Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0011
Cody C. Hanson
Abstract Alberto Blest Gana’s 1863 novel El ideal de un calavera contains frequent and highly detailed cuadros de costumbres depictions of Chile’s unique national culture. In the novel, the parlour and rodeo scenes explore imbalances of power which result from Chile’s economic and social inequalities. These inequalities further exacerbate the rural versus urban divide to reveal a national identity that is hegemonic and contradictory. Power, money, and class coalesce in the aristocratic parlour. The parlour conversation between Abelardo Manríquez and don Calixto Arboleda reveals unscrupulous economic behaviour and questions the feasibility of a united and homogeneous society. In the rodeo, Manríquez and Juan Miguel Sendero compete against each other in a metaphorical contest between the rural versus urban and underprivileged versus elite segments of society. The contradictory nature of urban and rural cultures receives further attention through a depiction of folk medicine. The novel presents the role of religion in creating a shared national culture through the Christmas nativity tradition. These scenes contextualise Chile’s unique and contradictory national identity to reveal what it means to be Chilean. Chile is a heterogeneous nation that is trying to reconcile its social, economic, and regional inequalities.
摘要Alberto Blest Gana 1863年的小说《El ideal de un calavera》对智利独特的民族文化进行了频繁而细致的描写。在小说中，客厅和牛仔竞技场景探讨了智利经济和社会不平等导致的权力失衡。这些不平等进一步加剧了农村与城市之间的鸿沟，揭示了一种霸权和矛盾的国家身份。权力、金钱和阶级在贵族客厅里融为一体。Abelardo Manríquez和don Calixto Arboleda之间的客厅对话揭示了肆无忌惮的经济行为，并质疑了一个统一同质社会的可行性。在牛仔竞技表演中，Manríquez和Juan Miguel Sendero在农村与城市、贫困阶层与社会精英阶层之间展开了一场隐喻性的较量。通过对民间医学的描绘，城乡文化的矛盾性得到了进一步的关注。这部小说展示了宗教在通过圣诞诞生传统创造共同的民族文化中的作用。这些场景将智利独特而矛盾的民族身份背景化，揭示了身为智利人意味着什么。智利是一个异质性国家，正试图调和其社会、经济和地区不平等。
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Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0003
Patricia Vilches
Abstract Blest Gana at 100 is a special edition for Open Cultural Studies. Alberto Blest Gana was a Chilean writer who wore many hats during his long life, dying in 1920 at the age of 90. One of the most prominent authors of nineteenth-century Chile and Latin America, he went to military school and later held political and diplomatic appointments, all of which caused him to travel and live abroad. In fact, nel mezzo del cammin of his life, Blest Gana transferred to Europe and eventually settled in Paris, never to return to his country of birth. His fiction and non-fiction conveyed a vast array of experiences and insights from his life in Chile and overseas. To commemorate the 100 years since his death, contributors to Blest Gana at 100 approach his oeuvre from innovative and fresh scholarly angles and thus generate new perspectives on the Chilean author’s most celebrated texts, such as Martín Rivas and El ideal de un calavera. They also examine the early days of his literary career; revisit critical scholarship on Blest Gana from the past; bring less explored texts, such as Mariluán and Los Trasplantados (the latter written and published in Paris) to the foreground; research the background to his work as a columnist and discover the extent to which it informed his literary career; and examine the urban social practices in Blest Gana’s award-winning novel La aritmética en el amor. From these analyses, we hope to foster an ongoing conversation of lively and invigorating Blest Gana scholarship.
摘要《百岁的甘纳》是开放文化研究的特刊。阿尔贝托·布莱斯特·加纳是一位智利作家，在他漫长的一生中身兼数职，于1920年去世，享年90岁。作为19世纪智利和拉丁美洲最著名的作家之一，他上过军事学校，后来担任过政治和外交职务，所有这些都使他出国旅行和生活。事实上，在他的一生中，Blest Gana转移到欧洲，最终定居在巴黎，再也没有回到他的出生国。他的小说和非小说传达了他在智利和海外生活中的大量经验和见解。为了纪念他去世100周年，Blest Gana at 100的撰稿人从创新和新鲜的学术角度看待他的作品，从而对这位智利作家最著名的文本产生了新的视角，如Martín Rivas和El ideal de un calavera。他们还考察了他早期的文学生涯；重新审视过去关于Blest Gana的批判性学术；将探索较少的文本，如Mariluán和Los Trasplantados（后者在巴黎撰写和出版）带到前台；研究他作为专栏作家的工作背景，并发现这在多大程度上影响了他的文学生涯；以及布莱斯特·加纳获奖小说《爱的生活》中的城市社会实践。通过这些分析，我们希望促成一场关于布莱斯特·加纳奖学金的持续对话。
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Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0001
Christiaan De Beukelaer
Abstract The Indonesian city of Bandung presents itself as an “emerging creative city.” This raises the question of how an “emerging” creative city can attain realisation: when and where is the creative city accomplished? The formalisation of the creative city creates friction – to borrow the term from Tsing. This friction manifests in two ways. First, through its ontological opacity (what is the creative city?), Mould contrasts the “Creative City” (the mainstream understanding of the term) with the lowercase “creative city” (the more grounded, subversive understanding of the term). Second, through political contestation (how and for whom is the creative city?) which Peck and Theodore question through the notion of “fast policy,” in dialogue with the notion of “slow policy.” However, rather than being a dead end, this article argues that “friction” can repoliticise the creative city by challenging the depoliticisation that occurred through its formalisation.
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Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0007
Ignacio Álvarez
Abstract This article discusses a central feature in the poetics of Martín Rivas (1862): its realism. It describes the way in which the particularisation of experience and the breakdown of the old theory of the levels of discourse – two main components of realism – are embodied in the novel. Like its models in French realism, Martín Rivas focuses on the unique experiences of singular subjects. This particularisation, however, rarely acquires an interclass dimension, as it did in French forms. The “ideas of realism” are misplaced in Martín Rivas. The novel represents times, spaces, and people in the dramatically reduced frame of the times, spaces, and people of the oligarchy. It signifies a return to the same old rule that European realism had broken from. Blest Gana’s realism could be considered, therefore, as an example of the Chilean modo de ser aristocrático [aristocratic way of being], that is, a set of cultural operations which allow the oligarchy to live their privileges as natural, far from the bourgeois ethos. This insight can be a point of departure for an international discussion as we think about how these transformations might enter into dialogue with similar phenomena in other parts of the world.
摘要本文探讨了Martín里瓦斯(1862)诗学的一个中心特征:现实主义。它描述了经验的特殊化和话语层次的旧理论的瓦解——现实主义的两个主要组成部分——是如何体现在小说中的。像法国现实主义的模型一样，Martín里瓦斯关注的是单一主题的独特经历。然而，这种特殊化很少像在法语中那样具有跨阶级的维度。“现实主义思想”在Martín Rivas身上放错了地方。小说在寡头政治的时代、空间和人的急剧缩小的框架中表现了时代、空间和人。它标志着欧洲现实主义所打破的旧规则的回归。因此，布莱斯特·加纳的现实主义可以被认为是智利modo de ser aristocrático(贵族的存在方式)的一个例子，也就是说，这是一套文化操作，允许寡头政治自然地享受他们的特权，远离资产阶级精神。当我们思考这些转变如何与世界其他地区的类似现象进行对话时，这种见解可以成为国际讨论的出发点。
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Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0009
Laura Janina Hosiasson
Abstract Four chronicles written by Alberto Blest Gana between April and May 1862 in the newspaper La voz de Chile, months before the publication of his novel Mariluán, shed light on the close relationship between his production as chronicler and writer. Among the various faits divers discussed in the columns, the issue of a Mapuche delegation’s arrival in Santiago to hold a parlamento with the government about border disputes arises. The oscillating attitude of the chronicler in the face of otherness and his prejudiced comments, which are at the same time full of doubts and perplexities, serve as an incentive for his composing a utopian fiction. This article aims to examine the connections in the relationship between Blest Gana chronicler and novelist to expand the reading possibilities of Mariluán.
摘要Alberto Blest Gana于1862年4月至5月，在其小说《Mariluán》出版前几个月，在《智利之声》（La voz de Chile）上撰写了四部编年史，揭示了他作为编年史家和作家的作品之间的密切关系。在专栏中讨论的各种事实中，出现了马普切代表团抵达圣地亚哥与政府就边界争端举行会议的问题。这位编年史作家在面对他者时摇摆不定的态度，以及他充满怀疑和困惑的偏见评论，是他创作乌托邦小说的动机。本文旨在考察布莱斯特·加纳编年史家和小说家之间的关系，以拓展玛丽兰的阅读可能性。
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Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0133
Psyche Z. Ready
Abstract “The Shift of Sex” is a folktale type that begins with a young woman dressing in men’s clothes to have an adventure, and ends when the protagonist is magically transformed into a man, marries a woman, and lives happily ever after. My goal in this project is to analyze the 26 variants as a group in order to illuminate what they communicate about gender and transgender. ATU 514 has been treated as an aberration or anomaly, a tale that defies categorization. Several feminist scholars have argued that the climactic change of gender reinforces heteronormativity and sexist, patriarchal gender roles. More recent scholarship notes the tale’s transgender possibility, scholarship I build on in this project. My analysis identified two significant patterns in the tales: first, every variant has a happy ending for the protagonist, representing a narrative reward for a character who could variously be read as transgender or gender transgressive. Second, the tales are encoded with details, characters, and events that tell a “secondary narrative” that describes the threat of the patriarchy. I argue that the protagonist of ATU 514 is a transgressive character with transgender capacity and that the tale approves and rewards these transgressions through the concluding happily-ever-after.
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Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0134
Polly T. Mangerson
Abstract This study presents a critical analysis of the classic nineteenth-century French children’s novel Les Malheurs de Sophie, written by the Comtesse de Ségur. The story follows the misadventures of a mischievous little girl in order to highlight the consequences of her naughty behavior and provide a counter-example for Ségur’s young female readers. In this article, Mangerson draws upon scholarship in both queer theory and early childhood psychology to demonstrate that Sophie’s inappropriate behavior can be interpreted by the modern reader as evidence of gender fluidity. Mangerson examines Sophie’s misuse of gender-specific toys, her curiosity to explore forbidden spaces, and her failure to conform to her peers. This study argues that this “naughty girl” is perhaps “not a girl,” and that her behavior is indicative of the process of gender identity formation, which is strongly influenced by socio-historical constructs of femininity.
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Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0127
Lou Lamari, Pauline Greenhill
Abstract Gender fluidity makes only rare appearances on North American television, and remains almost completely absent from programming for children. In contrast, transgender characters are making inroads into mainstream North American TV for adults. Still, media depictions of transgender people in the late 1990s and early 2000s have largely shown them as aberrations, having illegible and/or unstable identities, joining mainstream Euro North American society which tends to medicalize and pathologize transgender identities. Thus, too often the representation provided serves only to reinforce binaries by making the character exceptional and noting their unconventionality, or to highlight gender fluidity as a problem. Examining the animated streaming TV series She-Ra and the Princesses of Power (2018–2020), we use scholarship on gender fluidity to critique the show’s representations of genders in addition to and beyond male and female. Looking at She-Ra through this lens, the show challenges assumptions about princesses, villains, helpers, and heroes. Ultimately transgressing traditional categories, the princesses and their allies, in their own distinct embodiments and self-presentations, use their differing magical and other skills to fight enemies in the Evil Horde to protect their planet, Etheria.
摘要性别流动性在北美电视上很少出现，而且几乎完全没有出现在儿童节目中。相比之下，跨性别角色正在进军北美主流成人电视。尽管如此，媒体在20世纪90年代末和21世纪初对跨性别者的描述在很大程度上表明，他们是异类，身份难以辨认和/或不稳定，加入了倾向于将跨性别身份医学化和病理化的欧美主流社会。因此，所提供的表现往往只是通过使角色与众不同并注意到其非传统性来强化二元性，或者强调性别流动性是一个问题。通过研究动画流媒体电视剧《She Ra and the Princess of Power》（2018-2020），我们利用性别流动性的学术来批评该剧除了男性和女性之外对性别的表现。透过这个镜头看She-Ra，这部剧挑战了关于公主、恶棍、助手和英雄的假设。公主们及其盟友最终违反了传统类别，以自己独特的化身和自我展示，使用不同的魔法和其他技能在邪恶部落中与敌人作战，以保护他们的星球Etheria。
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Pub Date : 2021-01-01DOI: 10.1515/culture-2021-0012
A. Kaempfer
Abstract Los Trasplantados [the Transplanted; the Uprooted] (1904) relates the saga of the Canalejas, a Hispanic American family that travels to France to educate their children. With the sole purpose of entering the ranks of the European aristocracy, they ultimately sacrifice one of their daughters by way of marriage. The family patriarch’s entrepreneurial vocation for social climbing, which served him well as he successfully rose into the ranks of the provincial elite in his country of origin, collapses in Paris. The Canalejas’ initial expectations of a journey give way to aspirations to integrate into Parisian high society. The narration develops as a moral narrative of the social, ethical and cultural wreckage endured by those who not only aspire to enjoy Europe at the end of the nineteenth century but also to integrate their lives into a city whose image they forged in Latin America. They sacrifice everything that connects them to their countries of origin, except for their ambition to advance socially and be recognised in their new communities and at home. Above all, the children are worse off, losing their places in a nineteenth-century vision of national aspiration.
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Pub Date : 2021-01-01DOI: 10.1515/culture-2020-0128
J. Jorgensen
Abstract Transgender identities in fairy tale retellings are rare, but can reveal much about gender fluidity. Helen Oyeyemi’s novel Boy, Snow, Bird conflates transgender identities with mirrored falsehoods and fairy-tale spells, pathologizing a trauma victim who turns out to also become an abuser, while Gabriel Vidrine’s novella “A Pair of Raven Wings” depicts a queer transgender man with dignity, making it clear that the trauma he suffers is at the hands of bigots rather than being an invention of a sick mind or the cause of his transition. Pairing these fairy-tale retellings illuminates the topic of gender fluidity in fairy tales by demonstrating that gender is indeed fluid, but that representations of gender fluidity due to trauma are misguided at best and harmful at worst, while those representations that assert the dignity of transgender people, even as they face trauma at the hands of bigoted people, are another stellar example of the genre’s potential to represent people who are culturally marginalized, connecting identity to power in a classic magical fairy-tale move.
童话故事重述中的跨性别身份是罕见的，但却能揭示出许多关于性别流动性的信息。海伦·欧耶米(Helen Oyeyemi)的小说《男孩，雪，鸟》(Boy, Snow, Bird)将跨性别身份与反映出来的谎言和童话般的咒语混为一谈，将一个最终成为施虐者的创伤受害者病态化，而加布里埃尔·维德林(Gabriel Vidrine)的中篇小说《一对乌鸦的翅膀》(a Pair of Raven Wings)描绘了一个有尊严的酷儿跨性别男子，清楚地表明他所遭受的创伤是由偏执者造成的，而不是病态思维的创造，也不是他转变的原因。将这些童话故事的复述结合起来，通过证明性别确实是流动的，阐明了童话故事中性别流动性的主题，但由于创伤而产生的性别流动性的表现往好了说是被误导的，往坏了说是有害的，而那些主张跨性别者尊严的表现，即使他们面临着偏执者的创伤，也是该类型表现文化边缘化人群潜力的另一个杰出例子。以经典的魔幻童话般的动作将身份与权力联系起来。
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