{"title":"Alligator Gar and Other Poems","authors":"Thomas Parrie","doi":"10.1353/SOQ.2016.0005","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0005","url":null,"abstract":"","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"294 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113966901","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}
The décima, popular since its origin in sixteenth-century Spain, entered Louisiana with late eighteenth century settlers from the Canary Islands. These settlers, known as the Isleños, formed a closely-bound enclave that resisted all outsiders. Slowly, however, natural and economic factors forced them to leave behind their lifestyle of fi shing and trapping and to join the adjacent English-speaking communities. Social change notwithstanding, they have worked as a community to preserve their heritage into the new millennium. One valued memento of their language and culture is the décima. Mixing tradition with community experiences, the Isleños maintained traditional décimas, adopted others, and created their own. (Hispania 447)
{"title":"Are Isleño décimas really décimas?: Tracking Media and Memory in Spanish-Speaking Louisiana","authors":"J. Gillespie","doi":"10.1353/SOQ.2016.0011","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0011","url":null,"abstract":"The décima, popular since its origin in sixteenth-century Spain, entered Louisiana with late eighteenth century settlers from the Canary Islands. These settlers, known as the Isleños, formed a closely-bound enclave that resisted all outsiders. Slowly, however, natural and economic factors forced them to leave behind their lifestyle of fi shing and trapping and to join the adjacent English-speaking communities. Social change notwithstanding, they have worked as a community to preserve their heritage into the new millennium. One valued memento of their language and culture is the décima. Mixing tradition with community experiences, the Isleños maintained traditional décimas, adopted others, and created their own. (Hispania 447)","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134348768","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}
{"title":"Televangelism, the South, Modernity, and Darcey Steinke’s Jesus Saves","authors":"W. L. Hogue","doi":"10.1353/SOQ.2016.0013","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0013","url":null,"abstract":"","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"1994 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125543890","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}
{"title":"“Acting It Out Like a Play”: Flipping the Script of Kitchen Spaces in Faulkner’s Light in August","authors":"Carrie Helms Tippen","doi":"10.1353/soq.2016.0017","DOIUrl":"https://doi.org/10.1353/soq.2016.0017","url":null,"abstract":"","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132323691","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}
{"title":"The Cemetery at Grand Coteau","authors":"Stella Nesanovich","doi":"10.1353/SOQ.2016.0003","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0003","url":null,"abstract":"","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130048266","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}
In Tim O’Brien’s The Things They Carried, the story “How to Tell a True War Story” grapples with the nature of truth in fi ction. O’Brien (both the author and the character) claims that truth is found not in the happening truth—the historically accurate facts—but instead in the story truth—the emotionally resonant telling that “makes the stomach believe” (78). In an aesthetic reading of the short story collection, critic Robin Silbergleid argues that the apparent autobiographical form the novel takes directly refl ects O’Brien’s statements about the nature of truth as performative and ultimately unknowable. She concludes,
在蒂姆·奥布莱恩(Tim O 'Brien)的《他们携带的东西》(The Things They Carried)中，“如何讲述一个真实的战争故事”(How to Tell a True War story)这个故事与小说中真实的本质作了斗争。奥布莱恩(作者和角色都是如此)声称，真相不存在于发生的真相中——历史上准确的事实——而是存在于故事的真相中——那种能引起情感共鸣的、“让胃相信”的讲述。在对这部短篇小说集的美学解读中，评论家罗宾·西尔伯格莱德认为，这部小说明显采用的自传体形式直接反映了奥布莱恩关于真理本质是表演的、最终是不可知的观点。她总结说,
{"title":"Making the Lie True: Tennessee Williams’s Cat on a Hot Tin Roof and Truth as Performance","authors":"Rebecca Holder","doi":"10.1353/SOQ.2016.0007","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0007","url":null,"abstract":"In Tim O’Brien’s The Things They Carried, the story “How to Tell a True War Story” grapples with the nature of truth in fi ction. O’Brien (both the author and the character) claims that truth is found not in the happening truth—the historically accurate facts—but instead in the story truth—the emotionally resonant telling that “makes the stomach believe” (78). In an aesthetic reading of the short story collection, critic Robin Silbergleid argues that the apparent autobiographical form the novel takes directly refl ects O’Brien’s statements about the nature of truth as performative and ultimately unknowable. She concludes,","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126852669","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}
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