Abstract:Current readings of La casa del dolor ajeno underscore its potential to disrupt the Mexican national historical discourse. Since the work directly dialogues with the literature of the Mexican Revolution, the present article compares Herbert’s material with two works by iconic writers of the period: Tropa vieja, by Francisco L. Urquizo, which Herbert uses as one of his many sources; and “Villa ataca Ciudad Juárez,” where the Chinese community is briefly presented performing a particular action: that of shooting some of the villista rebels leaving the town in defeat. Through this comparative analysis, I argue that these works present two different mechanisms of national integration: in the Revolutionary discourse, the active participation in the armed conflict; in the early twenty-first century, the vulnerability of the subject in the presence of both criminal and state violence. In addition to focusing on the disruptive potential of La casa del dolor ajeno, this reading posits that books such as Julián Herbert’s rethink the terms in which Mexican national community is conceived in the present day against the imposed terms of twentieth-century officialdom.
摘要:当前对《墨西哥之家》的解读强调了其破坏墨西哥民族历史话语的潜力。由于这部作品直接与墨西哥革命文学对话，本文将赫伯特的材料与当时标志性作家的两部作品进行比较:弗朗西斯科·l·乌尔奎索的《Tropa vieja》，赫伯特将其作为众多资料来源之一;还有《阿塔卡城别墅Juárez》(Villa ataca Ciudad Juárez)，在那里，华人社区被简短地展示了一项特殊的行动:射杀一些失败地离开城镇的反政府武装。通过这种比较分析，我认为这些作品呈现了两种不同的民族整合机制:在革命话语中，积极参与武装冲突;在21世纪初，主体在犯罪和国家暴力面前的脆弱性。除了关注La casa del dolor ajeno的破坏性潜力之外，这篇阅读文章还假设，Julián Herbert等书重新思考了墨西哥民族社区在当今被构想出来的术语，而不是20世纪官场强加的术语。
{"title":"La casa del dolor ajeno, de Julián Herbert frente a Francisco L. Urquizo y Rafael F. Muñoz: replanteamientos de los mecanismos de integración a la nación","authors":"Luis Miguel Estrada Orozco","doi":"10.1353/rvs.2022.0027","DOIUrl":"https://doi.org/10.1353/rvs.2022.0027","url":null,"abstract":"Abstract:Current readings of La casa del dolor ajeno underscore its potential to disrupt the Mexican national historical discourse. Since the work directly dialogues with the literature of the Mexican Revolution, the present article compares Herbert’s material with two works by iconic writers of the period: Tropa vieja, by Francisco L. Urquizo, which Herbert uses as one of his many sources; and “Villa ataca Ciudad Juárez,” where the Chinese community is briefly presented performing a particular action: that of shooting some of the villista rebels leaving the town in defeat. Through this comparative analysis, I argue that these works present two different mechanisms of national integration: in the Revolutionary discourse, the active participation in the armed conflict; in the early twenty-first century, the vulnerability of the subject in the presence of both criminal and state violence. In addition to focusing on the disruptive potential of La casa del dolor ajeno, this reading posits that books such as Julián Herbert’s rethink the terms in which Mexican national community is conceived in the present day against the imposed terms of twentieth-century officialdom.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114343441","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":"Affective Geographies: Cervantes, Emotion, and the Literary Mediterranean by Paul Michael Johnson (review)","authors":"Steven Wagschal","doi":"10.1353/rvs.2022.0032","DOIUrl":"https://doi.org/10.1353/rvs.2022.0032","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114353067","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 article analyzes the writing of Tomás Eloy Martínez’s Santa Evita. Although this novel share certain narrative strategies with the New Latin American Historical Novel, I argue that Santa Evita proposes a different kind of writing of the past in its effort to create a new community. It does this by creating two narrative voices (first person and omniscient) that test the exhaustion of the claim for truth in modern historical writing. While one voice problematizes the reliability of the archive, the other performs a modern historiographic writing of the past that questions its own verisimilitude. By showing how these two voices exhaust the modern pretention to unveil unique truths about the past, the author proposes a new mode of writing that unites a community, not via myth, but through writing praxis. Santa Evita is therefore a meticulous critical exercise about what kind of writing coincides with a new community to come.
{"title":"Santa Evita de Tomás Eloy Martínez: la excritura del pasado para otra comunidad","authors":"Matías Beverinotti","doi":"10.1353/rvs.2022.0030","DOIUrl":"https://doi.org/10.1353/rvs.2022.0030","url":null,"abstract":"Abstract:This article analyzes the writing of Tomás Eloy Martínez’s Santa Evita. Although this novel share certain narrative strategies with the New Latin American Historical Novel, I argue that Santa Evita proposes a different kind of writing of the past in its effort to create a new community. It does this by creating two narrative voices (first person and omniscient) that test the exhaustion of the claim for truth in modern historical writing. While one voice problematizes the reliability of the archive, the other performs a modern historiographic writing of the past that questions its own verisimilitude. By showing how these two voices exhaust the modern pretention to unveil unique truths about the past, the author proposes a new mode of writing that unites a community, not via myth, but through writing praxis. Santa Evita is therefore a meticulous critical exercise about what kind of writing coincides with a new community to come.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128373280","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 article examines Ricardo Piglia’s relationship to the literary field as an aesthetic education that emerges from the encounter between his field-shaping poetics and its reflection among critics, or critical mimesis. Piglia’s field poetics are exemplified by the disjunctive “I” that narrates the diaries, the misattribution of their authorship to Piglia’s longtime alter ego Emilio Renzi, and a constant representation of acts of self-observation. The architecture of the diaristic subject is wedded to its institutional inscription; that is, the form of this subject is the communion of readers and writers in the autobiographical and autofictive genres. Similarly, material inscription not only reflects Piglia Renzi’s life to others; it transforms self-reflection into second-order observation by turning the writer into a reader of his own life-become-text. Raised in this way to the second degree, the diaries exemplify Piglia’s poetics by engaging readers in the form of a conspiracy. This is the political lesson of our Piglian aesthetic education: a willingness to challenge the reality of reality and build alternatives in a community of co-conspirators convened by the author’s work.
{"title":"Me veo a mi mismo leyendo: Ricardo Piglia’s Aesthetic Education in Los diarios de Emilio Renzi","authors":"Bret Leraul","doi":"10.1353/rvs.2022.0028","DOIUrl":"https://doi.org/10.1353/rvs.2022.0028","url":null,"abstract":"Abstract:This article examines Ricardo Piglia’s relationship to the literary field as an aesthetic education that emerges from the encounter between his field-shaping poetics and its reflection among critics, or critical mimesis. Piglia’s field poetics are exemplified by the disjunctive “I” that narrates the diaries, the misattribution of their authorship to Piglia’s longtime alter ego Emilio Renzi, and a constant representation of acts of self-observation. The architecture of the diaristic subject is wedded to its institutional inscription; that is, the form of this subject is the communion of readers and writers in the autobiographical and autofictive genres. Similarly, material inscription not only reflects Piglia Renzi’s life to others; it transforms self-reflection into second-order observation by turning the writer into a reader of his own life-become-text. Raised in this way to the second degree, the diaries exemplify Piglia’s poetics by engaging readers in the form of a conspiracy. This is the political lesson of our Piglian aesthetic education: a willingness to challenge the reality of reality and build alternatives in a community of co-conspirators convened by the author’s work.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127520793","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":"Portraits in the Andes: Photography and Agency, 1900–1950 by Jorge Coronado (review)","authors":"Maria Chiara d'Argenio","doi":"10.1353/rvs.2022.0031","DOIUrl":"https://doi.org/10.1353/rvs.2022.0031","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115701749","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 article explores works of Spanish Golden Age literature to gauge their potential as antecedents of horror literature, paying particular attention to the magic-terror juncture. Reference is made to six texts (mainly short novels) that include macabre and supernatural episodes where sorcery, necromancy, and witchcraft play a fundamental role. The objective of this essay is to identify common, unifying features in order to determine if horror stories did, in fact, exist in the sixteenth and seventeenth centuries.
{"title":"Relatos terroríficos de raíz mágica en el Barroco español","authors":"Eva Lara Alberola","doi":"10.1353/rvs.2022.0029","DOIUrl":"https://doi.org/10.1353/rvs.2022.0029","url":null,"abstract":"Abstract:This article explores works of Spanish Golden Age literature to gauge their potential as antecedents of horror literature, paying particular attention to the magic-terror juncture. Reference is made to six texts (mainly short novels) that include macabre and supernatural episodes where sorcery, necromancy, and witchcraft play a fundamental role. The objective of this essay is to identify common, unifying features in order to determine if horror stories did, in fact, exist in the sixteenth and seventeenth centuries.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116147312","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":"Food, Texts, and Cultures in Latin America and Spain ed. by Rafael Climent-Espino and Ana M. Gómez-Bravo (review)","authors":"R. D. Aguila","doi":"10.1353/rvs.2022.0023","DOIUrl":"https://doi.org/10.1353/rvs.2022.0023","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134179204","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 article reconsiders the canonical figure of Juan Goytisolo through the lens of archive studies. Focusing on Goytisolo's allusions to and fictionalized interpolations of letters written by Casilda, a Black woman who was enslaved in the nineteenth century in Cuba by Goytisolo's great-grandfather, I contend that Goytisolo used Casilda's letters as archival elements in his major works, in such a way that he came to control the discourse of Spanish self-critique. Goytisolo set the terms by which his relationship to his family's coloniality would be understood, continually evoking the letters to renounce his colonial lineage. Following Jacques Derrida's theory of archive fever, I interpret Goytisolo's compulsive desire for Casilda's letters as his own death drive, since Goytisolo reproduces the letters in an attempt to distance and destroy a part of himself, his whiteness. I read Goytisolo's longing for Casilda as a real desire for a secret origin, as archive fever, and not as simply postmodernist intertextuality. Goytisolo reinscribed Casilda's letters within an autofictional counter-archive, recontextualizing Casilda herself as the secret in the national/family archive, and as the source, or source material, of his own brand.
{"title":"Casilda's Letters, Archive Fever, and the Juan Goytisolo Brand","authors":"H. Jackson","doi":"10.1353/rvs.2022.0020","DOIUrl":"https://doi.org/10.1353/rvs.2022.0020","url":null,"abstract":"Abstract:This article reconsiders the canonical figure of Juan Goytisolo through the lens of archive studies. Focusing on Goytisolo's allusions to and fictionalized interpolations of letters written by Casilda, a Black woman who was enslaved in the nineteenth century in Cuba by Goytisolo's great-grandfather, I contend that Goytisolo used Casilda's letters as archival elements in his major works, in such a way that he came to control the discourse of Spanish self-critique. Goytisolo set the terms by which his relationship to his family's coloniality would be understood, continually evoking the letters to renounce his colonial lineage. Following Jacques Derrida's theory of archive fever, I interpret Goytisolo's compulsive desire for Casilda's letters as his own death drive, since Goytisolo reproduces the letters in an attempt to distance and destroy a part of himself, his whiteness. I read Goytisolo's longing for Casilda as a real desire for a secret origin, as archive fever, and not as simply postmodernist intertextuality. Goytisolo reinscribed Casilda's letters within an autofictional counter-archive, recontextualizing Casilda herself as the secret in the national/family archive, and as the source, or source material, of his own brand.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124215113","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}
composer and figures in Catalan literary circles, where Granados is perhaps better known for a compositional voice that used central European Romanticism to give voice to more traditionally Castilian subjects. The astute reader of Dissonances of Modernity will undoubtedly discover even more dissonances within these essays that will surely provide further food for thought and new ways of thinking about Spanish culture. Given the centrality of music to this collection of essays, many readers will be pleased to discover that sound files of the musical works discussed in the book have been placed on the publisher’s website and are immediately accessible to any reader with a smartphone that can read a QR code. Less attention to Spanish music is paid by academics and audiences than is paid to the music of any other major European country; so despite the cavils of this reviewer, Dissonances of Modernity is a necessary and worthwhile addition to the academic literature on gender, nationalism, and performance in nineteenthand twentieth-century Spain. There is no shortage of studies discussing how the Spanish people thought about these topics; now we can begin to learn how they heard these ideas as well.
{"title":"The Desertmakers: Travel, War, and the State in Latin America by Javier Uriarte (review)","authors":"Elizabeth M. Chant","doi":"10.1353/rvs.2022.0022","DOIUrl":"https://doi.org/10.1353/rvs.2022.0022","url":null,"abstract":"composer and figures in Catalan literary circles, where Granados is perhaps better known for a compositional voice that used central European Romanticism to give voice to more traditionally Castilian subjects. The astute reader of Dissonances of Modernity will undoubtedly discover even more dissonances within these essays that will surely provide further food for thought and new ways of thinking about Spanish culture. Given the centrality of music to this collection of essays, many readers will be pleased to discover that sound files of the musical works discussed in the book have been placed on the publisher’s website and are immediately accessible to any reader with a smartphone that can read a QR code. Less attention to Spanish music is paid by academics and audiences than is paid to the music of any other major European country; so despite the cavils of this reviewer, Dissonances of Modernity is a necessary and worthwhile addition to the academic literature on gender, nationalism, and performance in nineteenthand twentieth-century Spain. There is no shortage of studies discussing how the Spanish people thought about these topics; now we can begin to learn how they heard these ideas as well.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123643296","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 analyzes the experimental work of Mexican programmer, artist, and writer Eugenio Tisselli (Mexico City, 1972), accessible on motorhueso.net. The audiovisual, literary, and musical pieces in digital formats are processual artifacts with recognizable contents and forms that are expanded, modified, and reutilized in diverse recompositions over time, accompanying Tisselli's installations and performances in art centers and galleries. All his work is in constant dialogue with contemporary critical thinking about the digital era and its social and political configurations, the Anthropocene and its consequences, and the relations between arts, technologies, and human beings. Tisselli's symptomatic and somehow paradoxical artworks condense, in their practical and theoretical dimensions, some core questions of posthuman aesthetics from a Latin American point of view. In three sections, this essay traces some aspects of posthuman aesthetics, the "cultura_RAM", the postmedial condition, informational capitalism, and the construction of subjectivities in the context of epistemological changes produced by cybernetics, algorithmic language, and new materialities between the analogue and the digital, focusing on the (art) machine that presumably guarantees life and negentropy, in order to combat entropy, chaos, and death.
{"title":"Los proyectos digitales de Eugenio Tisselli y la estética poshumana: Entre cultura_RAM, neguentropía y necrocapitalismo","authors":"Wolfgang Bongers","doi":"10.1353/rvs.2022.0018","DOIUrl":"https://doi.org/10.1353/rvs.2022.0018","url":null,"abstract":"Abstract:This essay analyzes the experimental work of Mexican programmer, artist, and writer Eugenio Tisselli (Mexico City, 1972), accessible on motorhueso.net. The audiovisual, literary, and musical pieces in digital formats are processual artifacts with recognizable contents and forms that are expanded, modified, and reutilized in diverse recompositions over time, accompanying Tisselli's installations and performances in art centers and galleries. All his work is in constant dialogue with contemporary critical thinking about the digital era and its social and political configurations, the Anthropocene and its consequences, and the relations between arts, technologies, and human beings. Tisselli's symptomatic and somehow paradoxical artworks condense, in their practical and theoretical dimensions, some core questions of posthuman aesthetics from a Latin American point of view. In three sections, this essay traces some aspects of posthuman aesthetics, the \"cultura_RAM\", the postmedial condition, informational capitalism, and the construction of subjectivities in the context of epistemological changes produced by cybernetics, algorithmic language, and new materialities between the analogue and the digital, focusing on the (art) machine that presumably guarantees life and negentropy, in order to combat entropy, chaos, and death.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114476207","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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