Showing papers in "Hispanic Review in 2021"
TL;DR: Early modern Spanish lyric's connections with music are manifold, and imagery of instruments and singing voices is virtually everywhere in the texts, often playing a part in the articulation of affect and providing a vocabulary for poets to reflect about their own verbal powers as discussed by the authors.
Abstract: Early modern Spanish lyric's connections with music are manifold, and imagery of instruments and singing voices is virtually everywhere in the texts, often playing a part in the articulation of affect and providing a vocabulary for poets to reflect about their own verbal powers. And yet, as I argue in this article, the story of Golden Age lyric begins with tension and conflict at the center of the music–poetry relation. There is, I contend, a discrepancy between the Orphean tropes that equate writing verse with playing music, and the relative autonomy that poetry and music were developing in Renaissance Spain. In this context, I draw attention to a nostalgia that cuts across the texts: the sense that poets have only inherited one half of Orpheus's torrential and effective mixture of media, poetry, and song. To make these points, I draw from a collection of printed and manuscript sources from 1500 to 1700, by poets canonical and obscure.
9 citations
TL;DR: In 2009, Spanish public broadcaster RTVE released 50 anos de, a series of documentaries on Spanish cultural icons, trends, and audiovisual memories of the last fifty years.
Abstract: In 2009, Spanish public broadcaster RTVE released 50 anos 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
5 citations
TL;DR: In this article, the ontological, political, and ecological implications of Vasconcelos's plant theory are investigated, and the authors examine how these philosophical ideas about plants shed new light and cast an innovative image of La raza cosmica.
Abstract: This article explores the representations of plant life and botanical ethics in Jose Vasconcelos's philosophical work. Drawing from some ideas of so-called critical plant studies, I investigate the ontological, political, and ecological implications of Vasconcelos's plant theory. I contend that it is a set of suggestions that ultimately put pressure on the stability of his own philosophical and political thought. The article focuses on two aspects of vegetal life that Vasconcelos highlights and theorizes: consciousness and collectivity. While the idea of plant consciousness as a tight interweaving of organic and inorganic elements tends to destabilize the anthropomorphic notion of human consciousness, plant collectivity stages a contingent and proliferating multiplicity that resists its domestication into a stable totality. In this way, Vasconcelos's encounter with plants suddenly uncovers the possibility of an ecological and anarchic thought. In the last section, I examine how these philosophical ideas about plants shed new light and cast an innovative image of La raza cosmica
5 citations
TL;DR: In this article, the question of who is Diario de Djelfa addressed to was investigated, revealing a complexity which allows us to discover the multiform nature of the addressee (who repeatedly turns up as an impossible recipient), and, by extension, to reinterpret the extent of the testimonial nature of a book itself.
Abstract: espanolDiario de Djelfa, de Max Aub, esta articulado en dos ejes. Por una parte, como propone la mayoria de los estudios, la lectura puede enfocarse en el sujeto que enuncia estos poemas para representar, con mayor o menor verosimilitud (con mayor o menor fidelidad a la memoria de los vencidos), su experiencia (y su presencia) en el campo de concentracion. Por otra parte, es posible reconducir la lectura hacia un segundo eje menos considerado: no el sujeto emisor de los poemas, sino el receptor. ?A quien se dirige Diario de Djelfa? La dificultad de responder a esta pregunta desvela una complejidad que permite descubrir el caracter multiforme del receptor (que, de hecho, repetidamente aparece como un destinatario imposible) y, por extension, reinterpretar el alcance del caracter testimonial del poemario mismo. Para profundizar en este enfoque, este articulo parte de los tres tipos de destinatario lirico identificados por Jonathan Culler. EnglishDiario de Djelfa, by Max Aub, is structured along two axes. On the one hand, as proposed by most studies, its interpretation can be focused on the subject who enunciates these poems to represent, in a more or less plausible fashion (with greater or lesser fidelity to the memories of the vanquished), his experience (and his presence) in the concentration camp. On the other, it is possible to redirect its interpretation towards a less considered second axis: not the addresser of the poems, but the addressee. Who is Diario de Djelfa addressed to? The difficulty of answering this question unveils a complexity which allows us to discover the multiform nature of the addressee (who, indeed, repeatedly turns up as an impossible recipient), and, by extension, to reinterpret the extent of the testimonial nature of the book itself. In order to deepen this approach, this article draws on Jonathan Culler's three types of lyric address.
4 citations
TL;DR: In this article, the authors argue for a shift toward aurality and away from the emphasis on orality that has long been a keynote in criticism about the work of Juan Rulfo.
Abstract: This article argues for a shift toward aurality and away from the emphasis on orality that has long been a keynote in criticism about the work of Juan Rulfo. To attend to the ears that listen rather than solely the voice that speaks, I not only consider the Jaliscan writer's entire oeuvre but also turn to a seldom-studied yet readily available archive: Rulfo's recordings of a few stories from El llano en llamas and two fragments from Pedro Paramo. Addressing these audio versions amplifies the importance of the aural throughout Rulfo's writings and expands on the readings of other critics who examine some of the sounds that echo across his works but who rarely acknowledge the constitutive role of the listener. And just as Rulfo's own experiences with tape reveal these listening techniques, his representations of other sound reproduction technologies portray the effects of changing aural perceptions and practices
4 citations