Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.04
Vikram Singh Thakur
India has a long tradition of social dramas that dates back to the 19th century. Such plays have been instrumental in raising social and political awareness among the masses. Located within this strong tradition of ‘socials’, is Kusum Kumar’s hard-hitting play Suno Shefali (Listen Shefali). Originally written in Hindi in 1975 and published in 1978, the play is significant for it engages with violence and oppression at the intersection of caste, class and gender at a time when feminist scholars had not theorized intersectionality as an important analytical tool of analysis. The play also predates several important Indian plays, especially by the male playwright, that deal with the problems of caste system in India. In this essay, I will attempt to study various forms of violence committed on a Dalit woman at the intersection of gender, caste and class in Kumar’s Listen Shefali using theoretical concepts like Kimberle Crenshaw’s ‘intersectionality’, Johan Galtung’s ‘structural violence’, M. Weigert’s ‘personal violence’, Pierre Bourdieu’s ‘symbolic violence’ and Gayatri Chakravarty Spivak’s ‘epistemic violence’.
{"title":"Locating Violence in Kusum Kumar’s Suno Shefali (Listen Shefali)","authors":"Vikram Singh Thakur","doi":"10.14198/raei.2023.38.04","DOIUrl":"https://doi.org/10.14198/raei.2023.38.04","url":null,"abstract":"India has a long tradition of social dramas that dates back to the 19th century. Such plays have been instrumental in raising social and political awareness among the masses. Located within this strong tradition of ‘socials’, is Kusum Kumar’s hard-hitting play Suno Shefali (Listen Shefali). Originally written in Hindi in 1975 and published in 1978, the play is significant for it engages with violence and oppression at the intersection of caste, class and gender at a time when feminist scholars had not theorized intersectionality as an important analytical tool of analysis. The play also predates several important Indian plays, especially by the male playwright, that deal with the problems of caste system in India. In this essay, I will attempt to study various forms of violence committed on a Dalit woman at the intersection of gender, caste and class in Kumar’s Listen Shefali using theoretical concepts like Kimberle Crenshaw’s ‘intersectionality’, Johan Galtung’s ‘structural violence’, M. Weigert’s ‘personal violence’, Pierre Bourdieu’s ‘symbolic violence’ and Gayatri Chakravarty Spivak’s ‘epistemic violence’.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":"72 35","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41285298","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}
Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.08
María Rocío Ramos Ramos
This study highlights the parodic skills employed in the literary section of The Anti-Jacobin (1797-1798), a periodical edited by William Gifford, written mainly by G. Canning, J. H. Frere and G. Ellis and supported even by Prime Minister William Pitt. Parody is its main mechanism, being generated across an extraordinary range of genres beyond poetry and scholarly and popular prose, thereby demonstrating its malleability and creativity in the Romantic era and demonstrating its versatility and originality. Due to its peculiarity, it is necessary to provide a description of the work’s nature and structure, while examples are selected and analysed in order to clarify this original use of the parodic resource in the literature-politics binomial.
{"title":"The Anti-Jacobin and its Parodic Strategies: Parodying Jacobin Ideas and Authors","authors":"María Rocío Ramos Ramos","doi":"10.14198/raei.2023.38.08","DOIUrl":"https://doi.org/10.14198/raei.2023.38.08","url":null,"abstract":"This study highlights the parodic skills employed in the literary section of The Anti-Jacobin (1797-1798), a periodical edited by William Gifford, written mainly by G. Canning, J. H. Frere and G. Ellis and supported even by Prime Minister William Pitt. Parody is its main mechanism, being generated across an extraordinary range of genres beyond poetry and scholarly and popular prose, thereby demonstrating its malleability and creativity in the Romantic era and demonstrating its versatility and originality. Due to its peculiarity, it is necessary to provide a description of the work’s nature and structure, while examples are selected and analysed in order to clarify this original use of the parodic resource in the literature-politics binomial.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46484852","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}
Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.07
Tomás Monterrey
Mackenzie’s roman-à-clef Aretina (1660) seems to foresee or, indeed, to capture the reopening of theatres when, at the end of Book 1, a group of actors present a monster (and a show) “upon a stage, whereon the Commedians used to act,” and the narrator subsequently summarises the performance taking place on the palace’s neglected stage. Nevertheless, the reopening of theatres had little or no immediate influence on the new English prose fiction published in the 1660s. As far as prose fiction is concerned, scholarly criticism about the Restoration theatre–novel interface addresses the period after—not before—1670. Yet, if areas of intersection are investigated, then a spectrum of quite different, isolated instances will emerge; from Margaret Cavendish’s remarks on her contemporary plays to events inspired by theatrical contrivances. This article therefore seeks to explore the presence of theatre and dramaturgy in the new English fiction published in the early years of the Restoration. The first part offers a comprehensive survey of theatrical thumbprints in this corpus of texts by considering the issues raised in literary criticism on the topic, such as dialogues, epistles and soliloquies, historical novels and first-person narratives. The second part pinpoints the episodes in high romances where wonder is no longer caused by magic, enchantment or any other supernatural intervention, but arises from calculated staging effects and devices. Authors of romances in the early years of the Restoration period contributed to the development of the English novel by making the moments of wonder more spectacular for characters, and more credible for readers, in line with the emerging scientific culture.
{"title":"Dramaturgy and the Plausible Wonder in Restoration Fiction, 1660–1670","authors":"Tomás Monterrey","doi":"10.14198/raei.2023.38.07","DOIUrl":"https://doi.org/10.14198/raei.2023.38.07","url":null,"abstract":"Mackenzie’s roman-à-clef Aretina (1660) seems to foresee or, indeed, to capture the reopening of theatres when, at the end of Book 1, a group of actors present a monster (and a show) “upon a stage, whereon the Commedians used to act,” and the narrator subsequently summarises the performance taking place on the palace’s neglected stage. Nevertheless, the reopening of theatres had little or no immediate influence on the new English prose fiction published in the 1660s. As far as prose fiction is concerned, scholarly criticism about the Restoration theatre–novel interface addresses the period after—not before—1670. Yet, if areas of intersection are investigated, then a spectrum of quite different, isolated instances will emerge; from Margaret Cavendish’s remarks on her contemporary plays to events inspired by theatrical contrivances. This article therefore seeks to explore the presence of theatre and dramaturgy in the new English fiction published in the early years of the Restoration. The first part offers a comprehensive survey of theatrical thumbprints in this corpus of texts by considering the issues raised in literary criticism on the topic, such as dialogues, epistles and soliloquies, historical novels and first-person narratives. The second part pinpoints the episodes in high romances where wonder is no longer caused by magic, enchantment or any other supernatural intervention, but arises from calculated staging effects and devices. Authors of romances in the early years of the Restoration period contributed to the development of the English novel by making the moments of wonder more spectacular for characters, and more credible for readers, in line with the emerging scientific culture.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49215003","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}
Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.03
Costanza Mondo
The creative and meaningful use of animal imagery plays an important role in Aravind Adiga’s novels. In his previous works, such as the 2008 Booker-prize-winning The White Tiger and Last Man in Tower (published in 2011), animal references frequently feature in the narration, thus conveying multi-layered meanings. However, animal references become particularly noticeable in Amnesty, his latest novel published in 2020. The aim of this paper is to investigate the use of animal imagery in Amnesty and unravel some of its possible meanings. Starting from interpretations of animal metaphors related to humans, the paper will then put under scrutiny other interpretations of animal references which progressively enlarge their reach, thereby involving not only the city of Sydney, but the whole novel. By making reference to specific passages, I will explore the meanings of the animal imagery with respect to the illegal immigrants, their condition and to isolation, which acquires particular relevance, since the narrator is a Sri Lankan illegal immigrant who initially reached Australia thanks to a student visa. Furthermore, other interpretations of the animal references could revolve around the city of Sydney, its curious representation as a jungle and its representational use of animal imagery in the coat of arms and official contexts. Finally, light will be shed on the interesting role played by animals in pivotal scenes and their unexpected powerful revelations, which allow readers to better understand some episodes in the novel and interpret them from a different, enlightening perspective.
{"title":"A Bird’s-Eye View over Sydney: Animal Imagery in Amnesty by Aravind Adiga","authors":"Costanza Mondo","doi":"10.14198/raei.2023.38.03","DOIUrl":"https://doi.org/10.14198/raei.2023.38.03","url":null,"abstract":"The creative and meaningful use of animal imagery plays an important role in Aravind Adiga’s novels. In his previous works, such as the 2008 Booker-prize-winning The White Tiger and Last Man in Tower (published in 2011), animal references frequently feature in the narration, thus conveying multi-layered meanings. However, animal references become particularly noticeable in Amnesty, his latest novel published in 2020. The aim of this paper is to investigate the use of animal imagery in Amnesty and unravel some of its possible meanings. Starting from interpretations of animal metaphors related to humans, the paper will then put under scrutiny other interpretations of animal references which progressively enlarge their reach, thereby involving not only the city of Sydney, but the whole novel. By making reference to specific passages, I will explore the meanings of the animal imagery with respect to the illegal immigrants, their condition and to isolation, which acquires particular relevance, since the narrator is a Sri Lankan illegal immigrant who initially reached Australia thanks to a student visa. Furthermore, other interpretations of the animal references could revolve around the city of Sydney, its curious representation as a jungle and its representational use of animal imagery in the coat of arms and official contexts. Finally, light will be shed on the interesting role played by animals in pivotal scenes and their unexpected powerful revelations, which allow readers to better understand some episodes in the novel and interpret them from a different, enlightening perspective.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43223474","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}
Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.02
D. Pedro
The nuclear family consolidated its social status as the institution upholding the national, capitalist and moral values of Western societies in the long nineteenth century (Kohlke and Gutleben 2010, 1). Consequently, neo-Victorian literary and screen texts often try to challenge the idealised conceptualization of this institution by bringing to the fore its potential dysfunctionalities, such as monstrous or negligent parents, domestic violence, incest or adultery. This is the case of the TV series Taboo (2017-), which portrays a dysfunctional family whose foundations are based on colonialism, patriarchal violence and Oedipal relations. In this article, I examine Taboo as a neo-Victorian narrative of family trauma, which foregrounds and criticizes gendered violence, a phenomenon that was silenced in nineteenth-century literary and historical records (Lawson and Shakinovsky 2012a, 1). Moreover, I also scrutinise the incest trope, following Llewellyn’s three-fold approach (2010), based on a triangulation between ethics, aesthetics and psychoanalysis. Finally, I consider how Taboo reproduces the most characteristic traits of nineteenth-century adultery novels, so as to expose the sexual dissatisfaction of its female protagonist, Zilpha Delaney, and her desire to escape from her abusive and oppressive husband. As I show in this article, Taboo manages to disrupt the myth of the nuclear family as a natural and indisputable moralising institution. Likewise, at first, the series shows potential feminist and post-colonial drives, as it attempts to denounce nineteenth-century imperialist and misogynistic ideologies within the family. However, Taboo fails to grant its heroine independence and female empowerment in the end. This is so because it replicates the ending of nineteenth-century adultery novels, where the adulterous wife committed suicide after being rejected by her lover.
{"title":"“I Used to Think We Were the Same Person:” Disrupting the Ideal Nuclear Family Myth through Incest, Adultery and Gendered Violence in Taboo (2017-)","authors":"D. Pedro","doi":"10.14198/raei.2023.38.02","DOIUrl":"https://doi.org/10.14198/raei.2023.38.02","url":null,"abstract":"The nuclear family consolidated its social status as the institution upholding the national, capitalist and moral values of Western societies in the long nineteenth century (Kohlke and Gutleben 2010, 1). Consequently, neo-Victorian literary and screen texts often try to challenge the idealised conceptualization of this institution by bringing to the fore its potential dysfunctionalities, such as monstrous or negligent parents, domestic violence, incest or adultery. This is the case of the TV series Taboo (2017-), which portrays a dysfunctional family whose foundations are based on colonialism, patriarchal violence and Oedipal relations. In this article, I examine Taboo as a neo-Victorian narrative of family trauma, which foregrounds and criticizes gendered violence, a phenomenon that was silenced in nineteenth-century literary and historical records (Lawson and Shakinovsky 2012a, 1). Moreover, I also scrutinise the incest trope, following Llewellyn’s three-fold approach (2010), based on a triangulation between ethics, aesthetics and psychoanalysis. Finally, I consider how Taboo reproduces the most characteristic traits of nineteenth-century adultery novels, so as to expose the sexual dissatisfaction of its female protagonist, Zilpha Delaney, and her desire to escape from her abusive and oppressive husband. As I show in this article, Taboo manages to disrupt the myth of the nuclear family as a natural and indisputable moralising institution. Likewise, at first, the series shows potential feminist and post-colonial drives, as it attempts to denounce nineteenth-century imperialist and misogynistic ideologies within the family. However, Taboo fails to grant its heroine independence and female empowerment in the end. This is so because it replicates the ending of nineteenth-century adultery novels, where the adulterous wife committed suicide after being rejected by her lover.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42021572","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}
Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.09
María del Carmen Garrido-Hornos
Successful performance in the study of English as a Foreign Language is known to be subject to psychological constructs such as type of motivation, degree of self-regulated learning and levels of anxiety and burnout, or academic fatigue. The present study—conducted at the University of Valladolid Segovia Campus—served a double purpose. Firstly, it was used to validate the English Language Learner Motivation Scale (ELLMS) in a sample of university students who were studying this language but whose degrees were in subjects other than English Language or Linguistics. Secondly, it demonstrated that intrinsic motivation is associated with less anxiety and greater self-regulation and self-efficacy in the English language learning process. To both ends, we created a 94-question online survey which blended items from four other instruments measuring levels of anxiety, self-regulation and burnout. This questionnaire, delivered to 214 students from four different Spanish universities, produced interesting results. To begin with, it confirmed the first objective of the study and validated ELLMS as a viable instrument to measure motivation in this population, as well as confirming the presence of the three psychological factors envisaged in the original theoretical proposal and which the reader can find defined and analysed in depth in this paper: intrinsic motivation, external regulation and introjected regulation. The variable introjected regulation was negatively correlated with anxiety but positively with reported levels of burnout informed. With regard to external regulation, the results were not conclusive. This paper considers both the educational implications of these results and the impact that these variables have on the learning of English as a Foreign Language.
{"title":"The Assessment of Motivation in the Learning of EFL at University Level: Validation of the English Language Learning Motivation Scale (ELLMS) at Four Spanish State Universities","authors":"María del Carmen Garrido-Hornos","doi":"10.14198/raei.2023.38.09","DOIUrl":"https://doi.org/10.14198/raei.2023.38.09","url":null,"abstract":"Successful performance in the study of English as a Foreign Language is known to be subject to psychological constructs such as type of motivation, degree of self-regulated learning and levels of anxiety and burnout, or academic fatigue. The present study—conducted at the University of Valladolid Segovia Campus—served a double purpose. Firstly, it was used to validate the English Language Learner Motivation Scale (ELLMS) in a sample of university students who were studying this language but whose degrees were in subjects other than English Language or Linguistics. Secondly, it demonstrated that intrinsic motivation is associated with less anxiety and greater self-regulation and self-efficacy in the English language learning process. To both ends, we created a 94-question online survey which blended items from four other instruments measuring levels of anxiety, self-regulation and burnout. This questionnaire, delivered to 214 students from four different Spanish universities, produced interesting results. To begin with, it confirmed the first objective of the study and validated ELLMS as a viable instrument to measure motivation in this population, as well as confirming the presence of the three psychological factors envisaged in the original theoretical proposal and which the reader can find defined and analysed in depth in this paper: intrinsic motivation, external regulation and introjected regulation. The variable introjected regulation was negatively correlated with anxiety but positively with reported levels of burnout informed. With regard to external regulation, the results were not conclusive. This paper considers both the educational implications of these results and the impact that these variables have on the learning of English as a Foreign Language.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44669324","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}
Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.01
B. Cherechés
Dalit literature articulates the oppression and exploitation faced by Dalits in a caste-ridden society as it records their social and cultural lives before and after India’s independence. This cultural revolt that burgeoned in the 1970s has largely been Dalit male-centric in its orientation, adopting paternalistic and patronising tones towards Dalit women. As a consequence, Dalit women remained firmly encapsulated in the patriarchal roles of the silent, agenciless and ‘victimised sexual being,’ perpetuating thus gendered stereotypes. These accounts failed to properly address Dalit women’s predicament and the interlocking oppression of caste and gender, which compelled them to create a distinct space for themselves. Dalit women have traversed a long path over the last four decades. During this time, their consciousness has evolved in many ways as reflected in Dalit writing. Life narratives, such as Bama’s Karukku and Yashica Dutt’s Coming Out as Dalit: A Memoir, function as the locus of enunciation where agency and self-identity are attended and asserted by Dalit women, through different approaches. As the social location determines the perception of reality, this paper attempts a look at how these two texts tackle and bring to the centre the gendered nature of caste and the power relations that still affect Dalit women, from a heterogeneous standpoint. It further analyses how through form, language and subject matter, Dalit women attempt to defy generic conventions, depart from imposed identities, and build up resistance against this enduring double oppression and the forces that insist on homogenising Dalit body politics.
{"title":"From Bama’s Karukku ([1992] 2014) to Yashica Dutt’s Coming Out as Dalit: A Memoir (2019): The Changing Nature of Dalit Feminist Consciousness","authors":"B. Cherechés","doi":"10.14198/raei.2023.38.01","DOIUrl":"https://doi.org/10.14198/raei.2023.38.01","url":null,"abstract":"Dalit literature articulates the oppression and exploitation faced by Dalits in a caste-ridden society as it records their social and cultural lives before and after India’s independence. This cultural revolt that burgeoned in the 1970s has largely been Dalit male-centric in its orientation, adopting paternalistic and patronising tones towards Dalit women. As a consequence, Dalit women remained firmly encapsulated in the patriarchal roles of the silent, agenciless and ‘victimised sexual being,’ perpetuating thus gendered stereotypes. These accounts failed to properly address Dalit women’s predicament and the interlocking oppression of caste and gender, which compelled them to create a distinct space for themselves. Dalit women have traversed a long path over the last four decades. During this time, their consciousness has evolved in many ways as reflected in Dalit writing. Life narratives, such as Bama’s Karukku and Yashica Dutt’s Coming Out as Dalit: A Memoir, function as the locus of enunciation where agency and self-identity are attended and asserted by Dalit women, through different approaches. As the social location determines the perception of reality, this paper attempts a look at how these two texts tackle and bring to the centre the gendered nature of caste and the power relations that still affect Dalit women, from a heterogeneous standpoint. It further analyses how through form, language and subject matter, Dalit women attempt to defy generic conventions, depart from imposed identities, and build up resistance against this enduring double oppression and the forces that insist on homogenising Dalit body politics.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46857916","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}
Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.05
Maria Eugenia Berio
Past armed conflicts and their aftermaths left everlasting traces hidden in the physical places as well as in the spaces generated by the survivors. The present article examines the treatment of traumatic spaces in the British author Doris Lessing’s short story “England vs England” (1963) set in the years following the end of the Second World War. Even though Lessing’s works have been studied from different perspectives–as the abundant scholarship shows–the poetics of space in her short stories set in European places other than London has not been widely analysed. This paper argues that the immediate past is present in Lessing’s literature embedded in the spaces where the characters lead their everyday lives. The primary corpus includes the story under analysis and is supported by studies by scholars who have extensively researched the subjects of space and trauma and of literary critics who have examined the use of spatiality in Lessing’s oeuvre. Analysing the traumatic spaces of post-war Europe in the narration, firstly, gives visibility to a narrative that seems to have been overlooked by the critics and, secondly, allows the study of its spatiality in its physical, psychological, and sociohistorical division. Scrutinising the physical places of the story and the atmosphere generated in them, I have found that they represent the trauma endured by the countless anonymous people who suffered the horrors of the wars and their devastating consequences and who have only been made visible by the author’s skilled pen. In so doing my contribution adds another perspective to approaching the study of Doris Lessing.
{"title":"Reading Doris Lessing’s Short Story “England vs England” through the Lenses of Space, Trauma, and History","authors":"Maria Eugenia Berio","doi":"10.14198/raei.2023.38.05","DOIUrl":"https://doi.org/10.14198/raei.2023.38.05","url":null,"abstract":"Past armed conflicts and their aftermaths left everlasting traces hidden in the physical places as well as in the spaces generated by the survivors. The present article examines the treatment of traumatic spaces in the British author Doris Lessing’s short story “England vs England” (1963) set in the years following the end of the Second World War. Even though Lessing’s works have been studied from different perspectives–as the abundant scholarship shows–the poetics of space in her short stories set in European places other than London has not been widely analysed. This paper argues that the immediate past is present in Lessing’s literature embedded in the spaces where the characters lead their everyday lives. The primary corpus includes the story under analysis and is supported by studies by scholars who have extensively researched the subjects of space and trauma and of literary critics who have examined the use of spatiality in Lessing’s oeuvre. Analysing the traumatic spaces of post-war Europe in the narration, firstly, gives visibility to a narrative that seems to have been overlooked by the critics and, secondly, allows the study of its spatiality in its physical, psychological, and sociohistorical division. Scrutinising the physical places of the story and the atmosphere generated in them, I have found that they represent the trauma endured by the countless anonymous people who suffered the horrors of the wars and their devastating consequences and who have only been made visible by the author’s skilled pen. In so doing my contribution adds another perspective to approaching the study of Doris Lessing.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45006199","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}
Pub Date : 2023-01-30DOI: 10.14198/raei.2023.38.06
Virginia Meirelles
Noah Webster believed that a pure, regular and better form of the language existed, usually represented by a former variety that is more appropriate. However, he also believed that British English was not a model for American English because it did not follow “the analogy of the language.” Accordingly, he started a search to find the “true principles” of the English language. At that moment, his writings became more descriptive than prescriptive, but, because he was a successful textbook writer, he could not use the same model when he wrote schoolbooks. Consequently, his language analyses and his educational material became contradictory. Moreover, his earlier works and his later works are also inconsistent. This paper investigates the many inconsistencies found in Webster’s writings and tries to interpret them under the light of linguistics historiography. The results show that the contradiction in Webster’s work originates from his continued development as a language scholar and from his uncertainties arising from the linguistic practices of the time.
{"title":"Contradictions and Regularities in Webster’s Works","authors":"Virginia Meirelles","doi":"10.14198/raei.2023.38.06","DOIUrl":"https://doi.org/10.14198/raei.2023.38.06","url":null,"abstract":"Noah Webster believed that a pure, regular and better form of the language existed, usually represented by a former variety that is more appropriate. However, he also believed that British English was not a model for American English because it did not follow “the analogy of the language.” Accordingly, he started a search to find the “true principles” of the English language. At that moment, his writings became more descriptive than prescriptive, but, because he was a successful textbook writer, he could not use the same model when he wrote schoolbooks. Consequently, his language analyses and his educational material became contradictory. Moreover, his earlier works and his later works are also inconsistent. This paper investigates the many inconsistencies found in Webster’s writings and tries to interpret them under the light of linguistics historiography. The results show that the contradiction in Webster’s work originates from his continued development as a language scholar and from his uncertainties arising from the linguistic practices of the time.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46157769","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}
Pub Date : 2022-07-27DOI: 10.14198/raei.2022.37.05
Jennifer Ruiz-Morgan
The tragic story of the star-crossed lovers of Verona was first presented to Spanish theatergoers during the early decades of the nineteenth century. During this period Shakespeare was largely unknown to the general public. The article examines the early reception of Shakespeare in Spain focusing on one iconic play, Romeo and Juliet, and its earliest adaptations: Dionisio Solís’s Julia y Romeo (1803) and Manuel Bernardino García Suelto’s Romeo y Julieta (1817). At a time when the Spanish public was captivated by the allure displayed by adaptations of Othello, this article argues that the adaptations of Romeo and Juliet composed by Solís and García Suelto also enjoyed popularity, as evidenced by their several revivals and the prestige of some of the actors and actresses who intervened in the productions. The article examines the historical, political and sociocultural factors that contributed to the composition and popularity of Julia y Romeo and Romeo y Julieta. Historical contextualization is combined with an analysis of the sources and main features of each adaptation. The article also offers a detailed account of the reception and performance history of both plays on the Spanish stage from 1803 to 1836. These neoclassical versions remain –up to this day– largely unknown texts, but they deserve close attention since both plays strongly contributed to the gradual dissemination of Shakespeare and his work in Spain.
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