Pub Date : 2023-03-21DOI: 10.1080/08831157.2023.2180337
Keith Moser
Abstract This article proposes a Situationist reading of Le Clézio’s novels La Guerre (1970) and Les Géants (1973). Debord and Le Clézio illustrate that it is not by accident that the rise of multinational capitalism coincides with the birth of hyperreality and the post-truth era. Faced with the realistic possibility of losing their power and influence, the masters or the giants shifted their approach in order to survive. Debord and Le Clézio denounce the devastating ripple effects of this structural adaptation that would redefine society and the entirety of social relations through the skillful imposition of commercial simulacra. Even if both authors engage in hyperbolic discourse to underscore their main points, they are cognizant of what is at stake in the age of (dis-) information. Without providing any facile optimism that the road ahead will be easy, Debord and Le Clézio urge the alienated, post-modern subject to revolt. Despite the apparent limitations of the user manuals for contestation that they promote, their counter-hegemonic techniques could be a preliminary blueprint for combatting the commodification of the social, the death of the subject, and the subjugation of the populace through signs in consumer republics.
{"title":"Le Clézio’s La Guerre and Les Géants: Counter-Hegemonic, Situationist, User Manuals for the Post-Modern Subject?","authors":"Keith Moser","doi":"10.1080/08831157.2023.2180337","DOIUrl":"https://doi.org/10.1080/08831157.2023.2180337","url":null,"abstract":"Abstract This article proposes a Situationist reading of Le Clézio’s novels La Guerre (1970) and Les Géants (1973). Debord and Le Clézio illustrate that it is not by accident that the rise of multinational capitalism coincides with the birth of hyperreality and the post-truth era. Faced with the realistic possibility of losing their power and influence, the masters or the giants shifted their approach in order to survive. Debord and Le Clézio denounce the devastating ripple effects of this structural adaptation that would redefine society and the entirety of social relations through the skillful imposition of commercial simulacra. Even if both authors engage in hyperbolic discourse to underscore their main points, they are cognizant of what is at stake in the age of (dis-) information. Without providing any facile optimism that the road ahead will be easy, Debord and Le Clézio urge the alienated, post-modern subject to revolt. Despite the apparent limitations of the user manuals for contestation that they promote, their counter-hegemonic techniques could be a preliminary blueprint for combatting the commodification of the social, the death of the subject, and the subjugation of the populace through signs in consumer republics.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"192 - 205"},"PeriodicalIF":0.2,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46910751","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 : 2023-01-02DOI: 10.1080/08831157.2022.2151261
D. R. George
{"title":"Historia cultural de los hispanohablantes en Japón","authors":"D. R. George","doi":"10.1080/08831157.2022.2151261","DOIUrl":"https://doi.org/10.1080/08831157.2022.2151261","url":null,"abstract":"","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"5 - 6"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59409461","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 : 2022-12-20DOI: 10.1080/08831157.2022.2149290
Julian Barnes
Abstract This article reconsiders the legacy of Leandro Fernández de Moratín’s first play, El viejo y la niña (1790), particularly in comparison with his much more famous last play, El sí de las niñas (1806). Analyzing three aspects of El viejo, I argue that this play is more willing to question and undermine prevailing notions of gender and authority in Enlightenment Spain. First, the surprise ending allows the play’s heroine to defend her autonomy and determine her own future while offering the option of marital separation in cases of irreconcilable differences. Second, the play depicts a rare instance in neoclassical Spanish drama of solidarity and friendship between women. Doña Beatriz counsels and defends her young sister-in-law. Finally, the play breaks with all of Moratín’s later work because only in El viejo does an older widow represent a voice of Enlightenment reason. The independently wealthy widow Doña Beatriz serves as a principal voice of Enlightenment reason in contrast with all of Moratín’s later plays—particularly El sí de las niñas—in which male characters embody reason while older, illogical widows are the object of ridicule. The differences in how these plays address the topic of women’s place in society contributes to our understanding of the gender anxiety that so preoccupied the enlightened reformers of eighteenth-century Spain.
摘要本文重新考虑了莱安德罗·费尔南德斯·德·莫拉丁的第一部戏剧《El viejo y la niña》（1790）的遗产，特别是与他更著名的最后一部戏剧《Elsíde las niñas》（1806）相比。通过分析《El viejo》的三个方面，我认为这部剧更愿意质疑和破坏启蒙时期西班牙盛行的性别和权威观念。首先，出人意料的结局让剧中的女主人公能够捍卫自己的自主权，决定自己的未来，同时在出现不可调和的分歧时可以选择婚姻分离。其次，该剧描绘了西班牙新古典主义戏剧中女性之间团结和友谊的罕见例子。Doña Beatriz为她年轻的嫂子提供咨询和辩护。最后，这部剧与莫拉廷后来的所有作品都不谋而合，因为只有在《El viejo》中，一位年长的寡妇才代表了启蒙理性的声音。独立富有的寡妇Doña Beatriz是启蒙理性的主要代言人，与Moratín后来的所有戏剧形成鲜明对比，尤其是《El síde las niñas》中的男性角色体现了理性，而年长、不合逻辑的寡妇则成为嘲笑的对象。这些戏剧在处理女性在社会中的地位问题上的差异，有助于我们理解18世纪西班牙开明改革者所关注的性别焦虑。
{"title":"The Possibilities of Gender Representation in Enlightenment Spain: The Case of Leandro Fernández de Moratín’s El viejo y la niña (1790)","authors":"Julian Barnes","doi":"10.1080/08831157.2022.2149290","DOIUrl":"https://doi.org/10.1080/08831157.2022.2149290","url":null,"abstract":"Abstract This article reconsiders the legacy of Leandro Fernández de Moratín’s first play, El viejo y la niña (1790), particularly in comparison with his much more famous last play, El sí de las niñas (1806). Analyzing three aspects of El viejo, I argue that this play is more willing to question and undermine prevailing notions of gender and authority in Enlightenment Spain. First, the surprise ending allows the play’s heroine to defend her autonomy and determine her own future while offering the option of marital separation in cases of irreconcilable differences. Second, the play depicts a rare instance in neoclassical Spanish drama of solidarity and friendship between women. Doña Beatriz counsels and defends her young sister-in-law. Finally, the play breaks with all of Moratín’s later work because only in El viejo does an older widow represent a voice of Enlightenment reason. The independently wealthy widow Doña Beatriz serves as a principal voice of Enlightenment reason in contrast with all of Moratín’s later plays—particularly El sí de las niñas—in which male characters embody reason while older, illogical widows are the object of ridicule. The differences in how these plays address the topic of women’s place in society contributes to our understanding of the gender anxiety that so preoccupied the enlightened reformers of eighteenth-century Spain.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"45 - 59"},"PeriodicalIF":0.2,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49287858","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 : 2022-12-20DOI: 10.1080/08831157.2022.2149289
Emily Celeste Vázquez Enríquez
Abstract En este artículo, examino los elementos narrativos a través de los que la novela El mal de la taiga (2012), de Cristina Rivera Garza, moviliza múltiples vertientes referentes al concepto de la planetariedad. Entre tales vertientes destacan el contraste entre lo global y lo planetario, el desarrollo de un sentido de conectividad al nivel del planeta, y la articulación de un sujeto de tal índole. Para pensar en estas conceptualizaciones, me baso en los postulados de Gaytari Spivak, Mary Louise Pratt, Ursula K. Heise, y de la propia Rivera Garza. A través del estudio de lo propuesto por dichas teóricas, examino cómo es que la novela presenta a la planetariedad en tanto modo de pensamiento que genera la capacidad de percibir las conexiones que, en el espacio de la tierra, unen a múltiples alteridades. Al convertirse en un medio que abre caminos de coexistencia alternativos, la planetariedad hace posible reimaginar el futuro del planeta a partir de la identificación agudizada de un presente en ruinas.
{"title":"Planetariedad en El mal de la taiga, de Cristina Rivera Garza","authors":"Emily Celeste Vázquez Enríquez","doi":"10.1080/08831157.2022.2149289","DOIUrl":"https://doi.org/10.1080/08831157.2022.2149289","url":null,"abstract":"Abstract En este artículo, examino los elementos narrativos a través de los que la novela El mal de la taiga (2012), de Cristina Rivera Garza, moviliza múltiples vertientes referentes al concepto de la planetariedad. Entre tales vertientes destacan el contraste entre lo global y lo planetario, el desarrollo de un sentido de conectividad al nivel del planeta, y la articulación de un sujeto de tal índole. Para pensar en estas conceptualizaciones, me baso en los postulados de Gaytari Spivak, Mary Louise Pratt, Ursula K. Heise, y de la propia Rivera Garza. A través del estudio de lo propuesto por dichas teóricas, examino cómo es que la novela presenta a la planetariedad en tanto modo de pensamiento que genera la capacidad de percibir las conexiones que, en el espacio de la tierra, unen a múltiples alteridades. Al convertirse en un medio que abre caminos de coexistencia alternativos, la planetariedad hace posible reimaginar el futuro del planeta a partir de la identificación agudizada de un presente en ruinas.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"9 - 24"},"PeriodicalIF":0.2,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48523972","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 : 2022-12-20DOI: 10.1080/08831157.2022.2149288
David M. Mittelman
Abstract Juliano Dornelles and Kleber Mendonça Filho’s Bacurau (2019) was released to significant hype in Brazil and around the world. The film has been widely received as an interpretation of Brazilian society as plagued by the ravages of predatory global capitalism and U.S imperialism combined with the ineptitude and corruption of the national political class, leading to a fantasy of ultra-violent uprising by the people of the interior. Although the film was criticized from the political right and center as propagandist or as defending unacceptable violence, it has received little critique from left perspectives. In addition, numerous reviews and an increasing body of scholarship have noted that Bacurau draws on a variety of film genres such as the Western, science fiction, and horror to produce its highly reflexive text, but relatively little has been done to interpret its engagement with horror. This essay shows how Bacurau’s incorporation of resources from horror cinema reveals a problematic centering of whiteness within a project that presents itself as anti-racist.
{"title":"White Horror in Bacurau","authors":"David M. Mittelman","doi":"10.1080/08831157.2022.2149288","DOIUrl":"https://doi.org/10.1080/08831157.2022.2149288","url":null,"abstract":"Abstract Juliano Dornelles and Kleber Mendonça Filho’s Bacurau (2019) was released to significant hype in Brazil and around the world. The film has been widely received as an interpretation of Brazilian society as plagued by the ravages of predatory global capitalism and U.S imperialism combined with the ineptitude and corruption of the national political class, leading to a fantasy of ultra-violent uprising by the people of the interior. Although the film was criticized from the political right and center as propagandist or as defending unacceptable violence, it has received little critique from left perspectives. In addition, numerous reviews and an increasing body of scholarship have noted that Bacurau draws on a variety of film genres such as the Western, science fiction, and horror to produce its highly reflexive text, but relatively little has been done to interpret its engagement with horror. This essay shows how Bacurau’s incorporation of resources from horror cinema reveals a problematic centering of whiteness within a project that presents itself as anti-racist.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"25 - 44"},"PeriodicalIF":0.2,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49161896","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 : 2022-10-21DOI: 10.1080/08831157.2022.2124569
Giselle Román Medina
{"title":"Inquietudes tardías, aprendizajes ociosos: Breath, Eyes, Memory, de Danticat, y L’Exil selon Julia, de Pineau","authors":"Giselle Román Medina","doi":"10.1080/08831157.2022.2124569","DOIUrl":"https://doi.org/10.1080/08831157.2022.2124569","url":null,"abstract":"","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46802038","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 : 2022-10-02DOI: 10.1080/08831157.2022.2118561
Thomas Matusiak
Abstract Recent decades have seen the rise of film installation as a consequence of cinema’s displacement in the digital age. This expansion of film exhibition to the gallery has given rise to what Raymond Bellour terms an other cinema, or a cinematic praxis that opens new possibilities for the theorization of the moving image, its history, and its relation to other disciplines. In a cinematic landscape marked by intermediality and transnationality, expanded cinema offers a path forward for filmmakers and moving-image artists in and from Latin America. In this article, I study the relation between cinema and madness in Carl Theodor Dreyer’s 1928 film La Passion de Jeanne d’Arc and the 2004 film installation La Passion de Jeanne d’Arc (Rozelle Hospital) by Venezuelan artist Javier Téllez. I argue that through his citation of Dreyer’s signature close-ups, his direct intervention in the original work, and his staging of projection, Téllez theorizes the relation between spectatorship and an embodied unreason by enacting a mimetic encounter between the audience and the mentally ill. Téllez embraces the legacy of avant-garde cinema, which sought to highlight film’s ability to suspend a cognitively oriented perception. By experimenting with the material basis of exhibition, Rozelle Hospital imagines a new audiovisual politics that stages an ethical encounter with the mentally ill through an embodied spectatorship.
{"title":"Losing Our Heads: Expanded Cinema and Unreason Between Javier Téllez and Carl Theodor Dreyer","authors":"Thomas Matusiak","doi":"10.1080/08831157.2022.2118561","DOIUrl":"https://doi.org/10.1080/08831157.2022.2118561","url":null,"abstract":"Abstract Recent decades have seen the rise of film installation as a consequence of cinema’s displacement in the digital age. This expansion of film exhibition to the gallery has given rise to what Raymond Bellour terms an other cinema, or a cinematic praxis that opens new possibilities for the theorization of the moving image, its history, and its relation to other disciplines. In a cinematic landscape marked by intermediality and transnationality, expanded cinema offers a path forward for filmmakers and moving-image artists in and from Latin America. In this article, I study the relation between cinema and madness in Carl Theodor Dreyer’s 1928 film La Passion de Jeanne d’Arc and the 2004 film installation La Passion de Jeanne d’Arc (Rozelle Hospital) by Venezuelan artist Javier Téllez. I argue that through his citation of Dreyer’s signature close-ups, his direct intervention in the original work, and his staging of projection, Téllez theorizes the relation between spectatorship and an embodied unreason by enacting a mimetic encounter between the audience and the mentally ill. Téllez embraces the legacy of avant-garde cinema, which sought to highlight film’s ability to suspend a cognitively oriented perception. By experimenting with the material basis of exhibition, Rozelle Hospital imagines a new audiovisual politics that stages an ethical encounter with the mentally ill through an embodied spectatorship.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"198 - 213"},"PeriodicalIF":0.2,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47035495","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 : 2022-10-02DOI: 10.1080/08831157.2022.2124391
Cristina E. Pardo Porto
Abstract El lugar común de la Pampa desértica, vacía e inconmensurable se erige en la cultura letrada como el espacio emblemático para la reconstrucción de la nación argentina en el siglo XIX. La necesidad de refundar el estado-nación que exige el avance estrepitoso del capital hace que el desierto sea vaciado de cuerpos, pero saturado de representaciones. Ese espacio no cartografiado, “incierto, vaporoso, indefinido” (Sarmiento) no estará precisamente en silencio; en él se oirá algo productivo. Con los hechos que constituyeron a la Conquista del Desierto como marco, este ensayo estudia las evidencias literarias de lo que denominaré como una “guerra sónica” en un grupo de textos canónicos que tratan el proceso de ocupación y vaciamiento de la Pampa, la eliminación de la población indígena y el cautiverio de gauchos y mujeres. En concreto, se analiza la imagen del desierto como un paisaje sonoro en el poema “La Cautiva” (1837) de Esteban Echeverría, en la gauchesca Martín Fierro (1872) de José Hernández, en Una excursión a los Indios Ranqueles (1870) de Lucio V. Mansilla y en el Facundo: Civilización y Barbarie (1845) de Domingo Faustino Sarmiento. La guerra sónica que se inscribe en el paisaje de la Pampa argentina implica el uso del sonido como fuerza seductora y violenta por medio de máquinas culturales y políticas, con el fin de modular los afectos y los deseos de un pueblo, de una multitud, de unos cuerpos.
{"title":"La conquista sónica del desierto: La Pampa como paisaje sonoro en el canon literario argentino del siglo XIX 1","authors":"Cristina E. Pardo Porto","doi":"10.1080/08831157.2022.2124391","DOIUrl":"https://doi.org/10.1080/08831157.2022.2124391","url":null,"abstract":"Abstract El lugar común de la Pampa desértica, vacía e inconmensurable se erige en la cultura letrada como el espacio emblemático para la reconstrucción de la nación argentina en el siglo XIX. La necesidad de refundar el estado-nación que exige el avance estrepitoso del capital hace que el desierto sea vaciado de cuerpos, pero saturado de representaciones. Ese espacio no cartografiado, “incierto, vaporoso, indefinido” (Sarmiento) no estará precisamente en silencio; en él se oirá algo productivo. Con los hechos que constituyeron a la Conquista del Desierto como marco, este ensayo estudia las evidencias literarias de lo que denominaré como una “guerra sónica” en un grupo de textos canónicos que tratan el proceso de ocupación y vaciamiento de la Pampa, la eliminación de la población indígena y el cautiverio de gauchos y mujeres. En concreto, se analiza la imagen del desierto como un paisaje sonoro en el poema “La Cautiva” (1837) de Esteban Echeverría, en la gauchesca Martín Fierro (1872) de José Hernández, en Una excursión a los Indios Ranqueles (1870) de Lucio V. Mansilla y en el Facundo: Civilización y Barbarie (1845) de Domingo Faustino Sarmiento. La guerra sónica que se inscribe en el paisaje de la Pampa argentina implica el uso del sonido como fuerza seductora y violenta por medio de máquinas culturales y políticas, con el fin de modular los afectos y los deseos de un pueblo, de una multitud, de unos cuerpos.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"181 - 197"},"PeriodicalIF":0.2,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48155796","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}
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