scispace - formally typeset
Search or ask a question

Showing papers in "Romance Studies in 2015"


Journal ArticleDOI
TL;DR: The authors examines the transatlantic geography that structures the Poeme dramatique of Toussaint Louverture, and argues that this transatlantic chiasmus only becomes possible through a series of anatopisms, or erreurs de lieu.
Abstract: Alphonse de Lamartine’s verse drama Toussaint Louverture (1850) stands out as one of the most earnest attempts by a nineteenth-century European writer to grapple with what Michel-Rolph Trouillot has called the ‘unthinkable history’ of the Haitian Revolution. Originally composed to promote abolition of slavery in France’s colonies, the play was not staged until two years after emancipation and after Lamartine’s precipitous fall from political grace. In this context, Toussaint Louverture seemed to offer a defence of Lamartine’s own political legacy. The work has thus been interpreted as an attempt by the author to identify himself with his protagonist, a messianic leader of the Haitian people. This essay examines the transatlantic geography that structures this ‘poeme dramatique’. In projecting an ideal nation, France and Haiti are set up in chiastic opposition, and this transatlantic chiasmus only becomes possible through a series of anatopisms, or erreurs de lieu. The central argument holds that this dram...

6 citations


Journal ArticleDOI
TL;DR: The role played by the modernist periodical Solaria (1926-34) as the Italian short story was being modernized is investigated in this article, where a descriptive survey of the rarely studied corpus of fifteen short narrative volumes printed by the periodical is presented.
Abstract: This article investigates the role played by the modernist periodical Solaria (1926–34) as the Italian short story was being modernized. By offering a descriptive survey of the rarely studied corpus of fifteen short narrative volumes printed by the ‘Edizioni di Solaria’, the periodical’s minor publishing house, it sheds new light on the development of the short genre in this particular context. The two key questions addressed are, on the one hand, the validity of a recent hypothesis proposing Italo Svevo as a model for the ‘Solarian’ short story, and, on the other, the relationship between the codified novella/racconto and other forms of short narrative prose derived from early twentieth-century avant-garde experimentation.

6 citations


Journal ArticleDOI
TL;DR: In this article, a collection of dialogues des morts is presented, which brings together the illustrious dead to comment on the world they have left behind, and on their own lives and legacies.
Abstract: As France struggled to find ways to shape its national history and cultural heritage following the Revolution, an unknown author in a minor genre was reflecting on what the recent social and political upheaval meant for the celebrated protagonists of France’s past and present. Francois de Pages, in his 1800 collection of dialogues des morts, brings together the illustrious dead to comment on the world they have left behind, and on their own lives and legacies. A particular concern, articulated by Mirabeau, Marat, Voltaire, Rousseau, and others, is what it takes to be remembered and, conversely, to be forgotten. This article explores this issue first as it appeared in the reality of 1790s France — from the ‘impossible’ Pantheon, to the reimagining of pre-revolutionary cultural icons — then as it is set out in Pages’s text, which brings together pre- and post-revolutionary greats, and examines their relative ‘gloire’. I underline the contentious nature of the ‘grand homme’ in the revolutionary decade, and s...

5 citations


Journal ArticleDOI
TL;DR: In the Hispanic World the nineteenth century witnessed a significant proliferation of women writers whose works were not only directed at a feminine audience, but also directed towards a more general audience as mentioned in this paper.
Abstract: In the Hispanic World the nineteenth century witnessed a significant proliferation of women writers whose works were not only directed at a feminine audience.1 These writers began to publish their ...

5 citations


Journal ArticleDOI
TL;DR: Sand and d'Agoult as discussed by the authors focused on the heroine's first brush with suicide in Nelida and found that the drive to commit suicide can be viewed as a positive force, an attempt, to quote the father of contemporary suicidology, Edwin S. Shneidman, to seek a solution.
Abstract: It is ironic, given their contentious personal relationship, that George Sand and Marie d’Agoult should be so like-minded in their fiction. Their first novels, Indiana and Nelida, both offer poignant portrayals of the female condition and scathing criticisms of the marriage system that allowed young women to languish in loveless relationships with domineering men, not to mention a certain preoccupation with suicide. When one thinks of suicide in Indiana, it is Noun’s drowning or Ralph and Indiana’s aborted plunge into the waterfall that naturally come to mind. This study focuses instead on the heroine’s first brush with suicide. Reading it with a comparable scene in Nelida provides insights into how the two writers plot a path of resistance for their heroines. As it turns out, the drive to commit suicide can be viewed as a positive force — an attempt, to quote the father of contemporary suicidology, Edwin S. Shneidman, to seek a solution — propelling the heroines toward the self-actualization and ...

5 citations


Journal ArticleDOI
Ben Bollig1
TL;DR: This article argued that critical responses to Lagartija sin cola have so far overlooked the extent to which we are dealing with a nuanced and often ironic work in which the narrator cannot simply be read as a cipher for Donoso the writer, and the parallels between Armando Munoz-Roa, the reclusive painter who narrates the novel from his Barcelona hideaway, reveal the immanent critique Donoso carries out on his own position as a writer and his work in the novel.
Abstract: Published in 2007, having been found among Donoso’s papers by his daughter, Pilar, during her research for a biography of her father, Lagartija sin cola was well received by critics, with some expressing surprise that Donoso abandoned the novel in the early 1970s. My argument in this paper follows Rowe’s seminal essay on El obsceno pajaro de la noche (1983) by suggesting that critical responses to the novel have so far overlooked the extent to which we are dealing with a nuanced and often ironic work in which the narrator cannot simply be read as a cipher for Donoso the writer. However, the parallels between Armando Munoz-Roa, the reclusive painter who narrates the novel from his Barcelona hideaway, and Donoso the man, undergoing one crisis or another during his Spanish exile, reveal, along with contextual references, the immanent critique Donoso carries out on his own position as a writer and his work in the novel. Inter-textual and self-referential sequences must be read as more than simply a ju...

4 citations


Journal ArticleDOI
TL;DR: Maney et al. as discussed by the authors presented an accepted manuscript for the first time, which is available from Maney via http://dx.doi.org/10.1179/0263990415Z.00000000091
Abstract: This is the author accepted manuscript. The final version is available from Maney via http://dx.doi.org/10.1179/0263990415Z.00000000091

4 citations


Journal ArticleDOI
TL;DR: This article examined the influence of Proust's A la recherche du temps perdu on contemporary Spanish novelists' use of memory to recover Spain's traumatic twentieth-century history.
Abstract: Building on a recent study by Herbert Craig (2012), this article examines the influence of Marcel Proust’s A la recherche du temps perdu on contemporary Spanish novelists’ use of memory to recover Spain’s traumatic twentieth-century history. By reworking Proust’s use of literature to reconstruct the self, writers such as Jorge Semprun and Antonio Munoz Molina have used autobiographical narratives to rewrite the nation. Analysing how these writers harness Proust’s use of the past to explore the self, this article argues that Semprun and Munoz Molina posit a search for lost time as a means of serving the community.

3 citations


Journal ArticleDOI
TL;DR: The analysis of Gertrudis Gomez de Avellaneda's second novel, Dos Mugeres, articulates two contributions in the fields of gender studies and Spanish Romanticism as discussed by the authors.
Abstract: This analysis of Gertrudis Gomez de Avellaneda’s second novel, Dos Mugeres, articulates two contributions in the fields of gender studies and Spanish Romanticism. Avellaneda’s feminist critique of masculine domination in Dos Mugeres focuses on the concept of heterosexual trouble, through which the norm of the heterosexual couple proves to be dysfunctional and problematic as far as gender and sexual standards are concerned. The concept of heterosexual trouble enables us to consider the ambivalent situation of the male heterosexual lover caught between the social privilege of masculinity and the mandate to reinvent love requested by his female lover. The originality of Dos Mugeres within Spanish Romanticism relies in part on the reception of four texts from French Romanticism: Paul et Virginie, Delphine, Corinne ou l’Italie, and Lelia. It is this unique reworking of four canonical texts in relation to a critique of heterosexual love that gives Dos Mugeres a special signature within Spanish Romanticism.

2 citations


Journal ArticleDOI
Javier Jiménez1
TL;DR: The combination of the literary languages of costumbrismo and romanticism, particularly in its sentimentalist form, are insufficient for mounting a critique of either slavery or patriarchy in this novel.
Abstract: Published in Madrid in 1841, Gertrudis Gomez de Avellaneda’s Sab is a remarkable novel often read for its anti-slavery and proto-feminist messages Indeed, it allows us to glimpse the genesis of ideas regarding both the emancipation of slaves and women in nineteenth-century Cuba However, I argue that, despite the novelty of its subject matter, the combination of the literary languages of costumbrismo and romanticism, particularly in its sentimentalist form, are insufficient for mounting a critique of either slavery or patriarchy in this novel Though these languages do indeed advance these positions in the novel, my analysis shows that the mixture of these two literary styles, one that requires a superficial reading through character types and another that needs a deep reading of surface phenomena, only exacerbates Cuba’s condition as a colony In this way, Gomez de Avellaneda points out that the emancipation of slaves and women could be imagined at the time of the novel’s publication, but a lite

1 citations


Journal ArticleDOI
TL;DR: The work of Gomez de Avellaneda has attracted much attention over the last few years, both in her own country and abroad, motivated mainly by theoretical perspectives relating to genre and post-colonial studies as mentioned in this paper.
Abstract: Considerable interest has re-emerged over the last few years in the literary work of Gertrudis Gomez de Avellaneda, both in her own country and abroad, motivated mainly by theoretical perspectives relating to genre and postcolonial studies. Recently, many distinguished scholars and intellectuals such as Mary Cruz, Anton Arrufat, Nara Araujo, Susana Montero, and Roberto Mendez have analysed her work, focusing both on its importance as a whole and also on the significance of particular aspects. This article considers studies on Gomez de Avellaneda published by these essayists between 2000 and 2008, with particular focus on their different theoretical and methodological approaches.

Journal ArticleDOI
TL;DR: A unique representation of Cuba in the poetry of Gertrudis Gomez de Avellaneda is presented in this article, where two poems are taken as fundamental referents marking two essential moments in the life of the poet, Al partir and A un cocuyo.
Abstract: This paper offers an approach to a unique representation of Cuba in the poetry of Gertrudis Gomez de Avellaneda Specifically, it takes two poems as fundamental referents marking two essential moments in Avellaneda´s life The first, ‘Al partir’, is a sonnet of 1836, when Avellaneda left Cuba for Spain The second, ‘A un cocuyo’, is one of the poems that Avellaneda writes in Cuba upon her return to the island in 1859, after a twenty-three-year absence This analysis explores the construction of Cuba in the poetry of Avellaneda, particularly the presence of Cuban ‘spirits’ in these two poems, and their relationship

Journal ArticleDOI
TL;DR: The authors examines the role of ekphrasis in Olivier Rolin's Un chasseur de lions (2008) and Jean-Christophe Bailly's Le Depaysement, voyages en France (2011).
Abstract: This article examines the role of ekphrasis in Olivier Rolin’s Un chasseur de lions (2008) and Jean-Christophe Bailly’s Le Depaysement, voyages en France (2011). Each work mobilizes ekphrasis in the service of an investigative excursion into real everyday spaces. Olivier Rolin historically reconstructs the enigmatic lion hunter Eugene Pertuiset, depicted in a painting by Edouard Manet. At the same time, he explores the parts of modern-day Paris where the traces of Manet can be discovered. As ekphrastic depictions of Manet’s paintings begin to colour Rolin’s perception of modern-day Paris, Un chasseur opens a trace space that blurs lines between past and present, and between representation and reality. In Le Depaysement, Jean-Christophe Bailly sets out to see to what extent he can — in an increasingly globalized world — perceive what is ‘French’ about France. When he scrutinizes the landscape from a moving train, capturing details on the fly, a kind of spontaneous ekphrasis emerges in his description: grou...

Journal ArticleDOI
TL;DR: The role of laughter and humour in the processes of memory that Spain underwent in the socio-political and cultural realms starting in the mid-1990s is explored in this paper, where the authors propose Manuel Rivas's El lapiz del carpintero (1998) as a textual locus that challenges the presumed contradictions between the solemnity of mourning and the sardonic presence of the ghost/spectre.
Abstract: This essay explores the role of laughter and humour in the processes of memory that Spain underwent in the socio-political and cultural realms starting in the mid-1990s. More specifically, I propose Manuel Rivas’s El lapiz del carpintero (1998) as a textual locus that challenges the presumed contradictions between the solemnity of mourning and the sardonic presence of the ghost/spectre. Whereas the majority of critics have emphasized the moral and ethical implications of the instances of haunting that take place in Spanish fiction in general, and in Rivas’s novel in particular, it is no less important to stress the subversive power of the comical implicit in the haunting of the narrator’s conscience by the ghost of one of his victims. While acknowledging the grave magnitude of the endeavour undertaken by the memory novel, this paper argues that bringing back the spectres of the past stresses the ambiguous relationship that modernity has established with both laughter and memory.

Journal ArticleDOI
TL;DR: The Ricordi di Parigi (1879) by De Amicis as discussed by the authors explores the relationship between Italy and a new global culture developed in the nineteenth century through world's fairs.
Abstract: This essay explores the relationship between Italy and a new global culture developed in the nineteenth century through world’s fairs. It reconstructs the aspirations, reactions, and fears of a young nation on the eve of its industrialization through a report about the Paris Exposition of 1878, entitled Ricordi di Parigi (1879), by the Italian writer Edmondo De Amicis. In introducing Italian readers to a new cosmopolitan culture, De Amicis’s text expresses Italy’s ambiguous position towards modernity — simultaneously striving to participate on the world stage, and to affirm its radical difference from it — and creates a narration of the 1878 event that successfully combines marginal and global points of view. By building a strong connection between Italian and French culture (notably through interviews with Hugo and Zola) and by engaging in a reflection on Paris as the alluring/deceiving symbol of a new city-world, De Amicis expands the journalistic scope of his book, turning it into an intellectual testi...

Journal ArticleDOI
TL;DR: Gertrudis Gomez de Avellaneda's last novel El artista barquero o Los cuatro cinco de junio (1861) contains a transgressive subtext, even more sophisticated than her previous novels.
Abstract: This study aims to demonstrate that Gertrudis Gomez de Avellaneda’s last novel El artista barquero o Los cuatro cinco de junio (1861) contains a transgressive subtext, even more sophisticated than her previous novels. El artista barquero marks a new stage in the evolution of Gomez de Avellaneda’s prose works, displaying a new assurance of style and an ironic tone which combine to create a powerful expression of the feminine and the masculine. Familiar themes permeate this last novel, in which both male and female characters show the same will to resist the usual frustrating obstacles of the dominant power structures. The story is clearly feminist in motivation, and in its use of alternative mechanisms of writing. These strategies for the textual liberation of the masculine are both invigorating and successful, exploring an alternative masculine identity through the male protagonist Huberto. This study demonstrates that male characterization has direct implications for feminism because it allows th...

Journal ArticleDOI
TL;DR: In this article, the authors of L’istrione (1887), set in eighteenth-century Florence, present a preface addressed to the readers, in which Jarro explains the genesis of the text, describing its style, language, aim, and sources.
Abstract: Giulio Piccini, known as Jarro (Volterra, 1849–Florence, 1915), was a polygraph, writer, journalist, theatre critic, literary scholar, as well as an author of mystery stories and detective and legal novels. One of these works, L’istrione (1887), set in eighteenth-century Florence, contains a preface addressed to the readers, in which Jarro explains the genesis of the text, describing its style, language, aim, and sources. Nevertheless, L’istrione appears to contain quotations from several other literary works, which, although not directly mentioned by Jarro, perform the task of creating an air of historical reality the author considers necessary for his novel. This article aims to highlight some of these literary sources (mainly seventeenth- and eighteenth-century texts written by or for women), with the goal of identifying their function and role in Jarro’s writing.

Journal ArticleDOI
TL;DR: In this paper, the authors analyze the impact of the Mexican Revolution on national literature, specifically on Ignacio Solares's novel Columbus, and emphasize the importance of historic discourse as a literary objective.
Abstract: This article analyses the impact of the Mexican Revolution on national literature, specifically on Ignacio Solares’s novel Columbus, as well as the importance of historic discourse as a literary objective. Solares’s work recounts the historic event from the perspective of one of its characters, who is being interviewed after the event by a journalist whose goal is the recovery firsthand of the revolutionary discourse. However, the alcoholism of the protagonist makes the dialogue between both characters difficult and unreliable. Solares manages to question what until now has been considered the solemn truth about the Revolution, discussing History by trying to reconstruct it in the words of an alcoholic man and emphasizing the importance of the reader/listener as a receptor of these stories, without whom there would be no need for them to be told.

Journal ArticleDOI
TL;DR: In this article, Zola confided in a letter to Jacques Van Santen Kolff on 6 March 1889, that he traversed the Cinquantaine without doute.
Abstract: ‘Il est bien vrai que je traverse une crise, la crise de la cinquantaine sans doute’, Zola confided in a letter to Jacques Van Santen Kolff on 6 March 1889. ‘Il est des semaines, des mois, ou il y ...

Journal ArticleDOI
TL;DR: Gertrudis Gomez de Avellaneda was a member of both the Spanish and the Cuban Lyceums as discussed by the authors and was the only woman to be crowned a poet during the entire nineteenth century.
Abstract: Although the nineteenth-century Spanish Lyceums were open to women, the latter did not assume representative positions. They did, however, enjoy full membership status in sections such as music, poetry, and painting, and, to a lesser extent, in literature, sculpture, and other arts. Gertrudis Gomez de Avellaneda was a member of both the Spanish and the Cuban Lyceums.Her talent as a poet and dramatist was recognized by the Lyceums who paid tribute to her in several ways: she was, for example, the only woman to be crowned a poet during the entire nineteenth century.The Lyceums staged some of Avellaneda’s plays, but it was her poetry, some of it improvised, that received the greatest acclaim when recited in the Lyceum.

Journal ArticleDOI
TL;DR: The authors examines writings by Carlo Emilio Gadda dedicated to industrial technologies used to produce fertilizers from atmospheric nitrogen and finds that labour is the antidote to the scarcity engendered by overpopulation; but the reproduction of labouring bodies results in further overpopulation.
Abstract: This article examines writings by Carlo Emilio Gadda dedicated to industrial technologies used to produce fertilizers from atmospheric nitrogen. Although these essays, along with other writings of the 1930s explaining scientific concepts to a popular audience, have been essential to recent reconsiderations of Gadda’s affective and intellectual relationship to fascism, scholars have neglected the fundamental importance in Gadda’s thought of the technologies themselves. These industrial processes — and the call for their invention — focalize a critical intellectual current of the nineteenth century: a new awareness of scarcity and related anxieties about population growth. Engaging with work by Michel Foucault and Mitchell Dean, I note the emphasis on labour that follows from this concern with scarcity and ‘overpopulation’. What results is a cruel riddle of governmentality: labour is the antidote to the scarcity engendered by overpopulation; but the reproduction of labouring bodies results in further overpo...

Journal ArticleDOI
TL;DR: This paper cast new light on two major aspects of Vila-Matas's work: its concern with metafictional issues and its pervasive poetics of negativity, which exemplify their authors' concerns about the stagnation of creativity and the reinvention of literary traditions.
Abstract: Vila-Matas’s well-known oeuvre draws on literary theory to fictionalize possible readings of his texts that impinge on his private life. Works such as Bartleby the Scrivener and Tentative d’epuisement d’un lieu parisien are particularly significant in this context. Both exemplify their authors’ concerns about the stagnation of creativity and the reinvention of literary traditions. This article will seek to cast new light on two major aspects of Vila-Matas’s work: its concern with metafictional issues and its pervasive poetics of negativity.

Journal ArticleDOI
TL;DR: In this article, the textual relation between two comedies, Tirso de Molina's Amar por senas and Calderon de la Barca's El encanto sin encanto, was studied in detail.
Abstract: This paper studies in detail the textual relation between two comedies: Tirso de Molina’s Amar por senas and Calderon de la Barca’s El encanto sin encanto. The main conclusion is that there is no re-writing process as has been argued in general by literary criticism and literary history.

Journal ArticleDOI
TL;DR: In this article, the authors explore and analyze the representation of violence in contemporary Colombian culture, with a focus on La multitud errante (2001) by Laura Restrepo, one of Colombia's foremost writers.
Abstract: This article explores and analyses the representation of violence in contemporary Colombian culture. Violence has come to characterize Colombian society since the onset of the current armed conflict, with devastating consequences for its population. Within this context, the following article examines tendencies in contemporary literary representations of violence, with a focus on La multitud errante (2001) by Laura Restrepo, one of Colombia’s foremost writers. It begins with an outline of the origins and evolution of violence in Colombia in the twentieth century, and draws links with the contemporary crisis. It then goes on to explore the ways in which violence in contemporary Colombian society has been narrativized in political, media, and cultural discourses before focusing on Restrepo’s text to reveal a recent shift in cultural representations of violence. Framing the analysis with regard to recent narratological and cultural studies of the discourse of violence, notably those of Sara Cobb, Yen...