ROMANCE QUARTERLY最新文献_第3页

Aging Men and Masculinities in Contemporary Spanish Cinemas and Audiovisual Industries 当代西班牙电影和音像产业中的老年男性和男性气质

IF 0.2 3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2024-01-31 DOI: 10.1080/08831157.2023.2294508

Josep M. Armengol, Raquel Medina

Published in Romance Quarterly (Ahead of Print, 2024)

发表于《浪漫季刊》（2024 年提前出版）

引用次数: 0

Dolores Romero López and Jeffrey Zamostny, editorsDolores Romero López and Jeffrey Zamostny, editors. Toward the Digital Cultural History of the Other Silver Age Spain . Berlin; New York: Peter Lang, 2022. 279 pp. Hardcover. Dolores Romero López和Jeffrey Zamostny，编辑Dolores Romero López和Jeffrey Zamostny，编辑走向另一个白银时代西班牙的数字文化史。柏林;纽约:彼得·朗，2022年。279页，精装版。

3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-10-12 DOI: 10.1080/08831157.2023.2254485

Thomas Antorino

"Dolores Romero López and Jeffrey Zamostny, editors." Romance Quarterly, ahead-of-print(ahead-of-print), pp. 1–2

“Dolores Romero López和Jeffrey Zamostny，编辑。”《浪漫季刊》，印刷前，第1-2页

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“The Mystery Unsolved, Without Any Attempt to Solve It”: Detective Fiction and Waywardness in Norah Lange’s People in the Room “未解之谜，未解之谜”:诺拉·兰格《房间里的人》中的侦探小说与任性

3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-10-12 DOI: 10.1080/08831157.2023.2252815

David Conlon

In 1950, Argentinian author Norah Lange published her experimental novel Personas en la sala [People in the Room]; she would later describe the novel (which is told from the perspective of an adolescent girl who spies on her neighbors) as “pure espionage.” This article picks up on this remark and other elements in the text to situate the novel in the context of the detective genre, and specifically as a domestic re-writing of Edgar Allan Poe’s proto-detective narrative “The Man of the Crowd” (1840), famously described by Walter Benjamin as an “X-ray picture of a detective story.” In situating the novel in this way, the article seeks (i) to show how Lange’s novel stands as the culmination of a decade-long series of homages to Poe by Argentinian writers, beginning with “El jardín de senderos que se bifurcan” (1941) [“The Garden of Forking Paths”] by Jorge Luis Borges, and that includes works by Adolfo Bioy Casares and Silvina Ocampo; (ii) to assess the novel in the context of queer theory, and more generally as a genealogically “wayward” text both in terms of its relationship to the evolution of the detective genre and its deviant attitudes toward family, reproduction, and heredity; (iii) finally, to situate the novel in the context of the rising homophobic panic that characterized Argentina under the Perón government throughout the late 1940s.

1950年，阿根廷作家诺拉·兰格出版了她的实验小说《房间里的人》;她后来将这部小说(从一个监视邻居的青春期女孩的角度讲述)描述为“纯粹的间谍活动”。本文从这句话和文本中的其他元素入手，将小说置于侦探类型的背景下，特别是作为埃德加·爱伦·坡的原型侦探叙事小说《人群中的人》(1840)的国内改写，沃尔特·本雅明(Walter Benjamin)曾将其描述为“侦探故事的x光照片”。以这种方式放置小说，文章试图(1)展示兰格的小说如何成为阿根廷作家十年来一系列向坡致敬的高潮，从豪尔赫·路易斯·博尔赫斯的《路分叉的花园》(El jardín de senderos que se bifurcan, 1941)开始，包括阿道夫·比奥伊·卡萨雷斯和西尔维娜·奥坎波的作品;(ii)在酷儿理论的背景下评估这部小说，更广泛地说，它是一部家谱上“任性”的作品，既包括它与侦探小说类型演变的关系，也包括它对家庭、生殖和遗传的反常态度;(iii)最后，将小说置于20世纪40年代末Perón政府统治下的阿根廷不断上升的恐同恐慌的背景下。

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引用次数: 0

Mario Verdaguer as Battlefield: The Struggles of a Name from Public Emergence to Memorialization Mario Verdaguer作为《战地:一个名字从公众出现到被纪念的挣扎

3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-10-12 DOI: 10.1080/08831157.2023.2252801

Carles Ferrando Valero

Click to increase image sizeClick to decrease image size Notes1 Jacint Verdaguer is what Marijan Dović and Jón Karl Helgason call a national poet and cultural saint. His canonization entailed his induction as a “català il·lustre” by Barcelona City Hall and the dedication of streets, monuments, sculptures, and even an asteroid. Mercè Rodoreda recounted that her grandfather, “quan mossèn Cinto va morir, va fer ampliar una fotografia de mossèn Cinto, al peu hi va fer posar unes lletres amb caràcters gòtics que deien Sant Jacint Verdaguer i la va fer emmarcar de negre i or” (157).2 Verdaguer engages in self-mockery when remembering this episode: “el grupo se sintió desalentado y más llorón que nunca al ver la incomprensión y el materialismo que le rodeaban” (La ciudad 164). Sarcasm notwithstanding, the romantic/modernista vision of professional writers (and critics) as tainted by materialism, which is in turn antithetical to literary authenticity, is central to Verdaguer, as I discuss further on.3 Verdaguer encountered several people who embodied a similar internal struggle. One example is the barber and artist Antoni Gelabert, a greatly talented painter—José Carlos Llop considers him “el millor pintor que ha donat Mallorca” (La ciutat)—who was unable to produce much work and never received the esteem he deserved because he refused to sell his paintings in order to make a living and quit his job as a barber: “¿Es que te figuras que la pintura es una mercancía?” (Verdaguer, La ciudad 134). Verdaguer’s remarks about Gelabert could double as description of the protagonist of Un intelectual y su carcoma: “La lucha entre los dos elementos que habitaban dentro de aquel cuerpo feo y vulgar era verdaderamente trágica; pues se trataba de dos fuerzas antagónicas e irreconciliables, entre las cuales no podría establecerse jamás pacto alguno” (La ciudad 132).4 The character also bears resemblance with someone Verdaguer encountered in real life: “El poeta García Rover, que trabajaba como tipógrafo en la imprenta de ‘La Almudaina’” (La ciudad 138).5 While not politically focused, Verdaguer’s works do contain some critiques to Marxism (El marido 57), the Dictatorship of Primo de Rivera, and Catholic pundits (Un intelectual 63–64). His review of Rafael Campalans’s Hacia la España de todos (1932) suggests that he harbored favorable views toward Iberianism (“Hacia la España de todos” 1)—views that transcended the strictly cultural realm, which he contributed to in the capacity of editor-in-chief of the journal Mundo ibérico (1927).6 For a comprehensive account of the events, see the Crònica del Centenari de Màrius Verdaguer available at the Bilbioteca de Catalunya (F 08–Fol 10).7 Aina and Nina Moll’s father, Francesc de Borja Moll, had played a crucial role in maintaining the flame of Catalan language and culture alive in the Balearic Islands after the Civil War through his work to complete the Diccionari català-valencià-balear and the founding of Obra Cultural Balear

点击放大图片点击缩小图片注释1 雅辛特-韦尔达盖尔是马里扬-多维奇（Marijan Dović）和约恩-卡尔-赫尔加松（Jón Karl Helgason）所说的民族诗人和文化圣人。巴塞罗那市政厅将他封为 "加泰罗尼亚圣人"（català il-lustre），并为他建造了街道、纪念碑、雕塑，甚至一颗小行星。Mercè Rodoreda 回忆说，她的祖父 "在 Mossèn Cinto 逝世后，会把 Mossèn Cinto 的照片放大，稍后会把 Sant Jacint Verdaguer 的照片贴在墙上，然后会把黑白照片贴在墙上"（157）2 ：2 Verdaguer 在回忆这段往事时还不忘自嘲："el grupo se sintió desalentado y más llorón que nunca al ver la incomprensión y el materialismo que le rodeaban"（La ciudad 164）。尽管如此，浪漫主义/现代主义认为专业作家（和评论家）受到物质主义的玷污，而物质主义反过来又与文学的真实性背道而驰，这对维达盖尔来说至关重要，我将在下文中进一步论述3。其中一个例子是理发师兼艺术家安东尼-盖拉伯特（Antoni Gelabert），他是一位才华横溢的画家--何塞-卡洛斯-略普（José Carlos Llop）认为他是 "马略卡岛上最伟大的画家"（《La ciutat》）--但他无法创作出太多作品，也从未获得过应有的尊重，因为他拒绝为了谋生而出售自己的画作，并辞去了理发师的工作："你认为绘画是一种商业行为吗？(Verdaguer, La ciudad 134）。Verdaguer 对 Gelabert 的评论可以作为对《Une intelectual y su carcoma》主人公的双重描述：他说："这两个庸俗而猥琐的人之间的争斗非常激烈；因为他们之间的关系是不可调和的、敌对的，他们之间无法建立任何协议"（《城市》第 132 页）。4 这个人物与 Verdaguer 在现实生活中遇到的一个人也有相似之处："El poeta García Rover, que trabajaba como tipógrafo en la imprenta de 'La Almudaina'" (La ciudad 138)。5 Verdaguer 的作品虽然不以政治为重点，但也包含一些对马克思主义（El marido 57）、普里莫-德里维拉独裁统治和天主教学者（Un intelectual 63-64）的批判。他对拉斐尔-坎帕兰斯（Rafael Campalans）的《Hacia la España de todos》（1932 年）的评论表明，他对伊比利亚主义持有好感（《Hacia la España de todos》1）--这些观点超越了严格的文化领域，他曾以《伊比利亚世界》（Mundo ibérico，1927 年）杂志主编的身份为该杂志做出贡献。7 艾娜和尼娜-莫尔的父亲弗朗切斯克-德-博尔哈-莫尔在内战后通过努力完成《加泰罗尼亚语-瓦伦西亚语-巴利阿里语词典》和 1962 年成立巴利阿里文化组织，为巴利阿里群岛保持加泰罗尼亚语和文化的活力发挥了至关重要的作用。此外，他还成功地鼓励 Llorenç Villalonga 等曾经是法郎派的马洛卡人重新使用加泰罗尼亚语，艾纳-莫尔在民主时代继续着这一文化领导使命。艾娜-莫尔在她的传记著作《弗朗切斯科-德-博尔哈-莫尔》中全面介绍了她父亲对加泰罗尼亚语的承诺。8 加泰罗尼亚议会批准的文件对《巴利阿里群岛语言正常化法案》（1986 年）的影响怎么强调都不过分。Ajuntament de Maó在其 "杰出未成年人画廊 "中对 Verdaguer 的介绍最能体现对民事登记的反驳，该画廊在脚注中提到了作者的出生登记--他在登记中的名字是 "马里奥"--并确认 "他登记的名字是 Màrius、Segismundo、Cayetano、Luis 和 Antonio"（"Màrius Verdaguer Travesí"）。10 关于佛朗哥主义时期和后佛朗哥主义时期的研究，见 Crameri (Language)。11 与《中世纪》相比，《消失的城市》中包含了一些口头加泰罗尼亚语的样本，但这并不等同于证实不表述的一般规则的例外。

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引用次数: 0

Women’s Work. How Culinary Cultures Shaped Modern Spain. Ingram, Rebecca. Women’s Work. How Culinary Cultures Shaped Modern Spain . Nashville: Vanderbilt University Press, 2022, 220 pp., $34.95, paperback 女性的工作。烹饪文化如何塑造现代西班牙。英格拉姆,丽贝卡。女性的工作。烹饪文化如何塑造现代西班牙。纳什维尔:范德比尔特大学出版社，2022,220页，34.95美元，平装本

3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-10-12 DOI: 10.1080/08831157.2023.2253983

Marcela T. Garcés

"Women’s Work. How Culinary Cultures Shaped Modern Spain.." Romance Quarterly, ahead-of-print(ahead-of-print), pp. 1–2

“女人的工作。烹饪文化如何塑造现代西班牙……”《浪漫季刊》，印刷前，第1-2页

引用次数: 0

Queer Futurity and Conflicted Feeling(s) in the Poetry of Ariadna G. García 阿里阿德娜诗歌中的怪诞未来与矛盾情感García

3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-10-12 DOI: 10.1080/08831157.2023.2252805

Paul Cahill

AbstractThe work of Spanish poet Ariadna G. García (Madrid, 1977) occupies an unusual place within the archive of modern queer Spanish poetry. Collections like Construyéndome en ti (1997), Napalm. Cortometraje poético (2001), La Guerra de Invierno (2013), Helio (2014), and Ciudad sumergida (2018) are the product of a changing society in which poets can engage with questions surrounding queer participation in social institutions like couples and families as a concrete reality instead of imagined and anticipated future possibilities. The past(s), present(s), and future(s) that García’s poems explore highlight the potential that both negative and positive emotions have as sources of meaning for queer subjects and vehicles through which to imagine and think through potential alternative roles, identities, and opportunities. This poetry traces how poetic subjects who seek out social benefits and strive to make the most of fleeting moments of happiness and record past and present struggles for future generations stake out a complex position between hetero- and homonormativity and look beyond what José Esteban Muñoz has termed “the quagmire of the present.” Futurity in García’s work thus builds on positive affect in the present to imagine, project and cope with future moments, in the process demonstrating that queer utopianism need not rely on a negative view of the present to imagine a more inclusive future.Keywords: AffectAriadna G. Garcíacontemporary Spanish poetryfuturityqueer poetry AcknowledgmentI would like to thank Enrique Álvarez, Alfredo Martínez Expósito, and Gema Pérez-Sánchez for their thorough and insightful feedback on earlier versions of this article.Notes1 Following the publication of her first collection, García won the prestigious Premio Hiperión de Poesía with her next collection, Napalm. Cortometraje poético (2001), followed four years later by Apátrida, which received the Premio de Arte Joven –Poesía– de la Comunidad de Madrid. Almost a decade later she published La Guerra de Invierno (2013), which received the Premio Internacional «Miguel Hernández-Comunidad Valenciana» and was a finalist for the Premio de la Crítica de Madrid. This collection was followed by Helio a year later and then by Línea de flotación (2017) and Ciudad sumergida (2018). García is also the author of two novels, Inercia (2014) and El año cero (2019), in addition to a volume of children’s poetry, Las noches de Ugglebo (2016). Her work has appeared in both generational and gendered anthologies like Veinticinco poetas españoles jóvenes (2003) and (Tras)lúcidas. Poesía escrita por mujeres (1980–2016) (2016).2 Perhaps the clearest example of this approach can be found in García Montero’s 1992 essay entitled “¿Por qué no sirve para nada la poesía? (Observaciones en defensa de una poesía para los seres normales),” included in ¿Por qué no es útil la literatura? (1993), a volume co-authored with Spanish novelist Antonio Muñoz Molina. For a thorough overview of the ten

摘要西班牙诗人阿里阿德娜·g·García(马德里，1977)的作品在现代西班牙酷儿诗歌档案中占有不同寻常的地位。比如1997年的《幻影》和《凝固汽油弹》。《Cortometraje po》(2001年)、《La Guerra de Invierno》(2013年)、《Helio》(2014年)和《Ciudad sumergida》(2018年)是一个不断变化的社会的产物，在这个社会中，诗人可以将同性恋参与社会机构(如夫妻和家庭)的问题作为具体的现实，而不是想象和预期的未来可能性。García的诗歌探索了过去、现在和未来，强调了消极和积极情绪作为酷儿主题的意义来源的潜力，以及通过想象和思考潜在的替代角色、身份和机会的工具。这首诗追溯了诗歌的主题是如何寻求社会利益，努力最大限度地利用转瞬即逝的幸福时刻，为后代记录过去和现在的斗争，在异性恋和同性之间找到一个复杂的位置，并超越了约瑟·埃斯特班Muñoz所说的“现在的泥潭”。因此，García作品中的未来建立在当下的积极影响上，以想象、规划和应对未来时刻，在这个过程中，酷儿乌托邦主义不需要依赖于对当下的消极看法来想象一个更具包容性的未来。关键词:affectarina G. Garcíacontemporary西班牙诗歌未来酷儿诗歌致谢我要感谢Enrique Álvarez、Alfredo Martínez Expósito和Gema Pérez-Sánchez对本文早期版本的全面而深刻的反馈。在她的第一个系列出版后，García凭借她的下一个系列Napalm赢得了享有声望的Premio Hiperión de Poesía。Cortometraje potico(2001年)，四年后，Apátrida获得了马德里社区艺术奖-Poesía。近十年后，她出版了La Guerra de Invierno(2013)，获得了国际Premio«Miguel Hernández-Comunidad Valenciana»，并入围了马德里Premio de La Crítica。一年后，Helio推出了这个系列，然后是Línea de flotación(2017)和Ciudad sumergida(2018)。García还著有两部小说《惯性》(2014)和《año cero》(2019)，以及一本儿童诗歌《Las noches de Ugglebo》(2016)。她的作品出现在诸如Veinticinco poetas españoles jóvenes(2003)和(Tras)lúcidas等代际和性别选集中。Poesía escrita por mujeres (1980-2016) (2016).2也许这种方法最清晰的例子可以在García蒙特罗1992年题为“¿Por ququeno sirve para nada la poesía?”(《关于保护人权的观察》poesía《关于人权的观察》)，载于《关于人权的观察》útil《文学》?(1993)，与西班牙小说家安东尼奥Muñoz莫利纳合著。关于poesía经验派的原则和倾向的全面概述，请参见Araceli Iravedra的这一诗歌流派选集的介绍“Palabras de familia gastadas tibiamente (Notas para la historia de un paradigm lírico)”这种批判的特别显著的例子可以在Jorge Riechmann的“El derrotado duerme en El campo de batalla”(31)、Alicia Bajo Cero的《Poesía y粉》和Vicente Luis Mora的《Singularidades》中找到。3 . Ética y poacimtica de la literatura española actual (49-52)酷儿乌托邦主义的支持者包括Tim Dean, jos<s:1> Esteban Muñoz和Michael D. Snediker等评论家，而那些工作特权负面的人包括Leo Bersani, Lee Edelman和Jack halberstamm。卡斯特罗认为这一类的当代诗人包括Cristina Peri Rossi (1941 -)， Pureza Canelo (1946-)， Concha García, Katy Parra (1964 -)， María Eloy-García(1972 -)和Txus García (1974 -)杜根的术语遵循苏珊·斯崔克(Susan Stryker)早期使用的术语“同性性”(homonormativity)，“以阐明跨性别者在政治和文化活动中所经历的边缘化和流离失所的双重感觉”(145)在Dentro / Fuera。他对西班牙男同性恋诗人Federico García Lorca(1898-1936)、Cernuda、Gil de Biedma和Luis Antonio de Villena(1951 -)的研究中，恩里克Álvarez认为同性恋身份具有类似的“重新工作[…]异性恋标准”的潜力，认为“unreverso táctico que transforma los territorios del trauma y de la marginación homosexual en El specitivo de una subtivad queer que”。“我认为联合国应该重申异性恋的社会模式”，“我认为这是一种社会模式”(17)García的作品与像Cernuda和Gil de Biedma这样的男同性恋诗人的作品之间的互文对话可以成为它自己研究的对象。为了我们的目的，值得指出的是，Cernuda和García的工作都呈现了一个基本的轨迹，由预期的经验和遭遇，实际的遭遇，以及在遥远和孤立的空间中想象的遭遇组成。然而，瑟尔努达和García对酷儿情感和经历的表现最显著的区别之一是，瑟尔努达的大部分作品都采用了反社会的方法在一项专门研究弗朗西斯科·布里恩斯诗歌的研究中，梅休解释说:“性别模糊的代名词……在同性恋爱情诗中比在异性恋爱情诗中更常见，在异性恋爱情诗中，没有特别的理由隐瞒欲望对象的性别”(“弗朗西斯科·布里恩斯，”142)。关于切尔努达使用tú作为分裂技巧的讨论，请参见迈克尔·乌加特的《转移的土地:西班牙内战流亡文学》(170-71)虽然在某种程度上，人们可以将这首诗与吉尔·德·比德玛的《阿尔巴达》(84-85)进行比较，这首诗本身就是建立在与中世纪形式的互文对话之上的，但同样重要的是要问每对夫妇面临的社会后果是否相同类似的现象也出现在《内华达》和《代托纳》中，这两首诗收录在瑟尔努达的《爱》río，《爱》(147;154 - 55)。

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引用次数: 0

A Lost Copy of the Old French Vie (or Chanson ) de Saint Alexis (Alexandrine Quatrain Version) 遗失的古法语《圣亚历克西斯之歌》(亚历山大四行诗版)

3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-10-12 DOI: 10.1080/08831157.2023.2252808

Krista A. Milne

The Municipal Library of Tournai was struck in an air raid during the Second World War. Among the valuable manuscripts that were lost was Bibliothèque de la ville de Tournai MS 129, a fragmentary manuscript containing the alexandrine quatrain version of the Old French Vie de Saint Alexis. This poem, also known as the Chanson de Saint Alexis, represents one of the oldest surviving poetic traditions in French and enjoyed considerable popularity during the centuries after it was produced. Despite considerable scholarship on the Vie de Saint Alexis, the Tournai MS has gone largely unnoticed and is not mentioned in editions of the decasyllabic version of the Vie, nor is it mentioned in the only edition of the quatrain version. Thankfully, a nineteenth-century transcription of the lost Tournai copy survived the war. This article compares this transcription to surviving versions of the Vie de Saint Alexis to explore how the lost Tournai text intersects with, and illuminates, the broader tradition of the poem.

图尔奈市立图书馆在第二次世界大战期间遭到空袭。在丢失的珍贵手稿中，有一份名为biblioth de la ville de Tournai MS 129的残片手稿，其中包含亚历山大四行诗版本的古法国《圣亚历克西斯的生活》。这首诗，也被称为圣亚历克西斯之歌，代表了法国现存最古老的诗歌传统之一，在它产生后的几个世纪里享有相当大的知名度。尽管在《圣亚历克西斯的生活》上有相当多的学术研究，但图尔奈MS在很大程度上没有被注意到，在《生活》的十音节版本中没有提到，在四行诗版本的唯一版本中也没有提到。幸运的是，一份丢失的图尔奈抄本的19世纪抄本在战争中幸存了下来。本文将此抄本与现存版本的《圣亚历克西斯的生活》进行比较，以探索丢失的图尔奈文本如何与这首诗的更广泛传统相交，并阐明这首诗。

引用次数: 0

El dinero como principio de mecánica imprecisa en El hombre pobre todo es trazas (1637) de Pedro Calderón de la Barca 金钱作为穷人不精确力学的原则，一切都是佩德罗·卡尔德龙·德拉巴尔卡的痕迹（1637年）

IF 0.2 3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-07-03 DOI: 10.1080/08831157.2023.2224768

Escudero Baztán Juan Manuel

Abstract Calderón de la Barca’s comedy, El hombre pobre todo es trazas, belongs to the genre of ‘capa y espada’ comedy. A very common comic genre in the Spanish theater of the seventeenthth century, highly cultivated by most playwrights, which entails a high degree of artificiality and repetition of entanglement situations and conventional motifs that can be included within the so-called principle of precise mechanics. But there are other elements that individualize these works and that respond to that other principle of the so-called imprecise mechanics. Calderón, aware of the need to innovate in this type of comic comedy genre, always resorts to surprising variants that, in this case, have to do with money and the picaresque behavior of a nobleman who, characterized by poverty, uses his ingenuity to try thriving in society through an advantageous marriage. At the end of the comedy, as in the picaresque novel, the protagonist fails resoundingly in his aspirations to achieve wealth.

摘要Calderón de la Barca的喜剧《El hombre pobre todo es trazas》属于“capa y espada”喜剧类型。一种在十七世纪西班牙戏剧中非常常见的喜剧类型，由大多数剧作家高度培养，它需要高度的人为性和纠缠场景和传统主题的重复，这些都可以包含在所谓的精确力学原理中。但还有其他元素使这些作品个性化，并回应了所谓的不精确力学的另一个原则。卡尔德龙意识到有必要在这类喜剧类型中进行创新，他总是采用令人惊讶的变体，在这种情况下，这些变体与金钱和一个以贫困为特征的贵族的流浪汉行为有关，他利用自己的聪明才智，试图通过有利的婚姻在社会中蓬勃发展。在喜剧的结尾，就像流浪汉小说中一样，主人公实现财富的愿望彻底失败了。

引用次数: 0

‘¡La Vaguada es nuestra!’: The Cultural Politics of Madrid’s First Shopping Mall “La vague ada is nuestra!”:马德里第一家购物中心的文化政治

IF 0.2 3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-07-03 DOI: 10.1080/08831157.2023.2224803

Michael L. Martínez

Abstract This article adopts an urban cultural studies method to elaborate the historical-geographical formation of Madrid’s first American-style shopping mall, La Vaguada, in relation to important socio-spatial transformations unfolding in the Spanish capital from the 1950s to the early democratic period. Using insights developed in the field of critical geography, it construes the production of space in and around La Vaguada as a historically contingent process that offers remarkably unique insights into wider socio-cultural shifts occurring at a variety of geographical scales. With an eye toward urban planning in Spain during the twentieth century, the article first traces the origins of La Vaguada back to the capitalist speculators that built El Pilar and shows how this neighborhood was closely bound up with the urbanization of capital under dictator Francisco Franco. It then goes on to examine the grassroots campaign organized by the La Vaguada es nuestra neighborhood association in defense of El Pilar in order to map the constellation of contested discourses that ultimately coalesced around the proposed shopping center against the backdrop of Madrid’s historic 1979 municipal elections. The article concludes by performing a close reading of the mall’s architectural form to draw out its unique relationship to (post)modernity.

摘要本文采用城市文化研究的方法，阐述了马德里第一家美式购物中心La Vaguada的历史地理形成，以及从20世纪50年代到民主早期西班牙首都发生的重要社会空间变革。利用批判性地理学领域的见解，它将La Vaguada及其周围的空间生产解释为一个历史偶然的过程，对在各种地理尺度上发生的更广泛的社会文化转变提供了非常独特的见解。着眼于20世纪西班牙的城市规划，本文首先将La Vaguada的起源追溯到建造El Pilar的资本主义投机者，并展示了这个社区如何与独裁者弗朗西斯科·佛朗哥领导下的资本城市化紧密相连。然后，它继续研究了La Vaguada es nuestra社区协会为保卫El Pilar而组织的草根运动，以绘制出在马德里历史性的1979年市政选举的背景下，最终围绕拟建购物中心聚集的一系列有争议的话语。文章最后通过对购物中心建筑形式的细读，得出其与（后）现代性的独特关系。

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引用次数: 0

The Battle of the Widows: La Montálvez versus Clemencia 寡妇之战:Montálvez vs克莱门西亚

IF 0.2 3区文学 0 LITERATURE, ROMANCE

ROMANCE QUARTERLY

Pub Date : 2023-07-03 DOI: 10.1080/08831157.2023.2224800

Rosalía Cornejo-Parriego

Abstract Their liminality in a patriarchal society and the cultural apprehensions surrounding widows explain why literature has rarely been sympathetic to them. This has been particularly the case with the seductive ones, the viudas alegres who are perceived as a threat to the social order. With a didactic and ideological purpose in mind, José María de Pereda condemns Madrid’s viudas verdes in La Montálvez (1888), while in Clemencia (1852), Fernán Caballero combats the backlash against widows by creating an impeccable role model and representative of Spain’s periphery. This article reads both novels as counternarratives of widowhood and examines how their authors develop two very different narratives to control and confine female excess –sexual in one case, intellectual in the other– within a conservative gender and national paradigm.

摘要她们在父权社会中的局限性和对寡妇的文化担忧解释了为什么文学很少同情她们。诱惑者尤其如此，他们被视为对社会秩序的威胁。何塞·马里亚·德·佩雷达（JoséMaría de Pereda）怀着说教和意识形态的目的，谴责马德里在《La Montálvez》（1888年）中的暴行，而在《Clemencia》（1852年）中，费尔南·卡巴列罗（Fernán Caballero）则通过塑造一个无可挑剔的榜样和西班牙周边地区的代表来对抗对寡妇的强烈反对。这篇文章将这两部小说都解读为对守寡的反叙事，并考察了它们的作者是如何在保守的性别和国家范式中发展出两种截然不同的叙事来控制和限制女性的过度——一种是性的，另一种是智识的。

引用次数: 0