Pub Date : 2022-01-01DOI: 10.12795/ren.2022.i26.07
Begoña Simal-González
The events narrated in Muriel Rukeyser’s The Book of the Dead (1938) constitute a good example of what Rob Nixon calls “slow violence,” a type of “attritional,” non-spectacular violence that seems to resist effective literary representation. This essay focuses on the strategies Rukeyser deploys in order to overcome the representational limits posed by Nixon’s “slow violence”: the patchwork of genres, the choice of a polyphonic poem-sequence structure and, last but not least, the visible process of “wastification” of the tunnel workers, who play such a central role in the poem. Read in the light of recent scholarship on waste, Rukeyser’s The Book of the Dead emerges as one of the first poem sequences to explore the conjunction of material toxic waste (silica dust) and human “wastification.”
Muriel Rukeyser的《亡者之书》(The Book of The Dead, 1938)中叙述的事件构成了Rob Nixon所说的“缓慢暴力”的一个很好的例子，这是一种“消耗”，不引人注目的暴力，似乎抵制有效的文学表现。本文关注Rukeyser为克服尼克松的“缓慢暴力”所带来的代表性限制所采用的策略:体裁的拼凑，复调诗歌序列结构的选择，最后但并非最不重要的是，隧道工人的明显“浪费”过程，他们在诗中扮演着如此重要的角色。根据最近关于废物的学术研究，Rukeyser的《亡灵之书》是第一批探索有毒废物(硅尘)和人类“废物”之间联系的诗歌系列之一。
{"title":"MURIEL RUKEYSER’S THE BOOK OF THE DEAD AND THE REPRESENTATIONAL CHALLENGES OF SLOW VIOLENCE","authors":"Begoña Simal-González","doi":"10.12795/ren.2022.i26.07","DOIUrl":"https://doi.org/10.12795/ren.2022.i26.07","url":null,"abstract":"The events narrated in Muriel Rukeyser’s The Book of the Dead (1938) constitute a good example of what Rob Nixon calls “slow violence,” a type of “attritional,” non-spectacular violence that seems to resist effective literary representation. This essay focuses on the strategies Rukeyser deploys in order to overcome the representational limits posed by Nixon’s “slow violence”: the patchwork of genres, the choice of a polyphonic poem-sequence structure and, last but not least, the visible process of “wastification” of the tunnel workers, who play such a central role in the poem. Read in the light of recent scholarship on waste, Rukeyser’s The Book of the Dead emerges as one of the first poem sequences to explore the conjunction of material toxic waste (silica dust) and human “wastification.”","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094874","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 : 2022-01-01DOI: 10.12795/ren.2022.i26.08
Sara Villamarín Freire
This paper addresses the representation of environmental destruction in the Appalachian coalfields in the novel Strange as this Weather Has Been (Ann Pancake, 2007). Pancake’s book follows the disbandment of a family of six in southern West Virginia and presents us with the dilemmas they must confront, most notably whether they should leave or stay and organize against the coal company. I seek to analyze the ways in which the novel conveys each character’s embodied, material experience when facing environmental destruction; moreover, I examine the way in which slow violence is represented in the text. Focusing on Appalachia’s extractivist past (and present), I argue that Strange as this Weather Has Been ultimately helps to counter the existing prejudice against poor whites in the region by fostering reader empathy through the textual recreation of the bleak environmental condition in the novel’s storyworld.
{"title":"DISCURSIVE CONSTRUCTIONS OF WASTE AND SLOW VIOLENCE IN ANN PANCAKE’S STRANGE AS THIS WEATHER HAS BEEN.","authors":"Sara Villamarín Freire","doi":"10.12795/ren.2022.i26.08","DOIUrl":"https://doi.org/10.12795/ren.2022.i26.08","url":null,"abstract":"This paper addresses the representation of environmental destruction in the Appalachian coalfields in the novel Strange as this Weather Has Been (Ann Pancake, 2007). Pancake’s book follows the disbandment of a family of six in southern West Virginia and presents us with the dilemmas they must confront, most notably whether they should leave or stay and organize against the coal company. I seek to analyze the ways in which the novel conveys each character’s embodied, material experience when facing environmental destruction; moreover, I examine the way in which slow violence is represented in the text. Focusing on Appalachia’s extractivist past (and present), I argue that Strange as this Weather Has Been ultimately helps to counter the existing prejudice against poor whites in the region by fostering reader empathy through the textual recreation of the bleak environmental condition in the novel’s storyworld.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094882","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 : 2022-01-01DOI: 10.12795/ren.2022.i26.02
Juan José ARROYO PANIAGUA
The Joker is one of the most frightening comic book characters ever created and has, as a result, been the subject of numerous adaptations to film and television. This article analyses the portrayals of the Joker by actors Heath Ledger and Joaquin Phoenix in The Dark Knight (2008) and Joker (2019), respectively, and the differences in their representations of the Joker in relation to fear. It also explores how the two films serve as allegorical representations of public fears present at the time of the films’ creation, and how these fears are either embodied in or experienced by each films’ Joker. Fear elements utilized by each film’s Joker character are also analysed, i.e., acts of terrorism, use of make-up, and laughter. Moreover, the article’s treatment of the Joker reveals a character who is a victim both of public fears and of his own traumatic past—fearful experiences which come to shape the Joker’s violent persona. The article’s comparative analysis makes use of psychological and sociological explanations of fear and its characteristics.
{"title":"“WHATEVER DOESN’T KILL YOU SIMPLY MAKES YOU STRANGER”: FEAR IN THE CHARACTER OF THE JOKER IN THE DARK KNIGHT AND JOKER.","authors":"Juan José ARROYO PANIAGUA","doi":"10.12795/ren.2022.i26.02","DOIUrl":"https://doi.org/10.12795/ren.2022.i26.02","url":null,"abstract":"The Joker is one of the most frightening comic book characters ever created and has, as a result, been the subject of numerous adaptations to film and television. This article analyses the portrayals of the Joker by actors Heath Ledger and Joaquin Phoenix in The Dark Knight (2008) and Joker (2019), respectively, and the differences in their representations of the Joker in relation to fear. It also explores how the two films serve as allegorical representations of public fears present at the time of the films’ creation, and how these fears are either embodied in or experienced by each films’ Joker. Fear elements utilized by each film’s Joker character are also analysed, i.e., acts of terrorism, use of make-up, and laughter. Moreover, the article’s treatment of the Joker reveals a character who is a victim both of public fears and of his own traumatic past—fearful experiences which come to shape the Joker’s violent persona. The article’s comparative analysis makes use of psychological and sociological explanations of fear and its characteristics.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094703","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 : 2022-01-01DOI: 10.12795/ren.2022.i26.11
Rubén Peinado Abarrio
US author Jenny Offill’s Weather (2020) shows her idiosyncratic take on the notion of risk society. In the novel and its accompanying website, Offill develops a type of anxious fragmentation as an answer to the challenges of the Fourth Industrial Revolution. A multiple text characterized by compulsive quotation and the formal influence of digital media, Weather is held together by a first-person confessional voice. Eventually, Offill manages to achieve a sense of interconnection through an aesthetics of the fragment thanks to a double movement: she favors a critical posthumanist perspective that understands the interrelational subject as constituted by interaction with multiple others, and she explicitly calls for collective action. Therefore, I conclude that Weather represents Offill’s both aesthetic and political quest, as she distinctly aspires to elicit an answer from readers in the form of social activism.
{"title":"'FRAGMENTED AND BEWILDERING:' THE NEW RISK SOCIETY IN JENNY OFFILL'S WEATHER.","authors":"Rubén Peinado Abarrio","doi":"10.12795/ren.2022.i26.11","DOIUrl":"https://doi.org/10.12795/ren.2022.i26.11","url":null,"abstract":"US author Jenny Offill’s Weather (2020) shows her idiosyncratic take on the notion of risk society. In the novel and its accompanying website, Offill develops a type of anxious fragmentation as an answer to the challenges of the Fourth Industrial Revolution. A multiple text characterized by compulsive quotation and the formal influence of digital media, Weather is held together by a first-person confessional voice. Eventually, Offill manages to achieve a sense of interconnection through an aesthetics of the fragment thanks to a double movement: she favors a critical posthumanist perspective that understands the interrelational subject as constituted by interaction with multiple others, and she explicitly calls for collective action. Therefore, I conclude that Weather represents Offill’s both aesthetic and political quest, as she distinctly aspires to elicit an answer from readers in the form of social activism.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66095400","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 : 2022-01-01DOI: 10.12795/ren.2022.i26.03
Constante González Groba
In the infamous Scottsboro case (Alabama, 1931), nine black youths were falsely accused of raping two low-class white girls that happened to be sexually promiscuous with both white and black males. The Scottsboro Boys were innocent victims of the southern rape complex and the automatic legal lynching of any black male accused of raping a white woman. The main character of Ellen Feldman’s novel Scottsboro (2008) is based largely on two progressive northern reporters, Mary Heaton Vorse and Hollace Ransdall, both of whom looked into the case. She visits Alabama and learns about the complex racial, class, and gender relations there, as well as her own bigotry and class-privilege. Like Ransdall and Vorse, she reports on an event in which two poor victims of capitalist oppression are elevated from the level of “white trash” to be made representatives of “defiled” white womanhood, while eight of the nine black youths, stereotyped as hypersexualized and inherently criminal, are given death sentences because of the tyranny of values which mean nothing in the life of the girls themselves.
{"title":"THE FORCES THAT CAME TOGETHER TO INFLICT THAT PAIN”: CLASS, RACE, AND SEXUALITY IN ELLEN FELDMAN’S SCOTTSBORO","authors":"Constante González Groba","doi":"10.12795/ren.2022.i26.03","DOIUrl":"https://doi.org/10.12795/ren.2022.i26.03","url":null,"abstract":"In the infamous Scottsboro case (Alabama, 1931), nine black youths were falsely accused of raping two low-class white girls that happened to be sexually promiscuous with both white and black males. The Scottsboro Boys were innocent victims of the southern rape complex and the automatic legal lynching of any black male accused of raping a white woman. The main character of Ellen Feldman’s novel Scottsboro (2008) is based largely on two progressive northern reporters, Mary Heaton Vorse and Hollace Ransdall, both of whom looked into the case. She visits Alabama and learns about the complex racial, class, and gender relations there, as well as her own bigotry and class-privilege. Like Ransdall and Vorse, she reports on an event in which two poor victims of capitalist oppression are elevated from the level of “white trash” to be made representatives of “defiled” white womanhood, while eight of the nine black youths, stereotyped as hypersexualized and inherently criminal, are given death sentences because of the tyranny of values which mean nothing in the life of the girls themselves.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094744","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 : 2022-01-01DOI: 10.12795/ren.2022.i26.14
E. Anastasaki, Roula Kitsiou
In the digital era, and especially in the context of the fourth industrial revolution, where everyone’s digitally mediated voice can, potentially, reach the entire world, Dalcher’s dystopian novel, Vox, expresses a very real fear of being silenced. In modern America, 1 a purist movement voted into power has silenced all women and girls overnight. The novel investigates the intersection of physicality and the immateriality of spoken words. The narrator’s voice, sober but without restriction, contrasts sharply with the limitations imposed around her and uncovers the silent horror of a dystopian America where half the population has lost all rights of self -disposal, both physical and discursive. Employing the conceptual metaphor theory of Lakoff and Johnson (2003), this study explores metaphors in Vox that shape discourse(s) on voicing vulnerability and on voice as visibility through an interdisciplinary discourse analysis that draws on the fields of literature and linguistics.
{"title":"CONSTRUING ACTS OF VOICING IN CHRISTINA DALCHER'S VOX THROUGH VULNERABILITY METAPHORS.","authors":"E. Anastasaki, Roula Kitsiou","doi":"10.12795/ren.2022.i26.14","DOIUrl":"https://doi.org/10.12795/ren.2022.i26.14","url":null,"abstract":"In the digital era, and especially in the context of the fourth industrial revolution, where everyone’s digitally mediated voice can, potentially, reach the entire world, Dalcher’s dystopian novel, Vox, expresses a very real fear of being silenced. In modern America, 1 a purist movement voted into power has silenced all women and girls overnight. The novel investigates the intersection of physicality and the immateriality of spoken words. The narrator’s voice, sober but without restriction, contrasts sharply with the limitations imposed around her and uncovers the silent horror of a dystopian America where half the population has lost all rights of self -disposal, both physical and discursive. Employing the conceptual metaphor theory of Lakoff and Johnson (2003), this study explores metaphors in Vox that shape discourse(s) on voicing vulnerability and on voice as visibility through an interdisciplinary discourse analysis that draws on the fields of literature and linguistics.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66095246","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 : 2022-01-01DOI: 10.12795/ren.2022.i26.10
María Abizanda Cardona
: Recent scientific breakthroughs under the wing of the Fourth Industrial Revolution, particularly in the realm of biotechnology, have prompted an integral redefinition of the human, looking toward the posthuman state. Stances on this question range from the transhumanists ’ advocacy of overcoming biological limits, to the indexing of technoscientific advancement to an antihumanist and postanthropocentric project championed by critical posthumanism. These debates have been translated into speculative fiction works such as Catherine Lacey’ The Answers (2017). This novel revolves around the Girlfriend Experiment, a state -of-the-art research project aimed at taking the next step in our emotional evolution by eliminating the need for romantic relationships, bankrolled by a film industry mogul. This paper analyses the representation of human enhancement in the novel, arguing that the depiction of the material consequences of the experiment upon its research subjects amounts to a rejection of the unrestricted development of technology along transhumanist and neoliberal tenets. In this, The Answers offers a critical take on the Fourth Industrial Revolution aligned with the principles of critical posthumanism.
{"title":"Narrating the Fourth Industrial Revolution. Transhumanism and Critical Posthumanism in Catherine Lacey's The Answers.","authors":"María Abizanda Cardona","doi":"10.12795/ren.2022.i26.10","DOIUrl":"https://doi.org/10.12795/ren.2022.i26.10","url":null,"abstract":": Recent scientific breakthroughs under the wing of the Fourth Industrial Revolution, particularly in the realm of biotechnology, have prompted an integral redefinition of the human, looking toward the posthuman state. Stances on this question range from the transhumanists ’ advocacy of overcoming biological limits, to the indexing of technoscientific advancement to an antihumanist and postanthropocentric project championed by critical posthumanism. These debates have been translated into speculative fiction works such as Catherine Lacey’ The Answers (2017). This novel revolves around the Girlfriend Experiment, a state -of-the-art research project aimed at taking the next step in our emotional evolution by eliminating the need for romantic relationships, bankrolled by a film industry mogul. This paper analyses the representation of human enhancement in the novel, arguing that the depiction of the material consequences of the experiment upon its research subjects amounts to a rejection of the unrestricted development of technology along transhumanist and neoliberal tenets. In this, The Answers offers a critical take on the Fourth Industrial Revolution aligned with the principles of critical posthumanism.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66095509","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 : 2022-01-01DOI: 10.12795/ren.2022.i26.13
Esperanza González Moreno
The representation of a form of disability in literature can be used not only as a way of distinguishing the character and setting the narration in motion but as a metaphor of social and individual collapse. Following this idea, I will focus on Ottessa Moshfegh’s My Year of Rest and Relaxation, a 2018 novel that narrates the experiences of a privileged woman in a context of growing aestheticism and its consequent loss of political meaning in the American society of the 90s. In it, I argue, the depression that she suffers from can be observed to work as the engine of the narration and the result of the emptiness derived from the current society of spectacle. I use David T. Mitchell’s and Sharon L. Snyder’s Narrative Prosthesis to delve into the role that the depression the main character suffers from plays in the novel and how she follows the pattern traditionally found in disability narratives. I also use Jean Baudrillard’s analysis of the current state of simulacra to explain her disabled experience.
在文学中，残疾的表现形式不仅可以作为区分人物和推动叙事的一种方式，而且可以作为社会和个人崩溃的隐喻。根据这个想法，我将把重点放在Ottessa Moshfegh的《My Year of Rest and Relaxation》上，这是一本2018年的小说，讲述了一个特权女性在90年代美国社会日益增长的唯美主义背景下的经历，以及由此导致的政治意义的丧失。在其中，我认为，她所遭受的抑郁可以被观察到作为叙事的引擎，也是当前景观社会所产生的空虚的结果。我使用David T. Mitchell和Sharon L. Snyder的《叙事义肢》来深入研究小说中主人公所遭受的抑郁症在小说中的作用，以及她如何遵循传统的残疾叙事模式。我也用让·鲍德里亚对拟像的现状的分析来解释她的残疾经历。
{"title":"MY YEAR OF REST AND RELAXATION IN A WORLD WITH NO REST NOR RELAXATION. NARRATIVE PROSTHESIS AND HYPERREALITY IN OTTESSA MOSHFEGH’S NOVEL.","authors":"Esperanza González Moreno","doi":"10.12795/ren.2022.i26.13","DOIUrl":"https://doi.org/10.12795/ren.2022.i26.13","url":null,"abstract":"The representation of a form of disability in literature can be used not only as a way of distinguishing the character and setting the narration in motion but as a metaphor of social and individual collapse. Following this idea, I will focus on Ottessa Moshfegh’s My Year of Rest and Relaxation, a 2018 novel that narrates the experiences of a privileged woman in a context of growing aestheticism and its consequent loss of political meaning in the American society of the 90s. In it, I argue, the depression that she suffers from can be observed to work as the engine of the narration and the result of the emptiness derived from the current society of spectacle. I use David T. Mitchell’s and Sharon L. Snyder’s Narrative Prosthesis to delve into the role that the depression the main character suffers from plays in the novel and how she follows the pattern traditionally found in disability narratives. I also use Jean Baudrillard’s analysis of the current state of simulacra to explain her disabled experience.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66095529","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 : 2021-01-01DOI: 10.12795/ren.2021.i25.12
María Dolores Narbona Carrión
Hipsters are considered as one of the most relevant American subcultures at present. However, the term hipster is notoriously difficult to define and has not received sufficient academic attention, especially when referring to women. Thus, one of the main objectives of this interdisciplinary study is to reverse this situation by bringing to light information and bibliography about this prominent cultural phenomenon in the US context. To prove its importance, this theoretical aspect will be complemented by its practical implementation, as this essay includes the evaluation of the representation of the hipster in one of the main cultural products which have reflected it, television and, more concretely, in Lena Dunham’s TV series, Girls. This analysis responds to the aim of discerning if Girls’s alleged hipsterism can be considered authentic and of elucidating the reasons that may have led Dunham to this choice for the creation of her characters and, also, for her self-branding.
{"title":"The hipster subculture and its representation in Lena Dunham’s tv series girls.","authors":"María Dolores Narbona Carrión","doi":"10.12795/ren.2021.i25.12","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.12","url":null,"abstract":"Hipsters are considered as one of the most relevant American subcultures at present. However, the term hipster is notoriously difficult to define and has not received sufficient academic attention, especially when referring to women. Thus, one of the main objectives of this interdisciplinary study is to reverse this situation by bringing to light information and bibliography about this prominent cultural phenomenon in the US context. To prove its importance, this theoretical aspect will be complemented by its practical implementation, as this essay includes the evaluation of the representation of the hipster in one of the main cultural products which have reflected it, television and, more concretely, in Lena Dunham’s TV series, Girls. This analysis responds to the aim of discerning if Girls’s alleged hipsterism can be considered authentic and of elucidating the reasons that may have led Dunham to this choice for the creation of her characters and, also, for her self-branding.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094593","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 : 2021-01-01DOI: 10.12795/ren.2021.i25.11
José Manuel Correoso Rodenas
{"title":"Review of Anthologizing Poe. Editions, Translations, and (Trans)National Canons. Emron Esplin and Margarida Vale De Gato, Editors. Lehigh University Press, 2020, pp. 401. ISBN: 9781611462586.","authors":"José Manuel Correoso Rodenas","doi":"10.12795/ren.2021.i25.11","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.11","url":null,"abstract":"","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094582","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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