Pub Date : 2021-07-03DOI: 10.1080/02639904.2021.1950361
Fernando Galván
ABSTRACT This essay investigates the origins and development of the influence of Borges on J.M. Coetzee, focusing particularly on the formative period of Coetzee in the United States (1965–1971) and on the writing and form of his first novel, Dusklands (1974). The period coincided with the dissemination of Borges’s work in North America, and ‘Pierre Menard, Author of the Quixote’ was one of the key Borges texts whose trace can be found in the writing of Dusklands, among other novels. Allusions and references to stories by Borges, as well as Coetzee’s 1998 review of his Collected Fictions, are also discussed.
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Pub Date : 2021-07-03DOI: 10.1080/02639904.2021.1950358
Patricia E. Reagan
ABSTRACT This article undertakes an in-depth analysis of Borges’s use, or rather misuse, of Aristotelian rhetoric and style in ‘Pierre Menard, autor del Quijote’. The narrator of ‘Pierre Menard’ creates a series of contradictions by overturning traditional modes of persuasion in order to guide the reader to an understanding of a preferred type of reader, namely one who subjects the text to a Pierre Menardian reading. While the notion of engaging in a Pierre Menardian reading of Borges’s landmark text may appear to be absurd and ironic, in a quintessentially Borgesian fashion, it is this very element that leads the reader to a more profound understanding of the text. A Pierre Menardian reading requires the reader to contemplate both Cervantes’s immortal Quijote in its appropriate socio-cultural conditions and Menard’s Quijote of the 20th century, as well as the narrator’s contradictions that we read in his essay/story and the version by Madame Henri Bachelier that he undermines in his account. Only through intertextual analysis can the reader achieve a heightened understanding of any number of elements, including the characters, the narrator, the author, the reader, the text itself, authorial intent, the construction of a text, the function of fiction, literary criticism, literary theory, and the role of time, history, and tradition.
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Pub Date : 2021-07-03DOI: 10.1080/02639904.2021.1950356
M. Martin
ABSTRACT Borges’s life-long commitment to idealism, displayed in the current story, has implications for literary theory by stressing the reader’s role through what he calls ‘Berkeley’s aesthetics,’ i.e., subjecting literary texts to the esse est percipi principle. Keeping in mind the type of dialectics adopted in ‘Nueva refutación del tiempo’, and considering the pivotal role of irony in ‘Pierre Menard’, I take Borges’s scepticism and idealism as major guidelines for my reflections in this essay. How does ‘Pierre Menard’ portray identity in relation to Borges’s adherence to idealism? The epistemological implications regarding truth, time and identity are revealed when brought under the spotlight of Berkeley, Hume and Schopenhauer. Taking epistemology as a starting point and with reference to those philosophers, this article calls into question assumptions regarding the possibility of definitive readings of both a given text or reality.
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Pub Date : 2021-07-03DOI: 10.1080/02639904.2021.1950354
R. Fiddian
‘Pierre Menard, autor del Quijote’ has displayed remarkable creative and critical resilience since making its first appearance in May 1939, in the Buenos Aires cultural review, Sur (number 56). Clearly one of Borges’s favourites, and regarded by many as his first fully-fledged ficción, the story was reprinted without changes in the collection El jardín de senderos que se bifurcan (1941) and in Ficciones (1944), where it would occupy second place in the table of contents, after the no less canonical, but subsequent ‘Tlon, Uqbar, Orbis Tertius’—published in Sur in March 1940. The dedication of a special number of the house-journal, Variaciones Borges, to the latter in 2003 set a precedent for the monographic study of a single ficción by Borges, providing a template for the current volume and a stimulus to other groups of scholars to follow suit. A glance at the existing bibliography on ‘Pierre Menard, autor del Quijote’ (hereafter and normally, ‘Pierre Menard’) confirms the story’s multidisciplinary variety and appeal. Literary history and literary theory including questions of authorship and reading; the study of language and of translation across boundaries of time and space; philosophy (especially, epistemology and aesthetics), are foremost amongst the disciplines that frame the witty and iconoclastic pages of ‘Pierre Menard’ and supply the vocabulary and frames of reference for some of the most learned and insightful readings of Borges’s story. The Cervantine novel, literary interpretation, and the contemporary French cultural milieu are just a few of the topics that, if expanded on, might provide the basis for an exhaustive list of subjects dealt with in ‘Pierre Menard’. The trouble with such an exercise is that it would likely run the risk of replicating the laborious catalogue of the ‘visible’ work of Menard articulated in the third paragraph of Borges’s story. Taking a different path, this introduction opts, first, for a selective review of the most important contexts surrounding the writing and the aftermath of publication of ‘Pierre Menard’; thereafter, it traces some antecedents of ‘Pierre Menard’ in Borges’s prose output of the nineteen thirties; and, it reviews some of the lines of critical enquiry that have shaped understanding of ‘Pierre Menard’, thereby providing some context for the essays that make up this special number of Romance Studies.
《皮埃尔·梅纳德，吉诃德的作者》自1939年5月首次在布宜诺斯艾利斯文化评论Sur(第56期)上发表以来，一直表现出非凡的创造力和批判能力。这个故事显然是博尔赫斯最喜欢的作品之一，被许多人认为是他的第一个完整的ficción，这个故事被原封不动地重印在《El jardín de senderos que se bifurcan》(1941年)和《Ficciones》(1944年)中，它将在目录表中占据第二的位置，仅次于同样权威的，但后来的《特隆，乌克巴尔，奥比斯·特蒂乌斯》(1940年3月在Sur出版)。2003年，《博尔赫斯日记》(Variaciones Borges)对后者的特别编号的奉献为博尔赫斯的单个ficción专题研究开创了先例，为当前的卷提供了模板，并刺激了其他学者群体效仿。浏览一下《皮埃尔·梅纳德，吉诃德的作者》现有的参考书目(以后通常都是《皮埃尔·梅纳德》)，就能确认这个故事的多学科多样性和吸引力。文学史和文学理论，包括作者和阅读的问题;跨越时间和空间界限的语言和翻译研究;哲学(尤其是认识论和美学)，是构成《皮埃尔·梅纳德》诙谐和打破传统的篇章的最重要的学科之一，也为博尔赫斯的故事提供了一些最有学问和最有见地的阅读词汇和参考框架。塞万提斯的小说，文学解释，当代法国文化环境只是其中的几个主题，如果展开，可能会为《皮埃尔·梅纳德》中详尽的主题列表提供基础。这样做的问题是，它可能会冒着复制梅纳德在博尔赫斯故事的第三段中所阐述的“可见”作品的费力目录的风险。采取不同的路径，这篇介绍选择，首先，有选择性地回顾了围绕“皮埃尔·梅纳德”的写作和出版后果的最重要的背景;之后，它在博尔赫斯三十年代的散文作品中追溯了皮埃尔·梅纳德的一些前世;并且，它回顾了一些批判性研究的路线，这些路线形成了对“皮埃尔·梅纳德”的理解，从而为构成这一特殊数量的浪漫研究的论文提供了一些背景。
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Pub Date : 2021-01-02DOI: 10.1080/02639904.2021.1923968
Inmaculada Plaza-Agudo
ABSTRACT Here we study Tragedia de la perra vida, a play which María de la O Lejárraga wrote in 1954, during her exile in Buenos Aires (Argentina), where she arrived in her old age and where she deve-loped several strategies in order to survive financially: mainly translations and collaborations in the press and in Radio Nacional. In our analysis of the play, which was published, along with other works, in the volume Fiesta en el Olimpo y otras diversiones menos olímpicas (1960), we investigate its testimonial value as it is based on a mythological and symbolic background and has an universal dimension. In the work, the author draws on the biography of her contemporary Spanish and European citizens, whose lives took place under shared circumstances, with special focus on the war. While writing her generational story, Lejárraga pays attention to certain key issues in her career not only as a playwright but also as a feminist and socialist activist: childhood as a critical period in identity formation, her opposition to social and gender inequalities, changes in women’ roles during the 20s and 30s.
在这里，我们研究《生命悲剧》，这是María de la O Lejárraga于1954年在阿根廷布宜诺斯艾利斯流亡期间创作的一部戏剧，她在那里度过了晚年，为了在经济上生存，她制定了几种策略:主要是翻译和在媒体和国家广播电台的合作。在我们对这部剧的分析中，我们研究了它的见证价值，因为它基于神话和象征背景，具有普遍的维度。这部剧与其他作品一起发表在《奥林匹克的节日》(Fiesta en el Olimpo y otras dioriones menos olímpicas)一书中。在这部作品中，作者借鉴了她同时代的西班牙和欧洲公民的传记，他们的生活发生在共同的环境下，特别关注战争。Lejárraga不仅作为剧作家，而且作为女权主义者和社会主义活动家，关注了身份形成的关键时期童年、对社会和性别不平等的反对、20、30年代女性角色的变化。
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Pub Date : 2021-01-02DOI: 10.1080/02639904.2021.1923966
E. Houvenaghel, Luisa García-Manso, M. Jansen, M. Urban
In this third and final part of the special issues Spanish Exile and Italian Immigration in Argentina: Gender, Politics and Culture, the spotlight is on theatre, dramatists’ narrative production, and TV drama that captures the transnational experience of Spanish and Italian newcomers in Argentina (1930–1976). In line with the series’ focus on gender, this final issue gives protagonism to women playwrights, their self-construal in autobiographical and testimonial writings, and the representation of women’s experiences in dramatic and TV productions. Theatre is an artistic field that requires the cooperation of many artists and engages in direct dialogue with the audience. It is therefore fertile soil for transnational connections. Let us take a closer look at the influences exerted by dramatists and television directors of Spanish or Italian origin and by a multicultural audience on the Argentinian scene. By the end of the 1920s and the early 1930s, Buenos Aires had an excellent reputation as a centre of culture in the Americas. This image was created partly thanks to the increasing European, especially Spanish and Italian, immigration to Argentina at the end of the 19 century. The immigrants enriched Buenos Aires’ ‘landscape of modernity with their cultural and linguistic variation’ (Sarlo 2000, 110). Buenos Aires’ residents formed a multicultural audience, eager to attend spectacles, plays and other forms of entertainment. By the middle of the 20 century, Buenos Aires had tens of theatres, most of them founded before the 1930s (Llanes 1968, 17–20). The image of Buenos Aires as a centre of culture in the Americas caught the attention of the greatest Spanish and Italian dramatists of the time, such as Federico García Lorca and Luigi Pirandello. The memory of García Lorca’s six-month stay in Buenos Aires (1933–1934), remains alive today. His plays were strongly applauded and were on stage for months at the Teatro Avenida. His visit to Buenos Aires had a positive impact on the artistic trajectory of the writer, who was welcomed as a celebrity by the porteño cultural community. On the Italian side, Luigi Pirandello travelled to Buenos Aires in 1927 on a tour with his theatre company Teatro d’Arte di Roma and did so again in 1933 when he chose Buenos Aires for the world premiere of his play Quando si è qualcuno (When One Is a Somebody) (Aldama 2015, 57). The influence of Pirandello’s work—his novels, plays, and ideas on aesthetics and philosophy—on the cultural life of the Argentina of the 1930s was reinforced by his Nobel Prize in 1934. The presence of famous Italian and Spanish
在《西班牙流亡和意大利移民在阿根廷:性别、政治和文化》特刊的第三部分，也是最后一部分，重点是戏剧、剧作家的叙事作品和捕捉西班牙和意大利新移民在阿根廷的跨国经历的电视剧(1930-1976)。与该系列对性别的关注一致，最后一期将女性剧作家的主角，她们在自传和证言作品中的自我解释，以及戏剧和电视作品中女性经历的表现。戏剧是一个艺术领域，需要许多艺术家的合作，并与观众进行直接对话。因此，它是跨国联系的肥沃土壤。让我们仔细看看西班牙或意大利血统的剧作家和电视导演以及多元文化的观众对阿根廷舞台的影响。到20世纪20年代末和30年代初，布宜诺斯艾利斯作为美洲文化中心享有盛誉。这种形象的形成部分要归功于19世纪末越来越多的欧洲人，尤其是西班牙和意大利人，移民到阿根廷。移民丰富了布宜诺斯艾利斯的“现代景观与他们的文化和语言的变化”(Sarlo 2000, 110)。布宜诺斯艾利斯的居民组成了一个多元文化的观众群体，他们渴望观看表演、戏剧和其他形式的娱乐活动。到20世纪中叶，布宜诺斯艾利斯有几十家剧院，其中大多数是在20世纪30年代之前建立的(莱恩斯1968,17-20)。布宜诺斯艾利斯作为美洲文化中心的形象引起了当时最伟大的西班牙和意大利剧作家的注意，如费德里科García洛尔卡和路易吉皮兰德罗。García洛尔卡在布宜诺斯艾利斯呆了六个月(1933-1934)的记忆至今仍然鲜活。他的戏剧受到了热烈的掌声，并在Avenida剧院上演了几个月。他的布宜诺斯艾利斯之行对作家的艺术轨迹产生了积极的影响，他在porteño文化界受到了名人般的欢迎。在意大利方面，Luigi Pirandello于1927年与他的剧院公司Teatro d 'Arte di Roma一起前往布宜诺斯艾利斯进行巡回演出，并于1933年再次前往布宜诺斯艾利斯，当时他选择了布宜诺斯艾利斯作为他的戏剧Quando si è qualcuno(当一个人是一个人物时)的全球首演(alama 2015, 57)。皮兰德娄的作品——他的小说、戏剧以及美学和哲学思想——对20世纪30年代阿根廷文化生活的影响，因他1934年获得诺贝尔奖而得到加强。著名的意大利人和西班牙人的存在
{"title":"Spanish and Italian newcomers and the Argentinian Scene (1930-1976): A gendered perspective","authors":"E. Houvenaghel, Luisa García-Manso, M. Jansen, M. Urban","doi":"10.1080/02639904.2021.1923966","DOIUrl":"https://doi.org/10.1080/02639904.2021.1923966","url":null,"abstract":"In this third and final part of the special issues Spanish Exile and Italian Immigration in Argentina: Gender, Politics and Culture, the spotlight is on theatre, dramatists’ narrative production, and TV drama that captures the transnational experience of Spanish and Italian newcomers in Argentina (1930–1976). In line with the series’ focus on gender, this final issue gives protagonism to women playwrights, their self-construal in autobiographical and testimonial writings, and the representation of women’s experiences in dramatic and TV productions. Theatre is an artistic field that requires the cooperation of many artists and engages in direct dialogue with the audience. It is therefore fertile soil for transnational connections. Let us take a closer look at the influences exerted by dramatists and television directors of Spanish or Italian origin and by a multicultural audience on the Argentinian scene. By the end of the 1920s and the early 1930s, Buenos Aires had an excellent reputation as a centre of culture in the Americas. This image was created partly thanks to the increasing European, especially Spanish and Italian, immigration to Argentina at the end of the 19 century. The immigrants enriched Buenos Aires’ ‘landscape of modernity with their cultural and linguistic variation’ (Sarlo 2000, 110). Buenos Aires’ residents formed a multicultural audience, eager to attend spectacles, plays and other forms of entertainment. By the middle of the 20 century, Buenos Aires had tens of theatres, most of them founded before the 1930s (Llanes 1968, 17–20). The image of Buenos Aires as a centre of culture in the Americas caught the attention of the greatest Spanish and Italian dramatists of the time, such as Federico García Lorca and Luigi Pirandello. The memory of García Lorca’s six-month stay in Buenos Aires (1933–1934), remains alive today. His plays were strongly applauded and were on stage for months at the Teatro Avenida. His visit to Buenos Aires had a positive impact on the artistic trajectory of the writer, who was welcomed as a celebrity by the porteño cultural community. On the Italian side, Luigi Pirandello travelled to Buenos Aires in 1927 on a tour with his theatre company Teatro d’Arte di Roma and did so again in 1933 when he chose Buenos Aires for the world premiere of his play Quando si è qualcuno (When One Is a Somebody) (Aldama 2015, 57). The influence of Pirandello’s work—his novels, plays, and ideas on aesthetics and philosophy—on the cultural life of the Argentina of the 1930s was reinforced by his Nobel Prize in 1934. The presence of famous Italian and Spanish","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"39 1","pages":"1 - 6"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2021.1923966","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48546698","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 : 2021-01-02DOI: 10.1080/02639904.2021.1923967
Francisca Vilches-de Frutos
RESUMEN En su largo exilio en Buenos Aires (1940–1963), donde llegó tras el final de la guerra civil española, la dramaturga, directora de escena, guionista, activista y escritora María Teresa León dedicó varias creaciones a recordar algunos acontecimientos significativos de este conflicto. Desde su conocimiento de la práctica escénica, derivada de su condición de directora de escena, concibe Contra viento y marea (1941) y Juego limpio (1959), dos obras narrativas con estructuras integradas por breves escenas, monólogos y diálogos que las acercan al drama. Las referencias a otros conflictos políticos y bélicos surgidos en la constitución de las nuevas naciones del continente americano constituyen para la escritora un camino transnacional idóneo para reivindicar raíces e intereses comunes y entroncar con las sociedades de acogida en su exilio. Su deseo de visibilizar los lazos existentes entre España y América se vislumbra también en algunas de sus charlas emitidas entre 1942 y 1943 para Radio el Mundo, de Buenos Aires. En la siguiente fase de su exilio en Roma (1963–1977), escribió Memoria de la melancolía (1970), un libro clave para entender los dilemas del destierro, donde se recuerda otro conflicto bélico, la Segunda Guerra Mundial, detrás del cual vislumbró, desde una perspectiva transnacional, la lucha en favor de la libertad, como en el caso de la guerra civil española.
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Pub Date : 2021-01-02DOI: 10.1080/02639904.2021.1923969
trajo, E. Houvenaghel, Griselda Gambaro
ABSTRACT The novel El mar que nos trajo (The Sea that brought us, 2001), by playwright Griselda Gambaro (Argentina °1928), daughter of Italian immigrants, treats migration from a women-centred perspective. The novel is set both in Italy and Argentina during the late 19th and early 20th-century wave of Italian and Spanish labour migration to Argentina. Gambaro brings together depictions of three Italian and Italian-Argentinian women who are left behind by their husband, lover, father, respectively. She thus shifts the focus away from those who migrate to those who stay behind. This study connects the novel with the Heroides, or Letters of Heroines, in which Ovid gives voice to Penelope and other Greek and Roman women, such as Medea, Dido, or Ariadne, all of whom were abandoned by their husband or lover. Reading Gambaro’s novel in dialogue with Ovid’s Heroides illuminates the novel’s gender dimension and dramatic structure. The spectrum of abandoned women depicted by Gambaro differs from the series of female portraits included in the Heroides in that it comprises two generations of women who cope with abandonment in different ways. The first generation is similar to Ovid’s heroines who struggle, at a turning point in their lives, with their feelings of love, anxiety, and uncertainty about what may have kept their beloved from returning. The second generation, however, develops practices more similar to Penelope’s plan to regain control, or even to Medea’s cruel revenge intentions. This generation works out strategies to put an end to their situation of dependence and abandonment.
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Pub Date : 2021-01-02DOI: 10.1080/02639904.2021.1923970
J. C. Puerta
RESUMEN La serie de televisión, Vientos de Agua (2006), dirigida por Juan José Campanella, ofrece una mirada sobre el tema de la emigración hispano-argentina, dentro del marco temporal comprendido entre 1934–2006. Por una parte, Vientos de agua puede ser considerada un melodrama, pues se sirve de las estrategias recurrentes de un género que privilegia la atención a la esfera afectiva de los personajes —familia, amores, amistades—, y propicia una lectura en clave moral de los conflictos. Por otra, se evoca un contexto histórico y se da cuenta de algunas transformaciones sociales, lo que permite también una lectura de esta serie de ficción como medio para representar la memoria colectiva. Por último, dado que la peripecia de los personajes nos ofrece casi todos los motivos recurrentes del exilio — la mitificación de la tierra prometida, la añoranza del paraíso perdido, las angustias de la travesía en barco, el cruce de fronteras, la pérdida de vínculos con las comunidades de origen y las dificultades para encontrar nuevas comunidades de acogida — incluido el retorno al hogar, considero oportuno revisar si los conceptos de nostalgia reflexiva y de posmemoria son productivos para el análisis de la serie y su representación de la identidad individual y colectiva.
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Pub Date : 2020-10-01DOI: 10.1080/02639904.2020.1859787
F. Bertagna
ABSTRACT This essay aims to analyse the forms and mechanisms of leadership within the Italian and Spanish collectivities in Argentina between 1940 and 1960, studying in particular the action of two groups of political exiles: the Spanish Republicans, who arrived in the South American country mainly from 1939-1940; and the Italian fascists who arrived after 1946. First and foremost, the different political contexts at the time of arrival are compared (conservative governments vs. military government and then first government of Juan Domingo Perón). Secondly, the analysis focuses dynamically on two aspects: 1) the performance of both groups within the associations of the respective communities and the attempts to impose their own agenda within them; 2) the eventual political commitment within the receiving society. Finally, the factors that determined the greater or lesser success of each within and outside their communities of belonging are studied.
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