{"title":"The Art of Pere Joan: Space, Landscape, and Comics Form by Benjamin Fraser (review)","authors":"Ana Merino","doi":"10.1353/rvs.2021.0030","DOIUrl":"https://doi.org/10.1353/rvs.2021.0030","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126148604","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}
review of some of the publications of the period, like magazines and photobooks. The establishment of the Asociación de Fotógrafos Independientes (AFI) in 1981 is particularly relevant to the consolidation of the field. In the fourth and last chapter, Donoso explores the tense relation between independent magazines and the regime; the author also describes how images were crucial for the regime in its attempts to censor and control any act of dissent. In 1984, authorities banned the independent press from publishing any image, in what is known as the Edict number 19. In response to this violent form of suppression, the independent press creatively reacted in an effort to mock and resist censorship. The book ends with an epilogue in which Donoso presents a timely reflection on the importance of visual culture in the complex process of remembering the violence of the past, and how photographic practices not only served as a record of what happened during the dictatorship but also determines the narratives that we can articulate from the present. As Donoso states, “I have approached the civicmilitary dictatorship period through the expanding photographic field that materialized during those years in order to emphasize the–paradoxically overlooked–political import of photography in the efforts of the opposition. . . . [photographic practices] played a vital role in the construction of the historical memory of that period” (198). I have personally witnessed the development of this project in conferences and workshops in the last few years, and it is a pleasure to read the result of this long-lasting investigative effort. This book will definitely have an impact on the scholars of the dictatorships in the Southern Cone, and the aftermaths of political violence in post-dictatorial societies. For a number of reasons, Donoso Macaya’s critical intervention will most certainly resonate and open new lines of inquiry about the role of photographic images in our violent past and turbulent present.
回顾这一时期的一些出版物，如杂志和摄影集。1981年成立的Asociación de Fotógrafos独立机构(AFI)与该领域的巩固特别相关。在第四章也是最后一章，多诺索探讨了独立杂志与政权之间的紧张关系;作者还描述了图像对该政权在试图审查和控制任何异议行为时是如何至关重要的。1984年，当局禁止独立媒体发布任何图片，这被称为第19号法令。作为对这种暴力镇压形式的回应，独立媒体创造性地做出反应，努力嘲笑和抵制审查制度。本书以结语结束，在结语中，Donoso及时地反思了视觉文化在记忆过去暴力的复杂过程中的重要性，以及摄影实践如何不仅作为独裁统治期间发生的事情的记录，而且决定了我们从现在可以表达的叙述。正如Donoso所说，“我通过在那些年里形成的不断扩大的摄影领域来接近民事军事独裁时期，以强调在反对派的努力中摄影的政治意义. . . .[摄影实践]在那个时期的历史记忆的建构中发挥了至关重要的作用”(198)。在过去的几年里，我亲自在会议和研讨会上见证了这个项目的发展，很高兴看到这项长期调查工作的结果。这本书肯定会对研究南锥体独裁统治和后独裁社会政治暴力后果的学者产生影响。出于多种原因，Donoso Macaya的批判性介入肯定会引起共鸣，并为摄影图像在我们暴力的过去和动荡的现在所扮演的角色开辟了新的探究路线。
{"title":"Digital Humanities in Latin America ed. by Fernández L'Hoeste, Héctor, and Juan Carlos Rodríguez (review)","authors":"É. Ortega","doi":"10.1353/rvs.2021.0033","DOIUrl":"https://doi.org/10.1353/rvs.2021.0033","url":null,"abstract":"review of some of the publications of the period, like magazines and photobooks. The establishment of the Asociación de Fotógrafos Independientes (AFI) in 1981 is particularly relevant to the consolidation of the field. In the fourth and last chapter, Donoso explores the tense relation between independent magazines and the regime; the author also describes how images were crucial for the regime in its attempts to censor and control any act of dissent. In 1984, authorities banned the independent press from publishing any image, in what is known as the Edict number 19. In response to this violent form of suppression, the independent press creatively reacted in an effort to mock and resist censorship. The book ends with an epilogue in which Donoso presents a timely reflection on the importance of visual culture in the complex process of remembering the violence of the past, and how photographic practices not only served as a record of what happened during the dictatorship but also determines the narratives that we can articulate from the present. As Donoso states, “I have approached the civicmilitary dictatorship period through the expanding photographic field that materialized during those years in order to emphasize the–paradoxically overlooked–political import of photography in the efforts of the opposition. . . . [photographic practices] played a vital role in the construction of the historical memory of that period” (198). I have personally witnessed the development of this project in conferences and workshops in the last few years, and it is a pleasure to read the result of this long-lasting investigative effort. This book will definitely have an impact on the scholars of the dictatorships in the Southern Cone, and the aftermaths of political violence in post-dictatorial societies. For a number of reasons, Donoso Macaya’s critical intervention will most certainly resonate and open new lines of inquiry about the role of photographic images in our violent past and turbulent present.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131033399","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}
six, “Fiction and Reality,” analyzes how, in highlighting its own constructed nature, contemporary Venezuelan fiction encourages its readers to question the official narratives and ideals promoted by the Bolivarian government. Brown masterfully weaves together her analysis of the novels and the cultural, political, and social context that frames them. She thus allows for her readers—whether they are familiar or not with the Venezuelan reality—to understand not only the operations of the Venezuelan literary system, but also how the novels discussed enter in a productive dialogue with broader debates regarding literary movements in Latin America, the relationship between literature and new technologies, and the subversive potential of metafiction. Though she offers a wellresearched and thorough account of the cultural policies that the Bolivarian Revolution introduced and often cites Sesto’s public statements, Chávez’s central role in shaping the Revolution’s cultural vision and his own experimentations with literature (which include the publication in 2012 of Cuentos del arañero) are mostly absent, only appearing briefly in chapter six. This omission productively challenges the often reductive and oversimplifying assumption that “Chávez is the Revolution”; however, it also overlooks the ways in which the novels are responding to Chávez’s own fictional rhetoric and the seemingly endless act of storytelling that framed his political performance. Overall, Brown’s work is an invaluable contribution to the study of contemporary Venezuelan literature that is certain to inspire other academic works on the topic, and that will appeal to readers interested not only in Venezuela and Venezuelan literature, but also in contemporary Latin American literature and the literature of the diaspora.
第六篇“虚构与现实”(Fiction and Reality)，分析当代委内瑞拉小说如何在强调自身建构性质的同时，鼓励读者质疑玻利瓦尔政府所提倡的官方叙述与理想。布朗巧妙地将她对小说的分析与构成小说的文化、政治和社会背景编织在一起。因此，她允许她的读者——无论他们是否熟悉委内瑞拉的现实——不仅了解委内瑞拉文学体系的运作，而且还了解所讨论的小说如何与拉丁美洲文学运动、文学与新技术之间的关系以及元小说的颠覆性潜力等更广泛的辩论进行富有成效的对话。虽然她对玻利瓦尔革命引入的文化政策进行了深入的研究，并经常引用Sesto的公开声明，但Chávez在塑造革命文化愿景方面的核心作用以及他自己对文学的实验(包括2012年出版的Cuentos del arañero)大部分都没有出现，只在第六章中短暂出现。这种遗漏有效地挑战了通常简化和过度简化的假设，即“Chávez是革命”;然而，它也忽略了这些小说对Chávez自己的虚构修辞和看似无休止的讲故事行为的回应方式，这些行为构成了他的政治表现。总的来说，布朗的作品对当代委内瑞拉文学的研究是一个无价的贡献，肯定会激发其他关于这个主题的学术著作，这将吸引读者，不仅对委内瑞拉和委内瑞拉文学感兴趣，而且对当代拉丁美洲文学和流散的文学感兴趣。
{"title":"The Insubordination of Photography. Documentary Practices Under Chile's Dictatorship by Ángeles Donoso Macaya (review)","authors":"Gonzalo Montero","doi":"10.1353/rvs.2021.0031","DOIUrl":"https://doi.org/10.1353/rvs.2021.0031","url":null,"abstract":"six, “Fiction and Reality,” analyzes how, in highlighting its own constructed nature, contemporary Venezuelan fiction encourages its readers to question the official narratives and ideals promoted by the Bolivarian government. Brown masterfully weaves together her analysis of the novels and the cultural, political, and social context that frames them. She thus allows for her readers—whether they are familiar or not with the Venezuelan reality—to understand not only the operations of the Venezuelan literary system, but also how the novels discussed enter in a productive dialogue with broader debates regarding literary movements in Latin America, the relationship between literature and new technologies, and the subversive potential of metafiction. Though she offers a wellresearched and thorough account of the cultural policies that the Bolivarian Revolution introduced and often cites Sesto’s public statements, Chávez’s central role in shaping the Revolution’s cultural vision and his own experimentations with literature (which include the publication in 2012 of Cuentos del arañero) are mostly absent, only appearing briefly in chapter six. This omission productively challenges the often reductive and oversimplifying assumption that “Chávez is the Revolution”; however, it also overlooks the ways in which the novels are responding to Chávez’s own fictional rhetoric and the seemingly endless act of storytelling that framed his political performance. Overall, Brown’s work is an invaluable contribution to the study of contemporary Venezuelan literature that is certain to inspire other academic works on the topic, and that will appeal to readers interested not only in Venezuela and Venezuelan literature, but also in contemporary Latin American literature and the literature of the diaspora.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128591595","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}
Abstract:This essay studies the treatment of Hollywood cinema in the novels of Argentine writer Roberto Arlt, drawing on notions of simulation found in monographs written by sociologists José María Ramos Mejía and José Ingenieros. I argue that Arlt's understanding of the relationship between Hollywood cinema and literature is grounded in a bivalent logic of simulation. On the one hand, Arlt applauds the artistry of film actors and directors, and in his novels he compellingly simulates cinema's innovative techniques of visual representation. On the other, however, he condemns the ideological effects of Hollywood films on mass audiences who, as he sees it, are troublingly attempting to simulate the actions and behaviors of movie stars in order to influence others and get ahead in life. His novels are filled with detailed character studies of such individuals. After reviewing the early-twentieth-century sociological literature on simulation, this essay studies these two sides of Arlt's treatment of Hollywood cinema. It demonstrates that, while Arlt consistently condemns his characters' simulation of cinema, he ultimately must supplement this condemnation with an implicit understanding of artistic simulation that defends the novelist's capacity to simulate the new cinematic medium.
摘要:本文借鉴社会学家jos María Ramos Mejía和jos Ingenieros的专著中的模拟概念，研究了阿根廷作家罗伯托·阿尔特小说中对好莱坞电影的处理。我认为Arlt对好莱坞电影和文学之间关系的理解是建立在模拟的二值逻辑基础上的。一方面，阿尔特赞扬电影演员和导演的艺术，在他的小说中，他令人信服地模拟了电影视觉表现的创新技术。然而，另一方面，他谴责好莱坞电影对大众观众的意识形态影响，在他看来，这些观众试图模仿电影明星的行动和行为，以影响他人并在生活中取得成功，这令人不安。他的小说中充满了对这些人的详细性格研究。在回顾了二十世纪早期关于模拟的社会学文献之后，本文研究了Arlt对待好莱坞电影的这两个方面。这表明，虽然阿尔特一直谴责他的人物对电影的模拟，但他最终必须用对艺术模拟的含蓄理解来补充这种谴责，这种理解捍卫了小说家模拟新电影媒介的能力。
{"title":"Hollywood Cinema and Simulation in the Novels of Roberto Arlt","authors":"Matthew Johnson","doi":"10.1353/RVS.2021.0003","DOIUrl":"https://doi.org/10.1353/RVS.2021.0003","url":null,"abstract":"Abstract:This essay studies the treatment of Hollywood cinema in the novels of Argentine writer Roberto Arlt, drawing on notions of simulation found in monographs written by sociologists José María Ramos Mejía and José Ingenieros. I argue that Arlt's understanding of the relationship between Hollywood cinema and literature is grounded in a bivalent logic of simulation. On the one hand, Arlt applauds the artistry of film actors and directors, and in his novels he compellingly simulates cinema's innovative techniques of visual representation. On the other, however, he condemns the ideological effects of Hollywood films on mass audiences who, as he sees it, are troublingly attempting to simulate the actions and behaviors of movie stars in order to influence others and get ahead in life. His novels are filled with detailed character studies of such individuals. After reviewing the early-twentieth-century sociological literature on simulation, this essay studies these two sides of Arlt's treatment of Hollywood cinema. It demonstrates that, while Arlt consistently condemns his characters' simulation of cinema, he ultimately must supplement this condemnation with an implicit understanding of artistic simulation that defends the novelist's capacity to simulate the new cinematic medium.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125860335","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":"Fértil provincia y señalada: Raúl Ruiz y el campo del cine chileno ed. by Verónica Cortínez (review)","authors":"Andreea Marinescu","doi":"10.1353/RVS.2021.0017","DOIUrl":"https://doi.org/10.1353/RVS.2021.0017","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114453783","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}
Abstract:Central America entered the twenty-first century free of dictatorships and authoritarian regimes yet rife with epidemic violence incited by deep social conflicts and disparities. While the average global homicide rate stands at 6.2 per 100,000 inhabitants, in Guatemala and El Salvador the rate is a staggering 39.9 and 41.2, respectively. How is this phenomenon rendered thematically and aesthetically in Central American narratives of the new century? This essay explores approaches to violence in the novels Diccionario esotérico (2006) by Guatemalan writer Maurice Echeverría, and Camino de hormigas (2014) by Salvadoran writer Miguel Huezo Mixco. These authors lament the turbulent past and violent present from different perspectives and generations. Their sense of nostalgic disappointment embodies critic Svetlana Boym's view of nostalgia as resistance to modernity. Expressions of nostalgic disappointment in these works provoke reflections and questions about past and present, leading readers to visualize possible extra-textual futures of reality.
摘要:中美洲在进入21世纪时已经摆脱了独裁和专制政权，但由于深刻的社会冲突和不平等，暴力泛滥。虽然全球平均凶杀率为每10万居民6.2人，但在危地马拉和萨尔瓦多，这一比率分别达到了惊人的39.9人和41.2人。在新世纪的中美洲叙事中，这种现象是如何在主题上和美学上呈现的?本文探讨了危地马拉作家莫里斯Echeverría的小说《Diccionario esotacimrico》(2006)和萨尔瓦多作家米格尔·休佐·米斯科的小说《Camino de hormigas》(2014)中对暴力的处理方法。这些作者从不同的角度和年代哀叹动荡的过去和暴力的现在。他们的怀旧失望感体现了批评家Svetlana Boym关于怀旧是对现代性的抵抗的观点。这些作品中怀旧失望的表达引发了对过去和现在的反思和质疑，引导读者想象现实的可能的文本之外的未来。
{"title":"Clamando y (re)clamando: Maurice Echeverría y Miguel Huezo Mixco, dos cronistas de la violencia en Centroamérica","authors":"Néfer Muñoz-Solano","doi":"10.1353/RVS.2021.0009","DOIUrl":"https://doi.org/10.1353/RVS.2021.0009","url":null,"abstract":"Abstract:Central America entered the twenty-first century free of dictatorships and authoritarian regimes yet rife with epidemic violence incited by deep social conflicts and disparities. While the average global homicide rate stands at 6.2 per 100,000 inhabitants, in Guatemala and El Salvador the rate is a staggering 39.9 and 41.2, respectively. How is this phenomenon rendered thematically and aesthetically in Central American narratives of the new century? This essay explores approaches to violence in the novels Diccionario esotérico (2006) by Guatemalan writer Maurice Echeverría, and Camino de hormigas (2014) by Salvadoran writer Miguel Huezo Mixco. These authors lament the turbulent past and violent present from different perspectives and generations. Their sense of nostalgic disappointment embodies critic Svetlana Boym's view of nostalgia as resistance to modernity. Expressions of nostalgic disappointment in these works provoke reflections and questions about past and present, leading readers to visualize possible extra-textual futures of reality.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122893472","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}
Abstract:Scholarly accounts of the European encounter with East Asia tend to emphasize the admiration that Europeans held for Chinese and Japanese culture and society, yet the period also exhibited powerful currents of Sinophobia and Japanophobia. In his account of a 1609 visit to Japan, the Mexican criollo Rodrigo de Vivero y Velasco presents an overwhelmingly positive vision of the Japanese that would help support his effort to broker a diplomatic agreement between the Hapsburg Monarchy and the Tokugawa shogunate. A careful reading of the text, nevertheless, reveals the presence of conflicting attitudes toward the Japanese, including a powerful Japanophobic undercurrent probably nurtured by Vivero's prior experience as interim governor of the Philippines. This essay explores how Vivero processes these conflicting attitudes in order to produce, later in life, an image of Japan as an exemplary foil to the Catholic Monarchy in both politics and piety.
摘要:关于欧洲人与东亚相遇的学术描述往往强调欧洲人对中国和日本文化和社会的钦佩，但这一时期也表现出强烈的恐华和恐日思潮。在他1609年访问日本的记录中，墨西哥criollo Rodrigo de Vivero y Velasco对日本人有着压倒性的积极看法，这将有助于他在哈布斯堡王朝和德川幕府之间促成外交协议的努力。然而，仔细阅读文本，就会发现对日本人存在矛盾的态度，包括一股强大的恐日潜流，这可能是由维维罗之前担任菲律宾临时总督的经历所培养的。这篇文章探讨了维维罗如何处理这些相互矛盾的态度，以便在后来的生活中，将日本的形象塑造成天主教君主制在政治和虔诚方面的典范。
{"title":"The Confusions of Idolatry: Rodrigo Vivero, Japan, and the Hapsburg Monarchy","authors":"R. Padrón","doi":"10.1353/RVS.2021.0010","DOIUrl":"https://doi.org/10.1353/RVS.2021.0010","url":null,"abstract":"Abstract:Scholarly accounts of the European encounter with East Asia tend to emphasize the admiration that Europeans held for Chinese and Japanese culture and society, yet the period also exhibited powerful currents of Sinophobia and Japanophobia. In his account of a 1609 visit to Japan, the Mexican criollo Rodrigo de Vivero y Velasco presents an overwhelmingly positive vision of the Japanese that would help support his effort to broker a diplomatic agreement between the Hapsburg Monarchy and the Tokugawa shogunate. A careful reading of the text, nevertheless, reveals the presence of conflicting attitudes toward the Japanese, including a powerful Japanophobic undercurrent probably nurtured by Vivero's prior experience as interim governor of the Philippines. This essay explores how Vivero processes these conflicting attitudes in order to produce, later in life, an image of Japan as an exemplary foil to the Catholic Monarchy in both politics and piety.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123774331","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":"Colonial al-Andalus: Spain and the Making of Modern Moroccan Culture by Eric Calderwood (review)","authors":"C. Hopkins","doi":"10.1353/RVS.2021.0015","DOIUrl":"https://doi.org/10.1353/RVS.2021.0015","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113941721","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":"Colonial/Global","authors":"","doi":"10.1353/rvs.2021.0002","DOIUrl":"https://doi.org/10.1353/rvs.2021.0002","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115191931","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":"Historia cultural de los hispanohablantes en Japón by Araceli Tinajero (review)","authors":"Chloe Huh Prudente","doi":"10.1353/RVS.2021.0016","DOIUrl":"https://doi.org/10.1353/RVS.2021.0016","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116175323","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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