Pub Date : 2022-02-08DOI: 10.37668/oceanide.v15i.72
Jesús Bolaño Quintero
At the turn of the millennium, many theorists questioned the survival of postmodernism and, although it is true that their statements were not supported by a general consensus, the new century brought with it an intense debate on the subject. With this in mind, the aim of this article is to map out the taxonomy of the alternatives to postmodernism proposed by several theorists during the first decade of the twenty-first century in order to understand their nature. This article analyses an extensive corpus of theories, to arrive at the conclusion that this period was an interstitial moment of change whose direction seemed to be heading towards the recovery of a much-nuanced unfinished project of modernity, as advocated by Jürgen Habermas. This attempt at debunking postmodern relativism was thwarted by the social dissatisfaction generated by the bank bailout of 2008 and the ulterior intensification of neoliberalism. However, the subsequent attempts to define the zeitgeist of this cultural phase that followed postmodernism started to dwindle. The desired recovery of this unfinished project responds to a need for univocity that, during the 2010s, leads to a hyper-neoliberalism sponsored by populism and constructed on a kind of reactionary post-truth.
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Pub Date : 2022-02-08DOI: 10.37668/oceanide.v15i.76
Antonio Bruyèl-Olmedo, M. Juan-Garau
The term “transgression” is traditionally associated with the infringement of what is prescribed. However, a closer look at its nature suggests that it is an integral part of the norm, as well as a starting point for innovation, in this case linguistic. The study focuses on the linguistic landscape (LL) of Spain, where five official languages share regional official status with Castilian Spanish. Further, these languages coexist in the LL with immigrant ones and English as an international language. In this environment, the article explores how linguistic transgression is reflected in the LL and what motivations underlie such non-normative uses. Given the spatial and grammatical limitations of the texts in the LL, the study focuses on aspects of code preference and orthography. To this end, we work on photographs taken in different Spanish regions which reflect the range of transgressive linguistic practices present in the public space. The evidence gathered allows us to suggest the grouping of these techniques under the categories of code (or variant) choice/elimination, exoticisation, re-representation and re-signification. The subsequent analysis presents linguistic transgression in LL as a voluntary, motivated and intentional social act that reflects identity, socio-cultural, but also commercial motivations. These motivations lead street-text authors to force the linguistic norm in their texts in order to claim their identity, show their solidarity with ideologies, resist linguistic policies or seek identification with their audience’s sensitivities for trade purposes.
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Pub Date : 2022-02-08DOI: 10.37668/oceanide.v15i.91
Carmen María Fernández Rodríguez
One of the reasons to associate Maria Edgeworth with Jane Austen is the importance of the former as a main source of inspiration for Austen’s domestic plots. Interestingly, both colonialism and gender studies have turned their eyes to Edgeworth’s and Austen’s approach to slavery. Nevertheless, the specific connection between Belinda and Emma in this regard has been overlooked while, indeed, there are many reasons to relate both works since both deal with women’s submission and emotional dependence from others in many ways. This article analyses two secondary characters in Edgeworth’s Belinda and Austen’s Emma. After examining the similarities of the status of blacks and women in late eighteenth-century England, I maintain that these works can be seen as two studies of gratitude and that they offer a new version of Edgeworth’s familiar theme of the grateful negro, though in this case it applies to woman’s surrogate social position. The ideas of Homi K. Bhabha on colonial discourse help to examine the relationship between gender and race in Belinda and Emma, as well as the lack of a fixed identity and unfulfilled desire of independence that was common to blacks and women. It is precisely this feature that adds some darkness and social critique to Edgeworth’s and Austen’s otherwise rather predictable plots.
将玛丽亚·埃奇沃斯与简·奥斯汀联系在一起的原因之一是前者是奥斯汀家庭情节的主要灵感来源。有趣的是，殖民主义和性别研究都把目光转向了埃奇沃斯和奥斯汀对待奴隶制的方式。然而，在这方面，贝琳达和艾玛之间的具体联系被忽视了，而事实上，有很多理由将这两部作品联系起来，因为它们都在许多方面处理了女性对他人的顺从和情感依赖。本文分析了埃奇沃斯的《贝琳达》和奥斯汀的《艾玛》中的两个次要人物。在考察了18世纪晚期英国黑人和女性地位的相似之处之后，我坚持认为，这些作品可以被视为对感恩的两项研究，它们提供了埃奇沃斯熟悉的感恩黑人主题的新版本，尽管在这种情况下，它适用于女性的替代社会地位。Homi K. Bhabha关于殖民话语的观点有助于审视《贝琳达》和《艾玛》中性别与种族之间的关系，以及黑人和女性普遍缺乏固定身份和未实现的独立愿望。正是这一特点为埃奇沃斯和奥斯丁的情节增添了一些黑暗和社会批判，否则他们的情节就相当可预测了。
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Pub Date : 2022-02-08DOI: 10.37668/oceanide.v15i.98
María Amor Barros del Río
Normal People, the TV series, aired in Ireland during the pandemic lockdown in spring 2020 and became an instant hit. This romantic drama, based on Sally Rooney’s acclaimed novel, offers an updated representation of the tensions inherent in the process of growing up for Irish youth, a context extensive to other Western countries. The aim of this article is to explore the critique behind the romance through an in-depth interpretation of the protagonists’ problematic process of coming-of-age. For this purpose, the dramatic aspects of this cinematic narrative are explored in terms of composition, narration and focalization. Under the critical lens of postfeminism, this article analyses how psychological violence and explicit and rough sex are used in the series as forms of (mis)communication, with a particular interest in the combination of camera work, dialogues and silences. Finally, this article assesses to what extent Normal People naturalizes mundane life and succeeds in adhering to the romantic plot within the frame of neoliberal and postfeminist values.
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Pub Date : 2022-02-08DOI: 10.37668/oceanide.v15i.93
Maria Magdalena Brotons Capó, Sebastià Alzamora Martin
La importància de Pier Paolo Pasolini com a cineasta i com a poeta del segle XX va més enllà de les seves obres, com ho demostra el fet que la seva petjada és perceptible en altres autors que se sentiren profundament influïts per la tasca d’aquest artista italià. És el cas del poeta mallorquí Blai Bonet, el qual, de vegades de manera evident, sovint indirectament, mostra l’admiració vers les pel·lícules i escrits de Pasolini a moltes de les seves obres. En aquest article desgranarem les petjades de Pasolini a l’obra de Bonet, partint d’autors que anteriorment ja havien tractat aspectes de l’obra de Blai Bonet i aprofundint en el tema a partir d’una anàlisi més acurada de la filmografia del director.
Pier Paolo Pasolini作为20世纪的电影制作人和诗人的重要性超出了他的作品，他的足迹在其他深受这位意大利艺术家作品影响的作家身上都可以感受到。马洛奇的诗人布莱·波内就是这样，他有时显然，经常间接地对帕索里尼的电影和作品表示钦佩。在这篇文章中，我们将揭开帕索里尼在博内作品中的足迹，从之前处理过布莱·博内作品的作者开始，并通过对导演电影的更准确分析来加深这一点。
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Pub Date : 2022-02-08DOI: 10.37668/oceanide.v15i.82
Miguel Ángel González Campos
Futures Studies as a multidisciplinary academic field developed in the last decades has emphasized the meaningful and revealing nature of the images of the future originating in every society. In this sense, Piotr M. Szpunar and Karl K. Szpunar (2016) underline the close relationship between recalling the past and imagining the future and suggest a mutual influence and interdependence between both processes. The purpose of this article is to apply the concept of “collective future thought” coined by these authors to the analysis of The Giver (1993) by Lois Lowry, which depicts a future dystopian society where memories of the past, as a powerful and threatening artifact, are kept away from the members of the community. This novel has been extensively analyzed as a dystopian text from many different perspectives. However, no critical attention has been paid to the way Lowry explores the close interrelationship and interdependence between the visions of past and future created by a society and their bonds of reciprocal interaction. Starting from a consideration of The Giver as dystopian fiction, this research attempts to move the critical exploration of this novel one step further and claims that a more nuanced understanding of the text can be achieved by considering the contributions from the field of Futures Studies and the concepts of collective memory and collective future thinking.
未来研究作为近几十年来发展起来的一个多学科学术领域，强调了源自每个社会的未来图像的意义和揭示性。在这个意义上，Piotr M. Szpunar和Karl K. Szpunar(2016)强调了回忆过去和想象未来之间的密切关系，并提出了这两个过程之间的相互影响和相互依存。本文的目的是将这些作者创造的“集体未来思想”的概念应用于Lois Lowry的《The Giver》(1993)的分析中，该作品描绘了一个未来的反乌托邦社会，在这个社会中，过去的记忆作为一种强大而具有威胁性的人工制品，被社区成员所远离。这部小说作为反乌托邦文本被广泛地从许多不同的角度进行了分析。然而，没有人注意到Lowry探索社会创造的过去和未来愿景之间的密切相互关系和相互依存关系，以及它们相互作用的纽带。本研究从《给予者》作为反乌托邦小说的角度出发，试图将这部小说的批判性探索向前推进一步，并主张通过考虑未来研究领域的贡献以及集体记忆和集体未来思维的概念，可以实现对文本的更细致的理解。
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Pub Date : 2022-02-08DOI: 10.37668/oceanide.v15i.75
Raisa Gorgojo Iglesias
Este trabajo pretende ser un ejercicio de re-visión (Rich 1972) para realizar un examen intertextual que confronte las ideas de la escritora italiana Anna Maria Ortese presentes en Corpo celeste (1997) con obras de índole academicista que analizan la transformación de la sociedad postmoderna, teniendo en cuenta que Ortese parte de una perspectiva biográfica y ajena a los círculos académicos y literarios del momento. Este estudio se fundamenta en una perspectiva de conocimiento feminista situado (Haraway 2013 [1991]) para explorar la concepción de creación industrial, presente eterno y el papel cambiante de la cultura según Ortese. El objetivo es llevar a cabo una defensa de la necesidad de incorporar al canon las voces marginadas, pretendiendo así justificar la emergencia de transmitir, traducir y reeditar sus obras.
这项工作的目的是重新审视（Rich 1972年），进行一次互文审查，将意大利作家安娜·玛丽亚·奥尔特斯（Anna Maria Ortese）在Corpo Celeste（1997年）的思想与分析后现代社会转型的学术性作品进行比较，同时考虑到奥尔特塞从传记的角度出发，与当时的学术和文学界格不入。根据奥尔特斯的说法，这项研究基于一种女权主义知识的视角（哈拉威2013年[1991]），以探索工业创作的概念、永恒的存在和文化不断变化的作用。其目的是为将边缘化的声音纳入正典的必要性进行辩护，从而为传播、翻译和重新出版他的作品的紧急情况辩护。
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Pub Date : 2021-02-01DOI: 10.37668/OCEANIDE.V14I.61
Macarena García-Avello
En la trayectoria artística de Julio Cortázar se suele establecer una división entre una primera etapa apolítica y el posterior florecimiento de preocupaciones políticas. En cuanto a los cuentos que se desarrollan dentro del marco familiar, a partir de Octaedro (1974) se hacen evidentes las lecturas en clave política de relatos como “Verano”, “Recortes de prensa”, “Pesadilla” y “Satarsa”. La cuestión que emerge y que se abordará a lo largo de este artículo es si es posible llevar a cabo un análisis político en cuentos anteriores en los que la familia ocupa un lugar central. Para ello, se trazará una genealogía mediante la que comprender y contextualizar la manera en que se articula la política en la obra de Cortázar anterior a 1973 a través del examen exhaustivo de “Casa tomada”, “Cartas de mamá” y “La salud de los enfermos”.
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Pub Date : 2020-02-09DOI: 10.37668/oceanide.v13i.39
Eduardo Barros Grela, María Bobadilla Pérez
The work of Northern Irish singer-songwriter Van Morrison has gone relatively unnoticed by critics despite the numerous social, literary and artistic elements included in his songs. Among them is the representation of the figure of the Gypsy as a model of action for generations of listeners who were concerned about countercultural dynamics, as well as alternative life models to those that were legitimized by the middle class of the time. The objective of this study is to analyze the romanticized component that is presented in Morrison's work around his conceptualization of gypsyism, as well as to observe how these elements generate, firstly, a deontologizing function in the Gypsy figure, and then a resignification of the spaces in transit occupied by the imagination(s) of this community as a nomadic people.To carry out this analysis, several songs from the first albums of the Northern Irish author will be examined, and we will explain the function of representing the Gypsy in the countercultural spatial environment of their epistemology.
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Pub Date : 2020-02-09DOI: 10.37668/oceanide.v13i.43
José Manuel Estévez-Saá
Edna O’Brien’s last published novels, "The Little Red Chairs" (2015) and "Girl" (2019), have been unanimously praised by criticism. "The Little Red Chairs" has been acclaimed as her masterpiece by Philip Roth in the book jacket cover, and as her most ambitious novel by Éilís Ní Dhuibhne at the moment of its publication (2015), which is a lot to say about an author who has been a referent in Irish literature since the 1960s. Girl has been also praised by influential figures such as Christina Patterson (2019) and Anne Enright (2019), among many other reviewers."The Little Red Chairs" has been inspired by the historical episode of the Balkans War and the siege of Sarajevo. Divided in three parts, the novel takes its readers from the west of Ireland to the Balkans through London and The Hague Tribunal in a series of movements that serve the author to deploy the wide canvas of migratory exchanges in our current society which involve political exiles, refugees, expatriates and economic emigrants. "Girl", has been described by O’Brien herself as “the hardest and the most painful” novel that she has ever written. On this occasion, the narrative is based on the kidnapping of more than two hundred schoolgirls by the Boko Haram Jihadist sect, after the author’s journey to Nigeria, where she interviewed many of the people involved in the tragic episode. My study of these two novels focuses on Edna O’Brien’s ethical compromise, giving voice to the most traumatic episodes and traumatizedvictims of our contemporary society, as well as on her brilliant use of the genre of the novel for recording the chaos, complexity, dislocation and fragmentation caused by radicalisms, political violence and terrorism.
{"title":"“Fearful … and Fearless”: Edna O’Brien’s “The Little Red Chairs” and “Girl”","authors":"José Manuel Estévez-Saá","doi":"10.37668/oceanide.v13i.43","DOIUrl":"https://doi.org/10.37668/oceanide.v13i.43","url":null,"abstract":"Edna O’Brien’s last published novels, \"The Little Red Chairs\" (2015) and \"Girl\" (2019), have been unanimously praised by criticism. \"The Little Red Chairs\" has been acclaimed as her masterpiece by Philip Roth in the book jacket cover, and as her most ambitious novel by Éilís Ní Dhuibhne at the moment of its publication (2015), which is a lot to say about an author who has been a referent in Irish literature since the 1960s. Girl has been also praised by influential figures such as Christina Patterson (2019) and Anne Enright (2019), among many other reviewers.\"The Little Red Chairs\" has been inspired by the historical episode of the Balkans War and the siege of Sarajevo. Divided in three parts, the novel takes its readers from the west of Ireland to the Balkans through London and The Hague Tribunal in a series of movements that serve the author to deploy the wide canvas of migratory exchanges in our current society which involve political exiles, refugees, expatriates and economic emigrants. \"Girl\", has been described by O’Brien herself as “the hardest and the most painful” novel that she has ever written. On this occasion, the narrative is based on the kidnapping of more than two hundred schoolgirls by the Boko Haram Jihadist sect, after the author’s journey to Nigeria, where she interviewed many of the people involved in the tragic episode. My study of these two novels focuses on Edna O’Brien’s ethical compromise, giving voice to the most traumatic episodes and traumatizedvictims of our contemporary society, as well as on her brilliant use of the genre of the novel for recording the chaos, complexity, dislocation and fragmentation caused by radicalisms, political violence and terrorism.","PeriodicalId":38352,"journal":{"name":"Oceanide","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41459576","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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