Pub Date : 2020-12-21DOI: 10.1080/08831157.2020.1854553
Pedro A. Aguilera-Mellado
Abstract Resuming the conversation on Goya’s oeuvre that took place in the special issue of Romance Quarterly in 2007, this article pays attention to Goya’s Disasters of the War. Through a comparative reading of Goya’s The Disasters of the War and the video-installation of Iranian artist Farideh Lashai’s When I count…, this article proposes a notion of “adumbration” that shifts our understanding of Enlightenment as a narrative of power, progress and humanism founded on light. By way of theoretical reflections and drawing from Derrida and Nancy, this article shows how Goya and Lashai reflect with their works on the condition of exposition and disappearance of bodies on our age of global war and the commodification of the image. I propose “an Enlightenment as Adumbration” as a critical alternative to cultural critique based on Enlightenment logocentric categories such as progress, representation, or agency in Modern Iberian Studies.
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Pub Date : 2020-10-01DOI: 10.1080/08831157.2020.1807821
David L. Foshee
Abstract This review essay examines two recent studies devoted to the child in Spanish film including The Two cines con niño: Genre and the Child Protagonist in over Fifty Years of Spanish Film, 1955–2010 (2018) by Erin K. Hogan and Inhabiting the In-Between: Childhood and Cinema in Spain’s Long Transition (2018) by Sarah Thomas. While both works share the notion of the Spanish cinematic child as a monstrous “other,” Hogan explores the child’s dialogism through ventriloquism in the making of the two cine con niño genres. Thomas, on the other hand, investigates the complex and ambiguous nature of the child in Spanish film during the Spanish Transition.
{"title":"Little monstrous “others”: Recent trends in childhood representation in Spanish film","authors":"David L. Foshee","doi":"10.1080/08831157.2020.1807821","DOIUrl":"https://doi.org/10.1080/08831157.2020.1807821","url":null,"abstract":"Abstract This review essay examines two recent studies devoted to the child in Spanish film including The Two cines con niño: Genre and the Child Protagonist in over Fifty Years of Spanish Film, 1955–2010 (2018) by Erin K. Hogan and Inhabiting the In-Between: Childhood and Cinema in Spain’s Long Transition (2018) by Sarah Thomas. While both works share the notion of the Spanish cinematic child as a monstrous “other,” Hogan explores the child’s dialogism through ventriloquism in the making of the two cine con niño genres. Thomas, on the other hand, investigates the complex and ambiguous nature of the child in Spanish film during the Spanish Transition.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"67 1","pages":"230 - 234"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1807821","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49469610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-08DOI: 10.1080/08831157.2020.1807824
Michael L. Martínez
{"title":"Postgrowth Imaginaries: New Ecologies and Counterhegemonic Culture in Post-2008 Spain","authors":"Michael L. Martínez","doi":"10.1080/08831157.2020.1807824","DOIUrl":"https://doi.org/10.1080/08831157.2020.1807824","url":null,"abstract":"","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"67 1","pages":"240 - 241"},"PeriodicalIF":0.2,"publicationDate":"2020-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1807824","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41393309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-31DOI: 10.1080/08831157.2020.1807822
Ignacio López-Calvo
{"title":"Orientaciones transpacíficas: La modernidad mexicana y el espectro de Asia","authors":"Ignacio López-Calvo","doi":"10.1080/08831157.2020.1807822","DOIUrl":"https://doi.org/10.1080/08831157.2020.1807822","url":null,"abstract":"","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"67 1","pages":"235 - 237"},"PeriodicalIF":0.2,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1807822","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47324418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-08-28DOI: 10.1080/08831157.2020.1807818
Talía Dajes
Abstract In this article I examine the use of spectral figures in two works related to the Peruvian internal armed conflict, Julio Ortega’s novella Adiós Ayacucho (1986) and theater troupe Grupo Cultural Yuyachkani’s play Santiago (2000), as representations of the untimely, a notion that, according to Giorgio Agamben, defines the contemporary. I contend that by employing ghostly images, as well as those of undead beings and hauntings, both pieces not only bring to the fore the underlying tensions that gave rise to the conflict and gesture toward the victims of political violence, but they also reveal official narratives of healing, national reconciliation, and the overcoming of trauma as essentially fractured. By countering these current discourses, the text and the play offer the possibility of rethinking the period of violence in order to see it not as a dark chapter to grapple with, but as the condition of possibility of Peruvian national history. Finally, I argue that these texts constitute an intervention into the current discourse of memory—one that is officially sanctioned by the state—to offer a glimpse of the past that uncovers the myriad ways in which it is still at work in the present.
在本文中，我研究了胡里奥·奥尔特加的中篇小说Adiós阿亚库乔(1986年)和剧团Grupo Cultural Yuyachkani的戏剧《圣地亚哥》(2000年)中与秘鲁内部武装冲突有关的两部作品中幽灵人物的使用，作为不合时宜的代表，根据乔治·阿甘本的说法，这一概念定义了当代。我认为，通过使用幽灵般的形象，以及不死生物和幽灵的形象，这两部作品不仅突出了导致冲突的潜在紧张局势，以及对政治暴力受害者的姿态，而且还揭示了官方对治愈、民族和解和克服本质上断裂的创伤的叙述。通过对抗这些当前的话语，文本和戏剧提供了重新思考暴力时期的可能性，以便将其视为一个黑暗的篇章，而不是一个需要努力解决的问题，而是秘鲁民族历史的可能性条件。最后，我认为这些文本构成了对当前记忆话语的一种干预——一种被国家正式认可的话语——提供了对过去的一瞥，揭示了它在当今仍在发挥作用的无数方式。
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Pub Date : 2020-08-28DOI: 10.1080/08831157.2020.1807820
Stephanie A. Mueller
Abstract Acclaimed Catalan writer Jordi Puntí’s fictional memoir Els castellans (2011) offers an important contribution to contemporary debates on immigration and national identity in Catalonia. Set in the 1970s in the small industrial city of Manlleu, this collection of semi-autobiographical vignettes about two rival groups of boys narrates not only Puntí’s adolescence, but also provincial Catalonia’s struggle to integrate large numbers of working-class Spanish migrants who arrived to the region in the mid-twentieth century. Els castellans is groundbreaking in its literary telling of the experience of the 1950s–1970s migratory wave from a Catalan-identified point of view. Adopting a geographical approach to examine how the memoir interrogates the divisions between Catalans and Spanish migrants, this essay argues for reading Els castellans as a coming-of-age allegory of Catalan and Spanish political transitions that provides a much-needed reckoning with Catalonia’s history of immigration. At the same time, the memoir spatially connects the mid-century Spanish migrants to present-day Moroccan immigrants, revealing a recurring fear of mobility. Els castellans counters this fear by articulating a dynamic, bidirectional integration process that transforms the host as much as the migrant.
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Pub Date : 2020-08-28DOI: 10.1080/08831157.2020.1807819
W. J. Ryan
Abstract In this analysis of Ramón Gómez de la Serna’s avant-garde novel El caballero del hongo gris (1928), I examine the narrative centrality of the main character’s use of a bowler hat, which, after its invention in the mid-nineteenth century, would become a frequent cultural reference. I engage Jacques Derrida’s conceptions of ipseity and democracy to explore the opposition of the singular and the iterable via the transnational business exploits of the protagonist Leonardo and his bowler, to which he attributes his economic success and ascension in society. This particular hat—offering democratizing possibilities and social mobility—is compared in the text to a crown, a figure of sovereignty, while the character is likened to a prince, king, and president. Read against the backdrop of the collapse of parliamentarism during the 1920s and 1930s, the paradoxical associations of the bowler—fluctuating between the democratic and the authoritarian—allow for a reflection on Leonardo’s classism and disregard for social disparities. Asserting himself to be the singular “caballero del hongo gris,” he is confronted on separate occasions by two different doppelgängers sporting bowlers, who disrupt his ipseity and reveal an underlying anxiety about the prospect of an individual becoming iterable, namely substitution and death. I thread into my discussion this fear of death with Leonardo’s trepidation concerning the discontent of the majority of society. Menacing over his opulent lifestyle is the specter of an imminent catastrophe, a literary anxiety which symptomatically responds to the political and economic crises of the interwar period.
摘要在分析拉蒙·戈麦斯·德拉·塞尔纳的先锋小说《El caballero del hongo gris》（1928）时，我考察了主角使用圆顶礼帽的叙事中心，圆顶礼帽在19世纪中期发明后，将成为一种常见的文化参考。我运用雅克·德里达的自主权和民主概念，通过主人公莱昂纳多和他的投球手的跨国商业成就，探索单数和可迭代的对立，他将自己的经济成功和社会地位提升归功于这些成就。这顶特殊的帽子——提供了民主化的可能性和社会流动性——在文本中被比作王冠，一个主权的象征，而这个角色被比作王子、国王和总统。在20世纪20年代和30年代议会制度崩溃的背景下阅读，投球手的矛盾联想——在民主和威权之间波动——允许人们反思莱昂纳多的阶级主义和对社会差异的漠视。他自称是一个独特的“红果摇滚歌手”，在不同的场合，他遇到了两个不同的替身运动投球手，他们破坏了他的自主性，并揭示了对个人变得可迭代的前景的潜在焦虑，即替代和死亡。我将这种对死亡的恐惧与莱昂纳多对社会大多数人不满的恐惧交织在一起进行讨论。对他奢华生活方式的威胁是一场迫在眉睫的灾难的幽灵，这是一种文学焦虑，症状性地回应了两次世界大战期间的政治和经济危机。
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Pub Date : 2020-06-22DOI: 10.1080/08831157.2020.1772660
Matthew V. Desing
Abstract Food in the Libro de Apolonio is not simply a function of the plot but rather an aspect of the poet’s rhetorical and poetic technique. Four interrelated deployments of food in the poem (portrayals of bread, gendered uses of food, food practices related to health, and additional feasting scenes), when compared to the Latin source text, highlight the mester de clerecía poet’s skill in adaptation. Bread in the poem has sacramental overtones and brings the Apolonio into relation with other more explicitly religious works of mester de clerecía poetry. Food is not gendered in typically medieval ways in the Libro de Apolonio, as the poet does not connect women to food preparation or service, but rather to its sacramental and medicinal aspects. The poet uses food in relation to health throughout the poem, but perhaps most significant is the episode of Tarsiana’s proposed medicinal cure of her father Apolonio. Finally, the scenes of feasting that the poet inherits from the Latin are stark in terms of their portrayal of foods, but the feasts that the poet adds out of his own invention are the most descriptive segments involving sustenance. These four aspects, along with other food-related uses, such as the synesthetic employment of flavor throughout the poem and inserted anecdotes and moralizing digressions involving edible substances, create a vision of food in the poem that goes beyond plot and into the realm of poetic technique and characterization.
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Pub Date : 2020-06-16DOI: 10.1080/08831157.2020.1772658
A. McAdams
Abstract José Ortega y Gasset’s essay “La deshumanización del arte” (1924) describes the distinct mode of perception that he attributed to the modern artist. According to Ortega, the avant-garde artist views all entities—from inanimate objects to human beings—strictly from the outside, perceiving only the “lights, shadows and chromatic values” that constitute an entity’s visible surface. This form of seeing engenders a leveled vision of the world in which the presence or absence of inner experience is irrelevant, and subjects and objects are thus rendered equivalent. Ortega and likeminded avant-garde poets considered metaphor to embody this mode of vision because it posits similarity among patently disparate beings and things; through metaphor, the differences in category that separate two compared entities are shown to be less significant than their shared esthetic qualities. This article investigates the relevance of the cinematic technique of dissolve—in which two images are briefly superimposed so that one appears to change smoothly into the other—to Ortega’s concept of dehumanized metaphor. I examine the role of the dissolve in Un chien andalou (1929) in order to demonstrate the function that it served for Luis Buñuel, Salvador Dalí and other filmmakers inclined toward Orteguian dehumanization. By joining together and implicitly equalizing human beings and things on the basis of their visual likeness, the dissolve employed the same strategy as verbal metaphor but was able to convey more vividly the lack of differentiation between subjects and objects.
约瑟夫·奥尔特加·伊·加塞特的文章“La deshumanización del arte”(1924)描述了他归因于现代艺术家的独特感知模式。根据奥尔特加的说法，前卫艺术家严格地从外部观察所有实体——从无生命的物体到人类——只感知构成实体可见表面的“光、影和色彩值”。这种形式的观察产生了一种对世界的平视，在这种平视中，内在体验的存在或缺失是无关紧要的，主体和客体因此被视为等同的。奥特加和与他志同道合的先锋派诗人认为隐喻体现了这种视觉模式，因为它假设了明显不同的存在和事物之间的相似性;通过隐喻，区分两个比较实体的范畴差异不如它们共同的审美品质重要。本文探讨了电影技术的相关性，其中两个图像被短暂地叠加，使其中一个看起来平滑地变成另一个奥尔特加的非人性化隐喻的概念。我考察了在1929年的影片《我在安达卢》中溶解的作用，以证明它对路易斯Buñuel、萨尔瓦多Dalí和其他倾向于奥尔特古式非人性化的电影制作人所起的作用。通过在视觉相似性的基础上将人与物联系在一起并含蓄地平等化，消解采用了与语言隐喻相同的策略，但能够更生动地传达主体与客体之间缺乏区分。
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