Pub Date : 2022-01-01DOI: 10.1515/culture-2022-0158
Jørgen Bakke
Abstract This article shows how the descriptions of paintings (Imagines) by the ancient Greek author Philostratus (third century AD) can be viewed as pedagogical tools in the introduction to higher education. Philostratus presented his descriptions in the context of a tour in a picture gallery for young students. In the study presented here, the pedagogical context is taken seriously. With the means of three examples, the study shows how Philostratus uses his descriptions to guide his students into the interpretation of paintings, agriculture, and astronomy. Rather than simply present exemplary rhetorical descriptions of paintings as one would expect a rhetorical teacher to do, Philostratus uses paintings as pedagogical working tables where students can view simplified versions of complex fields of knowledge, an approach that is not unlike the visual presentation of introductory knowledge on old-fashioned cardboard wallcharts in modern schools.
{"title":"Painting, Interpretation, Education: Tables of Knowledge in the Imagines of Philostratus the Athenian","authors":"Jørgen Bakke","doi":"10.1515/culture-2022-0158","DOIUrl":"https://doi.org/10.1515/culture-2022-0158","url":null,"abstract":"Abstract This article shows how the descriptions of paintings (Imagines) by the ancient Greek author Philostratus (third century AD) can be viewed as pedagogical tools in the introduction to higher education. Philostratus presented his descriptions in the context of a tour in a picture gallery for young students. In the study presented here, the pedagogical context is taken seriously. With the means of three examples, the study shows how Philostratus uses his descriptions to guide his students into the interpretation of paintings, agriculture, and astronomy. Rather than simply present exemplary rhetorical descriptions of paintings as one would expect a rhetorical teacher to do, Philostratus uses paintings as pedagogical working tables where students can view simplified versions of complex fields of knowledge, an approach that is not unlike the visual presentation of introductory knowledge on old-fashioned cardboard wallcharts in modern schools.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47628272","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: 10.1515/culture-2020-0138
Florian Cord
Abstract In recent years, there has been a pronounced (re-)turn to questions of ontology, matter, and realism in the humanities and social sciences. What all these theoretical formations have in common is their profound challenge to human exceptionalism. Taken together, these approaches have productively been described as constituting a “nonhuman turn.” This article is a theoretical exploration of the relationship between the intellectual and political practice of Cultural Studies on the one hand and the nonhuman turn on the other. For this purpose, it brings both “into encounter” (Donna Haraway), investigating points of affinity, tension, and compatibility. The essay argues that such a theoretical encounter could prove to be tremendously fruitful, both intellectually and politically, and that Cultural Studies should thus take a genuine interest in these new approaches, engage with them, put them to the test, and, when needed, “translate” and “re-articulate” them. The result could be a Cultural Studies for the Anthropocene which would have a lot to contribute to the critical (cultural/political/social/economic) struggles being fought today.
{"title":"Posthumanist Cultural Studies: Taking the Nonhuman Seriously","authors":"Florian Cord","doi":"10.1515/culture-2020-0138","DOIUrl":"https://doi.org/10.1515/culture-2020-0138","url":null,"abstract":"Abstract In recent years, there has been a pronounced (re-)turn to questions of ontology, matter, and realism in the humanities and social sciences. What all these theoretical formations have in common is their profound challenge to human exceptionalism. Taken together, these approaches have productively been described as constituting a “nonhuman turn.” This article is a theoretical exploration of the relationship between the intellectual and political practice of Cultural Studies on the one hand and the nonhuman turn on the other. For this purpose, it brings both “into encounter” (Donna Haraway), investigating points of affinity, tension, and compatibility. The essay argues that such a theoretical encounter could prove to be tremendously fruitful, both intellectually and politically, and that Cultural Studies should thus take a genuine interest in these new approaches, engage with them, put them to the test, and, when needed, “translate” and “re-articulate” them. The result could be a Cultural Studies for the Anthropocene which would have a lot to contribute to the critical (cultural/political/social/economic) struggles being fought today.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47772027","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: 10.1515/culture-2022-0156
Omair Al-Zgoul, S. Al-Salman
Abstract This research investigates the strategies used by fansubbers to translate English culture-bound expressions into Arabic. It further investigates the functions of swear words and how the fansubber regenerated their functional connotations. The corpus of the study consists of English subtitles and Arabic fansubs of the Bad Boys movies. The researchers analyzed the data both quantitatively and qualitatively. The frameworks adopted in this research are the strategies proposed by Diaz-Cintas and Remael and the classification model of swear words presented by Ljung. The findings showed that the fansubber rendered the culture-bound expressions using seven strategies, the most dominant of which is omission at almost 37%. Other strategies varied in their percentage with: transposition, second-most utilized at 29%, followed by explicitation (25%), calques (8%), loanwords (0.2%), lexical creation (0.5%), and compensation (0.13%). The results showed that these strategies were sometimes wrongly used due to the lack of guidelines for fansubs. On the other hand, the dominant function of swearing used in the movie is the standalone one. Noticeably, the connotation of functional elements was often neglected by the fansubber. Thus, the fansubs were sometimes lacking in accuracy. Finally, the current research provides some implications and recommendations for translators when handling culture-bound expressions.
{"title":"Fansubbers’ Subtitling Strategies of Swear Words from English into Arabic in the Bad Boys Movies","authors":"Omair Al-Zgoul, S. Al-Salman","doi":"10.1515/culture-2022-0156","DOIUrl":"https://doi.org/10.1515/culture-2022-0156","url":null,"abstract":"Abstract This research investigates the strategies used by fansubbers to translate English culture-bound expressions into Arabic. It further investigates the functions of swear words and how the fansubber regenerated their functional connotations. The corpus of the study consists of English subtitles and Arabic fansubs of the Bad Boys movies. The researchers analyzed the data both quantitatively and qualitatively. The frameworks adopted in this research are the strategies proposed by Diaz-Cintas and Remael and the classification model of swear words presented by Ljung. The findings showed that the fansubber rendered the culture-bound expressions using seven strategies, the most dominant of which is omission at almost 37%. Other strategies varied in their percentage with: transposition, second-most utilized at 29%, followed by explicitation (25%), calques (8%), loanwords (0.2%), lexical creation (0.5%), and compensation (0.13%). The results showed that these strategies were sometimes wrongly used due to the lack of guidelines for fansubs. On the other hand, the dominant function of swearing used in the movie is the standalone one. Noticeably, the connotation of functional elements was often neglected by the fansubber. Thus, the fansubs were sometimes lacking in accuracy. Finally, the current research provides some implications and recommendations for translators when handling culture-bound expressions.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47444581","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: 10.1515/culture-2020-0122
Jutta Schloon
Abstract This article explores the interplay of visual arts and poetic images in postmodern poetry, focusing on the case of Friederike Mayröcker’s poem BROTWOLKE, nach Karla Woisnitza (1996) [BREADCLOUD, after Karla Woisnitza]. The article shows that BROTWOLKE belongs to a group of texts whose titles indicate an ekphrasis or an intermedial quality, but whose specific point of reference is absent. Rather than referencing to a specific painting, the poem thus showcases different aspects of the visual. Offering a close reading of the poem, the article explores Mayröcker’s special technique of image-writing and its dynamic effect on the reader. The article argues that the poem both “shows the word” and “writes the image.” It is shown that Mayröcker’s stream-of-consciousness is a process that refers to the act of writing in the first place and then to an inventory of texts and images that float the text as a stream of sense-data.
摘要本文探讨了视觉艺术和诗歌意象在后现代诗歌中的相互作用，重点是弗里德里克·梅洛克的诗歌《BROTOWLKE》，nach Karla Woisnitza（1996）[BREADCLOUD，Karla Wois nitza之后]。文章指出，BROTOWLKE属于一组文本，它们的标题表明了一种ekphrasis或中介性质，但缺乏特定的参考点。因此，这首诗没有提及特定的绘画，而是展示了视觉的不同方面。文章细读了这首诗，探讨了梅独特的意象写作技巧及其对读者的动态影响。文章认为，这首诗既“展示文字”又“书写图像”。研究表明，Mayröcker的意识流是一个过程，首先指的是写作行为，然后指的是文本和图像的清单，这些文本和图像将文本作为感觉数据流浮动。
{"title":"Image and Word in Postmodern Poetry: Friederike Mayröcker’s BROTWOLKE","authors":"Jutta Schloon","doi":"10.1515/culture-2020-0122","DOIUrl":"https://doi.org/10.1515/culture-2020-0122","url":null,"abstract":"Abstract This article explores the interplay of visual arts and poetic images in postmodern poetry, focusing on the case of Friederike Mayröcker’s poem BROTWOLKE, nach Karla Woisnitza (1996) [BREADCLOUD, after Karla Woisnitza]. The article shows that BROTWOLKE belongs to a group of texts whose titles indicate an ekphrasis or an intermedial quality, but whose specific point of reference is absent. Rather than referencing to a specific painting, the poem thus showcases different aspects of the visual. Offering a close reading of the poem, the article explores Mayröcker’s special technique of image-writing and its dynamic effect on the reader. The article argues that the poem both “shows the word” and “writes the image.” It is shown that Mayröcker’s stream-of-consciousness is a process that refers to the act of writing in the first place and then to an inventory of texts and images that float the text as a stream of sense-data.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41358826","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: 10.1515/culture-2022-0150
María del Rocío Fernández Pérez
Abstract Writers use a certain style to create their literary works and translators should transmit such style to the target audience as faithfully as possible. This article is based on the novel Agnes Grey by Anne Brontë and makes a comparative analysis between the two existing Spanish translations – in 1997 by Menchu Gutiérrez López and in 2000 by Elizabeth Power – focusing on the style used by the English author. Although the examples presented through these pages show the translators’ fidelity to the content of the source text, both translations reflect how the target audience could influence the translation itself. The results show that the source text is translated differently according to the goal of each translation, although the two translations were first published almost at the same time by the publishing houses Alba Editorial and Ediciones Cátedra in 1997 and 2000, respectively.
{"title":"A comparative Study of Agnes Grey’s Spanish Translations","authors":"María del Rocío Fernández Pérez","doi":"10.1515/culture-2022-0150","DOIUrl":"https://doi.org/10.1515/culture-2022-0150","url":null,"abstract":"Abstract Writers use a certain style to create their literary works and translators should transmit such style to the target audience as faithfully as possible. This article is based on the novel Agnes Grey by Anne Brontë and makes a comparative analysis between the two existing Spanish translations – in 1997 by Menchu Gutiérrez López and in 2000 by Elizabeth Power – focusing on the style used by the English author. Although the examples presented through these pages show the translators’ fidelity to the content of the source text, both translations reflect how the target audience could influence the translation itself. The results show that the source text is translated differently according to the goal of each translation, although the two translations were first published almost at the same time by the publishing houses Alba Editorial and Ediciones Cátedra in 1997 and 2000, respectively.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66950563","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: 10.1515/culture-2020-0139
J. Judd
Abstract At the height of the Great Depression, the American Labor Movement was ascendant as union strongholds and the belief in the power of collective action and labor solidarity were re-asserted. The energy and activism along the west-coast waterfront fomented the resurgent movement. With the revitalization of the International Longshoremen’s Union in 1933 came a succession of events that captured the American populace’s attention, including mass demonstrations and coast-wide general strikes. With this surge of events on the west-coast waterfront, from 1934 to 1937, there was a corresponding flurry of imagery disseminated to the American populace using the west-coast waterfront as a constant backdrop. Thus, an examination of the issues posed and the reality suppressed by this imagery is a crucial part of understanding how collective action and union organization exist in American visual culture. A critical evaluation of the specific ways that these Hollywood portrayals do damage to the image and perception of organized labor will allow for a confrontation with the structures of power upheld and held in tension through the dissemination of these films. This study will involve a close analysis of the following films: Fog over Frisco, Wharf Angel, Waterfront Lady, Barbary Coast, Frisco Kid, San Francisco and Mannequin.
{"title":"“Riffraff” On the Waterfront: A Critical Analysis of Labor Imagery on the Imagined Docks of the Hollywood Dream Factory, 1934–1937","authors":"J. Judd","doi":"10.1515/culture-2020-0139","DOIUrl":"https://doi.org/10.1515/culture-2020-0139","url":null,"abstract":"Abstract At the height of the Great Depression, the American Labor Movement was ascendant as union strongholds and the belief in the power of collective action and labor solidarity were re-asserted. The energy and activism along the west-coast waterfront fomented the resurgent movement. With the revitalization of the International Longshoremen’s Union in 1933 came a succession of events that captured the American populace’s attention, including mass demonstrations and coast-wide general strikes. With this surge of events on the west-coast waterfront, from 1934 to 1937, there was a corresponding flurry of imagery disseminated to the American populace using the west-coast waterfront as a constant backdrop. Thus, an examination of the issues posed and the reality suppressed by this imagery is a crucial part of understanding how collective action and union organization exist in American visual culture. A critical evaluation of the specific ways that these Hollywood portrayals do damage to the image and perception of organized labor will allow for a confrontation with the structures of power upheld and held in tension through the dissemination of these films. This study will involve a close analysis of the following films: Fog over Frisco, Wharf Angel, Waterfront Lady, Barbary Coast, Frisco Kid, San Francisco and Mannequin.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45202073","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: 10.1515/culture-2020-0129
Georgina Abreu
Abstract This essay argues that the bold affirmation of the political, rather than the religious, purpose of his liturgical parodies enabled the journalist, satirist, and publisher William Hone (1780–1842) to turn three accusations of blasphemous libel into the triple defence of the freedom of the press during his trials in December 1817. Hone was accused of blasphemous and seditious libel for having printed and published three liturgical parodies in the early months of that year. These were The Late John Wilkes’s Catechism of a Ministerial Member, The Political Litany, Diligently Revised and The Sinecurist’s Creed, or Belief. He conducted his own defence and, against the odds, was acquitted in all three trials. On January 23, 1818, Hone published the narrated transcripts of the trials. The present essay analyses and interprets those transcripts, highlighting Hone’s eloquence, his de-sacralisation of court ritual, and, most important, the strategic use of satire as a legitimate method of political criticism and as an index of the freedom of the press. The Conclusion focuses on the political and cultural significance of Hone’s rebuttal performance and claims his long-standing right to our attention.
{"title":"“Thrice the brindled cat hath mew’d” – The Three Trials of William Hone","authors":"Georgina Abreu","doi":"10.1515/culture-2020-0129","DOIUrl":"https://doi.org/10.1515/culture-2020-0129","url":null,"abstract":"Abstract This essay argues that the bold affirmation of the political, rather than the religious, purpose of his liturgical parodies enabled the journalist, satirist, and publisher William Hone (1780–1842) to turn three accusations of blasphemous libel into the triple defence of the freedom of the press during his trials in December 1817. Hone was accused of blasphemous and seditious libel for having printed and published three liturgical parodies in the early months of that year. These were The Late John Wilkes’s Catechism of a Ministerial Member, The Political Litany, Diligently Revised and The Sinecurist’s Creed, or Belief. He conducted his own defence and, against the odds, was acquitted in all three trials. On January 23, 1818, Hone published the narrated transcripts of the trials. The present essay analyses and interprets those transcripts, highlighting Hone’s eloquence, his de-sacralisation of court ritual, and, most important, the strategic use of satire as a legitimate method of political criticism and as an index of the freedom of the press. The Conclusion focuses on the political and cultural significance of Hone’s rebuttal performance and claims his long-standing right to our attention.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47705195","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: 10.1515/culture-2020-0126
T. Edman, Hacer Gozen
Abstract This article intends to lay out a comparative study of Karma philosophy and literature scrutinizing Yann Martel’s novel Life of Pi through a panentheistic approach. Because Karma is one of the predominant philosophies in the novel and permeates the general atmosphere, this article intends to scrutinize Yann Martel’s novel Life of Pi through a panentheistic approach. Although karma is a very complex issue, since anyone committing evil acts can claim to be a mere agent of karma delivering punishment to others for sins they committed in their past lives, it is true that according to karma, our actions have consequences which affect the entirety of our lives, and this can also be seen as free will. Yet while this approach tends to focus on the action and reaction mechanisms of life, the flow of life in the universe should still be carefully contemplated, since if we believe the first story, Pi’s survival not only depends on his choices, but also on the opportunities that the universe offers him. In that sense, if we are to accept God as the soul of the universe, then the universal spirit must be omnipresent and omnipotent while also capable of transforming into anything in terms of s panentheistic approach. Thus God, being greater than the universe, is the ultimate force that balances everything, and is also the biggest karma controller. For this reason, this article analyzes Life of Pi from both inductive and deductive slants to demonstrate that all roads lead to God, the omniscient.
{"title":"God, Man, and Nature: Life for Reason and the Reason Behind the Universe – A Panentheistic Approach to Life of Pi","authors":"T. Edman, Hacer Gozen","doi":"10.1515/culture-2020-0126","DOIUrl":"https://doi.org/10.1515/culture-2020-0126","url":null,"abstract":"Abstract This article intends to lay out a comparative study of Karma philosophy and literature scrutinizing Yann Martel’s novel Life of Pi through a panentheistic approach. Because Karma is one of the predominant philosophies in the novel and permeates the general atmosphere, this article intends to scrutinize Yann Martel’s novel Life of Pi through a panentheistic approach. Although karma is a very complex issue, since anyone committing evil acts can claim to be a mere agent of karma delivering punishment to others for sins they committed in their past lives, it is true that according to karma, our actions have consequences which affect the entirety of our lives, and this can also be seen as free will. Yet while this approach tends to focus on the action and reaction mechanisms of life, the flow of life in the universe should still be carefully contemplated, since if we believe the first story, Pi’s survival not only depends on his choices, but also on the opportunities that the universe offers him. In that sense, if we are to accept God as the soul of the universe, then the universal spirit must be omnipresent and omnipotent while also capable of transforming into anything in terms of s panentheistic approach. Thus God, being greater than the universe, is the ultimate force that balances everything, and is also the biggest karma controller. For this reason, this article analyzes Life of Pi from both inductive and deductive slants to demonstrate that all roads lead to God, the omniscient.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44181370","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: 10.1515/culture-2021-0002
Juan Poblete
{"title":"On Alberto Blest Gana","authors":"Juan Poblete","doi":"10.1515/culture-2021-0002","DOIUrl":"https://doi.org/10.1515/culture-2021-0002","url":null,"abstract":"","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/culture-2021-0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43324200","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: 10.1515/culture-2021-0010
Angela N. Delutis-Eichenberger
Abstract In the scant scholarship relative to Alberto Blest Gana’s Mariluán, several critics have underscored the unfeasibility or superfluidity of the protagonist’s aspired project for restitution, indigenous assimilation, and fraternity in the Araucanía during the novel’s context of enunciation. Under the theoretical framework of Athena Athanasiou and Judith Butler on dispossession, and in dialogue with the concept of “sediments of time” by Reinhart Koselleck, this study argues that an analysis of the overlapping chronologies in “play” in Mariluán serves to revise the statements seemingly offered for advancement nearly 160 years ago. Mariluán’s pseudo-revival of a Lautaro and the manner in which he makes himself “present” or “becoming,” and remains “present” after his beheading, can be re-signified as a means to challenge the terms imposed from structures that inhibit, subjugate, and seek to fully exterminate or nullify the “other” – insomuch in the 1860s, as in future temporalities involving repetitions of historical events and their related, yet distinguishable, singularities. Through a reconsideration of the protagonist’s aims that refute his call for cultural assimilation as a necessary means of integration, today’s status quo on indigenous issues can be re-problematised, to contest the pervasive logic of dispossession and advocate for more practical and politically inclusive structures that celebrate Chile’s plurality.
{"title":"Countering Acts of Dispossession through Alberto Blest Gana’s Mariluán","authors":"Angela N. Delutis-Eichenberger","doi":"10.1515/culture-2021-0010","DOIUrl":"https://doi.org/10.1515/culture-2021-0010","url":null,"abstract":"Abstract In the scant scholarship relative to Alberto Blest Gana’s Mariluán, several critics have underscored the unfeasibility or superfluidity of the protagonist’s aspired project for restitution, indigenous assimilation, and fraternity in the Araucanía during the novel’s context of enunciation. Under the theoretical framework of Athena Athanasiou and Judith Butler on dispossession, and in dialogue with the concept of “sediments of time” by Reinhart Koselleck, this study argues that an analysis of the overlapping chronologies in “play” in Mariluán serves to revise the statements seemingly offered for advancement nearly 160 years ago. Mariluán’s pseudo-revival of a Lautaro and the manner in which he makes himself “present” or “becoming,” and remains “present” after his beheading, can be re-signified as a means to challenge the terms imposed from structures that inhibit, subjugate, and seek to fully exterminate or nullify the “other” – insomuch in the 1860s, as in future temporalities involving repetitions of historical events and their related, yet distinguishable, singularities. Through a reconsideration of the protagonist’s aims that refute his call for cultural assimilation as a necessary means of integration, today’s status quo on indigenous issues can be re-problematised, to contest the pervasive logic of dispossession and advocate for more practical and politically inclusive structures that celebrate Chile’s plurality.","PeriodicalId":41385,"journal":{"name":"Open Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/culture-2021-0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44331632","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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