Pub Date : 2020-12-23DOI: 10.14198/RAEI.2020.33.10
Marta Bernabeu
Remaking the Literary Canon in English: Women Writers, 1880-1920. Edited by María Elena Jaime de Pablos. Granada: Editorial Comares, 2019, pp. 128. ISBN: 978-84-9045-748-1.
《重塑英语文学经典：女性作家》，1880-1920年。由María Elena Jaime de Pablos编辑。格拉纳达：《Comares社论》，2019年，第128页。ISBN:978-84-9045-748-1。
{"title":"A Critical Review of María Elena Jaime de Pablos, ed. 2019. Remaking the Literary Canon in English: Women Writers, 1880-1920. Granada: Comares. 128 pp. ISBN: 978-84-9045-748-1","authors":"Marta Bernabeu","doi":"10.14198/RAEI.2020.33.10","DOIUrl":"https://doi.org/10.14198/RAEI.2020.33.10","url":null,"abstract":"Remaking the Literary Canon in English: Women Writers, 1880-1920. Edited by María Elena Jaime de Pablos. Granada: Editorial Comares, 2019, pp. 128. ISBN: 978-84-9045-748-1.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49577395","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 : 2020-12-23DOI: 10.14198/raei.2020.33.07
Maria Consuelo Forés Rossell
Shakespeare’s works have long been a place of cultural and political struggles, and continues to be so. Twenty-first century non-canonical fiction is appropriating Shakespeare for activist purposes. The present article will analyze this phenomenon, applying the concept of cultural capital, the theories of cultural materialism, intertextuality, and appropriation in relation to popular culture, in order to study how Shakespeare’s plays are being appropriated from more radically progressive positions, and resituated in alternative contexts. Among the plethora of Shakespearean adaptations of the last decades, non-canonical appropriations in particular offer brand new interpretations of previously assumed ideas about Shakespeare’s works, popularizing the playwright in unprecedented ambits and culturally diverse social spaces, while giving voice to the marginalized. Thus, through entertainment, non-canonical fiction products such as V for Vendetta and Sons of Anarchy recycle the Shakespearean legacy from a critical point of view, while using it as a political weapon for cultural activism, helping to make people aware of social inequalities and to inspire them to adopt a critical stance towards them, as free and equal citizens.
{"title":"Shakespeare for Revolution: From Canon to Activism in V for Vendetta and Sons of Anarchy","authors":"Maria Consuelo Forés Rossell","doi":"10.14198/raei.2020.33.07","DOIUrl":"https://doi.org/10.14198/raei.2020.33.07","url":null,"abstract":"Shakespeare’s works have long been a place of cultural and political struggles, and continues to be so. Twenty-first century non-canonical fiction is appropriating Shakespeare for activist purposes. The present article will analyze this phenomenon, applying the concept of cultural capital, the theories of cultural materialism, intertextuality, and appropriation in relation to popular culture, in order to study how Shakespeare’s plays are being appropriated from more radically progressive positions, and resituated in alternative contexts. Among the plethora of Shakespearean adaptations of the last decades, non-canonical appropriations in particular offer brand new interpretations of previously assumed ideas about Shakespeare’s works, popularizing the playwright in unprecedented ambits and culturally diverse social spaces, while giving voice to the marginalized. Thus, through entertainment, non-canonical fiction products such as V for Vendetta and Sons of Anarchy recycle the Shakespearean legacy from a critical point of view, while using it as a political weapon for cultural activism, helping to make people aware of social inequalities and to inspire them to adopt a critical stance towards them, as free and equal citizens.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66701671","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 : 2020-12-23DOI: 10.14198/raei.2020.33.09
Miguel Ramalhete Gomes, Remedios Perni
Introduction to "English Literary Studiest Today: From Theory to Activism".
《今日英国文学研究：从理论到激进主义》导论。
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Pub Date : 2020-12-23DOI: 10.14198/raei.2020.33.08
Timo Uotinen
Book Review.
书评。
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Pub Date : 2020-12-23DOI: 10.14198/raei.2020.33.06
Christian A. Smith
The task undertaken in this paper is to discover a means by which the practice of literary criticism can derive an imperative for activism that confronts and changes the social conditions it critiques. The case of Karl Marx’s use of world literature in his critique of capitalism and the state, set within the history of the development of continental philosophy, is explored through a close-reading of its interterxtuality. Particular attention is paid to Marx’s use of quotations from and allusions to world literature, including Homer, Sophocles, Virgil, Shakespeare, Cervantes, Goethe and Heine, to register the harmful inversions caused by an economy based on money and commodities. If literature registers the contradictions of its time in its form and content, then the urge to resolve those contradictions sits restless in literature. When Marx inserts literature into his theoretical texts, he transfers into his text the impulse of the contradiction to resolve itself. Similarly, literary criticism is well-placed to unfold clear, obvious and necessary logic which leads to activism.
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Pub Date : 2020-12-23DOI: 10.14198/raei.2020.33.05
N. Lawal
This work explores Esiaba Irobi’s Cemetery Road (2009) and Ojo Rasaki Bakare’s Once Upon a Tower (2000) with a view to examining the manner in which Irobi and Bakare represent the Nigerian academic elite in the chaos that hobbles Nigerian public universities and the country in general. Through Louis Althusser’s idea of Ideological State Apparatuses, the work analyses how the two playwrights deploy character, setting and other dramatic elements to capture ways in which the Nigerian academic elite, especially those in Nigerian public universities, promote disorder in the polity. The two plays show that some members of the Nigerian academic elite are involved in using undemocratic methods for personal gains and to create anomie in universities and in Nigerian society at large. The work reveals that the academic elite, as represented in the two plays, are not different from the corrupt Nigerian political elite because both are preoccupied with violent and corrupt acts, thereby undermining peace, stability and development in the country. It contends that the two playwrights’ representations of the Nigerian academic elite are important not only because they challenge the assumed binary opposition between the Nigerian ruling elite and the Nigerian academic elite, but also because they illuminate the complexity of the recurring chaos in Nigerian universities and the country in general. Consequently, the playwrights invite the Nigerian academic elite to engage in critical self-interrogation, genuine scholarly and community-based activities that are geared towards real national development.
本作品探讨了Esiaba Irobi的墓地路(2009)和Ojo Rasaki Bakare的Once Upon a Tower(2000)，目的是研究Irobi和Bakare在尼日利亚公立大学和整个国家陷入困境的混乱中代表尼日利亚学术精英的方式。通过路易·阿尔都塞的意识形态国家机器思想，本文分析了两位剧作家如何运用人物、背景和其他戏剧元素来捕捉尼日利亚的学术精英，特别是尼日利亚公立大学的学术精英，是如何促进政治混乱的。这两部戏剧表明，尼日利亚学术精英中的一些成员利用不民主的方法谋取个人利益，并在大学和整个尼日利亚社会制造混乱。这项工作表明，在这两部戏剧中所代表的学术精英与腐败的尼日利亚政治精英并没有什么不同，因为两者都专注于暴力和腐败行为，从而破坏了该国的和平、稳定和发展。本文认为，这两位剧作家对尼日利亚学术精英的表现之所以重要，不仅是因为他们挑战了尼日利亚统治精英与尼日利亚学术精英之间的二元对立，还因为他们阐明了尼日利亚大学和整个国家反复出现的混乱的复杂性。因此，剧作家们邀请尼日利亚的学术精英参与批判性的自我拷问、真正的学术和社区活动，以实现真正的国家发展。
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Pub Date : 2019-12-15DOI: 10.14198/raei.2019.32.01
Isabel Balteiro, Gunnar Bergh
Introduction
介绍
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Pub Date : 2018-12-15DOI: 10.14198/RAEI.2018.31.09
A. Branach-Kallas
The paper focuses on the portrait of the First World War veterans in selected British and Canadian novels published at the turn of the twenty-first century. The authors use various means to depict the phenomenon of trauma: from flashbacks disrupting the present, through survivor guilt, nightmares and suicide, to aporia and the collapse of representation. The comparative approach used in the article highlights national differences, yet also shows that the discourse of futility and trauma provides a trasnational framework to convey the suffering of the First World War. As a result, although resulting in social castration and disempowerment, trauma serves here as a vehicle for a critique of the disastrous aftermath of the 1914-1918 conflict and the erasures of collective memory. Re-enacting traumatic plots, the British and Canadian novels under consideration explore little known facets of the 1914-1918 conflict, while simultaneously addressing some of our most pressing anxieties about the present, such as social marginalization, otherness, and lonely death.
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Pub Date : 2018-12-15DOI: 10.14198/RAEI.2018.31.11
Iro Filippaki
This essay performs a narratological reading of 2014 video games Valiant Hearts and Super Trench Attack and the ways through which they memorialize the Great War. By close-reading the narrative techniques of these games, I argue that through their storytelling elements they memorialize the Great War by countering the narrative trope of the adynaton, often employed to manage the traumatic articulation of war narratives. Bathetic, pathetic, and chronotopic representations contribute to the affective economy on which these video games rely to memorialize the war, and hint at what posthumanist memorialization could mean for the remembrance of Great War.
{"title":"Great War Games: Notes on Collective Memory, the Adynaton, and Posthumanism","authors":"Iro Filippaki","doi":"10.14198/RAEI.2018.31.11","DOIUrl":"https://doi.org/10.14198/RAEI.2018.31.11","url":null,"abstract":"This essay performs a narratological reading of 2014 video games Valiant Hearts and Super Trench Attack and the ways through which they memorialize the Great War. By close-reading the narrative techniques of these games, I argue that through their storytelling elements they memorialize the Great War by countering the narrative trope of the adynaton, often employed to manage the traumatic articulation of war narratives. Bathetic, pathetic, and chronotopic representations contribute to the affective economy on which these video games rely to memorialize the war, and hint at what posthumanist memorialization could mean for the remembrance of Great War.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41595022","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 : 2018-12-15DOI: 10.14198/RAEI.2018.31.02
F. Mann
Ernest Hemingway’s The Sun Also Rises (1926) and A Farewell to Arms (1929) are novels in which imagined space and material place interact, collide and contradict. Despite both texts being set in Europe, Hemingway’s prose reveals American anxieties regarding war and identity. His protagonists are emasculated by war and alienated from the myths that have generated singular ideals of American masculinity. The novels imbue European landscapes with ritual and symbolism that create new imagined landscapes on which to perform and reassert this lost identity. Simultaneously, they are texts that expose the artifice of such performative endeavours. These oppositions and dissonances are read here through the prism of Foucault’s paradigmatic “heterotopia”. Foucault suggests that we are in an “epoch of juxtaposition” in which our conflicting understanding of space and place “cannot be superimposed”. This paper argues that Hemingway’s fiction offers a consciously empty form of symbolic space. The failure of the imagination and the knowing artifice of text suggest that the postwar heterotopia leaves no place for material manifestations of mythic autonomy, agency or free will. Hemingway imposes a distinctly American aesthetic on his European experiences. The now mythical frontier provides a mythic locale for the rituals of war to be performed. In this sense, war is heterotopian in its competing material and mythic constructions. Hemingway’s fiction explores the liminal gaps between such certainties. This analysis moves from the vibrant streets of Paris and the whirling chaos of Milanese nightlife to ‘clean’ Alpine lakes, the reductive simplicities of Spanish life and the violent horrors of the Caporetto Retreat. The rituals performed in Europe provide a chance to relocate lost American identities but this process is ultimately revealed as empty and futile. These are textual spaces that are themselves heterotopian. Their prose experiments suggest sub-textual depth yet simultaneously reveal emptiness and futility lying beneath the sparse and economical tone.
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