Pub Date : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1085
Andrea Paola Vallejo Martínez
This article analyzes the book "El olvido que seremos" by Colombian author Hector Abad Faciolince, published in 2005 by Editorial Planeta. After an account of the theory of the “writings of self” and the autofiction, it is argued that the narrative structure falls under the category of autobiofiction proposed by Manuel Alberca in his book "El pacto ambiguo. De la novela autobiografica a la autoficcion"(2007) due to the author’s use of his own experience, his life, and the experience of others to write fiction, and also due to the strain between the boundaries of genres like autobiography and novel, which indissolubly mix the real-biographical with the fictional to foster uncertainty in the reader. Likewise, it is proposed that the irruption of fiction in the real-biographical allows the author to take the place of the parent in order to reconstruct and experience firsthand the murder of his father, an experience he did not live. Finally, it is pointed out that the transgressions of the narrative perspective give the work a polyphonic nature that allows the different voices present in the text to reconstruct, in a fragmented way, a collective memory.
本文分析了哥伦比亚作家Hector Abad Faciolince于2005年出版的《El olvido que seremos》一书。通过对“自我写作”理论和自传体小说理论的分析，认为小说的叙事结构属于阿尔伯卡在《模棱两可的契约》一书中提出的自传体小说的范畴。De la novela autobiografica a la autoficcion”(2007)，因为作者利用自己的经历，自己的生活，以及他人的经历来写小说，也因为自传和小说等体裁之间的界限紧张，将真实的传记与虚构的不可分割地混合在一起，给读者带来不确定性。同样，有人提出，小说在真实传记中的突然性使作者能够代替父母，以重建和亲身体验他没有经历过的父亲被谋杀的经历。最后，作者指出，叙事视角的越界赋予了作品一种复调的性质，使得文本中出现的不同声音以碎片化的方式重构了一种集体记忆。
{"title":"Entre lo real-biográfico y lo ficticio: autobioficción en \"El olvido que seremos\" de Héctor Abad Faciolince","authors":"Andrea Paola Vallejo Martínez","doi":"10.37536/PREH.2021.9.1.1085","DOIUrl":"https://doi.org/10.37536/PREH.2021.9.1.1085","url":null,"abstract":"This article analyzes the book \"El olvido que seremos\" by Colombian author Hector Abad Faciolince, published in 2005 by Editorial Planeta. After an account of the theory of the “writings of self” and the autofiction, it is argued that the narrative structure falls under the category of autobiofiction proposed by Manuel Alberca in his book \"El pacto ambiguo. De la novela autobiografica a la autoficcion\"(2007) due to the author’s use of his own experience, his life, and the experience of others to write fiction, and also due to the strain between the boundaries of genres like autobiography and novel, which indissolubly mix the real-biographical with the fictional to foster uncertainty in the reader. Likewise, it is proposed that the irruption of fiction in the real-biographical allows the author to take the place of the parent in order to reconstruct and experience firsthand the murder of his father, an experience he did not live. Finally, it is pointed out that the transgressions of the narrative perspective give the work a polyphonic nature that allows the different voices present in the text to reconstruct, in a fragmented way, a collective memory.","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41977155","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 : 2021-03-01DOI: 10.37536/preh.2021.9.1.1080
C. Espinosa
La narrativa de Patricia Esteban Erlés ha otorgado, desde sus inicios, un fuerte peso a los espacios en donde se desarrolla la acción. Algunos de ellos se inspiran en inmuebles de novelas y películas, como ocurre en el caso de Manderley –la casona de la película Rebeca, de Hitchcock– y la mansión Winchester. El escenario principal de la novela Las madres negras, el convento de Santa Vela, es un elemento crucial para la conformación de lo gótico, lo siniestro y lo fantástico, rasgos que se combinan con maestría en esta obra. Este trabajo destaca las características arquitectónicas del espacio y su relación con la trama de la novela. Asimismo, se aborda el protagonismo del inmueble como un personaje, la importancia de su voz a lo largo de la novela y la proyección de la mente de su propietaria original en su construcción, con base en la teoría de Maria Tatar, Sigmund Freud, Anthony Vidler y Gaston Bachelard, entre otros.
{"title":"La voz de Santa Vela en \"Las madres negras\" de Patricia Esteban Erlés","authors":"C. Espinosa","doi":"10.37536/preh.2021.9.1.1080","DOIUrl":"https://doi.org/10.37536/preh.2021.9.1.1080","url":null,"abstract":"La narrativa de Patricia Esteban Erlés ha otorgado, desde sus inicios, un fuerte peso a los espacios en donde se desarrolla la acción. Algunos de ellos se inspiran en inmuebles de novelas y películas, como ocurre en el caso de Manderley –la casona de la película Rebeca, de Hitchcock– y la mansión Winchester. El escenario principal de la novela Las madres negras, el convento de Santa Vela, es un elemento crucial para la conformación de lo gótico, lo siniestro y lo fantástico, rasgos que se combinan con maestría en esta obra. Este trabajo destaca las características arquitectónicas del espacio y su relación con la trama de la novela. Asimismo, se aborda el protagonismo del inmueble como un personaje, la importancia de su voz a lo largo de la novela y la proyección de la mente de su propietaria original en su construcción, con base en la teoría de Maria Tatar, Sigmund Freud, Anthony Vidler y Gaston Bachelard, entre otros.","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77662763","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 : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1095
Marina Bianchi
{"title":"Reseña: \"Poesía, ideología e historia. Siglos XX y XXI\" (2019), de Juan José Lanz","authors":"Marina Bianchi","doi":"10.37536/PREH.2021.9.1.1095","DOIUrl":"https://doi.org/10.37536/PREH.2021.9.1.1095","url":null,"abstract":"","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48845233","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 : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1083
J. Castillo
This article studies two novels of the Argentinian writer Patricio Pron, El comienzo de la primavera (2008) and No derrames tus lagrimas por nadie que viva en estas calles (2014), which are grouped here according to their common theme: the historico-political evolution of Europe since the Second World War and, more specifically, the consequences of ideological extremism for Germany and Italy. Stemming from the ideas of Roberto Esposito, Walter Benjamin and Giorgio Agamben, among others, I analyze two central aspects of both novels: the meaning of history and its relation to individual responsibility about the past, and the dichotomy between ethics and politics. I show how both novels make use of an analytical realism that experiments with narrative structures and perspectives to give an account of what it means to build up political consciousness in the 21st century.
{"title":"Historia y política en dos novelas de Patricio Pron: \"El comienzo de la primavera\" y \"No derrames tus lágrimas por nadie que viva en estas calles\"","authors":"J. Castillo","doi":"10.37536/PREH.2021.9.1.1083","DOIUrl":"https://doi.org/10.37536/PREH.2021.9.1.1083","url":null,"abstract":"This article studies two novels of the Argentinian writer Patricio Pron, El comienzo de la primavera (2008) and No derrames tus lagrimas por nadie que viva en estas calles (2014), which are grouped here according to their common theme: the historico-political evolution of Europe since the Second World War and, more specifically, the consequences of ideological extremism for Germany and Italy. Stemming from the ideas of Roberto Esposito, Walter Benjamin and Giorgio Agamben, among others, I analyze two central aspects of both novels: the meaning of history and its relation to individual responsibility about the past, and the dichotomy between ethics and politics. I show how both novels make use of an analytical realism that experiments with narrative structures and perspectives to give an account of what it means to build up political consciousness in the 21st century.","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45414039","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 : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1098
Itxaro González Guridi
{"title":"Reseña: \"Arte, literatura y feminismos. Lenguajes plásticos y escritura en Euskal Herria\" (2020), de Susana Jodra Llorente y Amelia Benito del Valle Eskauriaza (eds.)","authors":"Itxaro González Guridi","doi":"10.37536/PREH.2021.9.1.1098","DOIUrl":"https://doi.org/10.37536/PREH.2021.9.1.1098","url":null,"abstract":"","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44976905","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 : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1082
E. Duarte
This article analyses the film "Habeas Corpus" by Argentine filmmaker Jorge Acha from the figure of the body of the detainee-disappeared portrayed in it, and, simultaneously, how it contrasts with other corporal representations. In this way, it attempts to unfold an argumentative movement that contempla-tes the state of indetermination implied in this figure. For this, we introduce the thinking of Hito Steyerl, who incorporates the mental experiment known as “Schrodinger’s cat” to the reflection about the political status of the disap-peared. It is also of importance, secondly, the analogy with the figure of Christ, which allows a critical consideration about the role of the Catholic Church in Argentina’s last dictatorship. The detainee-disappeared is presented as a double of Christ. The paradox is that the Church itself acts as executioner and martyr producer. The Christological allegory is introduced through another metonymic figure, that of the fish, of importance in primitive Christianity and incorporated as central motif in the film. As last movement we have the approach the film makes to sexuality in relation to the experience of bondage. The thinking of Wilhelm Reich is useful here in relation to the problematic way in which fascism relates itself with sexuality, and how "Habeas Corpus’" homoerotism aims to sub-vert the reactionary character of dictatorial perspective. At the same time, the body norm of the detainee-disappeared and of the designed and hypertrophied bodies of the bodybuilders admired by the torturer is put into contrast with each other.
{"title":"El abordaje del cuerpo en \"Habeas Corpus\" de Jorge Acha: indeterminación, imagen crística y subversión sexual","authors":"E. Duarte","doi":"10.37536/PREH.2021.9.1.1082","DOIUrl":"https://doi.org/10.37536/PREH.2021.9.1.1082","url":null,"abstract":"This article analyses the film \"Habeas Corpus\" by Argentine filmmaker Jorge Acha from the figure of the body of the detainee-disappeared portrayed in it, and, simultaneously, how it contrasts with other corporal representations. In this way, it attempts to unfold an argumentative movement that contempla-tes the state of indetermination implied in this figure. For this, we introduce the thinking of Hito Steyerl, who incorporates the mental experiment known as “Schrodinger’s cat” to the reflection about the political status of the disap-peared. It is also of importance, secondly, the analogy with the figure of Christ, which allows a critical consideration about the role of the Catholic Church in Argentina’s last dictatorship. The detainee-disappeared is presented as a double of Christ. The paradox is that the Church itself acts as executioner and martyr producer. The Christological allegory is introduced through another metonymic figure, that of the fish, of importance in primitive Christianity and incorporated as central motif in the film. As last movement we have the approach the film makes to sexuality in relation to the experience of bondage. The thinking of Wilhelm Reich is useful here in relation to the problematic way in which fascism relates itself with sexuality, and how \"Habeas Corpus’\" homoerotism aims to sub-vert the reactionary character of dictatorial perspective. At the same time, the body norm of the detainee-disappeared and of the designed and hypertrophied bodies of the bodybuilders admired by the torturer is put into contrast with each other.","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44701339","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 : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1086
Milica Lilic
espanolEl presente trabajo parte del concepto de la novela testimonial y sus manifestaciones en la narrativa espanola actual, para analizar los elementos documentales y las tecnicas ficcionales integradas en las obras "No, mi general" de Irene Lozano y "Hay algo que no es como me dicen" de Juan Jose Millas. El cambio en el enfoque tematico que presentan estas novelas –ambas relatan historias reales sobre el acoso laboral y sexual a las mujeres en el Ejercito espanol y el Ayuntamiento de Ponferrada, respectivamente–, permitira estudiar su estructura particular, asi como la importancia del papel del autor y su intervencion real y parcial en el caso. De esta forma, se afirmara el caracter colectivo y denuncian-te de estas obras en cuanto a la mencionada problematica social emergente. Asimismo, se pondra enfasis especial en la subjetivizacion, elemento que de-muestra la condicion testimonial de estas novelas, esto es, afirma el desarrollo de una serie de tecnicas que objetivizan los hechos, por una parte, y certifica la presencia de los mecanismos que aportan a la narrativizacion del relato, por otra. Finalmente, se distinguiran dos niveles de narracion: la historia de la protagonista y la historia del narrador. La primera narra un caso real de acoso desde la perspectiva de la victima, esto es, reinterpreta la verdad oficial y reconstruye la realidad, mientras que la segunda adquiere una dimension modelica y apela a todo un colectivo de mujeres acosadas en el lugar de trabajo. EnglishThis study starts from the concept of the testimonial novel and its ma-nifestations in the current Spanish narrative, in order to analyze the documen-tary elements and the fictional techniques integrated into the works "No, mi general" by Irene Lozano and "Hay algo que no es como me dicen" by Juan Jose Millas. The change in the thematic approach presented by these novels –both tell real stories about mobbing and sexual harassment of women in the Spanish Army and Ponferrada City Council, respectively–, will allow to study their particular structure, as well as the importance of the authors’ role and their real and partial intervention in the case. In this way, the collective and denouncing nature the-se novels have regarding the aforementioned emerging social problem will be affirmed. Likewise, a special emphasis will be put on subjectivization, an element that proves the testimonial condition of these novels, that is, it affirms the deve-lopment of a series of techniques that objectify the facts, on the one hand, and certifies the presence of the mechanisms that contribute to the narrativization of the story, on the other. Finally, two levels of narration will be distinguished: the story of the protagonist and the story of the narrator. The first one narrates a real case of harassment from the perspective of the victim, that is, it reinterprets the official truth and reconstructs reality, while the second one acquires a model dimension and appeals to a whole group of har
证人espanolEl本小说概念的一部分工作及其表现当今西班牙语的叙述、分析和纪录片tecnicas ficcionales作品相集成,“不,我的“艾琳振兴和”将军有什么不像我说“胡安何塞英里。提出这些小说的tematico方法变化—两个说明性骚扰故事实际工作和妇女在西班牙军队性和市政厅分别为Ponferrada—特别是分词研究其结构,就是作者的作用和重要性的真实及部分诺的案件。通过这种方式，这些作品的集体性质得到了肯定，并受到了上述新兴社会问题的谴责。还会是特别enfasis subjetivizacion证人,元素de-muestra条件表示,这些小说,这是一系列发展tecnicas objetivizan事实,一方面,并颁发机制narrativizacion做贡献,另一方面叙事。最后，故事分为两个层次:主角的故事和叙述者的故事。前者从受害者的角度讲述了一个真实的骚扰案例，即重新诠释官方真相并重建现实，而后者则获得了一个模型维度，并呼吁在工作场所受到骚扰的整个女性群体。证人EnglishThis study starts from the概念of the初期and its ma-nifestations in the current [narrative, in order to analyze the documen-tary elements and the虚构的技术integrated into the works”,我的“艾琳振兴和”将军有什么不像我说“by Juan Jose英里。The change in The主题approach by这些novels介绍—both about和性骚扰行为的故事告诉真实of women in The西班牙军队and Ponferrada City Council, respectively—特别是will allow研究其结构,as well as The重视of The authors作用及其实际和partial干预in The case。In this way, the collective and denouncing nature the-se novels have aforementioned有关的新出现的社会问题将affirmed。Likewise,特别侧重will be put on subjectivization an element证人that proves the condition of这些novels, that is, it affirms the deve-lopment of a series of技术that objectify the facts, on the one hand, and certifies the在场of the机制,有助于更好地narrativization of the story, on the other。最后,two narration will be distinguished: the story of the protagonist and the story of the narrator。前者从受害者的角度叙述了一个真实的骚扰案例，即重新诠释了官方的真相并重建了现实，而后者则获得了一个模型维度，并吸引了整个工作场所受骚扰的妇女群体。
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Pub Date : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1090
G. Vigna
This paper analyses the memoirs of two Spanish authors, Juan Luis Panero and Josefina Aldecoa, witnesses of the Spanish Civil War and/or of the following Francoist repression, focusing on the technique they make use of in order to create their self-portrait. The study of these literary works will show the use of the same pattern that are a characteristic of the hero’s journey. More specifically, we study the affinity between memoirists’ personal recall of the past and the stages through which a myth is usually organized, starting with the initial call to go on adventure, the road of trials he must get over and, finally, the hero’s return to his ordinary world with the treasure he gained. In this way, it will be possible to understand fully not only how an ordinary life is converted into myth, but also the reason why these mythemes revitalise themselves in the contemporary memoirs.
本文分析了两位西班牙作家胡安·路易斯·帕内罗（Juan Luis Panero）和Josefina Aldecoa的回忆录，他们见证了西班牙内战和/或随后的法语镇压，重点关注了他们创作自画像的技巧。对这些文学作品的研究将显示出主人公旅程中使用的相同模式。更具体地说，我们研究了回忆录作者对过去的个人回忆与神话通常组织的阶段之间的密切关系，从最初的冒险呼吁开始，他必须克服的考验之路，最后，主人公带着他获得的宝藏回到了他的平凡世界。这样，我们不仅可以充分理解平凡的生活是如何转化为神话的，还可以充分理解这些神话在当代回忆录中复活的原因。
{"title":"Los memorialistas o de los héroes contemporáneos","authors":"G. Vigna","doi":"10.37536/PREH.2021.9.1.1090","DOIUrl":"https://doi.org/10.37536/PREH.2021.9.1.1090","url":null,"abstract":"This paper analyses the memoirs of two Spanish authors, Juan Luis Panero and Josefina Aldecoa, witnesses of the Spanish Civil War and/or of the following Francoist repression, focusing on the technique they make use of in order to create their self-portrait. The study of these literary works will show the use of the same pattern that are a characteristic of the hero’s journey. More specifically, we study the affinity between memoirists’ personal recall of the past and the stages through which a myth is usually organized, starting with the initial call to go on adventure, the road of trials he must get over and, finally, the hero’s return to his ordinary world with the treasure he gained. In this way, it will be possible to understand fully not only how an ordinary life is converted into myth, but also the reason why these mythemes revitalise themselves in the contemporary memoirs.","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41821377","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 : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1101
J. Noriega
{"title":"\"Procesos intermediales. Cine, literatura, espacio\" de Fernando González García, Paulo Cunha y Filipa Rosário (coords.)","authors":"J. Noriega","doi":"10.37536/PREH.2021.9.1.1101","DOIUrl":"https://doi.org/10.37536/PREH.2021.9.1.1101","url":null,"abstract":"","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41625795","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 : 2021-03-01DOI: 10.37536/PREH.2021.9.1.1091
Agustín Martínez-Samos
The novel Barcelona tragica (2009) by Andreu Martin depicts an episode of political uncertainty, a case of civil disobedience and occurrences of urban violence, historically known as “La Setmana Tragica de Barcelona” (The Tragic Week of Barcelona), which unfolds in the summer of 1909. The present study investigates in depth the vision of the capital of Catalonia as a living and damaged organism in constant metamorphosis, which exposes an exhausting process of collision and social adjustment to emphasize the unfinished realization of personal and collective subjectivity. The article points out the existence of unstable and antagonistic historical links between the global urban space and the multiplicity of frontier spaces, used by the industrial bourgeoisie as marginalizing structures to disrupt and alienate the battered existence of the incipient anarchist proletariat. It also reflects on how the urban area in Martin’s narrative becomes a versatile barometer of public disturbances and class problems in order to reevaluate the citizen-society binomial. In this way, through the critical observation of the strategies of fiction, it is shown how the individual suffers from undeniable and harmful consequences due to the multiple negotiations and asymmetrical relations between Barcelona and its citizens, reflection of the harsh metropolitan environment resulting from the political and social crisis of 1909.
安德烈·马丁（Andreu Martin）的小说《巴塞罗那悲剧》（2009）描绘了一个政治不确定性、公民抗命和城市暴力事件的插曲，历史上被称为“巴塞罗那悲剧周”（The Tragic Week of Barcelona），故事发生在1909年夏天。本研究深入探讨了加泰罗尼亚首都作为一个不断变形的活的、受损的有机体的愿景，揭示了一个令人疲惫的碰撞和社会调整过程，强调个人和集体主体性的未完成实现。文章指出，在全球城市空间和边界空间的多样性之间存在着不稳定和对立的历史联系，工业资产阶级将其用作边缘化结构，以破坏和疏远早期无政府主义无产阶级的生存。它还反思了马丁叙事中的城市地区如何成为公共骚乱和阶级问题的多功能晴雨表，以重新评估公民社会的二项式。通过对小说策略的批判性观察，可以看出，由于巴塞罗那与其公民之间的多重谈判和不对称关系，个人如何遭受不可否认的有害后果，这反映了1909年政治和社会危机造成的严酷的大都市环境。
{"title":"Una lectura de la capital de Cataluña: urbanismo, violencia y la ciudad como organismo en \"Barcelona trágica\" de Andreu Martín","authors":"Agustín Martínez-Samos","doi":"10.37536/PREH.2021.9.1.1091","DOIUrl":"https://doi.org/10.37536/PREH.2021.9.1.1091","url":null,"abstract":"The novel Barcelona tragica (2009) by Andreu Martin depicts an episode of political uncertainty, a case of civil disobedience and occurrences of urban violence, historically known as “La Setmana Tragica de Barcelona” (The Tragic Week of Barcelona), which unfolds in the summer of 1909. The present study investigates in depth the vision of the capital of Catalonia as a living and damaged organism in constant metamorphosis, which exposes an exhausting process of collision and social adjustment to emphasize the unfinished realization of personal and collective subjectivity. The article points out the existence of unstable and antagonistic historical links between the global urban space and the multiplicity of frontier spaces, used by the industrial bourgeoisie as marginalizing structures to disrupt and alienate the battered existence of the incipient anarchist proletariat. It also reflects on how the urban area in Martin’s narrative becomes a versatile barometer of public disturbances and class problems in order to reevaluate the citizen-society binomial. In this way, through the critical observation of the strategies of fiction, it is shown how the individual suffers from undeniable and harmful consequences due to the multiple negotiations and asymmetrical relations between Barcelona and its citizens, reflection of the harsh metropolitan environment resulting from the political and social crisis of 1909.","PeriodicalId":40522,"journal":{"name":"Pasavento-Revista de Estudios Hispanicos","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47254091","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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