Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133447
F. Calamita
ABSTRACT The Handmaid’s Tale ([1985] 2017), a must-read feminist dystopian novel by Canadian author Margaret Atwood, and Luna Nera [Black Moon] (2019), a recent historical-fantasy novel by Italian writer Tiziana Triana, present narratives that encourage their readers to question traditional models of femininity. Set in different times, yet in settings that are in many ways similar, both narratives describe societies where women are perceived as individuals to be controlled and at the same time where sisterhood helps them to succeed. Following the rise of right-wing governments and ideologies on both sides of the Atlantic and the backlash of the patriarchy against women’s hard-won rights and freedoms, Atwood’s twentieth-century masterpiece has regained visibility thanks to its on-screen adaptation as a TV series. Similarly, Triana’s Luna Nera has also recently been adapted as a Netflix original TV series directed by Francesca Comencini, Paola Randi and Susanna Nicchiarelli, thus revealing the neglected history of witches in seventeenth-century central Italy to global viewers. Through some fictional examples as a starting point for the discussion, this article will reflect on the following questions: at a time when women’s rights, particularly reproductive rights, are under threat, what can novels and TV series inspired by them tell us about contemporary gender concerns? How can symbolic motherhood and sisterhood help women in these challenging scenarios to escape patriarchal control? And how, in turn, might their actions influence the audience? Building on feminist discourses on the practice of affidamento [entrustment], I will discuss a series of sociocultural issues relevant to contemporary women, with particular attention to reproductive rights, represented in the novels and their TV series adaptation in the context of the current political debates on both sides of the Atlantic and beyond.
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Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133446
S. Todesco
ABSTRACT My contribution examines the creation of female collective memory and legacy in the works of Sicilian-born feminist writer Maria Rosa Cutrufelli. I analyse this aspect as both a literary and a political strategy aimed at retrieving a ‘sisterhood’, well-known to second-wave American feminism. Cutrufelli’s novels are filled with female protagonists, or personagge, who rarely act on their own. In fact, at the basis of each character’s struggle to achieve an individual agency one can identify various forms of relationships (friendship, love, political alliance, family bonds). Moreover, as is the case with her dystopian novel L’isola delle madri, unexpected connections among extremely diverse women become decisive in challenging social and symbolic paradigms, such as biological motherhood and its bond with a capitalist exploitation of reproductive bodies. Cutrufelli’s reinvention of female memories corresponds to the construction of a collective legacy that reads against the grain of the Italian literary canon, in which individual heroism – along with gendered asymmetries and power relationships – has often implied an automatic identification with a strong, self-centred masculinity. On the contrary, Cutrufelli’s stories insist on female relationships that go through different phases of negotiation and forms of losses and appropriation, thus calling for substantially different notions of non-hierarchical femininity. This is also confirmed by Cutrufelli’s own filiations and active collaborations with fellow women writers belonging to different generations. In the light of the above, my chapter explores various forms of female bonds in Cutrufelli’s writings, while also taking into consideration the significance of extra-textual elements in the writer’s biography and current engagement, in order to argue for her originality in pursuing a specific, ‘hybrid’ approach to 21st-century feminism.
摘要：我的作品探讨了西西里出生的女权主义作家玛丽亚·罗莎·卡特鲁菲利作品中女性集体记忆和遗产的创造。我将这一方面分析为一种文学和政治策略，旨在恢复第二波美国女权主义所熟知的“姐妹情谊”。卡特鲁菲利的小说中充满了女性主角，或者说人物角色，她们很少单独行动。事实上，在每个角色努力实现个人代理的基础上，人们可以确定各种形式的关系（友谊、爱情、政治联盟、家庭纽带）。此外，正如她的反乌托邦小说《L'isola delle madri》一样，在挑战社会和象征范式的过程中，极端多样化的女性之间的意外联系变得至关重要，比如生物母性及其与资本主义剥削生殖身体的联系。卡特鲁菲利对女性记忆的重塑与集体遗产的构建相对应，这种遗产与意大利文学经典背道而驰，在意大利文学经典中，个人英雄主义——以及性别不对称和权力关系——往往意味着对强烈的、以自我为中心的男子气概的自动认同。相反，卡特鲁菲利的故事坚持认为，女性关系经历了不同的谈判阶段、不同形式的损失和侵占，因此呼吁对非等级女性气质有实质性的不同观念。Cutrufelli自己的分支机构以及与不同世代的女作家的积极合作也证实了这一点。有鉴于此，本章探讨了卡特鲁菲利作品中各种形式的女性纽带，同时也考虑到了作者传记和当前参与中文本外元素的重要性，以证明她在追求21世纪女权主义的特定“混合”方法方面的独创性。
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Pub Date : 2022-10-02DOI: 10.1080/02639904.2022.2133463
Eliana Maestri
ABSTRACT This article explores representations of mothering practices in Songs of the Suitcase (1998) by second-generation Italian Australian writer Anna Maria Dell’oso. This collection of short stories devotes special attention to the interlinks between mothering and mediation among culturally diverse groups in modern Australian society. Theoretical frameworks provided by scholars in translation, interpreting and child language brokering are used to shed light on how Dell’oso succeeds in voicing Italian Australian women migrants’ abilities to negotiate and mediate between various cultural groups, ethnicities and generations, especially when it comes to mothering and maternal care. How does Dell’oso configure mothering as the most invaluable caregiving practice, vis-à-vis global mobility and circulation of values? How does she represent and problematize the role of mothers and daughters in modern Australia? How does she challenge families’ views on how to mother? How does she interpret the role of the mediator of cultural memories and family beliefs? By displaying the author’s fictional alter egos as the most privileged sites of exploration, Dell’oso reflects on the impact of migration upon mothering practices and the mother-daughter dyad. Finally, she offers thought-provoking views on how Italian Australian mothering practices, as social values, are confronted with and fashioned by ever-changing communities of migrants.
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Pub Date : 2022-04-03DOI: 10.1080/02639904.2022.2114626
Dan Zhang
ABSTRACT Made in China, un récit où Toussaint joint ingénieusement la réalité à la fiction, tourne autour d’une souplesse tant passive qu’active: le narrateur, incarnant la figure de l’auteur, dit avoir pris l’habitude de se laisser porter par les événements, mais s’apprête aussi à accueillir le hasard et à ‘aimanter du vivant’. Notre analyse s’articule autour de l’énergie magnétique constitutive du processus d’aimantation et basée dans Made in China sur une narration non-linéaire. A la rupture de la linéarité du récit correspond la réunion des forces contraires qui génère un effet semblable à celui du champ magnétique. Nous soutenons que la suspension régulière du déroulement narratif prend appui sur l’acte de lire analysé par Michel de Certeau et s’établit sur des moments de silence propices à l’activité liseuse. Une polymorphie spatio-temporelle du réel se profile sous l’effet du champ magnétique et, étant donné la narration non-linéaire, offre aussi l’occasion de dialoguer avec la structure d’horizon empruntée à la phénoménologie husserlienne et réinterprétée par Merleau-Ponty. Un portrait de l’écrivain en rapport intime avec le monde en ressort et relie la ‘volonté consciente’ à la souplesse apparente.
文摘”(Made in China),附上一个万圣节的故事巧妙地绕着一个虚构的现实、灵活性都被动:叙述者,体现着文人的图,说自己习惯于让自己穿的事件,但也正准备迎接机缘巧合和‘vivant’》的。我们的分析围绕磁化过程的磁能构成，并基于《中国制造》的非线性叙述。当叙述的线性被打破时，就会产生一种类似于磁场的效果。我们认为，叙事过程的常规暂停是基于Michel de Certeau分析的阅读行为，并建立在有利于阅读活动的沉默时刻。在磁场的影响下，现实的时空多态性呈现出来，由于非线性叙述，也提供了与胡塞现象学中借用并由梅洛-庞蒂重新解释的地平线结构对话的机会。一幅作者与世界亲密关系的肖像出现了，并将“有意识的意志”与明显的灵活性联系起来。
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Pub Date : 2022-04-03DOI: 10.1080/02639904.2022.2114627
Claudia García-Minguillán
ABSTRACT This paper presents the hypothesis that Discours de la poesie épique is the first political text written by Fénelon’s disciple, Andrew Michael Ramsay. In 1716, Ramsay published a new edition of Les aventures de Télémaque along with a discourse that follows the rhetoric of classical poetics in which he defends its moral content. Scholarship on Ramsay has pointed out that he made use of the connection he had with his preceptor in order to aggrandize the Jacobite aspirant and legitimize his ascension to the British crown. In the light of these political principles and the criticism of the epic genre, we will analyse a case that reflects the close connection between the development of epic poetry, poetics, and political ideology.
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Pub Date : 2022-04-03DOI: 10.1080/02639904.2022.2114629
Rodrigo López Martínez
ABSTRACT This article traces Roberto Bolaño’s fictionalized imprint in Diego Trelles Paz’s El círculo de los escritores asesinos and Alejandro Zambra’s Poeta chileno. These novels thematize Los detectives salvajes’ repercussions and effects on the Latin American literary scene, translating Bolaño’s imaginary around a poetic ethos into narrative dilemmas and strategies. El círculo de los escritores asesinos and Poeta chileno not only reflect on how to write but on how to be writers after Bolaño, once Ulises Lima and Roberto Belano established the Latin American poet’s pervasive and idealistic role model. Just as Bolaño’s real visceralistas are more concerned with living a poetic life than writing an oeuvre, Trelles Paz and Zambra portray communities of poets where affects and books permeate and reinforce each other. Ultimately, they draw opposing ethical outcomes from Los detectives salvajes’ iconic interweaving of literature, friendship, love and death.
摘要本文追溯了Roberto Bolaño在Diego Trelles Paz的《El círculo de los escratores asesinos》和Alejandro Zambra的《智利诗人》中的虚构印记。这些小说主题化了洛杉矶侦探萨尔瓦杰对拉丁美洲文学界的影响，将博拉尼奥围绕诗歌精神的想象转化为叙事困境和策略。El círculo de los escratores asesinos和Poeta chileno不仅反思了如何写作，还反思了如何在Bolaño之后成为作家，一旦Ulises Lima和Roberto Belano确立了这位拉丁美洲诗人无处不在的理想主义榜样。正如博拉尼奥真正的内心主义者更关心过诗意的生活，而不是写一部作品一样，特雷尔斯·帕斯和赞布拉描绘了诗人的社区，在那里，情感和书籍相互渗透和加强。最终，他们从洛杉矶侦探萨尔瓦杰将文学、友谊、爱情和死亡交织在一起的标志性作品中得出了相反的伦理结果。
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Pub Date : 2022-04-03DOI: 10.1080/02639904.2022.2114628
C. James
ABSTRACT Jesús Cos Causse (1945–2007) was a foundational voice within black Cuban literature of the Revolution. As a journalist, diplomat and cultural activist, he was also instrumental in creating institutions which used poetry as a means of instigating social justice and promoting regional cooperation among Caribbean and Latin American societies. Although Cos Causse was a prolific writer and a pivotal force in Cuba’s artistic industries for decades, his work has not enjoyed much critical reception in English. This is partly because he was based in Santiago de Cuba. This placed him beyond the focus of the enterprises of cultural criticism (national and international) which have tended to be obsessed with Havana and with the cultural prototypes generated in the nation’s capital. This paper offers a reading of Cos Causse’s poetry which pays attention to his exploration of ideas of the black family, of Santiago de Cuba and of the place of black Cubans within the Revolution. It highlights the powerful anti-colonialist stance of Cos Causse’s thinking and shows the vital role that the history of Santiago plays in the development of his radical poetic conscience. I argue that Jesús Cos Causse’s poetry demonstrates the indispensable significance of family, the city of Santiago and the Revolution as coordinates of belonging for black Cubans (renowned or anonymous).
摘要Jesús Cos Cause（1945–2007）是古巴革命时期黑人文学中的一个基本声音。作为一名记者、外交官和文化活动家，他还在创建机构方面发挥了重要作用，这些机构将诗歌作为煽动社会正义的手段，并促进加勒比和拉丁美洲社会之间的区域合作。尽管科斯·考斯是一位多产的作家，几十年来一直是古巴艺术界的中坚力量，但他的作品在英语中并没有受到多少批评。这在一定程度上是因为他住在古巴的圣地亚哥。这使他超越了文化批评企业（国家和国际）的焦点，这些企业往往痴迷于哈瓦那和首都产生的文化原型。本文对科斯的诗歌进行了解读，重点探讨了他对黑人家庭、古巴圣地亚哥和古巴黑人在革命中的地位的探索。它突出了科斯·考塞思想中强烈的反殖民主义立场，显示了圣地亚哥的历史在其激进的诗歌良知的发展中所起的重要作用。我认为，Jesús Cos Cause的诗歌展示了家庭、圣地亚哥市和革命作为古巴黑人（知名或匿名）归属坐标的不可或缺的意义。
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Pub Date : 2022-01-02DOI: 10.1080/02639904.2021.1950360
Niall H. D. Geraghty
ABSTRACT This article discusses César Aira’s critical engagement with Jorge Luis Borges’s masterful short story ‘Pierre Menard, autor del Quijote’. While there are few overt references to Borges’s story within Aira’s essayistic output, it will be shown that those that do exist are highly significant. Indeed, it will be argued that Aira’s literary process — developed at length and in detail across his critical work — is heavily indebted to ‘Pierre Menard’. Opening first with a reflection on Borges’s Evaristo Carriego, the article explores the ways in which Aira discusses Borges’s story in relation to the Duchampian ready-made, uncovers its importance within his analysis of exotic literature, and argues that Aira inverts Menard’s labour by shifting his focus from the act of reading to the act of writing in his re-creation of the story. In this way, it will be proposed that Aira advocates an a-personal process which nonetheless affirms a central place for the individual author, while simultaneously producing works of geopolitical significance. Ultimately, it will be shown that the story provides the inspiration for Aira’s conceptualization of the literary work as a temporal event, and the promotion of a formless marginality which undermines colonial taxonomies.
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Pub Date : 2022-01-02DOI: 10.1080/02639904.2022.2055301
Sonia Fajkis
ABSTRACT Estebanillo González is the last Spanish picaresque novel, but its eponymous protagonist rarely features in the discussions on the genre in the way other male characters, Lazarillo, Guzmán or Pablos do. In this article, drawing on earlier literary criticism and historical research concerning religious diasporas in Early Modern Europe, I offer a new analysis of the protagonist’s possible converso origins. The protagonist’s attitude towards his alleged hidalguía questions the relevance of social status. In the second part of the article, I argue that behind the protagonist’s jokes and puns hides religious scepticism aimed in particular at Counter-Reformation techniques of casuistry. Both hidalguía and Catholic practices, fundamental aspects of Spanish society, are therefore undermined. Estebanillo, as the last picaro, offers his own original vision of the self in the world and as such should join the picaresque trio.
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Pub Date : 2022-01-02DOI: 10.1080/02639904.2022.2051907
L. López-Martínez
RESUMEN La isla de San Andrés está ubicada aproximadamente a 110 millas al este de la Costa caribeña de Nicaragua y a 300 millas al oeste-noroeste del territorio continental colombiano. La literatura y la cultura de las islas del archipiélago de San Andrés y Providencia son aún poco conocidas y estudiadas, tanto dentro como fuera de Colombia, por problemas de edición, traducción y a distribución y también porque la relación entre el continente y las islas ha sido a menudo tensa y difícil. Una escritora que ha sido crucial para escribir la historia del archipiélago es Hazel Robinson Abrahams (1935-). Este artículo analiza tres de sus novelas (No Give Up Maan! 2010, Sail Ahoy! 2004 y El príncipe de Santa Catalina 2009) y cómo cuestionan el modelo nacional impuesto por el Estado colombiano a finales del siglo XIX y principios del siglo XX, especialmente a través del uso del lenguaje, la relación con la naturaleza y el legado traumático de la esclavitud.
{"title":"‘Lenguaje e identidad en el Caribe colombiano: un estudio de la narrativa de Hazel Robinson’","authors":"L. López-Martínez","doi":"10.1080/02639904.2022.2051907","DOIUrl":"https://doi.org/10.1080/02639904.2022.2051907","url":null,"abstract":"RESUMEN La isla de San Andrés está ubicada aproximadamente a 110 millas al este de la Costa caribeña de Nicaragua y a 300 millas al oeste-noroeste del territorio continental colombiano. La literatura y la cultura de las islas del archipiélago de San Andrés y Providencia son aún poco conocidas y estudiadas, tanto dentro como fuera de Colombia, por problemas de edición, traducción y a distribución y también porque la relación entre el continente y las islas ha sido a menudo tensa y difícil. Una escritora que ha sido crucial para escribir la historia del archipiélago es Hazel Robinson Abrahams (1935-). Este artículo analiza tres de sus novelas (No Give Up Maan! 2010, Sail Ahoy! 2004 y El príncipe de Santa Catalina 2009) y cómo cuestionan el modelo nacional impuesto por el Estado colombiano a finales del siglo XIX y principios del siglo XX, especialmente a través del uso del lenguaje, la relación con la naturaleza y el legado traumático de la esclavitud.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"40 1","pages":"19 - 30"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48868098","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}
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