Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4298
Mónica García Morgado
This article draws on various theories and studies about the color line, colorism, and racial passing in African American culture, history, and literature to examine the themes of colorism and passing for white in Brit Bennett’s 2020 novel The Vanishing Half. This article juxtaposes Bennett’s novel alongside earlier works written by twentieth-century African American women writers, underscoring Bennett’s intertextual influences, which include Nella Larsen’s Passing (1929), Zora Neale Hurston’s Their Eyes Were Watching God (1937), and Toni Morrison’s The Bluest Eye (1970), Sula (1973), and God Help the Child (2015). As Bennett revises and incorporates earlier novels into her own, she redeems tragic female characters such as Pecola Breedlove and Clare Kendry, highlights the persistence and damage of colorism, updates the passing narrative, and defies stereotypes about Black women. It concludes that in The Vanishing Half, Bennett proposes a fresh path for twenty-first-century African American fiction through the themes of colorism and passing for white in her rewriting of African American women’s literary tradition.
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Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4297
Carmen María Fernández Rodríguez
Maria Edgeworth (1767-1849) has recently attracted the interest of postcolonial studies for her portrayal of cultural stereotypes at the turn of the nineteenth century. In this paper I insist on the close connection between Edgeworth’s “The Limerick Gloves” (Popular Tales 1804) and Harrington (1817). By drawing on a close reading of the stories and previous research on Edgeworth’s oeuvre, I argue that in Harrington Jews share with the Irish a common landless condition and both are seen as a cultural menace. Cultural identity is here taken as the set of values that relate the individual to the world and reflects historical experiences and shared codes while Jewishness and Irishness refer to perceiving people as Jew or Irish with all the connotations that go with them. I maintain that the approach to woman in both narratives has to be associated with Irishness since both women and the Irish are discriminated in terms of prejudice and ethnic othering in relation to what was being presented as normative English society. “The Limerick Gloves” is paramount to understand Edgeworth’s attack against fanaticism in Harrington because the latter involves evolution in technique that makes her narrative so enticing even for readers nowadays.
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Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4295
Patricia Bastida-Rodríguez, Gloria Bosch-Roig
This article discusses a literary tendency which has emerged in connection with new migratory movements, popular literature and consumer culture in the context of Mallorca. This Mediterranean island receives thousands of tourists every year and currently hosts a significant number of what Laurence A. G. Moss (1994) has called “amenity migrants”, most of them from Germany and English-speaking countries. By focusing on a number of narratives produced by amenity migrants on Mallorca, this paper addresses some of the main features shared by these texts, such as their birth as consumer products for a very specific audience and their idealised view of Mallorcan culture, and contends that a central characteristic of the new trend is its hybrid nature, as it combines fiction – usually crime fiction or romance – with the kind of information expected in a travel guide for tourists.
本文探讨了马略卡语境下新移民运动、通俗文学和消费文化所产生的一种文学倾向。这个地中海岛屿每年接待成千上万的游客，目前接待了大量劳伦斯·a·g·莫斯(Laurence a . G. Moss, 1994)所说的“舒适移民”，其中大多数来自德国和英语国家。通过关注一些叙述由礼仪移民在马略卡岛,本文地址由这些文本共享的一些主要特征,比如他们的出生作为一个非常具体的消费产品观众和他们的理想化马略卡文化的观点,并认为中央新趋势的特征是它的混合特性,因为它结合了小说——通常是犯罪小说或浪漫的信息将在游客的旅游指南。
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Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4305
Amanda Ellen Gerke
{"title":"Moya-Guijarro, A. Jesús and Eija Ventola, editors. A Multimodal Approach to Challenging Gender Stereotypes in Children’s Picture Books. Routledge, 2021. 306 pages","authors":"Amanda Ellen Gerke","doi":"10.35869/afial.v0i31.4305","DOIUrl":"https://doi.org/10.35869/afial.v0i31.4305","url":null,"abstract":"","PeriodicalId":137533,"journal":{"name":"Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128390441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4303
Andrea Valeiras Fernández
El País de las Maravillas que se presenta por primera vez en Alice’s Adventures in Wonderland de Lewis Carroll (1865) es, a día de hoy, fácilmente reconocible en cualquier adaptación o a través de todo tipo de referencias, desde canciones como I am the Walrus (John Lennon para The Beatles, 1967) hasta expresiones como “seguir al Conejo Blanco”. Esto sucede porque el escritor logró crear un mundo que se diferencia de cualquier otro universo fantástico, y lo hizo a través del sueño de una niña; Alicia es por tanto la que concibe ese mundo, siendo fruto de su imaginación. Esto implica que el País de las Maravillas es el escenario narrativo que inventaría una niña del Oxford victoriano. La propia realidad de la protagonista es la base para que todo un reino de nonsense cobre vida. Este trabajo investiga dichas bases, a fin de comprender cómo Alicia, en la mente de Carroll, concibió el mundo fantástico en el que se adentra en Alice ‘s Adventures in Wonderland y Through the Looking-Glass.
给出的仙境爱丽丝s Adventures in首次奇景Lewis Carroll(1865年),今天很容易辨认出任何调整或通过各式各样的引用,如I am the Walrus》(约翰·列侬的歌曲《披头士》、1967年)到白兔子的词语“继续”。这是因为作者成功地创造了一个不同于其他奇幻宇宙的世界，他是通过一个女孩的梦想实现的;因此，爱丽丝是那个构想这个世界的人，是她想象的结果。这意味着《仙境》是维多利亚时代的牛津女孩所创造的叙事场景。主人公自己的现实是整个无稽之谈王国生命的基础。《爱丽丝梦游仙境》(Alice’s Adventures in Wonderland)和《镜中奇缘》(Through the looking glass)中的爱丽丝是如何在卡罗尔的脑海中构想出她所进入的奇幻世界的。
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Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4299
Eva M. Pérez Rodríguez
My analysis of Victoria Hislop’s The Island (2005), Leah Fleming’s The Girl under the Olive Tree (2013), Sofka Zinovieff’s The House on Paradise Street (2012), and Brenda Reid’s The House of Dust and Dreams (2010) examines their treatment of the exotic setting of Greece in the specific historical context of World War II, while following the conventions of popular romance or popular women’s fiction. As a consequence of the conflict, the traditional family structure is compromised. This is particularly evident in the case of the female protagonists, heroines who refuse to fall within the traditional happyever-after ending and opt for a fulfilling career, a longfelt vocation, singlehood or simply unusual friendships of their choice. As a result, even in novels categorized as “romances”, the presence of a hero or lover is questioned and redefined. My analysis starts with Victoria Hislop’s The Island, a historical narrative of the leper colony at Spinalonga, around the time of the Second World War. For comparative purposes regarding the treatment of popular fiction elements, Brenda Reid’s The House of Dust and Dreams and Leah Fleming’s The Girl under the Olive Tree are discussed as being more generically romantic. Finally, Sofka Zinovieff’s The House on Paradise Street offers an example of a cohesive, compact combination of political confrontation and popular romance, while at the same time England appears as the counterpoint to the exoticism of Greece.
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Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4302
Miguel Sanz Jiménez
Este artículo aborda la traducción española de A Childhood: The Biography of a Place. La autobiografía de Harry Crews se publicó en 1978 y se tradujo al castellano en 2014, cuando la editorial Acuarela y A. Machado editó la versión de Javier Lucini. A Childhood se inscribe en el subgénero de la Grit Lit, pues narra las vidas de los blancos pobres en la Georgia de finales de los años treinta y la protagonizan los freaks que suelen asociarse con el Otro en la literatura estadounidense canónica. El libro da voz a la alteridad y retrata su variedad lingüística no estándar. Este trabajo observa cómo el dialecto literario de A Childhood recrea ciertos rasgos del inglés sureño estadounidense, los cuales suponen un reto traductológico. Se describen los contextos fuente y meta y se examinan la recepción de la obra y los paratextos que la acompañan. Se analizan las estrategias de Lucini para verter al castellano el dialecto literario de A Childhood y se muestra cómo recrea las voces sureñas al introducir marcas no estándar y una serie de notas, las cuales enfatizan la narrativa de Nosotros contra la Alteridad en el texto meta.
本文讨论了《童年:一个地方的传记》的西班牙语译本。哈里·克鲁斯的自传于1978年出版，并于2014年被翻译成西班牙语，当时出版商Acuarela y A. Machado编辑了哈维尔·卢奇尼的版本。《童年》属于沙砾文学亚流派，因为它记录了20世纪30年代末乔治亚州贫穷白人的生活，由美国经典文学中经常与他人联系在一起的怪人主演。这本书为他者发声，并描绘了他非标准的语言多样性。本文观察了《童年》的文学方言是如何再现美国南部英语的某些特征的，这在翻译学上是一个挑战。本研究的目的是分析作者在写作过程中所扮演的角色，以及他们在写作过程中所扮演的角色。本文分析了卢西尼将《童年》的文学方言翻译成西班牙语的策略，并展示了他如何通过引入非标准标记和一系列注释来重新创造南方的声音，这些注释强调了我们对他者的叙事。
{"title":"La traducción española de las voces rurales y sureñas: Una infancia de Harry Crews","authors":"Miguel Sanz Jiménez","doi":"10.35869/afial.v0i31.4302","DOIUrl":"https://doi.org/10.35869/afial.v0i31.4302","url":null,"abstract":"Este artículo aborda la traducción española de A Childhood: The Biography of a Place. La autobiografía de Harry Crews se publicó en 1978 y se tradujo al castellano en 2014, cuando la editorial Acuarela y A. Machado editó la versión de Javier Lucini. A Childhood se inscribe en el subgénero de la Grit Lit, pues narra las vidas de los blancos pobres en la Georgia de finales de los años treinta y la protagonizan los freaks que suelen asociarse con el Otro en la literatura estadounidense canónica. El libro da voz a la alteridad y retrata su variedad lingüística no estándar. Este trabajo observa cómo el dialecto literario de A Childhood recrea ciertos rasgos del inglés sureño estadounidense, los cuales suponen un reto traductológico. Se describen los contextos fuente y meta y se examinan la recepción de la obra y los paratextos que la acompañan. Se analizan las estrategias de Lucini para verter al castellano el dialecto literario de A Childhood y se muestra cómo recrea las voces sureñas al introducir marcas no estándar y una serie de notas, las cuales enfatizan la narrativa de Nosotros contra la Alteridad en el texto meta.","PeriodicalId":137533,"journal":{"name":"Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125575436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4296
Raquel Blave Gómez
Although it does not seem to be particularly groundbreaking in today’s world, I contend in this essay that the story Nathaniel Hawthorne tells in The Blithedale Romance was radically forward-thinking for his contemporary society. Analyzing it from a contemporary perspective, some feminist scholars have argued that the depiction of female characters is misogynist. In addition, the narrator is often considered to be unreliable and, as such, a failure. Drawing mainly on the theory of Foucault, this article argues that Hawthorne uses an unreliable narrator to interrogate patriarchal monologic discourses and to create a narrative space for the voice of Zenobia, the book’s feminist character, to be heard. Gender and genre considerations are particularly intertwined in the text. Thus, while Coverdale’s narrative empowers Zenobia’s voice, Hawthorne’s use of romance challenges established genre conventions. I claim that The Blithedale Romance challenges patriarchal authority by presenting Zenobia as a more reliable and powerful voice than that of the male narrator.
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Pub Date : 2022-12-16DOI: 10.35869/afial.v0i31.4300
Nora Rodríguez Loro
Jorge de Montemayor’s Diana (c. 1559) provides an excellent example of the cultural interplay between tradition and originality in the Renaissance. Its immediate widespread popularity and subsequent influence are demonstrated by the vast number of editions and translations of Montemayor’s masterpiece, as well as the sequels by Alonso Pérez and Gaspar Gil Polo. By 1600, forty-three reprints had been published, in addition to eight editions in French and the English translation by Bartholomew Yong. Although written in the early 1580s, when Sir Philip Sidney penned the Arcadia, Yong’s version remained unpublished until 1598. The lavish folio, which also included the two sequels, was dedicated to Lady Penelope Rich, a most influential noblewoman and eminent patroness, also known for being the model of Sidney’s “Stella.” That very same year a new folio edition of the Arcadia was published together with Astrophil and Stella. Yong’s dedication to Lady Rich aimed at enhancing his translation by capitalising on the popular acclaim of Sidney’s works, as well as Lady Rich’s connection with the venerated poet. In addition, by choosing this dedicatee, Yong attempted to capture the attention of her brother, Robert Devereux, Queen Elizabeth’s favourite.
豪尔赫·德·蒙特马约尔的《戴安娜》(约1559年)是文艺复兴时期传统与原创文化相互作用的绝佳范例。它的广泛流行和随后的影响可以从蒙特马约尔的杰作的大量版本和翻译中得到证明，以及阿隆索·帕齐雷斯和加斯帕·吉尔·波罗的续集。到1600年，除了8个法语版本和巴塞洛缪·杨(Bartholomew Yong)的英文译本外，还出版了43个再版。虽然写于1580年代初，当时菲利普·西德尼爵士(Sir Philip Sidney)正在创作《阿卡迪亚》(Arcadia)，但杨的版本直到1598年才出版。这部包括两部续集在内的豪华作品集是献给佩内洛普·里奇夫人(Lady Penelope Rich)的，她是一位最有影响力的贵妇和杰出的女赞助人，也以西德尼的《斯特拉》(Stella)的模特而闻名。就在同一年，阿卡迪亚与阿斯特罗菲尔和斯特拉一起出版了一本新的对开本。杨勇勇致力于《Rich Lady》的翻译，目的是利用悉尼作品的广受欢迎，以及Rich Lady与这位受人尊敬的诗人的联系，来提高他的翻译水平。此外，通过选择这个献礼人，杨试图吸引她的哥哥罗伯特·德弗罗的注意，罗伯特·德弗罗是伊丽莎白女王的最爱。
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