Pub Date : 2023-01-02DOI: 10.1080/02639904.2023.2180942
P. Vieira
ABSTRACT In this article, I discuss the notion of Amazonian ecopoetry. Given that poetry from the Amazon expresses Amazonian culture and that culture from the region is marked by an indistinction between nature and culture, between human and non-human cultures and societies, I argue that Amazonian poetry is necessarily an ecopoetry. I subsequently reflect upon the concept of Amazonian perspectivism, developed, among others, by anthropologist Eduardo Viveiros de Castro, as an entry-point into the interpretation of the multiple metamorphoses that characterize Amazonian literature, broadly understood to include folktales, legends, and so on. I draw a comparison between the Indigenous, shamanic goal of translating between non-human and human perspectives, and Amazonian ecopoetics that allows plants and animals to find self-expression within human literature. In the final section of the essay, I analyze the writings of Amazonian-born poet João de Jesus Paes Loureiro (1939-) as an example of Amazonian shamanic ecopoetry. In his texts, legendary and actual Amazonian entities speak in the first person to express the convergences as well as the equivocations that punctuate the myriad interaction between human and non-human beings.
本文探讨了亚马逊生态诗歌的概念。鉴于来自亚马逊的诗歌表达了亚马逊文化，而来自该地区的文化以自然与文化、人类与非人类文化和社会之间的模糊为特征，我认为亚马逊诗歌必然是一种生态诗歌。随后，我思考了亚马逊透视主义的概念，这个概念是由人类学家Eduardo Viveiros de Castro提出的，作为解释亚马逊文学特征的多重变形的切入点，广泛地理解为包括民间故事，传说等等。我比较了土著人的萨满教目标，即在非人类和人类的视角之间进行翻译，以及亚马逊生态学，即允许植物和动物在人类文学中找到自我表达。在文章的最后一部分，我分析了亚马逊出生的诗人jo o de Jesus Paes Loureiro(1939-)的作品，作为亚马逊萨满生态诗歌的一个例子。在他的文本中，传说中的和真实的亚马逊实体以第一人称说话，以表达人类和非人类之间无数互动的趋同和模糊。
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Pub Date : 2023-01-02DOI: 10.1080/02639904.2023.2180941
N. Sharman
ABSTRACT In February 1888, the workforce at the British-owned Rio Tinto mines went on strike seeking better wages and conditions. As part of their struggle, the miners joined an alliance of local landowners and communities to oppose the company’s open-air calcination operations. These threw vast quantities of poisonous sulphur dioxide into the atmosphere, severely damaging the health of workers and local communities. This paper suggests the strike, the first such environmental action in Spain, was an example of broad-based political resistance to the application of free market ideology to the process of industrialization. It builds on Karl Polanyi’s theory that the unconstrained operation of free markets in the fields of land, labour and finance, advocated by radical economic liberalism, results in existential threats to the social fabric of nations. This leads groups with widely different interests to unite and press for state intervention to curtail the freedom of markets, in the wider interest of society’s survival. The Rio Tinto strike which ended with the massacre of a defenceless crowd of protesters and strikers, provides a good example of Polanyi’s proposition, as well as illuminating a tragic and often over-looked event in the history of environmental studies.
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Pub Date : 2023-01-02DOI: 10.1080/02639904.2023.2180940
Karen Eckersley
ABSTRACT When surrealist Leonora Carrington (1917–2011) arrived in Mexico in 1943, she found herself in a post-revolutionary country seeking to steer its new identity away from colonial influence. Carrington’s orientation away from Europe resonated with Mexico’s quest for a new cultural identity, no longer inflected by colonial powers. This article examines the extent to which Carrington’s Mexican oeuvre exhibits an immersion within its post-colonial identity in a way which synthesises with her own revolutionary, feminist politics. I consider how her embrace with Mexico’s indigenous past in her mural “El Mundo Magico de Los Mayas” (1963) connects with a culture which eschews the centrality of the speciesist human for a more balanced ecology, giving voice to the more-than-human sphere and thus loosening European colonial ties. I suggest that Mexico’s embrace with its indigenous heritage is one that aligns with Carrington’s feminist exploration of a pre-patriarchal past, where Goddess figures emerge, and a non-Eurocentric culture of myth and magic is evoked. Examining her evocation of Chiapas Indian culture, Goddess motifs, and images of indigenous flora and fauna, this article suggests that Carrington demonstrates how indigenous philosophies guard against human exceptionalism, thus providing a perspective and portal outside of Western cultural imperialism.
1943年，超现实主义作家利奥诺拉·卡灵顿(Leonora Carrington, 1917-2011)来到墨西哥，她发现自己身处一个革命后的国家，试图让自己的新身份摆脱殖民主义的影响。卡灵顿远离欧洲的定位与墨西哥对一种不再受殖民列强影响的新文化认同的追求产生了共鸣。本文考察了卡灵顿的墨西哥作品在多大程度上展现了一种后殖民身份的沉浸感，这种沉浸感与她自己的革命、女权主义政治相结合。我考虑到她在她的壁画“El Mundo Magico de Los Mayas”(1963)中对墨西哥土著过去的拥抱是如何与一种文化联系在一起的，这种文化避开了物种主义人类的中心地位，追求更平衡的生态，为超越人类的领域发出声音，从而放松了欧洲殖民关系。我认为墨西哥对其本土遗产的拥抱与卡灵顿对前父权时代的女权主义探索是一致的，在那里女神形象出现了，一种非欧洲中心的神话和魔法文化被唤起了。通过对恰帕斯印第安文化、女神图案和本土动植物形象的研究，本文认为卡林顿展示了本土哲学是如何防范人类例外论的，从而为西方文化帝国主义之外提供了一个视角和门户。
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Pub Date : 2023-01-02DOI: 10.1080/02639904.2023.2201049
Brígida M. Pastor, L. Davies
‘Nowadays’ is a civilization in which the prime emblems of poetry are dishonoured. In which serpent, lion and eagle belong to the circus-tent; ox, salmon and boar to the cannery; racehorse and greyhound to the betting ring; and the sacred grove to the saw-mill. In which the Moon is despised as a burned-out satellite of the Earth and woman reckoned as ‘auxiliary State personnel’. In which money will buy almost anything but truth, and almost anyone but the truth-possessed poet.
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Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133464
Christina Horvath
ABSTRACT This article explores the theme of postcolonial transmission through the comparative analysis of two novels by French author Faïza Guène, her bestselling debut novel Kiffe kiffe demain and her latest narrative La Discrétion. It argues that intimate bonds between immigrant parents and their French-born children have been particularly pivotal to the politicization of the author’s writing. The article traces how Guène’s representation of women living in socio-economically disadvantaged French banlieues has evolved throughout her career. It shows how her initial optimism and faith in the Republican values has given way to an increasingly disenchanted vision. Drawing on decolonial feminist theory, the paper investigates how, in Guène’s latest and most political novel to date, the transmission of silenced colonial and postcolonial history and withheld anger is depicted through a superposition of violent episodes from the life of a 70-year-old Algerian woman with the apparently insignificant yet persistent microaggressions experienced by her grown-up children in contemporary France. This strategy enables the author to reflect on the role of cultural transmission while reconstructing the silenced history of colonization, immigration and failed social mobility while also debunking the myth of Republican meritocracy.
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Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133465
C. Hogarth
ABSTRACT This article discusses several of contemporary Italian writer Igiaba Scego’s literary works, from her 2003 children’s novella La nomade che amava Alfred Hitchcock [The Nomad Woman Who Loved Alfred Hitchcock] and her first 2004 novel Rhoda, to her latest novel, the 2020 work La linea del colore [The Colour Line]. I position this article as a tribute to scholar Adalgisa Giorgio and engage Giorgio’s reading of a story by Natalia Ginzburg in order to further my exploration of Scego’s work. Reading Scego through the lens of Ginzburg, I highlight Scego’s complex portrayals of women, focusing on the absence of the mother, on surrogate mother figures, and on relationships between women. Reading Scego through lenses suggested by Giorgio’s reading of Ginzburg, I establish common points between two Italian women writers from differing eras and contribute to the work of bringing recognition to writers such as Scego, who are often labelled under migration or G2 (second-generation migrant) epithets, as writers within the Italian literary canon.
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Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133462
Sandra Daroczi
ABSTRACT Excluding women’s art from public attention significantly affects the possibility of building female genealogies of creation. As such, women artists must constantly recreate their foremothers, because all too often history has erased them from view. Nonetheless, women creators are redressing this imbalance, by rewriting women into history. This article analyses two such contemporary examples: Marie Darrieussecq’s text on Paula Modersohn-Becker [Être ici est une splendeur: Vie de Paula M. Becker (2016)], and Tatiana de Rosnay’s work on Tamara de Lempicka [Tamara par Tatiana (2018)]. Paula Modersohn-Becker was an artist of many firsts, having painted the first (known) nude self-portrait by a woman, the first (known) nude pregnant self-portrait in art history (destroyed in 1943), and having the first museum in the world dedicated exclusively to the works of a woman (opened in 1927). Tatiana de Rosnay in collaboration with her daughter, Charlotte Jolly de Rosnay, unpacks the glamourous life of Tamara de Lempicka, the queen of Art Deco, highlighting the struggles and identity quests of a woman artist in the Parisian art world of the 1920s. This article comparatively examines the way Darrieussecq and de Rosnay adapt the traditional artist’s biography to facilitate the emergence of female genealogies of creation.
将女性艺术排除在公众关注之外，严重影响了女性创作谱系构建的可能性。因此，女性艺术家必须不断地再现她们的祖先，因为历史常常把她们从人们的视野中抹去。尽管如此，女性创作者正在通过将女性改写成历史来纠正这种不平衡。本文分析了两个这样的当代例子:Marie Darrieussecq关于Paula Modersohn-Becker的文章[Être ici est une splur: Vie de Paula M. Becker(2016)]，以及Tatiana de rossnay关于Tamara de Lempicka的文章[Tamara par Tatiana(2018)]。保拉·莫德索恩-贝克尔(Paula Modersohn-Becker)是一位创造了许多“第一”的艺术家，她画了第一幅(已知的)女性裸体自画像，艺术史上第一幅(已知的)孕妇裸体自画像(1943年被毁)，并拥有世界上第一家专门展示女性作品的博物馆(1927年开放)。Tatiana de Rosnay与她的女儿Charlotte Jolly de Rosnay合作，揭示了装饰艺术女王Tamara de Lempicka的迷人生活，突出了20世纪20年代巴黎艺术界女性艺术家的斗争和身份追求。本文比较考察了达里乌塞克和德罗斯内对传统艺术家传记的改编，以促进女性创作谱系的出现。
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Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133449
N. Edwards
ABSTRACT Simone de Beauvoir’s novella La Femme rompue tells the tale of Monique, who is abandoned by her husband after twenty-two years of marriage. In a didactic style, Beauvoir represents Monique as a caricature of a woman dependent on a man. Several decades later, Elena Ferrante and Annie Ernaux published texts that explore the motif of a woman being abandoned by a man: Ferrante’s I giorni dell’abbandono and Ernaux’s Passion simple. In this article, I examine these two texts and the ways in which they offer a riposte to Beauvoir’s novella. Reading their work through theories of diary fiction, I argue that these two writers depict women who are able to move beyond a narrative of abandonment and, in so doing, they stretch the boundaries of this genre to offer new approaches to the representation of female subjectivity.
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Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133460
C. Horvath, Eliana Maestri
The aims of this double issue on Female Filiations in Romance Studies are twofold. On the one hand, the contributors seek to draw renewed attention to women as producers of art, sources of transgenerational memory, promoters of female emancipation and participants in networks of solidarity, networks that are powerful enough to challenge patriarchal hegemonies. On the other hand, this issue reflects the contributors’ desire to honour the scholarship of the outstanding female thinker Dr Adalgisa Giorgio, who has not only advanced our understanding of the literary representation of women, motherhood, maternal practices, daughterhood and sororities but also championed the values of intellectual uprightness, academic mentorship, female solidarity and intellectual transmission between generations of scholars. Born in the South of Italy, Giorgio has developed her expertise between three countries, Italy, Great Britain and New Zealand, and in the intersecting areas of Women’s Writing, Women’s Studies, Literary Criticism, Cultural Studies, Feminist Theory, Psychoanalysis, Politics and Translation Studies. Her wide-ranging interests have included culture and society in Naples and Southern Italy; literary representations of mothers and daughters in Italy, Western Europe and the world; Italian diaspora, family structures and motherhood in New Zealand; and expressions of identity in the narratives of Māori Italians. Her research has addressed the entangled topics of ethnic identity, motherhood, daughterhood, nomadism, migration, trauma, sexuality, gender, creativity, experimentalism, self-representation, ethics, class and intergenerational relations, but she has also contributed to theorizing the concepts of textuality, postmodernism, globalization, and precariousness. Giorgio has worked on a wide range of authors including Fabrizia Ramondino, Marosia Castaldi, Elsa Morante, Elena Ferrante, Mariateresa Di Lascia, Natalia Ginzburg, Francesca Sanvitale, Clara Sereni, Antonella Cilento, Edith Bruck, Silvia Ballestra, Rossana Campo, Isabella Santacroce, Sibilla Aleramo, Ermanno Rea, Giuseppe Montesano, Antonio Pascale, Gabriele Frasca, Eleonora De Fonseca Pimentel, Silvana La Spina, Igiaba Scego and many more. She has brought to light the most original and innovative traits of these writers while informing the contemporary reading and appreciation of them on an international scale. She is one of the founder-members of the Centre for the Study of Contemporary Women’s Writing (CCWW, Institute of Languages, Cultures
这期关于浪漫研究中的女性关系的双月刊的目的是双重的。一方面，作者试图重新引起人们对女性作为艺术生产者、跨代记忆的来源、女性解放的推动者和团结网络的参与者的关注，这些网络强大到足以挑战父权霸权。另一方面，这期杂志反映了作者对杰出女性思想家Adalgisa Giorgio博士的学术荣誉的渴望，她不仅促进了我们对女性、母性、母性实践、女儿和姐妹会的文学表现的理解，而且倡导知识正直、学术指导、女性团结和几代学者之间知识传播的价值观。乔治出生于意大利南部，在意大利、英国和新西兰三个国家发展专长，研究领域涉及女性写作、女性研究、文学批评、文化研究、女性主义理论、精神分析、政治和翻译研究。她的兴趣广泛，包括那不勒斯和意大利南部的文化和社会;意大利、西欧和世界上母女的文学表现;意大利侨民、新西兰的家庭结构和母性;以及Māori意大利人叙事中的身份表达。她的研究涉及种族认同、母性、女儿、游牧、移民、创伤、性、性别、创造力、实验主义、自我表现、伦理、阶级和代际关系等纠缠不清的主题，但她也对文本性、后现代主义、全球化和不稳定性等概念的理论化做出了贡献。Giorgio曾与众多作家合作，包括Fabrizia Ramondino, Marosia Castaldi, Elsa Morante, Elena Ferrante, Mariateresa Di Lascia, Natalia Ginzburg, Francesca Sanvitale, Clara Sereni, Antonella Cilento, Edith Bruck, Silvia Ballestra, rosana Campo, Isabella Santacroce, Sibilla Aleramo, Ermanno Rea, Giuseppe Montesano, Antonio Pascale, Gabriele Frasca, Eleonora De Fonseca Pimentel, Silvana La Spina, Igiaba Scego等等。她揭示了这些作家最具原创性和创新性的特点，同时在国际范围内为当代的阅读和欣赏提供了信息。她是语言文化研究所当代女性写作研究中心(CCWW)的创始人之一
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Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133448
Tiziana de Rogatis
ABSTRACT This paper will examine three novels by three different women writers: Lies and Sorcery (1948) by Elsa Morante; the Neapolitan Quartet (2011–2014) by Elena Ferrante; and Margaret Atwood’s The Handmaid’s Tale (published in 1985, but revived on a global scale in 2017 thanks to the homonymous TV series). The aim of this paper is to demonstrate that these novels share four common aspects: the metanarrative frame, the polyphony, the traumatic realism and the allegorical form of time. In each case, writing and history are defined through the identification of physical/symbolic places that enable and/or stimulate forms of resistance and survival in the three protagonists and narrating voices. The physical architecture of these spaces shares another constant element: they are all subverted spaces that have been freed by the practice of survival of the three protagonists. The subversion precisely resides in their being initially featured as cloistered, painful, realistically and/or metaphorically sunken spaces. The underground realism coincides with the assumption of perspective from below. Within this hallucinated realism arises a given temporal quality, each time characterized in a different manner: bewitched in Lies and Sorcery; historical and generational in Ferrante’s quadrilogy; dystopian in The Handmaid’s Tale.
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