Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.124
Xosé Manuel Sánchez Rei
The language of the traditional Galician songbook of the nineteenth century can be characterised as reflecting a popular and colloquial variety of the language, this due to the way in which these anonymous literary texts were generated and transmitted throughout the Modern Age. However, within this markedly popular register fine examples of grammatical constructions and other usages which can be found, while wholly genuine and legitimate in terms of their place in the language, have been relegated to secondary status or indeed have fallen into disuse in Galicia due to the influence of Castilian Spanish, yet continue to be fully current in other countries where Galician-Portuguese is spoken today. This study will explore how the syntax of the songbook can serve to improve and enrich the current linguistic praxis of Galician, especially of its cultured variety. To this end, I will focus on a number of morphosyntactic phenomena that are normally taken to be idiosyncratic of the Galician-Portuguese linguistic system with respect to other Romance languages, including the inflected infinitive, the future subjunctive, the obligatory modal periphrasis ter de + infinitive, and the direct object (DO) with the feature [+ human] without the preposition a. Finally, I will turn our attention to certain verbal constructions with a notably popular flavour which lend the language an accented air of grammatical authenticity.
十九世纪加利西亚传统歌谣的语言特点是反映了一种通俗和口语化的语言，这是由于这些匿名的文学文本在整个现代社会中产生和传播的方式。然而，在这一明显的通俗语系中，可以找到一些语法结构和其他用法的优秀范例，虽然就其在语言中的地位而言是完全真实和合法的，但由于受到卡斯蒂利亚西班牙语的影响，这些范例在加利西亚已退居次要地位，甚至已被废弃，但在今天使用加利西亚葡萄牙语的其他国家中却仍然十分流行。本研究将探讨歌本的句法如何有助于改善和丰富加利西亚语，尤其是其文化语种的当前语言实践。为此，我将重点研究加利西亚-葡萄牙语语言系统与其他罗曼语言相比通常被认为具有特异性的一些形态句法现象，包括变位不定式、将来时从句、强制性情态双关语 ter de + 不定式和不带介词 a 的具有 [+ 人] 特征的直接宾语 (DO)。最后，我将把注意力转向某些具有明显流行色彩的动词结构，这些结构为语言增添了语法真实感。
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.114
N. Mínguez, Isleny Cruz-Carvajal
Este artículo analiza la construcción de la subjetividad en La Morte Rouge (Víctor Erice, 2006), Guest (José Luis Guerín, 2010) y Mapa (León Siminiani, 2012), tres películas que representan distintas tendencias en cuanto a la escritura del yo en el ensayo audiovisual español. Se trata de tres generaciones de autores destacados en la evolución de la no ficción audiovisual española. Utilizando un marco conceptual interdisciplinar que contempla la teoría del ensayo y el análisis del discurso, se estudia el referente, el uso del lenguaje y el modo particular en que el yo enuncia y se construye a través de la escritura. Aunque es posible un ensayo fílmico sólo con imágenes, las películas analizadas parten de una práctica cultural en que la imagen y la palabra interactúan para construir un discurso pleno. El artículo revela cómo el soliloquio, el cuaderno de viaje y el diario manifiestan diversos modos de puesta en escena de la subjetividad, pero comparten la construcción del yo en la interacción con el otro, la creación de un espacio íntimo donde el sujeto es tan consciente del enunciado como de la enunciación y la presencia de la identidad en el contexto de una temporalidad histórica.
本文分析了《La Morte Rouge》（Víctor Erice，2006 年）、《Guest》（José Luis Guerín，2010 年）和《Mapa》（León Siminiani，2012 年）中的主体性建构，这三部电影代表了西班牙视听随笔中自我书写的不同趋势。他们是西班牙视听非虚构作品发展史上三代杰出的作者。我们采用跨学科的概念框架，考虑到散文理论和话语分析，研究了指涉对象、语言的使用以及通过写作阐述和构建自我的特殊方式。虽然电影散文仅凭图像就能完成，但所分析的电影从文化实践出发，图像和文字相互作用，构建了一个完整的话语体系。文章揭示了独白、游记和日记如何表现出不同的主体性舞台模式，但都是在与他人的互动中建构自我，创造一个亲密的空间，在这个空间中，主体既有意识地表达，也有意识地表达，以及在历史时间性背景下的身份存在。
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.123
Laura Maria Lojo Rodríguez
This article aims at examining Daisy Johnson’s collection of short stories Fen (2014) and, most particularly, its opening piece “Starver”, through the lens of posthuman feminism by arguing that Johnson’s collection poses forward a relational ontology which refuses to consider human subjectivity as exclusively restricted to the confines of human bodies by blurring traditional boundaries as constitutive of oppositions such as nature/culture, human/non-human, male/female which have traditionally articulated anthropocentric worldviews. Johnson’s focus on the English Fenlands as a borderline, liminal topology mirrors contemporary preoccupations with the porosity and instability of allegedly firm borders and, by extension, of identity. Johnson’s collection ultimately interrogates the relationship between individuals and their environment, radically distressed by human intervention and capitalist consumerism, thus heading to the “sixth extinction” of the Anthropocene.
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.124
Xosé Manuel Sánchez Rei
The language of the traditional Galician songbook of the nineteenth century can be characterised as reflecting a popular and colloquial variety of the language, this due to the way in which these anonymous literary texts were generated and transmitted throughout the Modern Age. However, within this markedly popular register fine examples of grammatical constructions and other usages which can be found, while wholly genuine and legitimate in terms of their place in the language, have been relegated to secondary status or indeed have fallen into disuse in Galicia due to the influence of Castilian Spanish, yet continue to be fully current in other countries where Galician-Portuguese is spoken today. This study will explore how the syntax of the songbook can serve to improve and enrich the current linguistic praxis of Galician, especially of its cultured variety. To this end, I will focus on a number of morphosyntactic phenomena that are normally taken to be idiosyncratic of the Galician-Portuguese linguistic system with respect to other Romance languages, including the inflected infinitive, the future subjunctive, the obligatory modal periphrasis ter de + infinitive, and the direct object (DO) with the feature [+ human] without the preposition a. Finally, I will turn our attention to certain verbal constructions with a notably popular flavour which lend the language an accented air of grammatical authenticity.
十九世纪加利西亚传统歌谣的语言特点是反映了一种通俗和口语化的语言，这是由于这些匿名的文学文本在整个现代社会中产生和传播的方式。然而，在这一明显的通俗语系中，可以找到一些语法结构和其他用法的优秀范例，虽然就其在语言中的地位而言是完全真实和合法的，但由于受到卡斯蒂利亚西班牙语的影响，这些范例在加利西亚已退居次要地位，甚至已被废弃，但在今天使用加利西亚葡萄牙语的其他国家中却仍然十分流行。本研究将探讨歌本的句法如何有助于改善和丰富加利西亚语，尤其是其文化语种的当前语言实践。为此，我将重点研究加利西亚-葡萄牙语语言系统与其他罗曼语言相比通常被认为具有特异性的一些形态句法现象，包括变位不定式、将来时从句、强制性情态双关语 ter de + 不定式和不带介词 a 的具有 [+ 人] 特征的直接宾语 (DO)。最后，我将把注意力转向某些具有明显流行色彩的动词结构，这些结构为语言增添了语法真实感。
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.118
Laura Aldeguer Pardo
This article analyses, from the perspective of gender and affect theory, the representation of Joss Moody, the deceased protagonist of Jackie Kay’s debut novel, Trumpet (1998). This work centres around the portrayal of the transgender stranger, as delineated by those characters who represent the legal and medical discourses during a series of posthumous strange encounters. For that purpose, this article combines close reading techniques with an interdisciplinary theoretical approach to the selected novel, where intersectional perspectives allow for the examination of the literary text. Firstly, I offer an examination of Sara Ahmed’s contemporary theory of strange(r)ness, as well as her model of the sociality of emotion, with a special focus on the model of the stickiness of disgust. This theoretical framework is then applied to the literary analysis of Trumpet, which rests on the juxtaposition of Joss’s (mis)representation, based on the discrepancy between his female birth sex and his lived masculinity.
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.127
Luis M. García-Mainar
El artículo analiza una reconfiguración del realismo en el cine contemporáneo marcada por las nuevas posibilidades de la tecnología digital. Mediante un estudio estilístico de Moonlight (2016), 120 pulsaciones por minuto (2017) y The Last Tree (2019) se exploran las características de un realismo asociado con lo personal y que los estudios de cine no han detectado ya que no coincide exactamente con los dictados de la autobiografía. El artículo propone un acercamiento más flexible a este realismo, ceñido al carácter personal de las historias y su lenguaje cinematográfico, al tiempo que lo sitúa en el marco de la doble lógica digital de inmediatez/hipermediación y analiza la estética de la fisicidad de las tres películas. El resultado es un realismo emparentado con el lenguaje documental de cierto cine estadounidense y europeo, que en su formulación contemporánea utiliza la fisicidad para sugerir autenticidad mediante un estilo intensamente subjetivo.
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.114
N. Mínguez, Isleny Cruz-Carvajal
Este artículo analiza la construcción de la subjetividad en La Morte Rouge (Víctor Erice, 2006), Guest (José Luis Guerín, 2010) y Mapa (León Siminiani, 2012), tres películas que representan distintas tendencias en cuanto a la escritura del yo en el ensayo audiovisual español. Se trata de tres generaciones de autores destacados en la evolución de la no ficción audiovisual española. Utilizando un marco conceptual interdisciplinar que contempla la teoría del ensayo y el análisis del discurso, se estudia el referente, el uso del lenguaje y el modo particular en que el yo enuncia y se construye a través de la escritura. Aunque es posible un ensayo fílmico sólo con imágenes, las películas analizadas parten de una práctica cultural en que la imagen y la palabra interactúan para construir un discurso pleno. El artículo revela cómo el soliloquio, el cuaderno de viaje y el diario manifiestan diversos modos de puesta en escena de la subjetividad, pero comparten la construcción del yo en la interacción con el otro, la creación de un espacio íntimo donde el sujeto es tan consciente del enunciado como de la enunciación y la presencia de la identidad en el contexto de una temporalidad histórica.
本文分析了《La Morte Rouge》（Víctor Erice，2006 年）、《Guest》（José Luis Guerín，2010 年）和《Mapa》（León Siminiani，2012 年）中的主体性建构，这三部电影代表了西班牙视听随笔中自我书写的不同趋势。他们是西班牙视听非虚构作品发展史上三代杰出的作者。我们采用跨学科的概念框架，考虑到散文理论和话语分析，研究了指涉对象、语言的使用以及通过写作阐述和构建自我的特殊方式。虽然电影散文仅凭图像就能完成，但所分析的电影从文化实践出发，图像和文字相互作用，构建了一个完整的话语体系。文章揭示了独白、游记和日记如何表现出不同的主体性舞台模式，但都是在与他人的互动中建构自我，创造一个亲密的空间，在这个空间中，主体既有意识地表达，也有意识地表达，以及在历史时间性背景下的身份存在。
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.123
Laura Maria Lojo Rodríguez
This article aims at examining Daisy Johnson’s collection of short stories Fen (2014) and, most particularly, its opening piece “Starver”, through the lens of posthuman feminism by arguing that Johnson’s collection poses forward a relational ontology which refuses to consider human subjectivity as exclusively restricted to the confines of human bodies by blurring traditional boundaries as constitutive of oppositions such as nature/culture, human/non-human, male/female which have traditionally articulated anthropocentric worldviews. Johnson’s focus on the English Fenlands as a borderline, liminal topology mirrors contemporary preoccupations with the porosity and instability of allegedly firm borders and, by extension, of identity. Johnson’s collection ultimately interrogates the relationship between individuals and their environment, radically distressed by human intervention and capitalist consumerism, thus heading to the “sixth extinction” of the Anthropocene.
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.122
María Magdalena Flores Quesada
This article explores the notion of vulnerability as a condition of potential and openness towards personal transformation and connection with others. The current approach to the notion of vulnerability focuses on challenging and re-orienting its restrictively negative connotation, as the works by Jean-Michel Ganteau and Susana Onega (2017) or Erinn Gilson (2016), among many others, have shown. The notion has also proved useful in connection with political or social action (Butler 2020), as well as in the framework of ethical philosophy (Maillard 2011, Le Blanc 2011). However, analysing vulnerability in contemporary literary works can be problematic, as sometimes the complexity of the notion hinders the representation of the character’s journey through the good and bad. In this article, my aim is to peruse Gail Honeyman’s debut novel, Eleanor Oliphant Is Completely Fine (2017), which has received little critical attention in this area in spite of its popularity following its publication. Addressing the ideal of invulnerability, the connection between vulnerability and social isolation, its movement towards openness to the other, and its portrayal through formal choices, I argue that this text is an example of how contemporary literary works of British fiction contribute to portray the potential that can be found in experiences of vulnerability.
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Pub Date : 2024-02-10DOI: 10.37668/oceanide.v16i.122
María Magdalena Flores Quesada
This article explores the notion of vulnerability as a condition of potential and openness towards personal transformation and connection with others. The current approach to the notion of vulnerability focuses on challenging and re-orienting its restrictively negative connotation, as the works by Jean-Michel Ganteau and Susana Onega (2017) or Erinn Gilson (2016), among many others, have shown. The notion has also proved useful in connection with political or social action (Butler 2020), as well as in the framework of ethical philosophy (Maillard 2011, Le Blanc 2011). However, analysing vulnerability in contemporary literary works can be problematic, as sometimes the complexity of the notion hinders the representation of the character’s journey through the good and bad. In this article, my aim is to peruse Gail Honeyman’s debut novel, Eleanor Oliphant Is Completely Fine (2017), which has received little critical attention in this area in spite of its popularity following its publication. Addressing the ideal of invulnerability, the connection between vulnerability and social isolation, its movement towards openness to the other, and its portrayal through formal choices, I argue that this text is an example of how contemporary literary works of British fiction contribute to portray the potential that can be found in experiences of vulnerability.
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