benito de Villacanas, Francisco Ximenez, Jose Carlos Rosales, Jose Ildefonso Flores and Esteban Torresano faced the task of describing the grammar of a language which was very different from both Spanish (the native language of the authors) and Latin (the language of culture), and they did so with mixed results but which yield important insights into the study of missionary linguistics.

Journal ArticleDOI
TL;DR: A reassessment of the life and work of the early colonial Quito painter Mateo Mexia in light of largely unpublished documentary sources and close consideration of the materiality, styles, and techniques employed in his paintings is presented in this article.
Abstract: This study offers a reassessment of the life and work of the early colonial Quito painter Mateo Mexia in light of largely unpublished documentary sources and close consideration of the materiality, styles, and techniques employed in his paintings. A conspicuously lettered painter, Mexia dominated both the pen and the brush. The evidence reveals Mexia as a pictorial innovator and a principal exponent of the linguistic pluralism, in both visual and textual form, harnessed by painters in early colonial Quito.

Journal ArticleDOI
TL;DR: In the early seventeenth century, Jose de Valdivieso mentioned an unpublished treatise by fray Luis de Leon entitled El perfecto predicador as discussed by the authors, and several researchers identified that work with a Comentario al Eclesiastes preserved in manuscript in the old Convento de los Agustinos in Cadiz.
Abstract: In the early seventeenth century, Jose de Valdivieso mentioned an unpublished treatise by fray Luis de Leon entitled El perfecto predicador. Over time, several researchers identified that work with a Comentario al Eclesiastes preserved in manuscript in the old Convento de los Agustinos in Cadiz, and they edited the Comentario with this assumption in mind. However, the Comentario, an exposition in the vernacular, had nothing to do with the treatise, which in fact was a series of notes fray Luis dictated to his students in 1579, the first year of his tenure of the Chair of Biblical Studies in Salamanca. El perfecto predicador, then, remains undiscovered, but the information gleaned from it about the teaching and exegesis of fray Luis is priceless.

Journal ArticleDOI
TL;DR: In this article, Ponce Cardenas's monograph Ecfrasis deals with a phenomenon that has been as fruitful as complex in Western literature: ekphrasis, that is the poetic description of a work of art.
Abstract: Jesus Ponce Cardenas’s monograph deals with a phenomenon that has been as fruitful as complex in Western literature: ekphrasis, that is the poetic description of a work of art. Ecfrasis opens with ...


Journal ArticleDOI
TL;DR: In this article, the authors examine the nature of the first-person voice in Fray Luis's poem "Huid, contentos, de mi triste pecho" in terms of both form and content.
Abstract: ‘Huid, contentos, de mi triste pecho’ is exceptional in Fray Luis’s ‘Odas originales’ in terms of both form and content. It is the only example among them of the verse form of the terceto, or terceto encadenado, while the tone of the poem is largely pessimistic, introspective, and self-analytical. Critics have usually interpreted it as referring to a moment of hope which came to nothing during his long imprisonment, and which may indeed have spurred its composition. However, this article is more concerned with the poem’s literary connections, its imagery, and some of the puzzles of interpretation which it poses. It examines in particular the nature of the first-person voice, in the context of the clear allusions to Garcilaso’s poetry in the opening verses and of the links with Fray Luis’s own verse translation in tercetos of the book of Job, and it suggests how his subtle handling of language can shed light on some of the poem’s more problematic passages.

Journal ArticleDOI
TL;DR: The Queering Acts of Mourning as discussed by the authors explores the power of the family from these attempted hegemonic uses, but also signals its enduring power to articulate desired forms of community.
Abstract: wrests the discourse of the family from these attempted hegemonic uses, but her work also signals its enduring power, in Argentina, to articulate desired forms of community. In this respect, the book does not so much “‘fracture” conventional discourses on memory in Argentina’ (p. 2) as suggest their partial inescapability. Queering Acts of Mourning undoubtedly expands our range of mechanisms for thinking about the recent past and our present interactions with it. This inventive and stimulating contribution will enrich the work of scholars interested in political transitions and their aftermath across disciplines and regions.

Journal ArticleDOI
TL;DR: In London, the Goya exhibition as discussed by the authors drew crowds of visitors as well as enthusiastic reviews despite the specialised nature of the displays showing works from contrasting genres of art, such as painting and sculpture.
Abstract: London has hosted many important Goya exhibitions. Two in 2015 drew crowds of visitors as well as enthusiastic reviews despite the specialised nature of the displays showing works from contrasting ...