{"title":"César Vallejo: un poeta del acontecimiento by Víctor Vich (review)","authors":"Marta Ortiz Canseco","doi":"10.1353/rvs.2022.0010","DOIUrl":"https://doi.org/10.1353/rvs.2022.0010","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126060371","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":"Anarchaeologies: Reading as Misreading by Erin Graff Zivin (review)","authors":"Jon Beasley-Murray","doi":"10.1353/rvs.2022.0007","DOIUrl":"https://doi.org/10.1353/rvs.2022.0007","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126432143","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":"Handmade in Cuba. Rolando Estévez and the Beautiful Books of Ediciones Vigía ed. by Ruth Behar, Juana María Cordones-Cook, and Kristin Schwain (review)","authors":"M. Cuesta","doi":"10.1353/rvs.2021.0054","DOIUrl":"https://doi.org/10.1353/rvs.2021.0054","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124586542","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:Five hundred years after the conquest of Tenochtitlan by the Tlaxcalan and Spanish alliance, there are still various details of the events surrounding the defeat of the Tenochca that intrigue scholars of Colonial Mexico. One such detail is a map of the fallen city that appeared alongside early publications of the Segunda carta by Hernando Cortés. The map's authorship and the interpretation of its images are still in debate. This article studies the Map of Tenochtitlan, which was published in Nuremberg in 1524. I argue that the map displays the Nahua understating of space and time as it was inspired by an Indigenous document that presented both spatial and historical information regarding the founding of the Mexica altepetl and the arrival of Cortés. Through the analysis of the image of the sun appearing in the Templo Mayor in Tenochtitlan, the stone idol in the center of the altepetl, the resemblance of the map to other pictographic documents, and the interaction between Spaniards and these documents, I propose that, in the map, the Indigenous/Nahua history of Mexico-Tenochtitlan is preserved.
{"title":"Tiempo y espacio en el plano de Tenochtitlan de 1524","authors":"Daniel Astorga-Poblete","doi":"10.1353/rvs.2021.0038","DOIUrl":"https://doi.org/10.1353/rvs.2021.0038","url":null,"abstract":"Abstract:Five hundred years after the conquest of Tenochtitlan by the Tlaxcalan and Spanish alliance, there are still various details of the events surrounding the defeat of the Tenochca that intrigue scholars of Colonial Mexico. One such detail is a map of the fallen city that appeared alongside early publications of the Segunda carta by Hernando Cortés. The map's authorship and the interpretation of its images are still in debate. This article studies the Map of Tenochtitlan, which was published in Nuremberg in 1524. I argue that the map displays the Nahua understating of space and time as it was inspired by an Indigenous document that presented both spatial and historical information regarding the founding of the Mexica altepetl and the arrival of Cortés. Through the analysis of the image of the sun appearing in the Templo Mayor in Tenochtitlan, the stone idol in the center of the altepetl, the resemblance of the map to other pictographic documents, and the interaction between Spaniards and these documents, I propose that, in the map, the Indigenous/Nahua history of Mexico-Tenochtitlan is preserved.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125470917","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:The article is an attempt to contextualize and criticize the notion of the Andean in the works of some of the most important Latin American scholars of the 1970s onwards. It shows that, in the texts of Antonio Cornejo Polar, Alejandro Losada, and Ángel Rama, the Andean serves as a reference and frame for some of their theoretical concepts such as heterogeneity and transculturation, concepts which make use of the Andean in a more ideological way and is a specifically cultural perspective of Latin Americanism. It shows that the Andean serves less as a theoretical notion, but rather could be used as a spacial category or as a concept to describe certain geographical, cultural, and political processes. Cornejo Polar, Losada, and Rama make particular use of this category, and although there are some contradictions between heterogeneity and transculturation, overall their theoretical framework has more parallels than one would have thought of. Overall, the three critics share a cultural perspective. In the end, the Andean serves as a general description of conflicts that are overlapping different geographical spaces (the local, regional, national, and so on) and which increase the complexity of the cultural process.
{"title":"Lo andino en la crítica cultural latinoamericana de los años setenta y ochenta del siglo XX","authors":"Friedhelm Schmidt-Welle","doi":"10.1353/rvs.2021.0051","DOIUrl":"https://doi.org/10.1353/rvs.2021.0051","url":null,"abstract":"Abstract:The article is an attempt to contextualize and criticize the notion of the Andean in the works of some of the most important Latin American scholars of the 1970s onwards. It shows that, in the texts of Antonio Cornejo Polar, Alejandro Losada, and Ángel Rama, the Andean serves as a reference and frame for some of their theoretical concepts such as heterogeneity and transculturation, concepts which make use of the Andean in a more ideological way and is a specifically cultural perspective of Latin Americanism. It shows that the Andean serves less as a theoretical notion, but rather could be used as a spacial category or as a concept to describe certain geographical, cultural, and political processes. Cornejo Polar, Losada, and Rama make particular use of this category, and although there are some contradictions between heterogeneity and transculturation, overall their theoretical framework has more parallels than one would have thought of. Overall, the three critics share a cultural perspective. In the end, the Andean serves as a general description of conflicts that are overlapping different geographical spaces (the local, regional, national, and so on) and which increase the complexity of the cultural process.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"2001 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130912600","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:In this article, organized as a tryptic, I trace the figure of the Human Cuban and its disarticulations across three canonical works from the island: Che Guevara's Hombre Nuevo, the "conversion" of Severo Sarduy's transgender protagonist in his 1973 novel Cobra, and Belkis Ayón's feminist recasting of Abakuá's mythic Sikán in her 1990 prints. In doing so, I bring a Latin American aesthetics into conversation with post-humanist theories. Notwithstanding Guevara's appeals to dialectical materialism, I underscore a metaphysics of soul and body in his articulation of a revolutionary subject and its organicist, naturalizing effects. However, I also attend to a latent artistry in his essay "El socialismo y el hombre en Cuba." Guevara not only deploys literary figures, but also refers to "ropaje," "arcilla," and "una nueva técnica." Sarduy's novel and Ayón's prints allow us to further explore the creative potential of material artifice. As orfebre dérmicos, those who paint, cut, and engrave skin, Sarduy and Ayón produce bodies that transform and vibrate at the surface. As such, I explore how their aesthetic strategies defy dominant subject models. Guevara's allusions to techne, Sarduy's tattooed baroque figures, and Ayón's leopard pattern and fish scale prints invite us to imagine non-heteronormative and non-anthropocentric creations.
摘要:在这篇文章中，我以一种色相的形式，追溯了人类古巴人的形象及其在岛上的三部经典作品中的断裂:切·格瓦拉的《新人类》，塞维罗·萨杜伊1973年小说《Cobra》中跨性别主角的“转变”，以及贝尔基斯Ayón在1990年的作品中对abaku神话Sikán的女权主义重塑。在此过程中，我将拉丁美洲美学与后人文主义理论进行了对话。尽管格瓦拉诉诸于辩证唯物主义，但我在他对革命主体及其有机的、自然的影响的阐述中强调了灵魂和身体的形而上学。然而，我也注意到他的文章《古巴的社会主义与人类》中潜在的艺术性。格瓦拉不仅使用文学人物，还使用“ropaje”、“arcilla”和“una nueva tacimnica”。Sarduy的小说和Ayón的版画让我们进一步探索材料技巧的创造潜力。作为一名在皮肤上作画、切割和雕刻的艺术家，萨杜伊和Ayón制作的身体会在表面变形和振动。因此，我探讨了他们的审美策略是如何违背主流主体模式的。格瓦拉(Guevara)对技术的暗示，萨杜伊(Sarduy)的巴洛克式纹身人物，以及Ayón的豹纹和鱼鳞印花，都邀请我们想象非异性恋和非人类中心主义的创作。
{"title":"Of Souls, Skins, and Leopard Prints: Queer and Animal Creations of Cubanbeings","authors":"Christina García","doi":"10.1353/rvs.2021.0046","DOIUrl":"https://doi.org/10.1353/rvs.2021.0046","url":null,"abstract":"Abstract:In this article, organized as a tryptic, I trace the figure of the Human Cuban and its disarticulations across three canonical works from the island: Che Guevara's Hombre Nuevo, the \"conversion\" of Severo Sarduy's transgender protagonist in his 1973 novel Cobra, and Belkis Ayón's feminist recasting of Abakuá's mythic Sikán in her 1990 prints. In doing so, I bring a Latin American aesthetics into conversation with post-humanist theories. Notwithstanding Guevara's appeals to dialectical materialism, I underscore a metaphysics of soul and body in his articulation of a revolutionary subject and its organicist, naturalizing effects. However, I also attend to a latent artistry in his essay \"El socialismo y el hombre en Cuba.\" Guevara not only deploys literary figures, but also refers to \"ropaje,\" \"arcilla,\" and \"una nueva técnica.\" Sarduy's novel and Ayón's prints allow us to further explore the creative potential of material artifice. As orfebre dérmicos, those who paint, cut, and engrave skin, Sarduy and Ayón produce bodies that transform and vibrate at the surface. As such, I explore how their aesthetic strategies defy dominant subject models. Guevara's allusions to techne, Sarduy's tattooed baroque figures, and Ayón's leopard pattern and fish scale prints invite us to imagine non-heteronormative and non-anthropocentric creations.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115755293","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:The 1910s and 20s saw an array of intellectuals and artists from various parts of Latin America experimenting with ways of using pre-Columbian legacies to ground a modern national aesthetic. As they essayed different modes of reanimating the past—in journalism, the visual arts, graphic design, and dance—and training present-tense bodies to recognize and engage with it, they also took part in a continent-wide system of interanimation, looking sideways at experiments elsewhere in learning how to mine their own pasts—or one another's. This article contends that these experiments—in the examples discussed here, from Argentina, Mexico, and Peru—were grounded in projecting an Andes in common; that, for a brief moment, the Andean became a portable and malleable transnational signifier, giving shape to each country's past while making it legible, comparable, and usable across the continent.
{"title":"The Andes in Common","authors":"M. Clayton","doi":"10.1353/rvs.2021.0042","DOIUrl":"https://doi.org/10.1353/rvs.2021.0042","url":null,"abstract":"Abstract:The 1910s and 20s saw an array of intellectuals and artists from various parts of Latin America experimenting with ways of using pre-Columbian legacies to ground a modern national aesthetic. As they essayed different modes of reanimating the past—in journalism, the visual arts, graphic design, and dance—and training present-tense bodies to recognize and engage with it, they also took part in a continent-wide system of interanimation, looking sideways at experiments elsewhere in learning how to mine their own pasts—or one another's. This article contends that these experiments—in the examples discussed here, from Argentina, Mexico, and Peru—were grounded in projecting an Andes in common; that, for a brief moment, the Andean became a portable and malleable transnational signifier, giving shape to each country's past while making it legible, comparable, and usable across the continent.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"23 7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129725836","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 the visual cultural production of the Peruvian artist Elena Izcue and its origins in archaeology's visions of Indigenous material culture. Izcue was trained in visual arts during the heyday of indigenismo in Peru and much of her practice emerges from indigenista visual representations as well as approaches to Indigenous cultures. In particular, this article considers how Izcue's work at a generative moment for archaeology in Latin America—the 1930s and 40s—sought to mobilize cultural manifestations of Andean Indigenous culture beyond nationalism and instead located them squarely in the realm of the market, thus transforming lo andino into a valuable cultural good. Izcue's production of goods, and later her oversight of training for workers who produced Indigenous-inspired merchandise in Peru, embodies a significant example of engaging art practices with both market demands as well as cultural policy. These activities on Izcue's part prefigure later, more massive commodification that characterizes the recent positioning of Andean cultures in global markets.
{"title":"Vender lo andino: Arqueología, diseño y mercado en la obra de Elena Izcue","authors":"J. Coronado","doi":"10.1353/rvs.2021.0043","DOIUrl":"https://doi.org/10.1353/rvs.2021.0043","url":null,"abstract":"Abstract:This article explores the visual cultural production of the Peruvian artist Elena Izcue and its origins in archaeology's visions of Indigenous material culture. Izcue was trained in visual arts during the heyday of indigenismo in Peru and much of her practice emerges from indigenista visual representations as well as approaches to Indigenous cultures. In particular, this article considers how Izcue's work at a generative moment for archaeology in Latin America—the 1930s and 40s—sought to mobilize cultural manifestations of Andean Indigenous culture beyond nationalism and instead located them squarely in the realm of the market, thus transforming lo andino into a valuable cultural good. Izcue's production of goods, and later her oversight of training for workers who produced Indigenous-inspired merchandise in Peru, embodies a significant example of engaging art practices with both market demands as well as cultural policy. These activities on Izcue's part prefigure later, more massive commodification that characterizes the recent positioning of Andean cultures in global markets.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128471632","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":"Galdós en su siglo XX: Una novela para el consenso social by Carolina Fernández Cordero (review)","authors":"Alicia Cerezo Paredes","doi":"10.1353/rvs.2021.0053","DOIUrl":"https://doi.org/10.1353/rvs.2021.0053","url":null,"abstract":"","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129548277","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 examines two décimas from Jorge Guillén's decades-long poetic project, Cántico. "Pan" and "Copa de vino" are representative of Guillén's practice of seeking a moment of atemporal perfection in the instant of lyric enunciation, especially in his cultivation of the décima. The present analysis submits these poems to a historical scrutiny, both with regard to their putatively timeless subjects and in relation to Guillén's poetic moment, the "return to order" following the most irreverent manifestations of the historical avant-garde. Guillén's site for timelessness is, in fact, a pastoral construct, a product of confused human and literary histories. While acknowledging Guillén's formal achievement, my analysis urges a reconsideration of the assumptions on which the "return to order" and Guillén's aesthetics were predicated in their time and from which they have been studied since, including an injunction for renewed critical attention to the historical avant-gardes.
{"title":"Jorge Guillén's Pastoral Search for the Lyric Present","authors":"Zachary Rockwell Ludington","doi":"10.1353/rvs.2021.0047","DOIUrl":"https://doi.org/10.1353/rvs.2021.0047","url":null,"abstract":"Abstract:This essay examines two décimas from Jorge Guillén's decades-long poetic project, Cántico. \"Pan\" and \"Copa de vino\" are representative of Guillén's practice of seeking a moment of atemporal perfection in the instant of lyric enunciation, especially in his cultivation of the décima. The present analysis submits these poems to a historical scrutiny, both with regard to their putatively timeless subjects and in relation to Guillén's poetic moment, the \"return to order\" following the most irreverent manifestations of the historical avant-garde. Guillén's site for timelessness is, in fact, a pastoral construct, a product of confused human and literary histories. While acknowledging Guillén's formal achievement, my analysis urges a reconsideration of the assumptions on which the \"return to order\" and Guillén's aesthetics were predicated in their time and from which they have been studied since, including an injunction for renewed critical attention to the historical avant-gardes.","PeriodicalId":281386,"journal":{"name":"Revista de Estudios Hispánicos","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122552410","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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