Pub Date : 2018-12-14DOI: 10.1080/02639904.2020.1834985
E. Perassi
SOMMARIO All’interno della serie di romanzi che la letteratura italiana e argentina ha dedicato al tema dell’emigrazione verso la regione rioplatense, si è definito, negli ultimi tre decenni, uno specifico contributo femminile, con scritture di donne sulle donne, in questo caso migranti. In questo lavoro, intendo pertanto incentrarmi sul rapporto fra genere e nazione così come viene intessuto da questa letteratura, prendendo in considerazione i concetti di maternità e di nuove filiazioni come assi di una rinnovata costruzione comunitaria allestita dal romanzo dell’emigrazione tanto in Italia quanto in Argentina.
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Pub Date : 2018-10-02DOI: 10.1080/02639904.2018.1546812
Xiao Yang
RESUMEN En este trabajo abordaremos la comparación entre Alisa y Pleberio, en La Celestina, y Zheng Shi, en Historia del ala oeste. Observaremos tanto las maneras y actitudes que toman los padres al ejercer la tutela de sus hijas, como los papeles que juegan en las respectivas historias amorosas de esas dos jóvenes muchachas. En primer lugar, hemos visto que Alisa se caracteriza por la negligencia y la ignorancia cuando ejerce la tutela de Melibea. Desconoce por completo el amor y la pasión que tiene Melibea. En cuanto a Pleberio, éste también se caracteriza por la ignorancia en la tutela de su hija, pues confía mucho en las falsas excusas de ésta, lo que le permite a ella acudir a la cita secreta con su amado. Aunque propone un marido a Melibea, su intención original es tener herederos que aseguren su hacienda, para así poder morir en paz. A diferencia de los padres de Melibea, Zheng Shi, madre de Cui Yingying, se distingue por la prudencia y el cuidado al ejercer la tutela de su hija: controla todas sus acciones de acuerdo con la disciplina doméstica y el código feudal chino, de cuya doctrina y moral nos parece una verdadera representante. La anciana madre ama mucho a su hija y juega un papel decisivo en la elección del cónyuge. En segundo lugar observamos que los padres de las dos doncellas han propuesto un matrimonio con un muchacho noble para sus hijas, pero las muchachas los consideran obstáculos para su libre albedrío, para consumar el amor con sus enamorados. Por lo tanto, las enamoradas muestran, en grado diferente, su lucha por conseguir un amor que se ajuste a sus sentimientos.
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Pub Date : 2018-10-02DOI: 10.1080/02639904.2018.1546815
Benjamin Fraser
ABSTRACTO Este artículo explora la creación de un lenguaje icónico innovador por parte del artista gráfico Pere Joan en su obra 100 pictogramas para un siglo (XX) (2014). Su trabajo crítico-visual refleja el estatus contemporáneo de los emoticonos y los emoji, signos de una creciente integración de lo digital en la vida cotidiana. Entendido a la luz de la producción reciente del artista, el lenguaje analítico visual de Pere Joan funciona como una aceptación de las posibilidades formales señaladas por lo digital y a la vez como una reivindicación de la cultura analógica y la reflexión histórica. Además, la estructura innovadora de las páginas del libro pone de manifiesto la relación entre el cómic y el arte gráfico puro. Al fin y al cabo, más que una celebración de la era digital, 100 pictogramas recupera un impulso ensayístico analógico para recalcar el potencial crítico de toda imagen. Desde el minimalismo formal, eco gráfico de los emoticonos, Pere Joan hace posible una toma de conciencia histórica que simbólicamente llevará a los lectores más allá de la inmediatez sugerida por la lógica del consumo hacia una crítica de la vida cotidiana.
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Pub Date : 2018-10-02DOI: 10.1080/02639904.2018.1546813
Blanca Missé
ABSTRACT In this article, I analyse Diderot’s enigmatic dialogue, Rameau’s Nephew through a different ‘adornian’ lens. Against the canonical Hegelian reading of this dialogue as a symptom of the decadence of critical thinking in enlightenment philosophy, and the Frankfurt School emphasis on the systematic character of Enlightenment thought, I argue that the paradoxical and sometimes pessimistic nature of Rameau’s Nephew contains also some elements for an Enlightenment cure through its aesthetic form. By analysing the philosophical value of the pantomimes and musical performances by the character Rameau, I hope to unveil an aspect of the materialist aesthetics Diderot developed to oppose systematic thinking and the reification of thought at work in the Enlightenment movement of which he was a part.
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Pub Date : 2018-10-02DOI: 10.1080/02639904.2018.1546814
Matthew Reza
ABSTRACT This article examines four ‘fantastic’ stories by Ugo Tarchetti — ‘Riccardo Waitzen’ (1867), ‘Le leggende del castello nero’ (1867),‘Un osso di morto’ (1869), and ‘Uno spirito in un lampone’ (1869) — and argues for the presence of a double in terms of a coexistence of two minds in the same space, one invasive, the other an unwilling host. Not all instances of coexistent minds are the same, but all overpower and control their hosts to both farcical and deadly ends but also with moral, judicial and instructive consequences. I argue that these are not the external doppelgängers of nineteenth-century fantastic literature that emerge from the host, but internal doubles that are distinguished by their difference rather than their similarity to their hosts, as a result of which Tarchetti stands out for his innovative take on the theme of the double.
摘要本文考察了乌戈·塔切蒂的四个“奇幻”故事——《里卡多·韦岑》（1867年）、《城堡之歌》（1869年）和《Uno-spirito in Un lampone》（1866年）——并从两个思想在同一空间共存的角度论证了替身的存在，一个是入侵性的，另一个是不情愿的宿主。并非所有共存思想的例子都是一样的，但都会压倒和控制宿主，达到滑稽和致命的目的，但也会产生道德、司法和教育的后果。我认为，这些并不是19世纪奇幻文学中从主人那里出现的外部替身，而是内部替身，其区别在于它们与主人的差异，而不是相似性，因此塔切蒂以其对替身主题的创新态度而脱颖而出。
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Pub Date : 2018-07-03DOI: 10.1080/02639904.2018.1507296
U. Åkerström
ABSTRACT In this article the novel Sambadù, amore negro (1934) by Mura (the pseudonym of Maria Volpi Nannipieri) is analysed and studied with reference to the putative violent reactions of Mussolini when he saw the book cover and the subsequent rules made up regarding censorship in fascist Italy. According to Bonsaver (Censorship and Literature in Fascist Italy, Toronto, Buffalo, London: University of Toronto Press, 2007), the novel marked the beginning of a more rigid censorship because of these reactions, although the love story between a white woman and a black man in the novel actually finishes with separation and the man’s return to Africa. The argument was highly controversial, not only because Italy was preparing for war in Abyssinia but also because of the regime’s racist and sexist attitudes towards interracial love and female authors. Here it is argued that the novel, despite its ending, was controversial in more ways than one, since the female protagonist does not accept a woman’s inferiority in marriage and refuses to give up her child as a consequence of divorce.
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Pub Date : 2018-07-03DOI: 10.1080/02639904.2018.1507294
Christina Bezari
ABSTRACT This article probes the emergence of the salon chronicle, a vibrant journalistic genre, which flourished in Spain during the second half of the 19th century. In the light of new information on the connections that were developed between salon life and the periodical press, this study undertakes an exploration of women’s participation in both the private sphere of the salons and in the public sphere of the press. Theoretical considerations concerning women’s position in contemporary debate will be articulated alongside three case studies: Emilia Pardo Bazán, Emilia Serrano de Wilson, and Joaquina García Balmaseda. A comparative study of their salon chronicles will help bring to light the editorial strategies that they followed and the collaborations that they established throughout their careers. These historiographically underexplored strategies will enhance our understanding of women’s contribution to the field of cultural production and will offer an insight into the increasingly globalized future of the press.
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Pub Date : 2018-07-03DOI: 10.1080/02639904.2018.1507297
M. Safaei
ABSTRACT Paulo Coelho’s Aleph is a novel about ‘time’ and the human experience of time via Aleph, a magical point in the universe that renders possible time travel into the era of the Spanish Inquisition to witness the tragic process of condemning a group of young girls to death. The novel is also reminiscent of its precursor, ‘The Aleph,’ a short story by Jorge Luis Borges. In this essay, I briefly examine Coelho’s novel in respect to Borges’s short story and the Greek and Judeo-Christian conceptions of time. More extensively, I probe the complexity of Coelho’s depiction of time, the two modes of Aleph, and the experience of time and reincarnation by drawing upon Gilles Deleuze’s two diverse, albeit intersecting, approaches to time and its dimensions: the Chronos and Aion conceptions of time and the three syntheses of past, present, and future. As the novel delineates the contours of a shared experience of time by a Christian author and a young Muslim musician, I investigate how Aleph, in Coelho’s novel, functions as a perennial symbol of convergence and compassion among the followers of ostensibly irreconcilable religions.
保罗·科埃略的《阿莱夫》是一部关于“时间”和人类通过阿莱夫体验时间的小说，阿莱夫是宇宙中一个神奇的点，可以穿越到西班牙宗教裁判所时代，目睹一群年轻女孩被判处死刑的悲惨过程。这部小说也让人想起了它的前身——博尔赫斯(Jorge Luis Borges)的短篇小说《阿列夫》(The Aleph)。在这篇文章中，我将从博尔赫斯的短篇小说以及希腊和犹太-基督教的时间观念的角度简要地考察科埃略的小说。更广泛地说，我通过吉尔·德勒兹(Gilles Deleuze)对时间及其维度的两种不同(尽管相互交叉)的方法——克罗诺斯(Chronos)和爱昂(Aion)对时间的概念以及过去、现在和未来的三种综合——来探索科埃略(Coelho)对时间的描述的复杂性、阿莱夫(Aleph)的两种模式，以及对时间和轮回的体验。小说描绘了一位基督教作家和一位年轻的穆斯林音乐家共同经历的时间的轮廓，我研究了科埃略小说中的阿莱夫是如何在表面上不可调和的宗教信徒中成为融合和同情的永恒象征的。
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Pub Date : 2018-07-03DOI: 10.1080/02639904.2018.1507295
M. Lampitt
ABSTRACT This article analyses the role of troubadour lyric in the psychoanalytic theory of Julia Kristeva, particularly her models of the semiotic, the objet a, and the abject. This objective necessarily involves an investigation of her relationship with Lacanian psychoanalysis, and often entails the palimpsestic project of reading Kristeva, reading Lacan, reading troubadour lyric. However, rather than simply documenting the instances of Kristeva’s engagement with lyric, the article expands the textual corpus beyond the lyrics analysed by Lacan and Kristeva in order to outline various ways in which the three textual corpora might illuminate, critique, and speak (back) to each other. The first section suggests that the works of Jaufre Rudel and Raimbaut de Vaqueiras, poets neglected by Kristeva and Lacan, might offer certain compromises between the two theorists on the subject of the semiotic. Focussing on the Thing and objet a, the second section formulates readings of a lyric by Bernart de Ventadorn, exploring ways in which Kristeva’s work might be seen to converge and diverge with both Lacanian and feminist reading practices. The article’s final part argues that the lyrics of the trobairitz suggest new, feminist possibilities for the abject.
摘要本文分析了游吟诗人抒情诗在朱莉娅·克里斯特娃精神分析理论中的作用，特别是她的符号、客体和卑鄙的模型。这一目标必然涉及到对她与拉康精神分析的关系的调查，并且经常涉及到阅读克里斯特娃、阅读拉康、阅读游吟诗人歌词的重写项目。然而，这篇文章并不是简单地记录Kristeva参与歌词创作的例子，而是将文本语料库扩展到Lacan和Kristeva分析的歌词之外，以概述三个文本语料库可能相互阐明、批评和说话（反驳）的各种方式。第一部分认为，被克里斯特瓦和拉康忽视的诗人Jaufre Rudel和Raimbaut de Vaqueiras的作品可能为两位理论家在符号学问题上提供了某种妥协。第二节聚焦于事物和客体，阐述了对Bernart de Ventadorn的一首歌词的解读，探讨了Kristeva的作品与拉康主义和女权主义阅读实践的融合和分歧。文章的最后一部分认为，trobairitz的歌词为穷人提供了新的女权主义可能性。
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Pub Date : 2018-04-03DOI: 10.1080/02639904.2018.1457820
Christina Horvath
In the wake of the severe urban unrest that hit France in the 2000s, the banlieues have become the centre of sustained public attention as well as a narrative effervescence. Discourses produced by politicians, journalists, urban planners, social scientists, novelists, film-makers, hip-hop artists and stand-up comedians have since addressed urban marginality from a variety of angles. In mainstream media and political discourse, multi-ethnic suburban housing estates have mainly been depicted as menacing spaces that erode the cohesion of the nation and threaten both French national identity and Republican integrity. In 2005, Nicolas Sarkozy called banlieue youth ‘scum’ and ‘riff-raff’. He attributed rioting to the presence of organized gangs and promised to clean the suburbs with a ‘high-pressure cleaner’. Ten years later, in the aftermath of the 2015 terrorist attacks, Manuel Valls spoke about ‘ghettos’ and ‘territorial, social and ethnic apartheid’ in the French suburbs. The abrasive tone of these political discourses has contributed to the deteriorating image of banlieues in the collective imagination. Other discourses, on the contrary, have attempted to destigmatize working-class suburbs by establishing a different perspective on identity, communities, local and national belonging and urban renovation. In a context of enduring turmoil and debate it was not surprising to see the emergence of new narratives which undertook to explore the French urban periphery from within, focusing on the experience of those living on the margins and investigating their cultural practices, memory, access to political representation and affective appropriation of the urban space. These narratives, which appeared simultaneously in literature, film, music and other cultural forms, were distinctively original in their tone, aesthetics and aims. Critics acknowledged their novelty by using labels such as ‘urban’ or ‘banlieue’ in order to differentiate them from the works of previous generations. These designations simultaneously referred to the production’s geographic setting, main theme and place of enunciation, which coincided in the case of most authors. However, the labels ‘banlieue literature’ or ‘banlieue film’ have never been explicitly claimed by the creators themselves. Targeting universal rather than exclusively local audiences, they have been cautious about being assigned to a peripheral position owing to their social origins, place of residence or marginal status within what Bourdieu termed the field of cultural production in France (1993). Nevertheless, the banlieue narrative has attracted considerable scholarly attention, in particular over the last decade. It has been discussed at an array of interdisciplinary conferences focusing on French banlieues, such as Communities at the Periphery held in 2013 at the Institut Français in London or The Banlieue Far from the Clichés, organized in Oxford in 2014. It was also the
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