Showing papers in "Hispanic Review in 2020"
TL;DR: In this article, the authors analyze the role of Amparo, the main character in La Tribuna, one of the first republican leaders represented in nineteenth-century Spanish literature.
Abstract: espanolEmilia Pardo Bazan creo en la protagonista de La Tribuna una de las primeras lideres republicanas representadas en la literatura espanola del siglo XIX. En el personaje confluyen conflictivamente diferentes roles (el de genero, el social y el politico) que pueden comprenderse mejor al estudiar la novela como la historia de la formacion y del encumbramiento de una lider revolucionaria desde la representacion de las emociones y su funcion en la novela. El articulo analiza el personaje como “ser emotivo”, a partir del marco teorico que ofrece The Cultural Politics of Emotions de Sara Ahmed, considerando cada una de las facetas de Amparo: como mujer, como obrera, como oradora y como madre. Su aplicacion tendra en cuenta tres niveles de analisis: las emociones y sus acciones en las palabras de los personajes y en la trama; la voz narrativa como generadora de emociones; y, en ultima instancia, la voz de la autora EnglishEmilia Pardo Bazan created in Amparo, the main character in La Tribuna, one of the first republican leaders represented in nineteenth-century Spanish literature. In the character three different roles converge in conflict with one another: gender, social and political roles. This conflict can be better understood when analyzing the novel as the story of the formation and rise of a revolutionary leader from the representation of emotions and their role in the novel. The paper studies the character as “being emotional,” based on the theoretical framework offered by Sarah Ahmed’s The Cultural Politics of Emotions. For this purpose, each one of the facets of Amparo will be taken into account: as a woman, as a worker, as a speaker, and as a mother. Its application will consider three levels of analysis: emotions and their actions in the words of the characters and in the plot; the narrative voice generating emotions; and, ultimately, the author’s voice
54 citations
TL;DR: The authors argue that the heart of Infantes is a pervading sense of metaphysical absence, and suggest that the play can be meaningfully construed as an early example of the "mourning play", or that mixture of history play and tragedy which the German philosopher-critic Walter Benjamin presented as the central late-Renaissance aesthetic form of historical contemplation in his Ursprung des deutschen Trauerspiels (1925; The Origin of German Tragic Drama).
Abstract: Whereas modern critics have considered Juan de la Cueva's Tragedia de los siete infantes de Lara (1579) unappealing compared to Lope's 1612 version of the story and discussed the Sevillian playwright's misguided use of classical tragic genre conventions, the present essay proposes a framework for understanding the play that is neither Lopean nor classicist. Arguing that the heart of Infantes is a pervading sense of metaphysical absence, it suggests that the play can be meaningfully construed as an early example of the "mourning play," or that mixture of history play and tragedy which the German philosopher-critic Walter Benjamin presented as the central late-Renaissance aesthetic form of historical contemplation in his Ursprung des deutschen Trauerspiels (1925; The Origin of German Tragic Drama). Cueva's history of the House of Lara can be construed, that is, as a play which is concerned not so much with this or that historical person or event as with—unideal, broken, amputated—history itself.
6 citations
TL;DR: Pilar Monsell's 2014 documentary Africa 815, an account of her father's complex history, including professional and personal failures, is analyzed in this article, showing how the film creates proximity within distance, constructing a nuanced account of Manuel MonseLL's life, which, without explicitly condemning its thorniest elements, still refuses to gloss over them.
Abstract: This essay analyzes Spanish filmmaker Pilar Monsell's 2014 documentary Africa 815, an account of her father's complex history, including professional and personal failures. It shows how the film creates proximity within distance, constructing a nuanced account of Manuel Monsell's life, which, without explicitly condemning its thorniest elements (and in particular his Orientalist fetishizing of younger Maghrebi men), nonetheless refuses to gloss over them. Rather, the filmmaker lays bare her father's vulnerabilities and faults so the spectator may to come to his or her own conclusions about Manuel's actions and experiences. This process is achieved through several key filmic tactics, explored here: hybridity, tactility, silence, slowness, and voice. Analyzing these strategies, the essay traces how the filmmaker's gaze on the narrative of her father's past uncovers meaning by engaging in an embodied and attentive reading of a life history that resists both binary identities and easy narrative legibility.
2 citations
TL;DR: In this article, images check historical documentation through sardonic interpretation, creating a space between text and image in which the reader/viewer may reconsider the veracity and underpinnings of official Argentine historical narratives and hegemony.
Abstract: The resurgence of the medieval bestiary in contemporary Hispanic literature has resulted in increasingly creative interpretations of the genre. Among these interpretations is 200 anos de monstruos y maravillas argentinas (2015) compiled by Gabo Ferro, illustrated by Christian Montenegro, and designed by Laura Varsky. This article explores the ontological debate that ensues from 200 anos's choice to place humans in literary spaces traditionally reserved for animals. 200 anos compiles documentation denoting Argentine history's dark underbelly, brandishing the word bestia to blur the line between "appropriate" and "marginalized" historical subjects. In this work, images check historical documentation through sardonic interpretation, creating a space between text and image in which the reader/viewer may reconsider the veracity and underpinnings of official Argentine historical narratives and hegemony.
1 citations
TL;DR: The 20 de noviembre of the Spanish Civil War has been recognized as a powerful moment of memory in Spanish history as mentioned in this paper, and it has been a compelling memorial day for decades.
Abstract: espanolPocas fechas de la reciente historia espanola presentan una carga de sentido tan poderosa como el 20 de noviembre. Efemeride del fallecimiento de Francisco Franco en 1975, pero tambien del fusilamiento de Jose Antonio Primo de Rivera y de la muerte de Buenaventura Durruti en 1936, ha compuesto durante decadas un potente momento de memoria. El articulo aborda, desde una perspectiva panoramica, la presencia del aniversario en el relato audiovisual, principalmente documental. El rol del 20 de noviembre como cita de memoria luctuosa, o su ligazon con la sacralizacion y desacralizacion, compondran los ejes de interpretacion, considerando que tales relatos se han implicado en procesos de construccion y reciclaje. Desde ahi se atendera a las (re)significaciones simbolicas asociadas con las politicas de memoria donde se han situado esas producciones desde la Guerra Civil a la actualidad. EnglishFew dates in recent Spanish history bear such powerful meaning as November 20th. This date marks the anniversary of the death of Francisco Franco in 1975, as well as the execution of Jose Antonio Primo de Rivera and the death of Buenaventura Durruti in 1936. As such, it has been a compelling memorial day for decades. The article gives an overview of the presence of this anniversary in the audiovisual narrative, above all in documentaries. The day’srole as a time of remembrance and its links with sanctification ordesecration form the basis for interpretation, bearing in mind that such narratives have been involved in construction and recycling processes. The text goes on to study symbolic (re)significances associated with the politics of memoryin which said productions have been positioned, from the Civil War until now.
1 citations
TL;DR: In this paper, a particular place (Torres de Lestrobe) is examined and highlighted as a key element that not only triggered Castro's memory and affect as a writer but also was crucial in shaping the structure of En las orillas del Sar.
Abstract: espanolEn este articulo trataremos de mostrar la relevancia del enmarcamiento espacial y de su mediacion por una comunidad emocional concreta para el analisis de En las orillas del Sar,de Rosalia Castro. Destacaremos la importancia en este sentido de un lugar particular, las Torres de Lestrobe, como punto clave en la focalizacion de la memoria y del afecto que articula la obra. Las implicaciones con respecto a determinados posicionamientos ideologicos y afectivos de la autora tienen asimismo, segun veremos, una traslacion en terminos de campo literario. EnglishThis paper delves into the processes of framing and mediating a space by a specific emotional community and draws attention to their importance when approaching Rosalia Castro’s En las orillas del Sar. In this light, a particular place (Torres de Lestrobe) is examined and highlighted as a key element that not only triggered Castro’s memory and affect as a writer but also was crucial in shaping the structure of En las orillas del Sar. The significance of Torres de Lestrobe is then put in relation to Rosalia’s ideology and affect, and their connections with the literary field analyzed.
TL;DR: The narrative Maria! Nao Me Mates, Que Sou Tua Mae!, published anonymously by the Portuguese writer Camilo Castelo Branco in 1848, continues to seduce listeners and readers with very different backgrounds and tastes as discussed by the authors.
Abstract: galegoA narrativa Maria! Nao Me Mates, Que Sou Tua Mae!, publicada pelo escritor portugues Camilo Castelo Branco, sob anonimato, em 1848, tem seduzido ate hoje ouvintes e leitores com formacoes e gostos muito diferentes entre si. Este texto, uma das primeiras obras em prosa do autor da celebre novela romântica Amor de Perdicao (1862), surgiu em folheto de cordel. O seu grande sucesso pode avaliar-se pelas varias edicoes que teve logo entre 1848 e 1852. Neste artigo, procuro compreender esta obra no contexto da producao literaria de Camilo e da cultura portuguesa e europeia de meados do seculo XIX. EnglishThe narrative Maria! Nao Me Mates, Que SouTuaMae!, published anonymously by the Portuguese writer Camilo Castelo Branco in 1848, continues to seduce listeners and readers with very different backgrounds and tastes. This text, one of the first prose works by the author of the famous romantic novel Amor de Perdicao 1862, appeared in a cordel pamphlet. Its great success is demonstrated by the numerous editions published between 1848 and 1852. In this article, I interpret this work in the context of Camilo’s literary production and Portuguese and European culture of the mid-nineteenth century.