Pub Date : 2021-01-01DOI: 10.12795/ren.2021.i25.06
E. Ureña
Most of the criticism that Ta-Nehisi Coates received in the aftermath of the publication of his work Between the World and Me orbits around its lack of hopefulness. Indeed, it is several times in the text that Coates tempers his son’s expectations about foreseeing an end to racial conflicts as he tells him that “I do not believe that we can stop [racists], Samori, because they must ultimately stop themselves” (Between the World 151). Certainly, the previous contention has drawn critics into reading Coates’s work as an attack against black agency (Chatterton Williams n.p.). It is our contention that, far from being read as a manifestation of cynicism, Coates’s negativity also has a galvanizing dimension. In fact, by emphasizing the futility of hope, which for Coates traps black individuals in an “unending pursuit” of progress (Warren “Black Nihilism” 221), he provides readers with many alternatives to confront the rampant racism that still pervades U.S. society nowadays.
{"title":"Between Hopelessness and Despair: Afropessimism and Black Nihilism in Ta-Nehisi Coates's Works","authors":"E. Ureña","doi":"10.12795/ren.2021.i25.06","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.06","url":null,"abstract":"Most of the criticism that Ta-Nehisi Coates received in the aftermath of the publication of his work Between the World and Me orbits around its lack of hopefulness. Indeed, it is several times in the text that Coates tempers his son’s expectations about foreseeing an end to racial conflicts as he tells him that “I do not believe that we can stop [racists], Samori, because they must ultimately stop themselves” (Between the World 151). Certainly, the previous contention has drawn critics into reading Coates’s work as an attack against black agency (Chatterton Williams n.p.). It is our contention that, far from being read as a manifestation of cynicism, Coates’s negativity also has a galvanizing dimension. In fact, by emphasizing the futility of hope, which for Coates traps black individuals in an “unending pursuit” of progress (Warren “Black Nihilism” 221), he provides readers with many alternatives to confront the rampant racism that still pervades U.S. society nowadays.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094238","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.i25.14
Yazdanmehr Gordanpour, Tahereh Rezaei
Elizabeth Bishop’s poetry is acutely form-conscious and human perception informs its descriptions of nature; critics who study Bishop’s poetry refer to her use of poetic artifice and note in passing the ethics of restraint and impersonality in her poetry. However, Bishop’s poetry is rarely discussed in the sphere of ecocriticism; and the formal significance of human perception infused with the descriptions of nature in her poetry is conveniently overlooked. Likewise, anthropogenic climate change is underrepresented in traditional ecocriticism which insists on removing form—and with it, any trace of the human—from the text. This article proposes that a study of Bishop’s travel writing and exploring the significance of concern for nature in conjunction with form-consciousness can contribute to a more profound understanding of both human-nature relationship and Bishop’s ecopoetic sensitivities. “Questions of Travel” is one of Bishop’s poems that directly grapples with the ethics of human presence in nature. The article explicates the textual and formal features of this poem to elucidate the function of form in its ecopoetic descriptions. The article shows how Bishop accepts the inevitability of human perception of nature and its literary corollary in ecopoetry as form-consciousness, and, thus, by implication, points to the importance of such poetry for a deeper understanding of the relationship between human beings and nature in the context of climate change.
{"title":"Form and perception of nature in Elizabeth bishop’s “questions of travel”.","authors":"Yazdanmehr Gordanpour, Tahereh Rezaei","doi":"10.12795/ren.2021.i25.14","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.14","url":null,"abstract":"Elizabeth Bishop’s poetry is acutely form-conscious and human perception informs its descriptions of nature; critics who study Bishop’s poetry refer to her use of poetic artifice and note in passing the ethics of restraint and impersonality in her poetry. However, Bishop’s poetry is rarely discussed in the sphere of ecocriticism; and the formal significance of human perception infused with the descriptions of nature in her poetry is conveniently overlooked. Likewise, anthropogenic climate change is underrepresented in traditional ecocriticism which insists on removing form—and with it, any trace of the human—from the text. This article proposes that a study of Bishop’s travel writing and exploring the significance of concern for nature in conjunction with form-consciousness can contribute to a more profound understanding of both human-nature relationship and Bishop’s ecopoetic sensitivities. “Questions of Travel” is one of Bishop’s poems that directly grapples with the ethics of human presence in nature. The article explicates the textual and formal features of this poem to elucidate the function of form in its ecopoetic descriptions. The article shows how Bishop accepts the inevitability of human perception of nature and its literary corollary in ecopoetry as form-consciousness, and, thus, by implication, points to the importance of such poetry for a deeper understanding of the relationship between human beings and nature in the context of climate change.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094635","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.i25.05
Vanesa Vázquez-Novo
When twenty-five-year-old Zelda Sayre Fitzgerald asked her husband Scott Fitzgerald to resume her ballet lessons, he saw no objection to it. Fitzgerald thought the lessons would keep Zelda busy while he focused on his novel Tender is the Night (1934). Little did he know then that strenuous dancing rehearsals would lead Zelda to her first mental breakdown. While confined at several mental institutions from 1930 to 1948, Zelda used the epistolary form in an attempt to move from victim to artist. It is through her letters to Scott Fitzgerald that we discover her inner struggles and her longing for a career of her own. This article analyzes a selection of Zelda Fitzgerald’s letters in order to determine whether the epistolary form allows Zelda to overcome or perpetuate her traumas while confined at several mental institutions.
{"title":"“The long roads to forgotten regretted nostalgias”: Traumatic Wounds in the Letters of Zelda Sayre Fitzgerald","authors":"Vanesa Vázquez-Novo","doi":"10.12795/ren.2021.i25.05","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.05","url":null,"abstract":"When twenty-five-year-old Zelda Sayre Fitzgerald asked her husband Scott Fitzgerald to resume her ballet lessons, he saw no objection to it. Fitzgerald thought the lessons would keep Zelda busy while he focused on his novel Tender is the Night (1934). Little did he know then that strenuous dancing rehearsals would lead Zelda to her first mental breakdown. While confined at several mental institutions from 1930 to 1948, Zelda used the epistolary form in an attempt to move from victim to artist. It is through her letters to Scott Fitzgerald that we discover her inner struggles and her longing for a career of her own. This article analyzes a selection of Zelda Fitzgerald’s letters in order to determine whether the epistolary form allows Zelda to overcome or perpetuate her traumas while confined at several mental institutions.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094419","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.i25.10
María Isabel Romero-Pérez
This paper aims to explore how racialized identities are typified as a modernist construct in Eugene O’Neill’s The Emperor Jones (1920). To this end, the notion of whiteness is identified as a mediated construct and contextualized in the proliferation of American minstrel shows. This popular entertainment projected to white audiences the racial means of differentiation from black caricatures and clichés at the time of segregation. The echoes of minstrel shows and modernists’ instrumentalization of 1920s primitivism serve to initially address the characterization of blackness in Brutus Jones’ identity. Assessed through this in-between construction of symbolic borderlands in which the protagonist is both colonizer and colonized, his blackness becomes a metaphorical mask of otherness while his whiteness shapes the colonial performance of material whiteness. Although he envisions the white ideal in his systematic practices in the Caribbean island, his fragmented identity and his hybridity subject him to a primeval racialized past, to primitivism and atavism.
{"title":"Identity as a construct: reading blackness in Eugene O’neill’s the emperor jones.","authors":"María Isabel Romero-Pérez","doi":"10.12795/ren.2021.i25.10","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.10","url":null,"abstract":"This paper aims to explore how racialized identities are typified as a modernist construct in Eugene O’Neill’s The Emperor Jones (1920). To this end, the notion of whiteness is identified as a mediated construct and contextualized in the proliferation of American minstrel shows. This popular entertainment projected to white audiences the racial means of differentiation from black caricatures and clichés at the time of segregation. The echoes of minstrel shows and modernists’ instrumentalization of 1920s primitivism serve to initially address the characterization of blackness in Brutus Jones’ identity. Assessed through this in-between construction of symbolic borderlands in which the protagonist is both colonizer and colonized, his blackness becomes a metaphorical mask of otherness while his whiteness shapes the colonial performance of material whiteness. Although he envisions the white ideal in his systematic practices in the Caribbean island, his fragmented identity and his hybridity subject him to a primeval racialized past, to primitivism and atavism.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094563","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.i25.13
Muqarram Khorakiwala
This article examines the role of the diasporic stand-up comic as a transcultural critic and the comedy set as an act of transcultural criticism of contemporary American culture. I use the framework of transcultural criticism developed by Lewis1 (2002) for the purpose of cultural investigation in Hasan Minhaj’s stand-up comedy Homecoming King (2017). Through the amalgamation of political aesthetics and cultural civics, Lewis’ theorization of transculturalism offers an interesting approach for critical discourse analysis of racial injustice and inequality in Muslim American stand-up comedy. Minhaj uses persuasion games and language wars to highlight the dissonance in the dominant discourse about Islam. His goal is not to be a spokesperson for Muslim Americans but to provide new imaginings to the discussion of race, religion, and belonging in the context of Brown Americans in the post 9/11 era both within and outside the community.
{"title":"Race consciousness, the audacity of equality, and transcultural criticism in Hasan Minhaj’s homecoming king.","authors":"Muqarram Khorakiwala","doi":"10.12795/ren.2021.i25.13","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.13","url":null,"abstract":"This article examines the role of the diasporic stand-up comic as a transcultural critic and the comedy set as an act of transcultural criticism of contemporary American culture. I use the framework of transcultural criticism developed by Lewis1 (2002) for the purpose of cultural investigation in Hasan Minhaj’s stand-up comedy Homecoming King (2017). Through the amalgamation of political aesthetics and cultural civics, Lewis’ theorization of transculturalism offers an interesting approach for critical discourse analysis of racial injustice and inequality in Muslim American stand-up comedy. Minhaj uses persuasion games and language wars to highlight the dissonance in the dominant discourse about Islam. His goal is not to be a spokesperson for Muslim Americans but to provide new imaginings to the discussion of race, religion, and belonging in the context of Brown Americans in the post 9/11 era both within and outside the community.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094631","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.i25.09
Rubén Peinado Abarrio
This article explores slavery as a national trauma in Richard Ford’s 2014 novella “Everything Could Be Worse.” First, slavery is conceptualized as trauma, emphasizing its role in the formation of contemporary Black identity in the United States. The categories of ‘postmemory’ (Marianne Hirsch), ‘phantom’ and ‘crypt’ (Nicolas Abraham and Maria Torok) are presented, as they facilitate the study of multigenerational oppression and the transmission of trauma. Then, a brief discussion of the race question in Ford’s fiction and nonfiction contextualizes the analysis of the novella. In “Everything Could Be Worse,” which resembles a ghost story as well as a session of psychoanalysis, the intergenerational effects of trauma affect the descendants of both victims and perpetrators of slavery. Finally, it is concluded that, despite certain shortcomings, Ford’s approach to racial difference is becoming increasingly sophisticated. Este artículo explora la esclavitud como trauma nacional en “Everything Could Be Worse” (2014), de Richard Ford. En primer lugar, se lleva a cabo la conceptualización de la esclavitud como trauma, prestando atención a su papel en la formación de la identidad negra estadounidense contemporánea. Las categorías de ‘posmemoria’ (Marianne Hirsch), ‘fantasma’ y ‘cripta’ (Nicolas Abraham y Maria Torok) se presentan para facilitar el estudio de la opresión multigeneracional y la trasmisión del trauma. A continuación, una breve discusión de la cuestión racial en la ficción y no ficción de Ford contextualiza el análisis de “Everything Could Be Worse.” En esta novela corta, los efectos del trauma intergeneracional se perciben en los descendientes tanto de las víctimas como de los perpetradores de la esclavitud. Por último, se concluye que, a pesar de ciertas limitaciones, resulta evidente la creciente sofisticación con la que Ford trata la diferencia racial.
本文在理查德·福特2014年的中篇小说《一切都可能更糟》中探讨了奴隶制作为国家创伤的问题。首先，奴隶制被概念化为一种创伤，强调其在美国当代黑人身份形成中的作用。“后记忆”(玛丽安·赫希)、“幻影”和“地窖”(尼古拉斯·亚伯拉罕和玛丽亚·托罗克)的分类被提出，因为它们促进了对多代压迫和创伤传播的研究。然后，对福特小说和非小说作品中的种族问题进行了简短的讨论，为对这部中篇小说的分析提供了背景。《一切都可能更糟》(Everything Could Be Worse)既像一个鬼故事，又像一个精神分析课程。在这本书中，创伤的代际效应影响着奴隶制受害者和加害者的后代。最后，文章得出结论，尽管存在某些缺点，福特处理种族差异的方法正变得越来越复杂。Este artículo explora la esclavitud como trauma national《一切都可能更糟》(2014)，理查德·福特。En primer lugar, se lleva a cabo la conceptualización de la esclavitud como trauma, prestando atención a supel En la formación de la identidad negra estadounidense contemporánea。Las categorías de ' posmemoria '(玛丽安·赫希)，' fantasma ' y ' cripta(尼古拉斯·亚伯拉罕和玛丽亚·托罗克)是由la trasmisión del trauma主办的opresión多代工作室。A continuación, una breve discusión de la cuestión racial en la ficción y no ficción de Ford contextuizizel análisis de Everything Could Be Worse。即使是novela corta，创伤的损失效应，代际间的感知，在失去的后代中，也可以看到víctimas como de los pertradores de la clavitud。上月的,se concluye, pesar de ciertas limitaciones, resulta evidente la creciente sofisticacion con la,福特trata diferencia种族。
{"title":"Slavery as national trauma in Richard Ford’s “everything could be worse”.","authors":"Rubén Peinado Abarrio","doi":"10.12795/ren.2021.i25.09","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.09","url":null,"abstract":"This article explores slavery as a national trauma in Richard Ford’s 2014 novella “Everything Could Be Worse.” First, slavery is conceptualized as trauma, emphasizing its role in the formation of contemporary Black identity in the United States. The categories of ‘postmemory’ (Marianne Hirsch), ‘phantom’ and ‘crypt’ (Nicolas Abraham and Maria Torok) are presented, as they facilitate the study of multigenerational oppression and the transmission of trauma. Then, a brief discussion of the race question in Ford’s fiction and nonfiction contextualizes the analysis of the novella. In “Everything Could Be Worse,” which resembles a ghost story as well as a session of psychoanalysis, the intergenerational effects of trauma affect the descendants of both victims and perpetrators of slavery. Finally, it is concluded that, despite certain shortcomings, Ford’s approach to racial difference is becoming increasingly sophisticated. Este artículo explora la esclavitud como trauma nacional en “Everything Could Be Worse” (2014), de Richard Ford. En primer lugar, se lleva a cabo la conceptualización de la esclavitud como trauma, prestando atención a su papel en la formación de la identidad negra estadounidense contemporánea. Las categorías de ‘posmemoria’ (Marianne Hirsch), ‘fantasma’ y ‘cripta’ (Nicolas Abraham y Maria Torok) se presentan para facilitar el estudio de la opresión multigeneracional y la trasmisión del trauma. A continuación, una breve discusión de la cuestión racial en la ficción y no ficción de Ford contextualiza el análisis de “Everything Could Be Worse.” En esta novela corta, los efectos del trauma intergeneracional se perciben en los descendientes tanto de las víctimas como de los perpetradores de la esclavitud. Por último, se concluye que, a pesar de ciertas limitaciones, resulta evidente la creciente sofisticación con la que Ford trata la diferencia racial.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094969","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.i25.08
Ana Virginia López Fuentes
This paper analyses the Walt Disney’s animation film Zootopia (2016) within the context of contemporary cinematic representations of global cities as borderlands but also as bordering, exclusive, diverse and cosmopolitan places. Zootopia is a film about the city space, in this case, about the global city of Zootopia. The film reflects contemporary global cities in which the negotiation of space is a constant issue. It portrays a modern metropolis formed by different neighbourhoods with contrasting habitats such as Sahara, Jungle or Tundra, all comprised in the same space and separated by physical walls. Animals from every environment, size and form cohabit together in the city, but physical and metaphorical borders are erected between them. The film brings an inclusive message breaking with borders inside the global city and portraying moments of openness between the protagonists; a bunny and a fox
{"title":"Cosmopolitan and border experiences in the global city of zootopia.","authors":"Ana Virginia López Fuentes","doi":"10.12795/ren.2021.i25.08","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.08","url":null,"abstract":"This paper analyses the Walt Disney’s animation film Zootopia (2016) within the context of contemporary cinematic representations of global cities as borderlands but also as bordering, exclusive, diverse and cosmopolitan places. Zootopia is a film about the city space, in this case, about the global city of Zootopia. The film reflects contemporary global cities in which the negotiation of space is a constant issue. It portrays a modern metropolis formed by different neighbourhoods with contrasting habitats such as Sahara, Jungle or Tundra, all comprised in the same space and separated by physical walls. Animals from every environment, size and form cohabit together in the city, but physical and metaphorical borders are erected between them. The film brings an inclusive message breaking with borders inside the global city and portraying moments of openness between the protagonists; a bunny and a fox","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094789","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.i25.07
A. Marini
In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as ethnocultural pivots, this comic book series carves out a definite space in the panorama of the Mexican American production of popular culture, adding a powerful voice to the expression of US ethnic minorities.
{"title":"The Hybridization Of The Noir Genre As Expression Of Ethnic Heritage: Rafael Navarro’s Sonambulo","authors":"A. Marini","doi":"10.12795/ren.2021.i25.07","DOIUrl":"https://doi.org/10.12795/ren.2021.i25.07","url":null,"abstract":"In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as ethnocultural pivots, this comic book series carves out a definite space in the panorama of the Mexican American production of popular culture, adding a powerful voice to the expression of US ethnic minorities.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"64 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66094675","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 : 2020-12-25DOI: 10.12795/ren.2020.i24.01
Jesús Bolaño Quintero
Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the muchdebated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas.
{"title":"POST-POSTMODERN CINEMA AT THE TURN OF THE MILLENNIUM: PAUL THOMAS ANDERSON’S MAGNOLIA (1999).","authors":"Jesús Bolaño Quintero","doi":"10.12795/ren.2020.i24.01","DOIUrl":"https://doi.org/10.12795/ren.2020.i24.01","url":null,"abstract":"Starting with an analysis of the significance of the French New Wave for postmodern cinema, this essay sets out to make a study of Paul Thomas Anderson’s Magnolia (1999) as the film that marks the beginning of what could be considered a paradigm shift in American cinema at the end of the 20th century. Building from the muchdebated passing of postmodernism, this study focuses on several key postmodern aspects that take a different slant in this movie. The film points out the value of aspects that had lost their meaning within the fiction typical of postmodernism—such as the absence of causality; sincere honesty as opposed to destructive irony; or the loss of faith in Lyotardian meta-narratives. We shall look at the nature of the paradigm shift to link it to the desire to overcome postmodern values through a recovery of Romantic ideas.","PeriodicalId":38126,"journal":{"name":"Revista de Estudios Norteamericanos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43970255","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 : 2020-12-25DOI: 10.12795/ren.2020.i24.06
N. Maleki, Zahra Nazemi, Gabriel Laguna Mariscal
The aim of the present paper is to introduce a literary topos called the scheme of Potiphar’s wife, its development in literary history and its recreation in Eugene O’Neill’s Desire Under the Elms (1924). Taking into consideration the three requirements established by Laguna Mariscal for a literary topos (content, literary form, and historical development), the evolution of this topos in The Egyptian Tale of Two Brothers, the biblical Book of Genesis, Homer’s Iliad, Ovid’s Metamorphoses, Euripides’s Hippolytus, Seneca’s Phaedra and O’Neill’s Desire Under the Elms is surveyed. It is argued that the story of Potiphar’s wife is part of a long-standing topos that has been developed through the literary history. The recreation of this topos in O’Neill’s play, as one permutation of this topos, while evoking several Classical sources, especially the Hippolytus by Euripides, is at the same time a creative adaptation, aimed to match the historical context of twentieth century America.
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