Revista de Estudios Hispánicos最新文献

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Structures Do March in the Streets: De Certeauian Tactics in Jorge Volpi's "Tetralogy of Power" 结构在街道上行进:豪尔赫·沃尔皮《权力四部曲》中的德塞尔式策略

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901499

Kevin M. Anzzolin

Abstract:This article examines Jorge Volpi's "Tetralogy of Power" (En busca de Klingsor, El fin de la locura, Tiempo de cenizas, and Memorial del engaño) alongside Michel de Certeau's thought—especially The Practice of Everyday Life (1980). Volpi's narrative includes a significant number of themes and plotlines consonant with De Certeau's philosophical meditations. Volpi likely cultivates his works' affinities with De Certeau's hallmark concepts of "strategy," "tactics," and "making do" as part of a larger literary project already defined by Ignacio Sánchez Prado as "strategic Occidentalism" (2018). While most scholarly interventions attempt to interpret only one of the tetralogy's novels or treat Volpi's series as a trilogy, this article pinpoints two overarching commonalities in the texts: tactical walking and artistic consumption. The article also ties together gaps in criticism surrounding Volpi's series and clarifies its philosophical, political, and marketplace meaning.Ultimately, Volpi's tetralogy proposes that micropolitical, commonplace practices—whether walking, consuming, or reading—may produce a heterogeneity of voices in terms of politics and literature. Like De Certeau, Volpi optimistically asserts a tenacious, hopeful, and agentive subjectivity that makes small interventions to undo the doxa of politicians and publishing houses.

摘要:本文将乔治·沃尔皮的《权力四部曲》(En busca de Klingsor, El fin de la locura, Tiempo de cenizas, Memorial del engaño)与米歇尔·德·塞托的《日常生活的实践》(1980)进行比较。沃尔皮的叙述包含了大量与德·塞托哲学思考一致的主题和情节。沃尔皮很可能将他的作品与德塞托的标志性概念“战略”、“战术”和“凑合”联系起来，作为伊格纳西奥Sánchez普拉多已经定义为“战略西方主义”(2018)的更大文学项目的一部分。虽然大多数学术干预试图只解释四部曲中的一部小说或将沃尔皮的系列小说视为三部曲，但本文指出了文本中的两个主要共同点:策略行走和艺术消费。本文还将围绕Volpi系列的批评分歧联系在一起，并阐明其哲学、政治和市场意义。最后，沃尔皮的四部曲提出，微观政治、平凡的实践——无论是走路、消费还是阅读——都可能在政治和文学方面产生声音的异质性。像德·塞托一样，沃尔皮乐观地主张一种顽强的、充满希望的、能动性的主体性，这种主体性可以通过微小的干预来消除政治家和出版社的束缚。

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引用次数: 0

Beyond Babel: Translations of Blackness in Colonial Peru and New Granada Larissa Brewer-García (review) 超越巴别塔:殖民时期秘鲁和新格拉纳达拉里萨的黑人翻译Brewer-García(评论)

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901503

J. R. Jouve Martín

引用次数: 0

Más allá de una mirada extractiva: caña y memoria en La tierra y la sombra, de César Acevedo 《超越提取的凝视:土地与阴影中的甘蔗与记忆》，cesar Acevedo著

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901498

Daniel Coral Reyes

Abstract:Set in the sugar cane plantations of Valle del Cauca, Colombia, the film Land and Shade (2015) is a drama about personal loss and ecological crisis. After seventeen years of abandoning his family, Alfonso returns to his old farm to take care of his ailing son, who suffers from an acute respiratory disease. While workers struggle against unfair labor practices in the plantations, the protagonist witnesses the environmental degradation caused by air pollution and soil erosion. Acevedo's debut film epitomizes what María Ospina has called the rural turn in contemporary Colombian cinema—a set of films that dismantle an extractive gaze of the landscape by unearthing its social and cultural memory. However, while critics have analyzed how the film's plot connects to current debates about structural violence and land distribution in a transitional context, this essay pays attention to the film's botanic imaginary. By focusing on its haptic visuality and its representation of plants, I argue that Land and Shade displays new scenarios of ethical interdependence and cohabitation with the non-human: an urgent task in a present marked by the rapid decline of biodiversity.

摘要:电影《土地与阴影》(2015)以哥伦比亚考卡谷的甘蔗种植园为背景，讲述了个人损失和生态危机。在离开家庭17年后，阿方索回到他的老农场照顾他患有急性呼吸道疾病的儿子。当工人们在种植园里与不公平的劳动行为作斗争时，主人公目睹了空气污染和土壤侵蚀造成的环境恶化。阿塞维多的处女作集中体现了María奥斯皮纳所说的当代哥伦比亚电影的乡村转向——一系列电影通过挖掘其社会和文化记忆，消除了对风景的掠取性关注。然而，虽然评论家们已经分析了电影的情节如何与当前关于转型背景下结构性暴力和土地分配的辩论联系起来，但本文关注的是电影的植物想象。通过关注其触感视觉和植物的表现，我认为《土地与阴影》展示了与非人类道德相互依存和共存的新场景:在生物多样性迅速下降的今天，这是一项紧迫的任务。

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引用次数: 0

Embodied Archive: Disability in Post-Revolutionary Mexican Cultural Production by Susan Antebi (review) 体现档案:革命后墨西哥文化生产中的残疾苏珊·安特比(书评)

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901509

Pavel Andrade

引用次数: 3

Revolutionary Visions: Jewish Life and Politics in Latin American Film by Stephanie Pridgeon (review) 《革命的视野:拉丁美洲电影中的犹太人生活与政治》作者:斯蒂芬妮·普里吉翁

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901506

A. Huberman

引用次数: 0

The Secret to Catalan Political Identity in Ventura Pons's Barcelona (un mapa) 文图拉·庞斯的《巴塞罗那:加泰罗尼亚政治认同的秘密》

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901500

C. Valero

Abstract:This article examines the representation of Catalan identity in Ventura Pons's 2007 film Barcelona (un mapa). The discussion breaks down the daring, anti-objectivistic ways in which Pons revisits early Francoism in order to denounce the regime's essentialist rhetoric and counter its lasting imprint on the city of Barcelona. Special emphasis is devoted to the film's complex portrayal of those members of the Catalan bourgeoisie who supported Franco, a portrayal that foregrounds secrecy and the practice of cross-dressing as a fitting sociopolitical metaphor. First, the adoption of an anthropological perspective illuminates the dynamics of the massive religious events that allowed individuals to affect their adhesion to the Francoist state in public. Secondly, a Derridean examination of the act of cultural transmission in the film suggests that Pons invites spectators to experience the violence inherent in Catalan heritage in order to overcome its despotic hold on contemporary politics and culture. The conclusion argues that Barcelona (un mapa) centers often neglected processes of construction and performance of identity and opposes the notion that constructed identities need be "false."

摘要:本文考察了文图拉·庞斯2007年的电影《巴塞罗那》(un mapa)中加泰罗尼亚身份的表现。讨论打破了庞斯大胆的反客观主义的方式，庞斯为了谴责该政权的本质主义言论，反击其对巴塞罗那市的持久影响，重访了早期弗朗哥主义。影片特别强调了对那些支持佛朗哥的加泰罗尼亚资产阶级成员的复杂刻画，这种刻画突出了秘密和变装的实践，作为一种合适的社会政治隐喻。首先，采用人类学的观点阐明了大规模宗教事件的动态，这些事件允许个人在公共场合影响他们对弗朗哥主义国家的依附。其次，电影中对文化传播行为的Derridean式审视表明，Pons邀请观众体验加泰罗尼亚遗产中固有的暴力，以克服其对当代政治和文化的专制控制。结论认为，巴塞罗那(un mapa)中心经常忽视身份的构建和表现过程，并反对被构建的身份必须是“虚假”的概念。

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引用次数: 0

La Hermosa Carne: el cuerpo en la poesía puertorriqueña actual by Juan Pablo Rivera (review) 美丽的肉体:当代波多黎各诗歌中的身体，胡安·巴勃罗·里维拉(评论)

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901505

Benigno Trigo

引用次数: 0

Alone Together: Poetics of the Passions in Late Medieval Iberia by Henry Berlin (review) 《一起孤独:中世纪晚期伊比利亚的激情诗学》作者:亨利·伯林(书评)

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901504

Núria Silleras-Fernández

引用次数: 0

Riot and Rebellion in Mexico: The Making of a Race War Paradigm by Ana Sabau (review) 《墨西哥的暴乱与叛乱:种族战争范式的形成》作者:安娜·萨波

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901501

Brian Gollnick

This book argues that race became the central category for criminalizing poverty and justifying state violence against Mexico’s popular classes during the nineteenth century. With this thesis, Sabau contradicts the assumption that ideologies of mestizaje dominated post-independence Mexican nationalism. She instead emphasizes a reconstitution of ethnic hierarchies around a “race war paradigm,” by which she means an expanding use of state violence against subordinate ethnic groups to explain and address social tensions. Sabau studies the late eighteenth through the early twentieth centuries. Her discussions are deeply argued both academically and historically. Her exposition is exemplary. The only concerns that arise relate to the framing of her conclusions and the weight of the evidence for her historical claims. Riot and Rebellion has three sections, each containing two chapters. The first section deals with disturbances in the silver mining region north of Mexico City during the eighteenth century. Sabau draws on administrative reports to show that military suppression of the unrest was informed by a desire to regulate racial groups. She then uses sources closer to the insurgents to argue that popular actors had an awareness of systemic racial oppression. The second section presents reactions in Mexico to the Haitian Revolution. The translation of a Dessalines biography illustrates how fears of racial conflict built elite solidarity by defining whiteness in ways that stressed differences with Haiti. Sabau contrasts that perspective with the attitudes of key figures in the Latin American independence movement who saw Haiti as a positive impetus toward freedom even as they broadened race as the determining lens on politics. The final section of the book deals with the Caste War in Yucatán, often considered the most successful indigenous rebellion in the Americas. Sabau traces how liberal elites expanded the legal framework around warfare as a justification for selling Maya people into indentured servitude in Cuba. She then shifts to focusing on how the rebel-held territories on the peninsula were conceived in maps, novels, military dispatches, and travel writing. Generally understood as blank spaces or zones outside state control, the rebel areas in Yucatán gave license to migration projects aimed at bringing either new colonizers from Europe or forced laborers from Africa, Asia, or other indigenous regions in Mexico. Although the Caste War polarized Yucatecan society more than other parts of Mexico, Sabau maintains that its aftermath demonstrates how state violence was used to address “the criminalization of racialized poverty” (216). The ease with which Riot and Rebellion can be synthesized points to Sabau’s precision. This book is deeply researched and admirably written. Perhaps most importantly, Riot and Rebellion brings recent perspectives on race from other contexts to bear on Mexican national consolidation. Given the prominence of Enrique D

这本书认为，在19世纪，种族成为将贫困定为犯罪的核心范畴，并为国家对墨西哥大众阶级的暴力辩护。在这篇论文中，Sabau反驳了mestizaje意识形态主导独立后墨西哥民族主义的假设。相反，她强调围绕“种族战争范式”重构种族等级，她的意思是扩大对从属种族群体的国家暴力的使用，以解释和解决社会紧张局势。Sabau研究18世纪末到20世纪初。她的讨论在学术上和历史上都有深刻的争论。她的论述堪称典范。唯一引起关注的是她的结论的框架和她的历史主张的证据的分量。《暴动与反抗》有三个章节，每个章节包含两章。第一部分论述了18世纪墨西哥城北部银矿地区的骚乱。萨巴乌援引行政报告表明，对动乱的军事镇压是出于管制种族群体的愿望。然后，她利用更接近起义者的资料来论证，受欢迎的演员意识到了系统性的种族压迫。第二部分是墨西哥对海地革命的反应。德萨林传记的翻译说明了对种族冲突的恐惧如何通过强调与海地的差异来定义白人，从而建立精英团结。Sabau将这种观点与拉丁美洲独立运动中的关键人物的态度进行了对比，他们认为海地是走向自由的积极推动力，即使他们将种族作为政治的决定性镜头。这本书的最后一部分涉及Yucatán的种姓战争，通常被认为是美洲最成功的土著叛乱。Sabau追溯了自由派精英如何扩大战争的法律框架，以此作为将玛雅人卖到古巴当契约奴隶的理由。然后，她转而关注叛军在半岛上控制的领土是如何在地图、小说、军事电报和旅行写作中被构想出来的。通常被理解为国家控制之外的空白或区域，Yucatán的反叛地区为移民项目提供了许可证，旨在从欧洲引进新殖民者，或从非洲、亚洲或墨西哥其他土著地区引进强制劳工。尽管种姓战争使尤卡坦社会比墨西哥其他地区更加两极化，但Sabau坚持认为，它的后果证明了国家暴力是如何被用来解决“种族化贫困的犯罪化”(216)。暴乱和叛乱的合成很容易，这说明了萨巴乌的精确性。这本书研究深入，写得令人钦佩。也许最重要的是，《Riot and Rebellion》将其他背景下的种族观点带入了墨西哥国家整合中。鉴于恩里克·杜塞尔、沃尔特·米尼奥洛和Aníbal·基哈诺在种族讨论中的突出地位

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引用次数: 0

Reality TV, Poverty Porn, and the "Money Shot": Performing Female Incarceration in Los caballeros las prefieren presas by Minerva Valenzuela 真人秀电视，贫穷色情，和“金钱射击”:表演女性监禁在Los caballeros las prefieren presas由Minerva Valenzuela

Revista de Estudios Hispánicos

Pub Date : 2023-03-01 DOI: 10.1353/rvs.2023.a901497

Christina Baker

Abstract:In her teatro-cabaret piece Los caballeros las prefieren presas, Minerva Valenzuela offers a searing critique of the inconceivably cruel abuses women suffer in Mexico's prison system. She does so by way of the charming protagonist Marilynares. Taking center stage with platinum blonde hair, red lipstick, a white body suit, and black heels, she channels the glamour of Marilyn Monroe. However, Marilynares is not an actress, but an inmate at the fictional Santa Martha Lamitas prison, hence the blue smock she wears over her form-fitting outfit. She is also contestant No. 10, competing for her freedom on the metatheatrical reality show "Hoy se decide mi vida." Coached and directed by an invisible voz en off belonging to Mr. Destino, the show's producer and host, Marilynares is instructed to share the most intimate details related to prison life by way of confessional addresses and musical numbers. However, when our protagonist realizes she is being exploited, she decidedly rejects and subverts central tenets of the neoliberal gameshow model: stark individualism and the sought-after "money shot." In refusing to play by someone else's rules, Marilynares hopes her audience will find compassion not just for her, but also for the thousands of women locked away across Mexico.

摘要:密涅瓦·巴伦苏埃拉在她的歌剧-歌舞作品中，对墨西哥监狱系统中女性遭受的难以想象的残酷虐待进行了尖锐的批评。她通过迷人的主人公玛丽利纳雷斯做到了这一点。淡金色的头发、红色的口红、白色的紧身衣和黑色的高跟鞋，她占据了舞台的中心，展现了玛丽莲·梦露的魅力。然而，玛丽莉娜斯并不是一名演员，而是虚构的圣玛莎·拉米塔斯监狱的一名囚犯，因此她在合身的衣服外面穿了一件蓝色的罩衫。她也是10号选手，在超戏剧真人秀“Hoy se decide mi vida”中争夺自由。在节目的制片人兼主持人德斯蒂诺的一个隐形助手的指导和指导下，玛丽琳娜雷斯被要求通过忏悔地址和音乐数字来分享与监狱生活有关的最私密的细节。然而，当我们的主人公意识到自己被剥削时，她果断地拒绝并颠覆了新自由主义游戏模式的核心原则:赤裸裸的个人主义和备受追捧的“金钱射击”。在拒绝按别人的规则行事的过程中，玛丽里纳雷斯希望她的观众不仅会同情她，也会同情墨西哥各地成千上万被关押的女性。

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