Pub Date : 2020-10-01DOI: 10.1080/02639904.2020.1859788
José-Ramón López García
RESUMEN El artista Attilio Rossi (Albairate, 1909-Milán, 1994) desarrolló en Italia una intensa actividad vanguardista en el ámbito de la tipografía y la difusión del arte abstracto. Huyendo del fascismo, llegó a Buenos Aires en 1935, trayendo consigo una concepción categórica del arte de vanguardia, con la abstracción como paradigma de una modernidad auténticamente revolucionaria. Durante la siguiente década y en el contexto transicional que vivía la plástica argentina, Rossi moduló progresivamente esta concepción. En pleno debate acerca de la identidad nacional argentina y de confrontación entre el realismo y la abstracción, se produjo una fuerte competencia acerca de cuál debía ser el discurso hegemónico de la modernidad y el lugar que debían ocupar las vanguardias. Asimismo, la vivencia del exilio actuó como otro hecho determinante en la vida y obra de Rossi. En este sentido, su contacto con los exiliados republicanos españoles radicados en Buenos Aires (Rafael Alberti, Guillermo de Torre, Rafael Dieste, Arturo Serrano Plaja, Luis Seoane, José Otero Espasandín, Lorenzo Varela …) supuso un factor decisivo para entender su posicionamiento último ante la modernidad. Finalmente, como resultado de las tensiones estético-políticas de este periodo, la obra de Rossi propondrá una interesante síntesis de la abstracción y la figuración.
{"title":"Attilio Rossi y los exiliados republicanos de 1939: lecturas de la modernidad en la plástica argentina (1936-1951)","authors":"José-Ramón López García","doi":"10.1080/02639904.2020.1859788","DOIUrl":"https://doi.org/10.1080/02639904.2020.1859788","url":null,"abstract":"RESUMEN El artista Attilio Rossi (Albairate, 1909-Milán, 1994) desarrolló en Italia una intensa actividad vanguardista en el ámbito de la tipografía y la difusión del arte abstracto. Huyendo del fascismo, llegó a Buenos Aires en 1935, trayendo consigo una concepción categórica del arte de vanguardia, con la abstracción como paradigma de una modernidad auténticamente revolucionaria. Durante la siguiente década y en el contexto transicional que vivía la plástica argentina, Rossi moduló progresivamente esta concepción. En pleno debate acerca de la identidad nacional argentina y de confrontación entre el realismo y la abstracción, se produjo una fuerte competencia acerca de cuál debía ser el discurso hegemónico de la modernidad y el lugar que debían ocupar las vanguardias. Asimismo, la vivencia del exilio actuó como otro hecho determinante en la vida y obra de Rossi. En este sentido, su contacto con los exiliados republicanos españoles radicados en Buenos Aires (Rafael Alberti, Guillermo de Torre, Rafael Dieste, Arturo Serrano Plaja, Luis Seoane, José Otero Espasandín, Lorenzo Varela …) supuso un factor decisivo para entender su posicionamiento último ante la modernidad. Finalmente, como resultado de las tensiones estético-políticas de este periodo, la obra de Rossi propondrá una interesante síntesis de la abstracción y la figuración.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"38 1","pages":"190 - 203"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2020.1859788","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46463228","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 : 2020-10-01DOI: 10.1080/02639904.2020.1860341
Verónica Azcue
ABSTRACT Though largely forgotten today and still partly unpublished, the literary works of Estanislao Lluesma Uranga, a Spanish Republican who went into exile in Argentina in 1939, constitute a valuable contribution to testimonial literature, as well as an interesting example of cosmopolitan writing. Known mainly on account of his work in the field of medicine and his publications of a scientific nature, Lluesma Uranga also wrote several books of poetry, a play and a novel during his exile in Argentina. Closely tied to the Republican cause and to the aim of testimony, Lluesma Uranga’s writing exhibits throughout a characteristically transnational perspective, and tends to reflect a certain ambiguity with regard to identity. In his first work, the collection of poetry Palestra y Balcón (1945), the experience of the Spanish Civil War constitutes the central theme. Yet even in this work the use of different geographical and cultural settings is quite noteworthy, as is the expression of a broad, supranational standpoint, which situates itself in multiple spaces and views the effects of fascism and war from diverse perspectives. Subsequent works, such as the unpublished novel Arco de tiempo (1961) or the similarly unpublished dramatic work Olvido Rodríguez (1964), display the full development of these tendencies.
摘要1939年流亡阿根廷的西班牙共和党人Estanislao Lluesma Uranga的文学作品，虽然在今天大部分被遗忘，但仍有部分未出版，是对纪念文学的宝贵贡献，也是国际化写作的一个有趣例子。Lluesma Uranga主要因其在医学领域的工作和科学性质的出版物而闻名，他在阿根廷流亡期间还写了几本诗集、一部戏剧和一部小说。卢埃斯马·乌兰加的作品与共和党的事业和证词的目的密切相关，贯穿了一个典型的跨国视角，并倾向于反映出身份方面的某种模糊性。在他的第一部作品《Palestra y Balcón》（1945）中，西班牙内战的经历构成了中心主题。然而，即使在这部作品中，不同地理和文化背景的使用也是非常值得注意的，一种广泛的超国家观点的表达也是如此，这种观点将自己置于多个空间，并从不同的角度看待法西斯主义和战争的影响。随后的作品，如未出版的小说《Arco de tiempo》（1961年）或类似的未出版的戏剧作品《Olvido Rodríguez》（1964年），都展示了这些趋势的充分发展。
{"title":"La creación literaria de Estanislao Lluesma Uranga: memoria republicana y perspectiva trasnacional","authors":"Verónica Azcue","doi":"10.1080/02639904.2020.1860341","DOIUrl":"https://doi.org/10.1080/02639904.2020.1860341","url":null,"abstract":"ABSTRACT Though largely forgotten today and still partly unpublished, the literary works of Estanislao Lluesma Uranga, a Spanish Republican who went into exile in Argentina in 1939, constitute a valuable contribution to testimonial literature, as well as an interesting example of cosmopolitan writing. Known mainly on account of his work in the field of medicine and his publications of a scientific nature, Lluesma Uranga also wrote several books of poetry, a play and a novel during his exile in Argentina. Closely tied to the Republican cause and to the aim of testimony, Lluesma Uranga’s writing exhibits throughout a characteristically transnational perspective, and tends to reflect a certain ambiguity with regard to identity. In his first work, the collection of poetry Palestra y Balcón (1945), the experience of the Spanish Civil War constitutes the central theme. Yet even in this work the use of different geographical and cultural settings is quite noteworthy, as is the expression of a broad, supranational standpoint, which situates itself in multiple spaces and views the effects of fascism and war from diverse perspectives. Subsequent works, such as the unpublished novel Arco de tiempo (1961) or the similarly unpublished dramatic work Olvido Rodríguez (1964), display the full development of these tendencies.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"38 1","pages":"215 - 225"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2020.1860341","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45704993","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 : 2020-10-01DOI: 10.1080/02639904.2020.1861795
Roberto Risso
ABSTRACT This essay analyses the development of a crucial idea: the concept of human work in Italian culture and literature during the final decades of the Nineteen Century and the first four decades of the Twentieth. This time frame, that sees the freshly unified Italy going through crisis but also economic and industrial development, is the period in which Socialism becomes relevant and influences writers and thinkers. And so does the concept of human work that is depicted by many writers dealing with the massive Italian emigration, particularly to Argentina, as a fundamental right of man, a means to advance in life and society. Many works by Edmondo De Amicis, a very popular and loved writer of that time, represent people struggling and succeeding in migrating and creating wealth and comfortable living conditions at home and abroad through a positive work ethic. But with the development of the new century and the increasing prevalence of Nationalism as well as the experience of Colonialism, the idea of migration and working abroad assumes overtones of conquest and domination: in the case of the fascist author Comunardo Braccialarghe, this shift is evident as he celebrates Italian participation in Argentine society as something akin to a Roman conquest and a way to make the Italian Kingdom powerful and dominant beyond its national borders.
{"title":"‘Una piccola Italia.’ L’Argentina e il lavoro degli Italiani: breve storia di un tema che partì socialista e arrivò fascista","authors":"Roberto Risso","doi":"10.1080/02639904.2020.1861795","DOIUrl":"https://doi.org/10.1080/02639904.2020.1861795","url":null,"abstract":"ABSTRACT This essay analyses the development of a crucial idea: the concept of human work in Italian culture and literature during the final decades of the Nineteen Century and the first four decades of the Twentieth. This time frame, that sees the freshly unified Italy going through crisis but also economic and industrial development, is the period in which Socialism becomes relevant and influences writers and thinkers. And so does the concept of human work that is depicted by many writers dealing with the massive Italian emigration, particularly to Argentina, as a fundamental right of man, a means to advance in life and society. Many works by Edmondo De Amicis, a very popular and loved writer of that time, represent people struggling and succeeding in migrating and creating wealth and comfortable living conditions at home and abroad through a positive work ethic. But with the development of the new century and the increasing prevalence of Nationalism as well as the experience of Colonialism, the idea of migration and working abroad assumes overtones of conquest and domination: in the case of the fascist author Comunardo Braccialarghe, this shift is evident as he celebrates Italian participation in Argentine society as something akin to a Roman conquest and a way to make the Italian Kingdom powerful and dominant beyond its national borders.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"38 1","pages":"204 - 214"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2020.1861795","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43512229","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 : 2020-10-01DOI: 10.1080/02639904.2020.1860343
Alejandro Patat
ABSTRACT During the nineteenth century autobiographical writings (autobiographies, memoirs, diaries, letters) deviate from the Rousseauian path and place at the centre of the stories the figure of the exile, of the stateless person, of the apatrida, of the refoulé, in which new problems and visions of the world are condensed. The narration of exile is from now an unsubstitutable part of life’s trajectory — enunciated for the first time from the highly symbolic nucleus of youth. It takes the form of an individual shipwreck and a forced expulsion from a repulsive and oppressive social fabric. But twentieth century dictatorships will generate new forms of exile, linked not only to political proscription — from confinement to expatriation — but to new strategies of racial persecution — from deportation to the Lager. This paper seeks to analyse how some autobiographical texts of Italian and Spanish exile in Argentina, highlight new semantic fields and new visions of the world beyond the appropriation of consolidated narrative strategies. Moreover, the testimonies of Italian Jews and Spanish political dissidents in Argentina are an essential tool for interpreting the phenomenon of migration and contemporary transnationalization and create the setting for a comprehensive debate on individual and collective identity.
{"title":"L’io in esilio. Italiani e spagnoli in Argentina: studi di caso","authors":"Alejandro Patat","doi":"10.1080/02639904.2020.1860343","DOIUrl":"https://doi.org/10.1080/02639904.2020.1860343","url":null,"abstract":"ABSTRACT During the nineteenth century autobiographical writings (autobiographies, memoirs, diaries, letters) deviate from the Rousseauian path and place at the centre of the stories the figure of the exile, of the stateless person, of the apatrida, of the refoulé, in which new problems and visions of the world are condensed. The narration of exile is from now an unsubstitutable part of life’s trajectory — enunciated for the first time from the highly symbolic nucleus of youth. It takes the form of an individual shipwreck and a forced expulsion from a repulsive and oppressive social fabric. But twentieth century dictatorships will generate new forms of exile, linked not only to political proscription — from confinement to expatriation — but to new strategies of racial persecution — from deportation to the Lager. This paper seeks to analyse how some autobiographical texts of Italian and Spanish exile in Argentina, highlight new semantic fields and new visions of the world beyond the appropriation of consolidated narrative strategies. Moreover, the testimonies of Italian Jews and Spanish political dissidents in Argentina are an essential tool for interpreting the phenomenon of migration and contemporary transnationalization and create the setting for a comprehensive debate on individual and collective identity.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"38 1","pages":"226 - 238"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2020.1860343","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43385707","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 : 2020-07-02DOI: 10.1080/02639904.2020.1852797
Raquel García-Pascual
RESUMEN Este ensayo se centra en las obras de creadores y creadoras escénicos españoles en activo que retoman en sus obras a intelectuales republicanas exiliadas en Argentina para reflexionar sobre las identidades de género, la construcción de estereotipos, el compromiso con el feminismo y la actividad profesional de las mujeres en el exilio. Los títulos estudiados han sido representados en España en las dos últimas décadas como medio para visibilizar la contribución de figuras tan señeras como María de la O Lejárraga, Clara Campoamor, María Teresa León, Rosa Chacel, Elena Fortún o Margarita Xirgu. Todos ellos reaccionan contra el silenciamiento del protagonismo femenino y reivindican la labor de las exiliadas con el ánimo de poner de relieve la importancia de la memoria histórica como herramienta con la que construir un futuro más igualitario.
摘要本文侧重于西班牙的创作作品创作者的美景,在积极迁入,共和党在知识工程文献在阿根廷性别认同,并为原型建造,致力于女权运动和妇女工作在流亡。在过去的二十年里，研究的标题在西班牙被代表，作为一种手段，让人们看到著名人物的贡献，如maria de la O lejarraga, Clara Campoamor, maria Teresa leon, Rosa Chacel, Elena fortun或Margarita Xirgu。他们都反对女性角色的沉默，并为流亡者的工作辩护，以强调历史记忆作为构建更平等未来的工具的重要性。
{"title":"La Escena Española Actual Ante las Mujeres del Exilio Republicano en Argentina","authors":"Raquel García-Pascual","doi":"10.1080/02639904.2020.1852797","DOIUrl":"https://doi.org/10.1080/02639904.2020.1852797","url":null,"abstract":"RESUMEN Este ensayo se centra en las obras de creadores y creadoras escénicos españoles en activo que retoman en sus obras a intelectuales republicanas exiliadas en Argentina para reflexionar sobre las identidades de género, la construcción de estereotipos, el compromiso con el feminismo y la actividad profesional de las mujeres en el exilio. Los títulos estudiados han sido representados en España en las dos últimas décadas como medio para visibilizar la contribución de figuras tan señeras como María de la O Lejárraga, Clara Campoamor, María Teresa León, Rosa Chacel, Elena Fortún o Margarita Xirgu. Todos ellos reaccionan contra el silenciamiento del protagonismo femenino y reivindican la labor de las exiliadas con el ánimo de poner de relieve la importancia de la memoria histórica como herramienta con la que construir un futuro más igualitario.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"38 1","pages":"148 - 159"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2020.1852797","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43070387","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 : 2020-07-02DOI: 10.1080/02639904.2020.1834984
Luisa García-Manso
ABSTRACT The recovery of the legacy of the Spanish Republican exile of 1939 is having a noteworthy impact on current society. This impact affects both Spain and the countries that hosted the exiles during the Franco dictatorship. Taking into account the emergence of exile memory in the Argentinian stage, this article argues that we are facing a case of transcultural memory, a memory that moves beyond national, social, ethnic, and religious borders (Astrid Erll). After giving some examples of transcultural memory plays, the article focuses on Desde la mecedora. República, guerra y exilio (2017), by the Argentinian writer Elena Boledi. This play is based on Visto al pasar. República, guerra y exilio (2002), the memoirs of María del Carmen García Antón (Madrid, 1916 — Buenos Aires, 2007). Carmen Antón was an actress in La Barraca, the university theatre company led by Federico García Lorca and Eduardo Ugarte, and played the role of Mariana Pineda during the Civil War. Boledi’s play recreates characters and symbols that represent the fight for freedom, such as Federico García Lorca, Mariana Pineda, and Guernica, by Picasso, analysed here as examples of forms of transcultural memory.
1939年西班牙共和国流亡海外的遗产的恢复对当今社会产生了值得注意的影响。这种影响影响到西班牙和佛朗哥独裁统治期间收容流亡者的国家。考虑到流亡记忆在阿根廷阶段的出现，本文认为我们面临着一个跨文化记忆的案例，一种超越国家、社会、种族和宗教边界的记忆（Astrid Erll）。在列举了一些跨文化记忆剧的例子之后，本文将重点放在《梅克多拉》上。República，guerra y exilio（2017），阿根廷作家Elena Boledi著。这出戏是根据维斯托·帕萨尔改编的。República，guerra y exilio（2002），María del Carmen García Antón的回忆录（马德里，1916年-布宜诺斯艾利斯，2007年）。Carmen Antón是由Federico García Lorca和Eduardo Ugarte领导的大学剧团La Barraca的女演员，并在内战期间扮演Mariana Pineda一角。博莱迪的戏剧再现了代表自由斗争的人物和符号，如毕加索的费德里科·加西亚·洛尔卡、玛丽安娜·皮内达和格尔尼卡，在这里被分析为跨文化记忆形式的例子。
{"title":"Memoria transcultural, exilio republicano y teatro: Visto al pasar (2002), de Carmen Antón, actriz de La Barraca, y Desde la mecedora (2017), de Elena Boledi","authors":"Luisa García-Manso","doi":"10.1080/02639904.2020.1834984","DOIUrl":"https://doi.org/10.1080/02639904.2020.1834984","url":null,"abstract":"ABSTRACT The recovery of the legacy of the Spanish Republican exile of 1939 is having a noteworthy impact on current society. This impact affects both Spain and the countries that hosted the exiles during the Franco dictatorship. Taking into account the emergence of exile memory in the Argentinian stage, this article argues that we are facing a case of transcultural memory, a memory that moves beyond national, social, ethnic, and religious borders (Astrid Erll). After giving some examples of transcultural memory plays, the article focuses on Desde la mecedora. República, guerra y exilio (2017), by the Argentinian writer Elena Boledi. This play is based on Visto al pasar. República, guerra y exilio (2002), the memoirs of María del Carmen García Antón (Madrid, 1916 — Buenos Aires, 2007). Carmen Antón was an actress in La Barraca, the university theatre company led by Federico García Lorca and Eduardo Ugarte, and played the role of Mariana Pineda during the Civil War. Boledi’s play recreates characters and symbols that represent the fight for freedom, such as Federico García Lorca, Mariana Pineda, and Guernica, by Picasso, analysed here as examples of forms of transcultural memory.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"38 1","pages":"134 - 147"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2020.1834984","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43912265","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 : 2020-07-02DOI: 10.1080/02639904.2020.1834983
M. Jansen, M. B. Urban
Sommario Il presente contributo analizza la scelta della regista italo-argentina Rosalia Polizzi di mettere in scena in Anni ribelli (1994), la formazione intellettuale di una adolescente sul finire del peronismo nella Buenos Aires cosmopolita del 1955. Dato che la coproduzione italo-argentina in due lingue si dirige a un pubblico transnazionale, ci si chiede in primo luogo in quali chiavi è stata interpretata questa pellicola storica di sfondo autobiografico nei due paesi; si discute inoltre in quale contesto cinematografico collocare il film presentato nel ‘Panorama italiano’ del Festival di Venezia nel 1994, e uscito in concomitanza dei primi film sulle recenti migrazioni. Il saggio suggerisce che in Anni ribelli il trasnazionalismo è inteso come uno ‘spazio diasporico’ connotato dal punto di vista del genere; in esso la storia di formazione di una adolescente espressione della seconda generazione di migranti siciliani a Buenos Aires interroga i miti del cosmopolitismo e del peronismo. Tale posizione ‘ibrida’ della pellicola pone delle domande anche sullo sguardo di Polizzi, emigrante di seconda generazione che si considera come un ‘emigrante di ritorno’.
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Pub Date : 2020-04-02DOI: 10.1080/02639904.2020.1794601
María Carmen Puertollano García
ABSTRACT In the 43rd issue of the Mexican journal Cuadernos Americanos (1949), Francisco Ayala published “Para quién escribimos nosotros”, his milestone article on the reflection on the losses, alterations and uncertainties that would define the authorship of writers of the Spanish republican exile in itself and in its relationship with its possible readership. From the framework of Ayala’s essay, this article studies Celia, institutriz en América, one of the novels written by Elena Fortún in her Buenos Aires exile, published in Madrid by Aguilar in 1944, to determine how the author responded to that general conflict. The aim is to focus on why, how and with what implications Elena Fortún enacts the tension between two forces: the fidelity to the literary project around the character of Celia, initiated in Spain before the Civil War and characterized by a renovating modernity, and the demands associated with a certain reception (resulting, in turn, from the symbolic and cultural pact that has redefined everything), which is not only that of the public, but also that of the official and ecclesiastical censorship instituted by the dictatorship as a guarantee of orthodoxy.
{"title":"“¿Para quién escribía Elena Fortún? Exilio y tensión autorial en Celia, institutriz en América (1944)","authors":"María Carmen Puertollano García","doi":"10.1080/02639904.2020.1794601","DOIUrl":"https://doi.org/10.1080/02639904.2020.1794601","url":null,"abstract":"ABSTRACT In the 43rd issue of the Mexican journal Cuadernos Americanos (1949), Francisco Ayala published “Para quién escribimos nosotros”, his milestone article on the reflection on the losses, alterations and uncertainties that would define the authorship of writers of the Spanish republican exile in itself and in its relationship with its possible readership. From the framework of Ayala’s essay, this article studies Celia, institutriz en América, one of the novels written by Elena Fortún in her Buenos Aires exile, published in Madrid by Aguilar in 1944, to determine how the author responded to that general conflict. The aim is to focus on why, how and with what implications Elena Fortún enacts the tension between two forces: the fidelity to the literary project around the character of Celia, initiated in Spain before the Civil War and characterized by a renovating modernity, and the demands associated with a certain reception (resulting, in turn, from the symbolic and cultural pact that has redefined everything), which is not only that of the public, but also that of the official and ecclesiastical censorship instituted by the dictatorship as a guarantee of orthodoxy.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"38 1","pages":"68 - 79"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/02639904.2020.1794601","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42418589","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 : 2020-04-02DOI: 10.1080/02639904.2020.1794604
María Carrillo Espinosa
RESUMEN Este artículo se centra en la feminidad y el exilio en dos publicaciones de María Zambrano en la revista de Buenos Aires, Sur: ‘Eloísa o la existencia de la mujer’ (1945) y ‘A propósito de Grandeza y servidumbre de la mujer’ (1947). Estos ensayos dedicados de forma explícita a la situación de la mujer son atípicos en el conjunto de la obra de Zambrano. Sería relevante, por lo tanto, revisar su posible relación con el proyecto editorial en el que fueron publicados. La empatía del consejo editorial de Sur hacia el exilio republicano, así como la posición feminista de Victoria Ocampo serán factores determinantes al analizar la particularidad de estos dos textos de Zambrano. El objetivo de este estudio será constatar si las reflexiones sobre Zambrano a propósito de la feminidad coinciden con el campo cultural argentino y en qué medida este intercambio influye en la obra posterior de la escritora andaluza en el exilio.
{"title":"Exilio y feminidad. Dos colaboraciones de María Zambrano en Sur","authors":"María Carrillo Espinosa","doi":"10.1080/02639904.2020.1794604","DOIUrl":"https://doi.org/10.1080/02639904.2020.1794604","url":null,"abstract":"RESUMEN Este artículo se centra en la feminidad y el exilio en dos publicaciones de María Zambrano en la revista de Buenos Aires, Sur: ‘Eloísa o la existencia de la mujer’ (1945) y ‘A propósito de Grandeza y servidumbre de la mujer’ (1947). Estos ensayos dedicados de forma explícita a la situación de la mujer son atípicos en el conjunto de la obra de Zambrano. Sería relevante, por lo tanto, revisar su posible relación con el proyecto editorial en el que fueron publicados. La empatía del consejo editorial de Sur hacia el exilio republicano, así como la posición feminista de Victoria Ocampo serán factores determinantes al analizar la particularidad de estos dos textos de Zambrano. El objetivo de este estudio será constatar si las reflexiones sobre Zambrano a propósito de la feminidad coinciden con el campo cultural argentino y en qué medida este intercambio influye en la obra posterior de la escritora andaluza en el exilio.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"26 1","pages":"93-105"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138517798","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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