Pub Date : 2022-09-22DOI: 10.1080/08831157.2022.2121127
M. Soliño
Unsettling Colonialism is a welcome addition to the growing bibliography on Hispanic postcolonial studies through its concentration on the often-neglected role that gender played in the colonial discourse of a crumbling empire. The book’s focus is on the literary and cultural productions of the long nineteenth-century, a period during which Spain struggled to define itself as a nation in the face of the loss of its American colonies and its expansion into Africa. The era is rich in opportunities to discover forgotten female voices, a focus of many of the chapters. Divided into three sections—“Colonialism and Women’s Migrations”; “Race, Performance, and Colonial Ideologies”; “Gender and Colonialism in Literary and Political Debates”—Unsettling Colonialism reconceptualizes the legacy of Spanish colonialism through the prism of the intersections of race and gender. Benita Sampedro Vizcaya’s essay, “The Colonial Politics of Meteorology,” uncovers the scientific contributions of Isabel and Manuela Urquiola while charting the Gulf of Guinea. Whereas Isabel’s husband, Manuel Iradier, was heralded as a great explorer, honored by the Franco regime with stamps commemorating the centenary of his birth, it was his wife and sister-in-law who between 1874 and 1877 gathered the data that facilitated the exploration and settlement of Central Africa. Their erasure from history stands in sharp contrast to the honors garnered by the English Mary Henrietta Kingsley. In the second chapter of this grouping, “Eva Canal and the Gender of Hispanism,” Lisa Surwillo cogently analyzes Lo que vi en Cuba, a trav es de la isla (1916) as a product of neoimperial Hispanism with Canal’s zeal to defend Spain’s centrality to the definition of Cuban culture in the face of U.S. occupation. Canal’s limited access to government funding allowed her to claim full independence from oversight as she produced counternarratives to the incursion of U.S. culture in Cuba. Akiko Tsuchiya studies the “Representations of White Slavery in Eugenio Flores’s Trata de blancas and Eugenio L opez Bago’s Carne importada.” Both novels are studied within the context of the sex trafficking of European women between 1860 and 1930. Under the umbrella of “radical naturalism,” both authors study prostitutes as the detritus of European society in a way that posits their diseased body as an outlet for expressing cultural anxieties about gender, racial impurities, and the loss of empire. The second section, focusing on performance, begins with Ana Mateos’s “A Black Woman Called Blanca la extranjera in Faustina S aez de Melgar’s Los miserables (1862–63),” a study of the abolitionist and feminist concerns of the Isabelline writer. Through her appearance in Madrid wearing blackface, the protagonist’s actions highlight the shared plight of women and slaves, with the added complexity that in her pose as a black woman she has less social constrictions than a white woman of her class. Of added interest is Mateos’s study o
令人不安的殖民主义是西班牙后殖民研究书目中一个受欢迎的补充，它专注于性别在一个摇摇欲坠的帝国的殖民话语中经常被忽视的角色。这本书的重点是19世纪漫长的文学和文化作品，在此期间，西班牙在失去美洲殖民地和向非洲扩张的情况下，努力将自己定位为一个国家。这个时代充满了发现被遗忘的女性声音的机会，这也是许多章节的重点。分为“殖民主义与妇女移民”三个部分;“种族、表现和殖民意识形态”;“文学和政治辩论中的性别和殖民主义”——《令人不安的殖民主义》通过种族和性别交叉的棱镜重新定义了西班牙殖民主义的遗产。Benita Sampedro Vizcaya的文章“气象的殖民政治”揭示了Isabel和Manuela Urquiola在绘制几内亚湾时的科学贡献。伊莎贝尔的丈夫曼努埃尔·伊拉迪尔(Manuel Iradier)被誉为伟大的探险家，佛朗哥政权还向他颁发了纪念其百年诞辰的邮票，而在1874年至1877年期间，正是他的妻子和嫂子收集了数据，为中非的探索和定居提供了便利。他们从历史上的抹去与英国的玛丽·亨丽埃塔·金斯利所获得的荣誉形成鲜明对比。在这一组的第二章“伊娃·卡纳尔和西班牙裔的性别”中，丽莎·苏威罗(Lisa Surwillo)将《古巴之旅》(1916)作为新帝国主义西班牙裔的产物进行了有力的分析，卡纳尔在面对美国占领时捍卫西班牙在古巴文化定义中的中心地位。卡纳尔获得政府资助的渠道有限，这使她能够在创作反对美国文化入侵古巴的作品时，声称自己完全独立于监管之外。土屋明子研究了“尤金尼奥·弗洛雷斯的《白色的图画》和尤金尼奥·洛佩斯·贝戈的《进口的画》中对白人奴隶制的表现”。这两部小说都是在1860年至1930年间欧洲女性性交易的背景下进行研究的。在“激进自然主义”的保护伞下，两位作者都把妓女作为欧洲社会的碎片来研究，以一种将她们患病的身体作为表达对性别、种族杂质和帝国丧失的文化焦虑的出口。第二部分侧重于表演，从安娜·马特奥斯的《在福斯蒂娜·S·阿兹·德·梅尔加的《悲惨世界》(1862-63)中被称为“外鬼”的黑人妇女开始，研究了这位伊莎贝尔作家的废奴主义和女权主义关切。通过她在马德里的黑脸出现，主人公的行为突出了妇女和奴隶的共同困境，加上她作为黑人妇女的姿态比她阶级的白人妇女更少的社会约束，这增加了复杂性。更有趣的是，马特奥斯研究了慈善事业在赋予女性、甚至有色人种女性更大的社会能力性方面的作用。Mar Soria在她的章节中继续关注黑脸在g enero chico中使用这种装置将黑人身体商品化以取悦西班牙观众他们通过看到殖民主义在舞台上的动态表现而感到自己是帝国的成员。最后一部分以茱莉亚·张(Julia Chang)的《变得无用:19世纪西班牙的男子气概、健全的身体和帝国》(Becoming Useless: Masculinity, able - bodies, and Empire in 19世纪的西班牙》(Becoming无用)开始，该书考察了军队在定义男子气概时所扮演的角色，因为士兵的身体成为了帝国可见的象征。因此，殖民主义创造了一个生物政治战场，在这个战场上，半岛和殖民地的主体都被性别化了，并根据它们对帝国事业的效用进行了分类。努里亚·神论《浪漫》研究《季刊》2022年第69卷第1期。4, 230 - 231
{"title":"Unsettling Colonialism: Gender and Race in the Nineteenth-Century Global Hispanic World","authors":"M. Soliño","doi":"10.1080/08831157.2022.2121127","DOIUrl":"https://doi.org/10.1080/08831157.2022.2121127","url":null,"abstract":"Unsettling Colonialism is a welcome addition to the growing bibliography on Hispanic postcolonial studies through its concentration on the often-neglected role that gender played in the colonial discourse of a crumbling empire. The book’s focus is on the literary and cultural productions of the long nineteenth-century, a period during which Spain struggled to define itself as a nation in the face of the loss of its American colonies and its expansion into Africa. The era is rich in opportunities to discover forgotten female voices, a focus of many of the chapters. Divided into three sections—“Colonialism and Women’s Migrations”; “Race, Performance, and Colonial Ideologies”; “Gender and Colonialism in Literary and Political Debates”—Unsettling Colonialism reconceptualizes the legacy of Spanish colonialism through the prism of the intersections of race and gender. Benita Sampedro Vizcaya’s essay, “The Colonial Politics of Meteorology,” uncovers the scientific contributions of Isabel and Manuela Urquiola while charting the Gulf of Guinea. Whereas Isabel’s husband, Manuel Iradier, was heralded as a great explorer, honored by the Franco regime with stamps commemorating the centenary of his birth, it was his wife and sister-in-law who between 1874 and 1877 gathered the data that facilitated the exploration and settlement of Central Africa. Their erasure from history stands in sharp contrast to the honors garnered by the English Mary Henrietta Kingsley. In the second chapter of this grouping, “Eva Canal and the Gender of Hispanism,” Lisa Surwillo cogently analyzes Lo que vi en Cuba, a trav es de la isla (1916) as a product of neoimperial Hispanism with Canal’s zeal to defend Spain’s centrality to the definition of Cuban culture in the face of U.S. occupation. Canal’s limited access to government funding allowed her to claim full independence from oversight as she produced counternarratives to the incursion of U.S. culture in Cuba. Akiko Tsuchiya studies the “Representations of White Slavery in Eugenio Flores’s Trata de blancas and Eugenio L opez Bago’s Carne importada.” Both novels are studied within the context of the sex trafficking of European women between 1860 and 1930. Under the umbrella of “radical naturalism,” both authors study prostitutes as the detritus of European society in a way that posits their diseased body as an outlet for expressing cultural anxieties about gender, racial impurities, and the loss of empire. The second section, focusing on performance, begins with Ana Mateos’s “A Black Woman Called Blanca la extranjera in Faustina S aez de Melgar’s Los miserables (1862–63),” a study of the abolitionist and feminist concerns of the Isabelline writer. Through her appearance in Madrid wearing blackface, the protagonist’s actions highlight the shared plight of women and slaves, with the added complexity that in her pose as a black woman she has less social constrictions than a white woman of her class. Of added interest is Mateos’s study o","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"230 - 231"},"PeriodicalIF":0.2,"publicationDate":"2022-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41500129","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 : 2022-09-20DOI: 10.1080/08831157.2022.2118562
Guylian Nemegeer
Abstract This paper considers the dialectics between national decadence and regeneration in d’Annunzio’s Il piacere. It argues that the novel’s fin-de-siècle reception was conditioned by the author’s prior classification as an immoral, anti-national writer in the wake of the poetry collection Intermezzo di rime. This classification determined a reading of d’Annunzio’s debut novel in terms of decadence, while Il piacere itself actually pointed toward a literature of regeneration. The novel staged d’Annunzio’s opposition to his own prior classification, while making claims for a more committed and more internationally relevant model of Italian literature in the context of European modernity.
摘要本文考察了达南奇奥《广场》中民族衰亡与民族复兴之间的辩证法。它认为，这部小说的最终结局是由作者在诗集《间奏曲》(Intermezzo di time)之后被归类为不道德、反国家的作家所决定的。这种分类决定了从颓废的角度解读达南奇奥的处女作，而《天堂》本身实际上指向了一种复兴的文学。这部小说提出了达农齐奥对自己先前分类的反对，同时主张在欧洲现代性的背景下，意大利文学有一个更坚定、更具有国际相关性的模式。
{"title":"Decadence and Regeneration in d’Annunzio’s Il piacere (1889)","authors":"Guylian Nemegeer","doi":"10.1080/08831157.2022.2118562","DOIUrl":"https://doi.org/10.1080/08831157.2022.2118562","url":null,"abstract":"Abstract This paper considers the dialectics between national decadence and regeneration in d’Annunzio’s Il piacere. It argues that the novel’s fin-de-siècle reception was conditioned by the author’s prior classification as an immoral, anti-national writer in the wake of the poetry collection Intermezzo di rime. This classification determined a reading of d’Annunzio’s debut novel in terms of decadence, while Il piacere itself actually pointed toward a literature of regeneration. The novel staged d’Annunzio’s opposition to his own prior classification, while making claims for a more committed and more internationally relevant model of Italian literature in the context of European modernity.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"214 - 227"},"PeriodicalIF":0.2,"publicationDate":"2022-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45343871","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 : 2022-07-03DOI: 10.1080/08831157.2022.2092922
Gustavo Faverón Patriau
Abstract Este artículo estudia la relación de filiación y reescritura que vincula a los cuentos “La Mère aux monstres,” de Guy de Maupassant (1883); “The Idiots,” de Joseph Conrad (1896); y “La gallina degollada,” de Horacio Quiroga (1909). A partir de ideas de Peter Brooks y J. Hillis Miller, y una discusión de la nociones de ‘clinamen’ (Bloom) y ‘telos’ (en Aristóteles y Hegel, pasando por Nietzsche), el ensayo muestra las reinterpretaciones que ejercieron Conrad—sobre el cuento de Maupassant—y Quiroga—sobre los cuentos de Conrad y Maupassant—, cada uno con un designio distinto y desde una divergente concepción de los males sociales de su tiempo. El relato de Maupassant es una defensa del orden patriarcal y la moral tradicional burguesa en Francia contra la emergencia de la nueva burguesía. Conrad, pese a tomar los elementos argumentales clave del cuento del francés, lo reescribe como una crítica radical del orden patriarcal. Quiroga, a su vez, extrema la crítica y el nihilismo de Conrad, para contar una tercera versión de la historia de la mujer que alumbra monstruos, esta vez enjuiciando no solo el orden patriarcal (y la institución de la familia), sino lo que percibe como el telos histórico de inicios del siglo veinte, del cual el patriarcado es un aspecto central, pero no único. Parte central de la discusión es una lectura paralela de los sentidos del concepto de ‘telos’ en la historia y en la ficción.
本文研究了居伊·德·莫泊桑(Guy de Maupassant, 1883)的短篇小说《la mere aux monstres》(la mere aux monstres, 1883)的从属关系和重写关系;约瑟夫·康拉德的《白痴》(1896);还有Horacio Quiroga的《La gallina degollada》(1909)。从思想Peter Brooks和j .希利斯·米勒,讨论‘clinamen’的概念(Bloom)和“原则”(亚里士多德和黑格尔、尼采),试验显示reinterpretaciones告诉了康拉德—关于Maupassant Quiroga——《老康拉德和Maupassant—,每个都有不同的设计和一个发散从构思社会弊病的时间。莫泊桑的故事是对法国父权秩序和传统资产阶级道德的辩护，以对抗新资产阶级的出现。康拉德虽然采用了法国故事的关键情节元素，但将其改写为对父权秩序的激进批判。Quiroga反过来,极端的批评和康拉德的虚无主义,历史上第三个版本的女人,中午太阳怪物,只是这次不是惩处父权秩序(和家庭制度),而是它被看作是二十世纪初的历史性原则,父权是一项中央,但不是唯一。讨论的核心部分是对“telos”概念在历史和小说中的意义的平行解读。
{"title":"Maupassant, Conrad, Quiroga, una genealogía: Perversiones de la historia en “La Mère aux monstres”, “The Idiots”, y “La gallina degollada”","authors":"Gustavo Faverón Patriau","doi":"10.1080/08831157.2022.2092922","DOIUrl":"https://doi.org/10.1080/08831157.2022.2092922","url":null,"abstract":"Abstract Este artículo estudia la relación de filiación y reescritura que vincula a los cuentos “La Mère aux monstres,” de Guy de Maupassant (1883); “The Idiots,” de Joseph Conrad (1896); y “La gallina degollada,” de Horacio Quiroga (1909). A partir de ideas de Peter Brooks y J. Hillis Miller, y una discusión de la nociones de ‘clinamen’ (Bloom) y ‘telos’ (en Aristóteles y Hegel, pasando por Nietzsche), el ensayo muestra las reinterpretaciones que ejercieron Conrad—sobre el cuento de Maupassant—y Quiroga—sobre los cuentos de Conrad y Maupassant—, cada uno con un designio distinto y desde una divergente concepción de los males sociales de su tiempo. El relato de Maupassant es una defensa del orden patriarcal y la moral tradicional burguesa en Francia contra la emergencia de la nueva burguesía. Conrad, pese a tomar los elementos argumentales clave del cuento del francés, lo reescribe como una crítica radical del orden patriarcal. Quiroga, a su vez, extrema la crítica y el nihilismo de Conrad, para contar una tercera versión de la historia de la mujer que alumbra monstruos, esta vez enjuiciando no solo el orden patriarcal (y la institución de la familia), sino lo que percibe como el telos histórico de inicios del siglo veinte, del cual el patriarcado es un aspecto central, pero no único. Parte central de la discusión es una lectura paralela de los sentidos del concepto de ‘telos’ en la historia y en la ficción.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"144 - 157"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48510986","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 : 2022-07-03DOI: 10.1080/08831157.2022.2094684
Rebecca M. Bender
{"title":"César Ferreira and Jorge Avilés-Diz, editors. Narrar lo invisible: Aproximaciones al mundo literario de Sara Mesa","authors":"Rebecca M. Bender","doi":"10.1080/08831157.2022.2094684","DOIUrl":"https://doi.org/10.1080/08831157.2022.2094684","url":null,"abstract":"","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"179 - 180"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47896205","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 : 2022-07-03DOI: 10.1080/08831157.2022.2094682
S. Divine
{"title":"Stephen Luis Vilaseca. Anarchist Socialism in Early Twentieth-Century Spain: A Ricard Mella Anthology.","authors":"S. Divine","doi":"10.1080/08831157.2022.2094682","DOIUrl":"https://doi.org/10.1080/08831157.2022.2094682","url":null,"abstract":"","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"177 - 178"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42260282","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 : 2022-07-03DOI: 10.1080/08831157.2022.2092923
Ignacio Ramos-Gay
Abstract This article analyzes the representation of classic aging masculinities in Mario Gas and Alberto Iglesias’s play Sócrates. Juicio y muerte de un ciudadano (2015), featuring the leading performance of Catalan actor Josep Maria Pou. I will examine the physicality of Pou’s idiosyncratic bodily performance upon the stage in order to discuss how age is construed as a means to reinforce the Greek philosopher’s masculinity, as expressed in his use of rhetoric, his questioning of writing vs orality, and his final acceptance of death.
摘要本文分析了马里奥·加斯和阿尔贝托·伊格莱西亚斯戏剧《sócrates》中经典衰老男性气质的表现。Juicio y muerte de un ciudadano（2015），由加泰罗尼亚演员Josep Maria Pou领衔演出。我将研究Pou在舞台上独特的身体表现的身体性，以讨论年龄如何被理解为增强这位希腊哲学家男子气概的一种手段，正如他对修辞的使用、他对写作与口语的质疑以及他对死亡的最终接受所表达的那样。
{"title":"Performing Classical Masculinities and Old Age: Josep Maria Pou in Alberto Iglesias and Mario Gas’s Sócrates. Juicio y muerte de un ciudadano","authors":"Ignacio Ramos-Gay","doi":"10.1080/08831157.2022.2092923","DOIUrl":"https://doi.org/10.1080/08831157.2022.2092923","url":null,"abstract":"Abstract This article analyzes the representation of classic aging masculinities in Mario Gas and Alberto Iglesias’s play Sócrates. Juicio y muerte de un ciudadano (2015), featuring the leading performance of Catalan actor Josep Maria Pou. I will examine the physicality of Pou’s idiosyncratic bodily performance upon the stage in order to discuss how age is construed as a means to reinforce the Greek philosopher’s masculinity, as expressed in his use of rhetoric, his questioning of writing vs orality, and his final acceptance of death.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"127 - 143"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49366081","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 : 2022-07-03DOI: 10.1080/08831157.2022.2094683
E. Woods
{"title":"Eric Calderwood. Colonial al-Andalus: Spain and the Making of Modern Moroccan Culture","authors":"E. Woods","doi":"10.1080/08831157.2022.2094683","DOIUrl":"https://doi.org/10.1080/08831157.2022.2094683","url":null,"abstract":"","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"174 - 176"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43473347","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 : 2022-04-21DOI: 10.1080/08831157.2022.2057207
Christina E. Ivers
Abstract In sixteenth-century Barcelona, printing houses mainly produced books in Catalan, Castilian, and Latin. At times, imprints contained combinations of these languages. This analysis of a printed compilation of Passion-centered poetry employs metonymy to study the intersections of whole and partial texts within La dolorosa passio del nostre redemptor Jesuchrist (Barcelona, 1518) alongside the identities of its readers as individuals and as members of an ecclesiastical whole. I argue that the Latin fragments and Catalan verses in La dolorosa passió guided readers through individual and collective modes of Catholic devotion, including personal compassion for Christ’s suffering and remembrance of communal liturgical celebrations. A unique aspect of this printed book is that the printer, Pere Posa, was the one who inserted Latin phrases before and after the Catalan poems. His decision to mingle Latin fragments with Catalan poetry points to the existence of an early modern Iberian readership that performed personal and collective devotional practices in both languages. Mukul Saxena’s concept of lifestyle diglossia illustrates how lay Catholic readers tailored their use of Latin and Catalan on La dolorosa passió’s folios to match religious practices they as individuals and their society as a whole were cultivating. The presence of contiguous Latin fragments and Catalan verses demonstrates that, far from compartmentalizing their communal and individual religious experiences, early modern Iberian Catholics enacted overlapping collective and personal identities while reading printed devotional books. I contend that we can trace these intersections by putting content in dialogue with materiality using imprints like La dolorosa passió.
{"title":"Latin Fragments and Catalan Verses: Printing Linguistic and Devotional Metonymy in La dolorosa passio del nostre redemptor Jesuchrist (Barcelona, 1518)","authors":"Christina E. Ivers","doi":"10.1080/08831157.2022.2057207","DOIUrl":"https://doi.org/10.1080/08831157.2022.2057207","url":null,"abstract":"Abstract In sixteenth-century Barcelona, printing houses mainly produced books in Catalan, Castilian, and Latin. At times, imprints contained combinations of these languages. This analysis of a printed compilation of Passion-centered poetry employs metonymy to study the intersections of whole and partial texts within La dolorosa passio del nostre redemptor Jesuchrist (Barcelona, 1518) alongside the identities of its readers as individuals and as members of an ecclesiastical whole. I argue that the Latin fragments and Catalan verses in La dolorosa passió guided readers through individual and collective modes of Catholic devotion, including personal compassion for Christ’s suffering and remembrance of communal liturgical celebrations. A unique aspect of this printed book is that the printer, Pere Posa, was the one who inserted Latin phrases before and after the Catalan poems. His decision to mingle Latin fragments with Catalan poetry points to the existence of an early modern Iberian readership that performed personal and collective devotional practices in both languages. Mukul Saxena’s concept of lifestyle diglossia illustrates how lay Catholic readers tailored their use of Latin and Catalan on La dolorosa passió’s folios to match religious practices they as individuals and their society as a whole were cultivating. The presence of contiguous Latin fragments and Catalan verses demonstrates that, far from compartmentalizing their communal and individual religious experiences, early modern Iberian Catholics enacted overlapping collective and personal identities while reading printed devotional books. I contend that we can trace these intersections by putting content in dialogue with materiality using imprints like La dolorosa passió.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"113 - 126"},"PeriodicalIF":0.2,"publicationDate":"2022-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43403340","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 : 2022-04-03DOI: 10.1080/08831157.2021.2017240
E. Fernández
Abstract As a result of the global pandemic, in the spring of 2020 Madrid experienced a restrictive confinement for over three months. While theaters were forced to close, such measures did not put a stop to cultural initiatives in the city. From May through June, the Compañía Nacional de Teatro Clásico (CNTC) developed a pioneering audiovisual piece, En otro reino extraño, built around different texts about love by Lope de Vega (1562–1635). Carrying out this creative endeavor remotely, director David Boceta ushers actors and audience members into a state of disquieting liminality, a no man’s land straddling utopia and dystopia. The piece succeeds in fostering a communal and self-supportive dialogue around the meaning of love but, at the same time, leads performers and spectators to reassess our understanding of the classics when theater was plunged into survival mode.
摘要由于全球疫情，2020年春天，马德里经历了三个多月的限制性禁闭。虽然剧院被迫关闭，但这些措施并没有阻止该市的文化活动。从5月到6月，国家歌剧院（CNTC）围绕洛佩·德·维加（1562-1635）关于爱的不同文本，开发了一部开创性的视听作品《En otro reino extraño》。导演大卫·博切塔远程进行这项创作，将演员和观众带入一种令人不安的边缘状态，一个横跨乌托邦和反乌托邦的无人区。这部作品成功地围绕爱的意义展开了一场集体的、自我支持的对话，但同时，当剧院陷入生存模式时，它也引导表演者和观众重新评估我们对经典的理解。
{"title":"En otro reino extraño or, Lope de Vega and the Digital Stage","authors":"E. Fernández","doi":"10.1080/08831157.2021.2017240","DOIUrl":"https://doi.org/10.1080/08831157.2021.2017240","url":null,"abstract":"Abstract As a result of the global pandemic, in the spring of 2020 Madrid experienced a restrictive confinement for over three months. While theaters were forced to close, such measures did not put a stop to cultural initiatives in the city. From May through June, the Compañía Nacional de Teatro Clásico (CNTC) developed a pioneering audiovisual piece, En otro reino extraño, built around different texts about love by Lope de Vega (1562–1635). Carrying out this creative endeavor remotely, director David Boceta ushers actors and audience members into a state of disquieting liminality, a no man’s land straddling utopia and dystopia. The piece succeeds in fostering a communal and self-supportive dialogue around the meaning of love but, at the same time, leads performers and spectators to reassess our understanding of the classics when theater was plunged into survival mode.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"73 - 82"},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46694637","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：