Pub Date : 2021-11-05DOI: 10.1080/08831157.2021.1997070
A. Anderson
Abstract Lorca’s “Oda a Salvador Dalí” ranges over a variety of themes. It addresses Dalí’s then involvement with styles of painting associated with Cubism and Purism, which in the poem are described in Nietzschean terms as an espousal of the Apollonian and the suppression of the Dionysian. At the same time, the “Oda” does not fully endorse these modes of avant-garde painting and the distinctly Apollonian turn that Lorca sees in them. A certain hesitation and a preference for a more moderate approach—to art, and to life—are communicated via different symbols, principally the village of Cadaqués (with which Dalí was strongly connected) and the rose. The earlier artistic style of Noucentisme with its strong neoclassical tendency is associated with Cadaqués, situated on the coast of the Mediterranean Sea, while the location and character of the village itself also exemplify the kind of moderation and balance extolled by the “Oda.” This also applies to the rose, whose rich symbolism encompasses classical beauty and a kind of natural perfection again in accord with the eschewing of the extremes of Apollonianism. As much as Lorca admires Dalí for his striving toward his artistic goals, he is also concerned that those goals imply a kind of coldness and detachment that could eclipse their close personal relationship.
摘要Lorca的“Oda Salvador Dalí”涵盖了各种主题。它讲述了达利当时参与立体主义和纯粹主义的绘画风格，在这首诗中，尼采将其描述为对阿波罗主义的拥护和对酒神主义的压制。同时，“奥达”并没有完全认可这些先锋绘画模式，以及洛卡在其中看到的明显的阿波罗式的转变。对艺术和生活的某种犹豫和对更温和的方式的偏好通过不同的符号来传达，主要是Cadaqués村（达利与之有着密切的联系）和玫瑰。新古典主义早期的艺术风格及其强烈的新古典主义倾向与位于地中海沿岸的Cadaqués有关，而村庄本身的位置和特点也体现了“Oda”所推崇的那种温和和平衡，其丰富的象征意义包含了古典美和一种自然的完美，再次符合对阿波罗主义极端的回避。尽管洛尔卡钦佩达利为实现自己的艺术目标而努力，但他也担心这些目标意味着一种冷漠和超然，可能会掩盖他们亲密的个人关系。
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Pub Date : 2021-10-02DOI: 10.1080/08831157.2021.1978359
Adam Cohn
Abstract Federico García Lorca’s fascination with the cristobicas, a traditional Andalusian puppet show, led him to write and stage a number of these plays from early on in his career. Scholars of Lorca’s guignol often note that through the revitalization of this endangered art form, the young playwright sought to bring innovation to Spain’s theater. As a result, the actual contents of these plays have received little attention, and are generally viewed as using stock characters and conventional plots. The present article argues that Los títeres de Cachiporra (1922) stages a modern version of the Spanish nation as lived in Andalucía through a farcical take on the el viejo y la niña marriage plot. Specifically, I illustrate how Rosita’s three suitors have different relationships with regnant power structures and display various degrees of rootedness to the Andalusian town where the action unfolds. Particular attention is paid to Rosita’s former lover, Currito, who returns after abandoning both her and the town five years earlier. I demonstrate that the anti-Semitic insults directed at Currito reveal a deeper anxiety over who should be included in the modern Spanish nation. Contextualizing these comments among broader trends in European anti-Semitism and Spanish philo-Sephardism in the early twentieth century, I argue that Jewishness is a productive analytic for understanding Currito’s function in the play. A superseded Jewishness, in a final analysis, becomes the counterpoint against which Spanishness is measured.
摘要Federico García Lorca对传统的安达卢西亚木偶表演cristobicas的着迷，使他在职业生涯早期就创作并上演了许多这样的戏剧。研究洛尔卡戏剧的学者经常注意到，通过振兴这种濒危的艺术形式，这位年轻的剧作家试图为西班牙的戏剧带来创新。因此，这些戏剧的实际内容很少受到关注，通常被视为使用了普通角色和常规情节。本文认为，Los títeres de Cachiporra（1922）通过对el viejo和la niña婚姻阴谋的滑稽演绎，上演了一个生活在安达鲁西亚的西班牙国家的现代版本。具体来说，我展示了罗西塔的三位追求者如何与统治的权力结构有着不同的关系，并对行动展开的安达卢西亚小镇表现出不同程度的扎根。人们特别关注罗西塔的前情人库里托，他在五年前抛弃了她和小镇后回来了。我证明，针对库里托的反犹太主义侮辱揭示了人们对谁应该被纳入现代西班牙国家的更深层次的焦虑。将这些评论与20世纪初欧洲反犹太主义和西班牙语文主义的更广泛趋势联系起来，我认为犹太性是理解库里托在剧中作用的一种富有成效的分析。归根结底，被取代的犹太性成为衡量西班牙性的对比。
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Pub Date : 2021-10-02DOI: 10.1080/08831157.2021.1978358
F. Riva
Abstract It is the purpose of this study to reflect on the manner in which a fragment of the Christian history of salvation, in other words, the transition from the Old to the New Covenant, is embodied in Teófilo’s spiritual process. This process starts with the cause that leads him to sign a pact with the Devil up until his redemption initiated by the imperfect figure of Moses’s shining face and finishes by his full participation in the New Law through the Eucharist and Marian worship. Specifically, this will be achieved through an analysis of his establishment of a new pact with God, which represents ultimately the redemptive victory over the pact with the Devil. The Devil’s agency, in turn, is reinforced in the text by using the widespread medieval motif of the relationship between the Jews and Satan, and emphasized by the practice of Solomonic magic, a type of necromancy allegedly of Jewish origin, but also by adding several other elements such as those coming from the popular lore.
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Pub Date : 2021-10-02DOI: 10.1080/08831157.2021.1977579
Vinodh Venkatesh
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Pub Date : 2021-09-30DOI: 10.1080/08831157.2021.1978357
Felipe Martínez-Pinzón
Abstract This essay approaches the ways in which Afro-Colombian intellectual, president and novelist, Juan José Nieto (1805–1866), represents Colombia as a new republic where education and personal merit, in contrast to lineage, are the sole purveyors of legitimacy to govern and write. In literary self-representations, Nieto erased his origins as a person of diverse racial origins and instead decided to represent himself as a “new republican notability” who made it to power through hard work. The present essay argues that Nieto, as the first writer of historical novels in Colombia, in his novel Ingermina o la hija de Calamar (1844), plots a new origin for the Republic – one akin to himself, mixed race, based on education and with popular support. As a new letrado in the midst of Romantic euphoria in the continent, Nieto would participate in debates about the origins of national literature for the new nations. As an outsider attacked because of his nonwhite origins, Nieto would contradictorily erase his own history and use the figure of French Romantic Alexandre Dumas, a novelist with Afro-Caribbean origins like himself, to legitimize his own public persona as a self-taught man and defender of republicanism. The essay concludes by suggesting that despite Nieto’s strategies to found a Republic that would erase racial origins as providing legitimacy to occupy positions of power, he was erased from literary and political Colombian history for over 150 years precisely because his antagonists could not accept a nation, and a national literature, without origins in Europe.
摘要本文探讨了非裔哥伦比亚知识分子、总统和小说家胡安·何塞·涅托（Juan JoséNieto，1805–1866）如何将哥伦比亚描绘成一个新的共和国，在这个共和国，教育和个人功绩与血统相比，是统治和写作合法性的唯一提供者。在文学自我表述中，涅托抹去了他作为一个不同种族出身的人的出身，而是决定将自己表述为一个通过努力获得权力的“新共和国名人”。本文认为，作为哥伦比亚历史小说的第一位作家，涅托在他的小说《卡拉玛的智慧》（Ingermina o la hija de Calamar，1844）中描绘了共和国的一个新起源——一个与他相似的混血儿，基于教育和民众支持。作为欧洲大陆浪漫主义热潮中的新莱特拉多，涅托将参与关于新国家民族文学起源的辩论。作为一个因非白人出身而受到攻击的局外人，涅托会矛盾地抹去自己的历史，并利用法国浪漫主义者大仲马的形象，一个和他一样有着非裔加勒比血统的小说家，来合法化他自己作为自学成才的人和共和主义捍卫者的公众形象。文章最后指出，尽管涅托的策略是建立一个共和国，消除种族起源，为占据权力地位提供合法性，但他在哥伦比亚的文学和政治史上被抹去了150多年 正是因为他的对手无法接受一个没有欧洲血统的国家和民族文学。
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Pub Date : 2021-09-30DOI: 10.1080/08831157.2021.1977578
D. Tierney
{"title":"The Projected Nation: Argentine Cinema and the Social Margins","authors":"D. Tierney","doi":"10.1080/08831157.2021.1977578","DOIUrl":"https://doi.org/10.1080/08831157.2021.1977578","url":null,"abstract":"","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"68 1","pages":"257 - 258"},"PeriodicalIF":0.2,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47419093","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 : 2021-09-23DOI: 10.1080/08831157.2021.1978356
Brian T. Chandler
Abstract In Cristina Rivera Garza’s El mal de la taiga (2012) the search for bodies that are absent yet residually present serves as a self-realizing allegory for the limits of language to express reality and human experience. This essay explores these themes through the lens of the aporia, defined by Jacques Derrida as undecidable propositions whose very conditions of possibility are the same conditions that lead to their impossibility. Through an analysis of the various aporetic propositions in the novel that reflect the undecidable nature of language, violence, and communal experience, this article contends that the metaphor of the taiga as a geographic space becomes substituted with that of the taiga as labyrinth where the unresolved tension between articulation and disarticulation invites readers to appropriate the narrated experience in an act of mutual creation and contestation. Paradoxically, the uncertain nature of narrating the corporeal experience enables communal communication and creation through which subjectivities are made absent only to be affirmed and created anew.
摘要在克里斯蒂娜·里维拉·加尔扎（Cristina Rivera Garza）的《El mal de la taiga》（2012）中，对不存在但仍然存在的身体的寻找是一个自我实现的寓言，是对语言表达现实和人类经验的局限性的一种寓言。本文通过阿波里亚的视角探讨了这些主题，雅克·德里达将阿波里亚定义为不可判定的命题，其可能性的条件与导致其不可能性的条件相同。通过对小说中反映语言、暴力和公共体验的不可判定性的各种否定命题的分析，本文认为，作为一个地理空间的泰加隐喻被作为迷宫的泰加比喻所取代，在这里，发音和发音之间尚未解决的紧张关系邀请读者在一种相互创造和争论的行为中适应所叙述的体验。矛盾的是，叙述物质体验的不确定性使集体交流和创造得以实现，通过这种交流和创造，主体性被剥夺，只会得到肯定和重新创造。
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Pub Date : 2021-07-03DOI: 10.1080/08831157.2021.1960113
Jeffrey N. Peters
Abstract In this essay, I argue that the clouds in Descartes’s Météores (1637) tell us something valuable about the impact of contemporaneous deliberations around poetic writing on philosophical expression in early modern France. When Descartes replaces rainbows with clouds as the primary origin of meteorological wonder at the start of the Météores, he is engaged, I suggest, with a question of poetic style. To wonder at rainbows and clouds was, for a generation of humanists, philosophers, and rhetoricians, to become a poet. The meteora, those atmospheric phenomena which, according to Aristotelian tradition, lacked substantial form, were imperfectly mixed, and were therefore provisional and uncertain, could only be the object of a similarly speculative kind of poetic language. As he takes pains to distinguish the rainbow from the clouds, Descartes strips the language of meteorological investigation of its poetic ostentation and casts his broader repudiation of Aristotelian qualities as a rejection of the figure of enargeia in natural philosophy. I argue that the Météores are a reflection on writing in early modern France in which meteorological phenomena are shown to be, like poetic writing itself, the product of both material and ineffable forces.
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Pub Date : 2021-07-03DOI: 10.1080/08831157.2021.1960115
Mark D. Rosen
Abstract Since they are by nature ephemeral and shapeless, clouds would seem to have little purpose in an early modern map. Yet they appear regularly, for a host of uses: to distinguish between the realm of divinity and that of the aerial viewer; to add visual punctuation to otherwise stable geographical features, and to give linear rhythm and drama to the compositions. Drawing primarily from examples from the sixteenth century through the era of Ruskin and the Victorian cloud painters, this essay looks at clouds and early modern cartography to grasp how what Damisch described in art (the oxymoronic permanence denoted by the painted rendering of an ever-shifting cloud) operates at a similar number of disjunctive levels in maps. While much has been written about the dramatic presentation of clouds in the skies of Dutch landscape painting, little has yet been said about the imaginary yet transformative viewing position presented from the other side of the clouds.
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Pub Date : 2021-07-03DOI: 10.1080/08831157.2021.1960112
Vincent Barletta
Abstract In the present essay, I explore the status of clouds in the lyric and epic poetry of early modern Portuguese poet, Luís Vaz de Camões (1524?–1580). Through a close reading of the elegy “O poeta Simónides, falando” (The poet Simonides, speaking) and the Adamastor episode in canto five of Os Lusíadas (1572), I analyze Camões’s poetic rendering of clouds and storms at the Cape of Good Hope and their connection to sixteenth-century theories of the “machine of the world.” To flesh out these theories, I explore more contemporary poetic work on clouds, sponges, and nets. Finally, I build on the account of “desiring machines” found at the beginning of Gilles Deleuze’s and Félix Guattari’s Anti-Oedipus: Capitalism and Schizophrenia to link Camões’s account of Cape storms to broader notions of machines, desire, empire, and human experience.
在本文中，我探讨了云在早期现代葡萄牙诗人Luís Vaz de Camões(1524? -1580)的抒情和史诗中的地位。通过仔细阅读挽歌《O poeta Simónides, falando》(诗人西蒙尼德斯的演讲)和《Os Lusíadas》(1572)第五章中的Adamastor章节，我分析了Camões对好望角云和风暴的诗意描绘，以及它们与16世纪“世界机器”理论的联系。为了充实这些理论，我探索了更多关于云、海绵和网的当代诗歌作品。最后，我在吉尔·德勒兹(Gilles Deleuze)和f lix Guattari的《反俄狄普斯:资本主义和精神分裂症》(Anti-Oedipus: Capitalism and Schizophrenia)开头对“欲望机器”的描述基础上，将Camões对开普风暴的描述与机器、欲望、帝国和人类经验等更广泛的概念联系起来。
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