Pub Date : 2022-04-03DOI: 10.1080/08831157.2021.2017242
Laura Muñoz
Abstract This article examines how self-representational practices in the online sphere have been interpreted in an adaptation of Lope de Vega’s play El perro del hortelano (1618). This Bitch: Esta Sangre Quiero, written by playwright Adrienne Dawes and performed on Zoom as part of the University of Arkansas virtual ArkType Festival in January 2021, reimagines the role of honor and honra in the early modern court as analogous to the clout or status of influencers which dominant social media platforms like Instagram and YouTube. The delicate balancing act that nobles in comedia must master to navigate between desire and reputation is reflected in Dawes’s adaptation in the juxtaposition of the private selves and the performative selves which influencers display for followers to consume. This article thus explores how this recent adaptation engages with performative identities/identity as performance as a natural through line between the social context of the original play and the self-fashioning practices of today’s rich and (internet) famous. In this version of Lope’s story, the countess Diana becomes a Pilates instructor and pansexual goddess, while the secretary Teodoro is reimagined as her talented, but unknown, social media manager. Although this adaptation was imagined for performance on a traditional theater stage, the social commentary became so much more pointed when examined through the meta-layer of online performance: as we examine the lives of people who mediate their identity via screens using the Zoom screen itself, the audience becomes complicit in the self-fashioning strategies of the characters.
摘要本文探讨了网络领域的自我表征实践是如何在改编自洛佩·德·维加的戏剧《El perro del hortelano》（1618）中得到解释的。《这个婊子：Esta Sangre Quiero》由剧作家Adrienne Dawes编剧，并于2021年1月在Zoom上作为阿肯色大学虚拟ArkType音乐节的一部分进行了表演，它将荣誉和荣誉在现代早期宫廷中的角色重新想象为类似于主宰Instagram和YouTube等社交媒体平台的影响者的影响力或地位。喜剧中的贵族们必须掌握在欲望和声誉之间的微妙平衡行为，这反映在道斯的改编中，即影响者展示给追随者消费的私人自我和表演自我的并置。因此，本文探讨了这部最近的改编作品是如何将表演身份/身份作为表演的，这是原剧的社会背景与当今富人和（互联网）名人的自我塑造实践之间的一条自然主线。在这个版本的洛佩故事中，伯爵夫人戴安娜成为普拉提教练和泛性女神，而秘书特奥多罗则被重新想象成她才华横溢但默默无闻的社交媒体经理。尽管这部改编作品是为在传统戏剧舞台上表演而设想的，但当通过在线表演的元层来审视时，社会评论变得更加尖锐：当我们通过Zoom屏幕本身的屏幕来审视那些通过屏幕来调节自己身份的人的生活时，观众就成为了角色自我塑造策略的同谋。
{"title":"This Bitch: Self-Fashioning and Social Media in an Adaptation of El perro del hortelano","authors":"Laura Muñoz","doi":"10.1080/08831157.2021.2017242","DOIUrl":"https://doi.org/10.1080/08831157.2021.2017242","url":null,"abstract":"Abstract This article examines how self-representational practices in the online sphere have been interpreted in an adaptation of Lope de Vega’s play El perro del hortelano (1618). This Bitch: Esta Sangre Quiero, written by playwright Adrienne Dawes and performed on Zoom as part of the University of Arkansas virtual ArkType Festival in January 2021, reimagines the role of honor and honra in the early modern court as analogous to the clout or status of influencers which dominant social media platforms like Instagram and YouTube. The delicate balancing act that nobles in comedia must master to navigate between desire and reputation is reflected in Dawes’s adaptation in the juxtaposition of the private selves and the performative selves which influencers display for followers to consume. This article thus explores how this recent adaptation engages with performative identities/identity as performance as a natural through line between the social context of the original play and the self-fashioning practices of today’s rich and (internet) famous. In this version of Lope’s story, the countess Diana becomes a Pilates instructor and pansexual goddess, while the secretary Teodoro is reimagined as her talented, but unknown, social media manager. Although this adaptation was imagined for performance on a traditional theater stage, the social commentary became so much more pointed when examined through the meta-layer of online performance: as we examine the lives of people who mediate their identity via screens using the Zoom screen itself, the audience becomes complicit in the self-fashioning strategies of the characters.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"103 - 112"},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41320927","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: 10.1080/08831157.2021.2017239
E. Cowling, E. Fernández, Glenda Y. Nieto-Cuebas
Abstract This introduction engages with the meaning and socio-cultural impact of a variety of artistic contributions within the realm of Hispanic theater that have been carried out in the Spanish-speaking world in order to keep production of the comedia afloat during the confinement due to COVID-19. It discusses what this implies for an inherently live medium such as the theater and, ultimately, introduces the content of the rest of the volume.
{"title":"Introduction: The Comedia Under Siege","authors":"E. Cowling, E. Fernández, Glenda Y. Nieto-Cuebas","doi":"10.1080/08831157.2021.2017239","DOIUrl":"https://doi.org/10.1080/08831157.2021.2017239","url":null,"abstract":"Abstract This introduction engages with the meaning and socio-cultural impact of a variety of artistic contributions within the realm of Hispanic theater that have been carried out in the Spanish-speaking world in order to keep production of the comedia afloat during the confinement due to COVID-19. It discusses what this implies for an inherently live medium such as the theater and, ultimately, introduces the content of the rest of the volume.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"59 - 63"},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41420099","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: 10.1080/08831157.2021.2017241
E. Cowling
Abstract The COVID19 pandemic wreaked havoc on the arts, particularly the performing arts, where live audiences are an important part of the creative process. In spite of the immense roadblocks created by this crisis, artists around the world began to shift their craft online. No where do we see a more rapid shift than in Mexico City, propelled in part by the theater department at the Universidad Nacional Autónoma de México. This paper will look at the ways in which small theater companies were able to move their current productions online in the weeks following the shutdown, and how they evolved over the course of 2020 and into 2021, innovating and creating new digital-theatrical spaces via platforms like Zoom, YouTube, and Facebook live.
2019冠状病毒病大流行对艺术，特别是表演艺术造成了严重破坏，现场观众是创作过程的重要组成部分。尽管这场危机造成了巨大的障碍，但世界各地的艺术家开始将他们的手艺转移到网上。墨西哥城的转变最为迅速，这在一定程度上是由墨西哥国立大学(universsidad Nacional) Autónoma de msamuxico的戏剧系推动的。本文将研究在政府停摆后的几周内，小型剧院公司是如何将他们目前的作品转移到网上的，以及它们在2020年到2021年期间是如何发展的，通过Zoom、YouTube和Facebook live等平台创新和创造新的数字剧院空间。
{"title":"Confinement, COVID, and the Comedia in Mexico City","authors":"E. Cowling","doi":"10.1080/08831157.2021.2017241","DOIUrl":"https://doi.org/10.1080/08831157.2021.2017241","url":null,"abstract":"Abstract The COVID19 pandemic wreaked havoc on the arts, particularly the performing arts, where live audiences are an important part of the creative process. In spite of the immense roadblocks created by this crisis, artists around the world began to shift their craft online. No where do we see a more rapid shift than in Mexico City, propelled in part by the theater department at the Universidad Nacional Autónoma de México. This paper will look at the ways in which small theater companies were able to move their current productions online in the weeks following the shutdown, and how they evolved over the course of 2020 and into 2021, innovating and creating new digital-theatrical spaces via platforms like Zoom, YouTube, and Facebook live.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"93 - 102"},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44769442","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: 10.1080/08831157.2021.2017238
Glenda Y. Nieto-Cuebas
Abstract As COVID-19 brought significant changes to the art industry, it forced creators to re-invent the way they collaborate and produce their work. Within Hispanic Classical Theater, these unforeseen circumstances led playwrights, directors, and performers to seek new ideas and venues of dissemination that may change the course of Spanish comedia productions for years to come. However, the proliferation of these digital productions raises several questions: How can multimedia outlets be used effectively to capture the audience’s attention and engage them in the same way as traditional theater? How can they create a sense of intimacy and recreate the perception of being present in the absence of the in-person theatrical experience? In order to answer these questions and to understand how these challenges can be overcome, this article examines the multimedia play Y es mayor dolor la ausencia que la muerte (Grumelot and Escuela Nave 73). A digital and interactive show that attempts to overcome the limitations imposed by digital broadcasting and implements social presence elements that allow the performers to create a sense of connectedness with the audience.
摘要随着新冠肺炎给艺术行业带来重大变化，它迫使创作者改变他们的合作和创作方式。在西班牙古典剧院，这些不可预见的情况导致剧作家、导演和演员寻求新的想法和传播场所，这可能会改变未来几年西班牙喜剧制作的进程。然而，这些数字作品的激增引发了几个问题：如何像传统戏剧一样，有效地利用多媒体渠道来吸引观众的注意力并吸引他们？在没有现场戏剧体验的情况下，他们如何创造亲密感并重新创造在场的感觉？为了回答这些问题并了解如何克服这些挑战，本文考察了多媒体剧《Y es mayor dolor la ausencia que la muerte》（Grumelot和Escuela Nave 73）。这是一个数字和互动节目，试图克服数字广播带来的限制，并实现社交元素，使表演者能够与观众建立联系。
{"title":"Grumelot & Escuela Nave 73: Defying Traditional Stage Presence Through Digital Media","authors":"Glenda Y. Nieto-Cuebas","doi":"10.1080/08831157.2021.2017238","DOIUrl":"https://doi.org/10.1080/08831157.2021.2017238","url":null,"abstract":"Abstract As COVID-19 brought significant changes to the art industry, it forced creators to re-invent the way they collaborate and produce their work. Within Hispanic Classical Theater, these unforeseen circumstances led playwrights, directors, and performers to seek new ideas and venues of dissemination that may change the course of Spanish comedia productions for years to come. However, the proliferation of these digital productions raises several questions: How can multimedia outlets be used effectively to capture the audience’s attention and engage them in the same way as traditional theater? How can they create a sense of intimacy and recreate the perception of being present in the absence of the in-person theatrical experience? In order to answer these questions and to understand how these challenges can be overcome, this article examines the multimedia play Y es mayor dolor la ausencia que la muerte (Grumelot and Escuela Nave 73). A digital and interactive show that attempts to overcome the limitations imposed by digital broadcasting and implements social presence elements that allow the performers to create a sense of connectedness with the audience.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"374 2","pages":"83 - 92"},"PeriodicalIF":0.2,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41286545","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 : 2022-02-23DOI: 10.1080/08831157.2022.2028271
Barbara Fuchs
Abstract While the 2020 COVID-19 pandemic was disastrous for theater companies everywhere, the comedia was arguably energized by its constraints. The En compañía de los clásicos initiative in Spain, the theatrical presentations at the Association for Hispanic Classical Theater (AHCT) virtual conference in July 2020, and the reimagined virtual LA Escena Festival of Hispanic Classical Theater suggest that 2020 may have been a banner year for comedia. The engagement with the classics by cutting-edge companies producing durational, site-specific, participatory, and immersive theater revealed novel artistic possibilities and engaged new audiences, radically transforming the sense of what is possible when staging the corpus. At the same time, and even as individual companies grappled with the impact of the pandemic, the larger institutional landscape of theater in Spain continued to promote a transatlantic narrative of comedia that argues for its relevance beyond Spain itself. The comedia thus appears doubly unbound: newly freed from formal constraints, and promoted in and to a broader geography.
虽然2020年的COVID-19大流行对各地的戏剧公司来说都是灾难性的，但喜剧可以说是受到了限制。西班牙的En compañía de los clásicos倡议，2020年7月在西班牙古典戏剧协会(AHCT)虚拟会议上的戏剧演讲，以及重新构想的虚拟LA Escena西班牙古典戏剧节，都表明2020年可能是喜剧的辉煌之年。尖端公司与经典作品的接触，产生了持久的、特定场地的、参与式的、沉浸式的戏剧，揭示了新的艺术可能性，吸引了新的观众，从根本上改变了演出主体时可能的感觉。与此同时，即使个别公司正在努力应对疫情的影响，西班牙戏剧的更大机构格局继续推动跨大西洋的喜剧叙事，认为它与西班牙本身无关。因此，喜剧似乎双重地不受束缚:刚刚从形式上的限制中解放出来，并在更广阔的地域中得到推广。
{"title":"The Comedia Unbound","authors":"Barbara Fuchs","doi":"10.1080/08831157.2022.2028271","DOIUrl":"https://doi.org/10.1080/08831157.2022.2028271","url":null,"abstract":"Abstract While the 2020 COVID-19 pandemic was disastrous for theater companies everywhere, the comedia was arguably energized by its constraints. The En compañía de los clásicos initiative in Spain, the theatrical presentations at the Association for Hispanic Classical Theater (AHCT) virtual conference in July 2020, and the reimagined virtual LA Escena Festival of Hispanic Classical Theater suggest that 2020 may have been a banner year for comedia. The engagement with the classics by cutting-edge companies producing durational, site-specific, participatory, and immersive theater revealed novel artistic possibilities and engaged new audiences, radically transforming the sense of what is possible when staging the corpus. At the same time, and even as individual companies grappled with the impact of the pandemic, the larger institutional landscape of theater in Spain continued to promote a transatlantic narrative of comedia that argues for its relevance beyond Spain itself. The comedia thus appears doubly unbound: newly freed from formal constraints, and promoted in and to a broader geography.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"64 - 72"},"PeriodicalIF":0.2,"publicationDate":"2022-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42644116","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 : 2022-01-21DOI: 10.1080/08831157.2021.2018670
Peter Mahoney
Abstract This article identifies and explores two ways in which sex and violence are manifested in several medieval Spanish texts. In the first group of stories analyzed, rape and sexually-related violence are condemned as treacherous affronts that result in the dishonor of the female victim as well as a male figure in her orbit—namely, her father or her betrothed. Nevertheless, these episodes shed light on the admirable qualities of key female characters and often contribute to the heroic construct of the male protagonist. In the second group, the victims’ roles are limited to enduring a sexual indignity—concubinage or rape—and bearing the illegitimate child who will restore lost order. The narrators celebrate the degradation of these noblewomen as a manifestation of heroic prowess, and they either delight in her family’s disgrace or disregard the matter of honor entirely. All the episodes in question, some of which are violent in nature, add a layer of dramatism to the narration, and perhaps struck a chord with the audience on a human level. Considering some similarities between details in the stories and documented cases of sexual violence, we might imagine that the female characters inspired women who comprised a reading or listening public to act with equal bravery and resilience while navigating the dangerously male dominated world in which they lived.
{"title":"Rape, Sex, Violence, and Disgrace in the Legends and Epic Texts of Medieval Spain","authors":"Peter Mahoney","doi":"10.1080/08831157.2021.2018670","DOIUrl":"https://doi.org/10.1080/08831157.2021.2018670","url":null,"abstract":"Abstract This article identifies and explores two ways in which sex and violence are manifested in several medieval Spanish texts. In the first group of stories analyzed, rape and sexually-related violence are condemned as treacherous affronts that result in the dishonor of the female victim as well as a male figure in her orbit—namely, her father or her betrothed. Nevertheless, these episodes shed light on the admirable qualities of key female characters and often contribute to the heroic construct of the male protagonist. In the second group, the victims’ roles are limited to enduring a sexual indignity—concubinage or rape—and bearing the illegitimate child who will restore lost order. The narrators celebrate the degradation of these noblewomen as a manifestation of heroic prowess, and they either delight in her family’s disgrace or disregard the matter of honor entirely. All the episodes in question, some of which are violent in nature, add a layer of dramatism to the narration, and perhaps struck a chord with the audience on a human level. Considering some similarities between details in the stories and documented cases of sexual violence, we might imagine that the female characters inspired women who comprised a reading or listening public to act with equal bravery and resilience while navigating the dangerously male dominated world in which they lived.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"158 - 173"},"PeriodicalIF":0.2,"publicationDate":"2022-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44806884","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 : 2021-11-29DOI: 10.1080/08831157.2021.1997069
Alicia Cerezo
Abstract La última carta fílmica de José Luis Guerin a Jonas Mekas (2011) para la exposición Todas las cartas. Correspondencias fílmicas constituye un diálogo intimista entre sus orígenes como cineasta, el reciente tsunami acaecido en Japón y el viaje místico realizado por él a este país un año antes, entre otras cosas, para renovar la botella de sake que el año previo había dejado en la tumba de Yasujiro Ozu como homenaje a otro de sus maestros en el cine. Tras los casos de violencia histórica comentados en las cartas anteriores, la mirada estática, estética y dialéctica sobre los libros y otros objetos de su pasado en Barcelona, sobre los gestos de las mujeres que limpian pausada y alegremente el cementerio, sobre las hormigas que suben una pequeña ramita por la tumba de Ozu o sobre las hojas movidas por el viento se manifiesta como la mejor arma para trascender el yo y reconocer al otro, eliminando la dicotomía sujeto-objeto. Desde un giro estético que abandona posicionamientos universalistas y preceptivos, Guerin enseña la capacidad del cine para desarrollar el pausado y personal compromiso con lo que hay más allá de la cámara, impulsando un acercamiento antirreduccionista que necesita de tiempo para establecer la continuidad entre el yo y el otro. De esta manera, se rompe la división entre forma y contenido, imágenes y discurso, lo individual y lo cultural y, en definitiva, se promueve la simbiosis entre ética, estética y empatía.
何塞·路易斯·盖林（Jos Luis Guerin）给乔纳斯·梅卡斯（Jonas Mekas）的最后一封电影信（2011年）用于“所有信件”展览。电影书信是他作为一名电影制片人的起源、最近在日本发生的海啸以及他一年前对这个国家进行的神秘之旅之间的亲密对话，除其他外，是为了更新他去年在小泽康弘墓前留下的一瓶清酒，以向他的另一位电影大师致敬。在前几封信中评论的历史暴力案件之后，对他在巴塞罗那的过去的书籍和其他物品的静态、美学和辩证的看法，对妇女悠闲而快乐地清理墓地的手势，对蚂蚁在小津墓上爬一小枝或在风中移动的叶子上的看法，都表明这是超越自我和承认他人的最佳武器，消除了主客二分。从放弃普遍主义和强制性立场的美学转向来看，盖林教授了电影发展对镜头外事物的悠闲和个人承诺的能力，推动了一种需要时间才能在自我和他人之间建立连续性的反教育方法。通过这种方式，打破了形式与内容、图像与话语、个人与文化之间的划分，最终促进了伦理、美学和移情之间的共生。
{"title":"La última carta de José Luis Guerin a Jonas Mekas: La estética de la empatía en la mirada cinematográfica","authors":"Alicia Cerezo","doi":"10.1080/08831157.2021.1997069","DOIUrl":"https://doi.org/10.1080/08831157.2021.1997069","url":null,"abstract":"Abstract La última carta fílmica de José Luis Guerin a Jonas Mekas (2011) para la exposición Todas las cartas. Correspondencias fílmicas constituye un diálogo intimista entre sus orígenes como cineasta, el reciente tsunami acaecido en Japón y el viaje místico realizado por él a este país un año antes, entre otras cosas, para renovar la botella de sake que el año previo había dejado en la tumba de Yasujiro Ozu como homenaje a otro de sus maestros en el cine. Tras los casos de violencia histórica comentados en las cartas anteriores, la mirada estática, estética y dialéctica sobre los libros y otros objetos de su pasado en Barcelona, sobre los gestos de las mujeres que limpian pausada y alegremente el cementerio, sobre las hormigas que suben una pequeña ramita por la tumba de Ozu o sobre las hojas movidas por el viento se manifiesta como la mejor arma para trascender el yo y reconocer al otro, eliminando la dicotomía sujeto-objeto. Desde un giro estético que abandona posicionamientos universalistas y preceptivos, Guerin enseña la capacidad del cine para desarrollar el pausado y personal compromiso con lo que hay más allá de la cámara, impulsando un acercamiento antirreduccionista que necesita de tiempo para establecer la continuidad entre el yo y el otro. De esta manera, se rompe la división entre forma y contenido, imágenes y discurso, lo individual y lo cultural y, en definitiva, se promueve la simbiosis entre ética, estética y empatía.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"1 - 15"},"PeriodicalIF":0.2,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41878444","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 : 2021-11-08DOI: 10.1080/08831157.2021.1997068
J. Ardila
Abstract A partir de unas declaraciones de Francisco Umbral, en las que apuntaba que Mortal y rosa se concibió como obra sobre el “absurdo existencial,” este artículo acomete un análisis textual del tema de la muerte y la existencia en esa novela o, según se expresa en ella, de la concepción de la vida como “navegación agónica hacia la muerte.” Sopesamos primeramente la muerte del hijo, el deseo sexual y la literatura como temáticas subsidiarias del tema de la vida y la muerte. Analizamos, después, tres procedimientos por medio de los cuales se resalta esa materia a lo largo del texto: (1) los verbos y su conjugación, (2) los recuerdos en clave melancólica y (3) los aforismos relativos a ese tema. Todo ello nos llevará a concluir que Mortal y rosa se concibió como expresión del tema del tempus fugit y que debería reconocerse como ejemplo señero de esa tradición literaria.
{"title":"El ‘absurdo existential’ en Mortal y rosa de Francisco Umbral","authors":"J. Ardila","doi":"10.1080/08831157.2021.1997068","DOIUrl":"https://doi.org/10.1080/08831157.2021.1997068","url":null,"abstract":"Abstract A partir de unas declaraciones de Francisco Umbral, en las que apuntaba que Mortal y rosa se concibió como obra sobre el “absurdo existencial,” este artículo acomete un análisis textual del tema de la muerte y la existencia en esa novela o, según se expresa en ella, de la concepción de la vida como “navegación agónica hacia la muerte.” Sopesamos primeramente la muerte del hijo, el deseo sexual y la literatura como temáticas subsidiarias del tema de la vida y la muerte. Analizamos, después, tres procedimientos por medio de los cuales se resalta esa materia a lo largo del texto: (1) los verbos y su conjugación, (2) los recuerdos en clave melancólica y (3) los aforismos relativos a ese tema. Todo ello nos llevará a concluir que Mortal y rosa se concibió como expresión del tema del tempus fugit y que debería reconocerse como ejemplo señero de esa tradición literaria.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"29 - 41"},"PeriodicalIF":0.2,"publicationDate":"2021-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48774095","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 : 2021-11-05DOI: 10.1080/08831157.2021.1997071
M. Carosi
RESUMEN En el presente art ıculo se estudia c omo se representa el fracaso en Santiago (Uma reflex~ ao sobre o material bruto) (2007), un documental dirigido por el brasile~ no Jo~ao Moreira Salles. En este contexto, mi an alisis relaciona la falla del mayordomo con lo que Jack Halberstam llama “el arte queer del fracaso” [queer art of failure]; es decir, en este caso, el fracaso como de acto de resistencia ante la conservaci on de la memoria patriarcal. De all ı, propongo que Santiago ayuda a repensar, por ejemplo, el impedimento de di alogo entre clases como un fen omeno mediado por la sexualidad disidente. En concreto, estudio las t ecnicas del director que ante el testimonio de su mayordomo usa para reapropiarlo y as ı limpiarlo de todo rastro queer. PALABRAS CLAVES fracaso; queer; mayordomo; Santiago; Jo~ao Moreira Salles
摘要本篇文章研究了如何在圣地亚哥（UMA Reflex ~ AO信封或原材料）（2007年）描绘失败，这是一部由巴西人~ No Jo ~ AO Moreira Salles执导的纪录片。在这种情况下，米安·阿里西斯将管家的失败与杰克·哈伯斯塔姆所说的“失败的酷儿艺术”联系起来；也就是说，在这种情况下，失败是对保留父权制记忆的抵抗行为。除此之外，我建议圣地亚哥帮助重新思考，例如，在持不同政见者的性取向的调解下，作为一种倭黑猩猩，在班级之间进行对话的障碍。具体来说，我研究了导演的技术，他在管家的证词前使用这些技术来重新使用它，并如何将其清除出所有奇怪的痕迹。关键词失败；酷儿；管家；圣地亚哥；若昂·莫雷拉·萨尔斯
{"title":"El arte queer del fracaso en Santiago de João Moreira Salles","authors":"M. Carosi","doi":"10.1080/08831157.2021.1997071","DOIUrl":"https://doi.org/10.1080/08831157.2021.1997071","url":null,"abstract":"RESUMEN En el presente art ıculo se estudia c omo se representa el fracaso en Santiago (Uma reflex~ ao sobre o material bruto) (2007), un documental dirigido por el brasile~ no Jo~ao Moreira Salles. En este contexto, mi an alisis relaciona la falla del mayordomo con lo que Jack Halberstam llama “el arte queer del fracaso” [queer art of failure]; es decir, en este caso, el fracaso como de acto de resistencia ante la conservaci on de la memoria patriarcal. De all ı, propongo que Santiago ayuda a repensar, por ejemplo, el impedimento de di alogo entre clases como un fen omeno mediado por la sexualidad disidente. En concreto, estudio las t ecnicas del director que ante el testimonio de su mayordomo usa para reapropiarlo y as ı limpiarlo de todo rastro queer. PALABRAS CLAVES fracaso; queer; mayordomo; Santiago; Jo~ao Moreira Salles","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"42 - 55"},"PeriodicalIF":0.2,"publicationDate":"2021-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45116375","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：