Pub Date : 2021-11-02DOI: 10.1080/14682737.2022.2079848
Erika Rodríguez
Abstract Despite constituting what is arguably the first representation of eugenics in Spanish literature, Sofía Casanova’s El doctor Wolski (1894) has received little critical attention. Through contextual analysis and a disability studies approach, this article examines El doctor Wolski’s interrogation of medical genealogies and restrictions of reproductive rights, drawing attention to Casanova’s awareness of the potential for eugenic initiatives to target women and the lower classes. The article concludes that El doctor Wolski not only anticipates the full-fledged eugenic debates that would develop in the following decades, but also refutes specific eugenic strategies and offers a vision of social progress that values ethics of care and includes a future for subjects with incurable illnesses.
摘要尽管索菲亚·卡萨诺瓦的《El doctor Wolski》（1894）构成了西班牙文学中优生学的第一个代表，但几乎没有受到评论界的关注。通过背景分析和残疾研究方法，本文考察了El医生Wolski对医学家谱和生殖权利限制的质疑，提请注意Casanova对针对妇女和下层阶级的优生学举措潜力的认识。文章的结论是，El医生Wolski不仅预见到了未来几十年将展开的全面的优生学辩论，而且还驳斥了具体的优生学策略，并提出了一个社会进步的愿景，该愿景重视护理伦理，并包括患有不治之症的受试者的未来。
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Pub Date : 2021-11-02DOI: 10.1080/14682737.2022.2079855
Nelson R. Orringer
{"title":"Unamuno, Berdyaev, Marcel: A Comparative Study in Christian Existentialism","authors":"Nelson R. Orringer","doi":"10.1080/14682737.2022.2079855","DOIUrl":"https://doi.org/10.1080/14682737.2022.2079855","url":null,"abstract":"","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"651 - 654"},"PeriodicalIF":0.1,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46749847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-02DOI: 10.1080/14682737.2022.2079851
M. Donovan
Abstract Juan Marsé is one of Spanish literature’s most cinematic writers. Marsé himself has talked extensively in interviews about his passion for Hollywood cinema and the important role it played during his childhood in Barcelona. Critics such as Samuel Amell, Kwang-Hee Kim, and Jorge Marí have studied the influence of cinema on Marsé’s writing, both aesthetically and in terms of subject-matter. One aspect of Marsé’s relationship to twentieth-century cinema culture that has been overlooked by scholars, however, is his engagement with the medium’s Orientalism. Hollywood cinema has a long and sustained history of employing orientalist tropes and capitalizing on the widespread yellow peril discourse. An analysis of three of Marsé’s most critically-acclaimed novels, Si te dicen que caí (1973), El amante bilingue (1990), and El embrujo de Shanghai (1993), demonstrates how Marsé has recycled transnational tropes associated with the yellow peril, such as the figure of Fu Manchu, in ways that address concerns particular to the twentieth-century Spanish and Catalan contexts. Using Homay King’s theorization of orientalist mise-en-scène, this article argues that Marsé employs tropes borrowed from Hollywood cinema to highlight questions of identity, truth, and survival, themes that constitute an important through line in his writing.
摘要胡安·马尔塞是西班牙文学中最具电影风格的作家之一。马尔塞本人在采访中广泛谈论了他对好莱坞电影的热情，以及他在巴塞罗那童年时对好莱坞电影所扮演的重要角色。塞缪尔·阿梅尔（Samuel Amell）、金光熙（Kwang Hee Kim）和豪尔赫·马里（Jorge Marí。然而，马尔塞与20世纪电影文化关系的一个方面被学者们忽视了，那就是他与媒体的东方主义的接触。好莱坞电影长期以来一直在使用东方主义的比喻，并利用广泛存在的黄祸言论。对马尔塞最受好评的三部小说《Si te dicen que caí》（1973年）、《El amante bilingue》（1990年）和《El embrujo de Shanghai》（1993年）的分析表明，马尔塞是如何重复使用与黄祸有关的跨国比喻的，比如傅满洲的形象，以解决20世纪西班牙和加泰罗尼亚背景下的特殊问题。本文利用霍梅·金对东方主义者mise en scène的理论，认为马尔塞借用了好莱坞电影中的比喻来强调身份、真相和生存问题，这些主题构成了他写作中的一条重要主线。
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Pub Date : 2021-11-02DOI: 10.1080/14682737.2022.2079877
E. Jones
devalue the past, Huidobro differed explicitly from Marinetti. Likewise, Leopoldo Lugones was, as Justin Read argues, “clearly not a Futurist” (155), but his “writings may help us recognize ontological and spatial dimensions of both Futurism and Fascism in ways that may not be clear otherwise” (140). The monographic issue culminates in a collection of Latin American visual caricatures— of Futurism or Marinetti himself—each accompanied by a three-page contextual study by different authors. There are extremely useful Name, Subject and Geographical Indexes. Even if the volume contains inevitable overlaps and repetitions, it is destined to be a point of reference for years to come. A query for the publisher: surely such a price would merit color reproductions? John London Queen Mary University of London j.london@qmul.ac.uk
{"title":"Poets, Philosophers, Lovers: On the Writings of Giannina Braschi","authors":"E. Jones","doi":"10.1080/14682737.2022.2079877","DOIUrl":"https://doi.org/10.1080/14682737.2022.2079877","url":null,"abstract":"devalue the past, Huidobro differed explicitly from Marinetti. Likewise, Leopoldo Lugones was, as Justin Read argues, “clearly not a Futurist” (155), but his “writings may help us recognize ontological and spatial dimensions of both Futurism and Fascism in ways that may not be clear otherwise” (140). The monographic issue culminates in a collection of Latin American visual caricatures— of Futurism or Marinetti himself—each accompanied by a three-page contextual study by different authors. There are extremely useful Name, Subject and Geographical Indexes. Even if the volume contains inevitable overlaps and repetitions, it is destined to be a point of reference for years to come. A query for the publisher: surely such a price would merit color reproductions? John London Queen Mary University of London j.london@qmul.ac.uk","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"666 - 667"},"PeriodicalIF":0.1,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42016115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-02DOI: 10.1080/14682737.2022.2079846
Elizabeth Amann
Abstract The period between 1833 and 1840 was a moment of political upheaval in Spain. Not only did these years witness the transition from an absolute monarchy to a liberal parliamentary system, but Spanish liberals also began to divide into several factions, leading to uprisings and several changes in government. At the same time, the nation had to fend off the military advances of the anti-liberal Carlists in the North. This article compares and contrasts two novels from the period that chronicle this turbulence: Los cortesanos y la revolución (1838–39) by Eugenio de Tapia and El poeta y el banquero (1842) by Pedro Mata. It examines how these works represent and comment on the upheaval of the period through their plot, structure, and character systems. What elements of this political transition are included or omitted in the two novels? How do they analyse these historical changes? Finally, what relationship do they establish between revolution and romanticism, the dominant aesthetic of the period?
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Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061794
P. Castro
Abstract Amplified by a feedback loop of nationalist memorialization and international reception, the dominant narrative on Ricardo Rangel’s work reduces the anti-colonial purchase of his images to a simple disclosure of binarized injustice. By reading lesser-known images alongside his more canonical production, I argue that his wider archive in fact shows a gradated engagement with the racial complexities of late-colonial Mozambique and provides a key source of material for a post-colonial analysis of its capital, Lourenço Marques. To wit, Rangel’s images permit both a nuanced reflection on his own intermedial status and a critique of colonialism that goes beyond the sheer fact of native exploitation and marginalization.
{"title":"Between an Empty Camera and Bare White Feet: Racial Complexity in the Photographic Archive of Ricardo Rangel","authors":"P. Castro","doi":"10.1080/14682737.2022.2061794","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061794","url":null,"abstract":"Abstract Amplified by a feedback loop of nationalist memorialization and international reception, the dominant narrative on Ricardo Rangel’s work reduces the anti-colonial purchase of his images to a simple disclosure of binarized injustice. By reading lesser-known images alongside his more canonical production, I argue that his wider archive in fact shows a gradated engagement with the racial complexities of late-colonial Mozambique and provides a key source of material for a post-colonial analysis of its capital, Lourenço Marques. To wit, Rangel’s images permit both a nuanced reflection on his own intermedial status and a critique of colonialism that goes beyond the sheer fact of native exploitation and marginalization.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"517 - 541"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41318959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061699
Edward Payne
Abstract Zurbarán’s iconic painting Saint Francis in Meditation is subtle in its complexity. Once the star work of King Louis-Philippe’s Galerie Espagnole (1838–48), where it captured the attention of art critics, painters, and poets, the painting was acquired by the National Gallery, London, in 1853. This essay seeks to sharpen our understanding of Zurbarán’s artistic construction of the work through an exploration of its various ambiguities. It argues that the tensions between surface and depth, so prominent in the painting, operate both visually and metaphorically. Adopting the practice of “slow looking”—a sustained and engaged visual analysis to produce a nuanced interpretation—this essay illuminates how the painting shapes its own reading as a commentary on the problem of sight.
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Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061805
Sarah Symmons
{"title":"Goya’s Graphic Imagination","authors":"Sarah Symmons","doi":"10.1080/14682737.2022.2061805","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061805","url":null,"abstract":"","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"556 - 558"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44217567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061800
P. Baker‐Bates
imagen de la naturaleza, la alimentaci on, la producci on agraria, el abastecimiento, la actividad comercial, el consumo y los h abitos, etc. El punto de partida se sit ua en el centro del arco con el alimento esencial: el trigo, y su producto principal, el pan. El trigo que se muestra es el candeal o harinero, apreciado por su alta calidad para hacer pan blanco, aut entico signo de distinci on como gran parte de los alimentos representados. Seguidamente se trata del agua y el vino, indagando la procedencia y elaboraci on de tan preciados l ıquidos, su consumo, la vajilla... En cuanto a las carnes y el queso, a pesar de la importancia del cerdo, su consumo en Sevilla fue inferior al del ganado ovino y bovino: la vaca era la m as barata y popular de todas las carnes mientras la ternera era la m as cotizada. No obstante, cochinillo, cordero lechal y cabrito eran las carnes tiernas y sabrosas al alcance solo de las clases pudientes; entre los platos especiales, estaban las manitas. El estudio sigue por la caza, la volateria, pescados y marisco, verduras y hortalizas, fruta fresca y frutos secos, para terminar con dulces y pasteles. Entre las ausencias se encuentran sorprendentemente la aceituna —con su derivado el aceite—, y las legumbres. Estas carencias parecen debidas a motivos culturales: la asociaci on de la cocina del aceite a las comunidades musulmana y jud ıa, al estar vedado el consumo del cerdo y sus derivados, fue raz on para que en ocasiones la estigmatizara la comunidad cristiana aunque Sevilla fue desde la colonizaci on fenicia un gran centro productor y exportador de aceite y el cabildo era propietario de grandes olivares. En cuanto a las legumbres, se consideraban la carne de los pobres —estigma que las ha acompa~ nado tambi en hasta epoca reciente—, siendo el garbanzo la m as consumida dada la alta producci on local; recu erdese la repugnancia que sinti o Richard Ford por el cocido. La dieta, claramente mediterr anea, ofrece los alimentos que se establecieron durante la romanizaci on y los producidos por las mejoras introducidas por los arabes —az ucar, naranja amarga, lim on, berenjena y alcachofa—; y se apuntan los grandes descubrimientos que ir ıan ampliando la variedad de alimentos como la gallina de Guinea, reintroducida por los portugueses, y los pimientos americanos aportados por Col on tras su primer viaje. En la ultima parte se estudia el conjunto escult orico en el ambito de otros bodegones p etreos para situar la imaginer ıa en otros contextos como el de la “Cocina, arte y literatura” (cap ıtulo XVIII). Acaba esta secci on con la proyecci on del arco y su contenido en tierras americanas. A modo de anexos el libro se complementa con: un conjunto de planos de la ciudad, la catedral y la situaci on de cada plato en el arco se~ nalando su contenido; una reproducci on fotogr afica de cada plato y una extensa bibliograf ıa. Solo resta felicitar al autor por el tema y el trabajo realizado, y a la editorial por su publicaci on, e
自然、粮食、农业生产、供应、商业活动、消费和习惯等的形象。起点位于拱门的中心，有基本的食物:小麦和它的主要产品，面包。展示的小麦是candeal或面粉，因其制作白面包的高品质而受到赞赏，这是许多代表食物的显著标志。然后它的水和酒,检查无比宝贵的来源和elaboraci on lıquidos消费、餐具...至于肉类和奶酪，尽管猪肉很重要，但它在塞维利亚的消费量低于绵羊和牛:牛是所有肉类中最便宜和最受欢迎的，而牛肉是最受欢迎的。然而，乳猪、小羊羔和小山羊是只有富裕阶层才能吃到的鲜嫩可口的肉;在特别的菜肴中，有manitas。接下来是狩猎、家禽、鱼和海鲜、蔬菜、新鲜水果和坚果，最后是糖果和蛋糕。令人惊讶的是，橄榄(及其衍生物油)和豆类都被遗漏了。这些差距似乎由于文化原因:厨房的asociaci on机油穆斯林社区和贾德ı,禁止猪肉的消费及其衍生物,raz on estigmatizara基督教社会有时即使从colonizaci on腓尼基塞维利亚是一个伟大的石油生产国和出口国和市政厅中心拥有大型园。至于豆类，它们被认为是穷人的肉——直到最近还伴随着这种恶名——鹰嘴豆是消费最多的，因为当地的产量很高;他接受了辛蒂或理查德·福特对烹饪的厌恶。这种饮食显然是地中海饮食，提供了罗马化时期建立的食物和阿拉伯人引入的改进生产的食物——阿兹乌卡尔、苦橙、林翁、茄子和洋蓟;这些伟大的发现了可以ıan扩大粮食品种、鸡、美国,葡萄牙人、和辣椒卷心菜on后第一次提供的。在最后的研究属于escult orico的其它bodegones p etreos为imaginerı”等在其他情况下厨房,艺术和文学”(capıtulo XVIII)。只是这个secci on proyecci on弧,其内容在美国的土地上。作为附件，这本书补充了:一组城市的平面图，大教堂和拱门上每个盘子的位置，显示了它的内容;每个盘子和一个reproducci on fotogr afica广泛bibliografı。我们只需要祝贺作者的主题和所做的工作，祝贺出版商的出版，祝贺他们在制作过程中的奉献和关心。
{"title":"Black But Human: Slavery and Visual Art in Habsburg Spain, 1480–1700.","authors":"P. Baker‐Bates","doi":"10.1080/14682737.2022.2061800","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061800","url":null,"abstract":"imagen de la naturaleza, la alimentaci on, la producci on agraria, el abastecimiento, la actividad comercial, el consumo y los h abitos, etc. El punto de partida se sit ua en el centro del arco con el alimento esencial: el trigo, y su producto principal, el pan. El trigo que se muestra es el candeal o harinero, apreciado por su alta calidad para hacer pan blanco, aut entico signo de distinci on como gran parte de los alimentos representados. Seguidamente se trata del agua y el vino, indagando la procedencia y elaboraci on de tan preciados l ıquidos, su consumo, la vajilla... En cuanto a las carnes y el queso, a pesar de la importancia del cerdo, su consumo en Sevilla fue inferior al del ganado ovino y bovino: la vaca era la m as barata y popular de todas las carnes mientras la ternera era la m as cotizada. No obstante, cochinillo, cordero lechal y cabrito eran las carnes tiernas y sabrosas al alcance solo de las clases pudientes; entre los platos especiales, estaban las manitas. El estudio sigue por la caza, la volateria, pescados y marisco, verduras y hortalizas, fruta fresca y frutos secos, para terminar con dulces y pasteles. Entre las ausencias se encuentran sorprendentemente la aceituna —con su derivado el aceite—, y las legumbres. Estas carencias parecen debidas a motivos culturales: la asociaci on de la cocina del aceite a las comunidades musulmana y jud ıa, al estar vedado el consumo del cerdo y sus derivados, fue raz on para que en ocasiones la estigmatizara la comunidad cristiana aunque Sevilla fue desde la colonizaci on fenicia un gran centro productor y exportador de aceite y el cabildo era propietario de grandes olivares. En cuanto a las legumbres, se consideraban la carne de los pobres —estigma que las ha acompa~ nado tambi en hasta epoca reciente—, siendo el garbanzo la m as consumida dada la alta producci on local; recu erdese la repugnancia que sinti o Richard Ford por el cocido. La dieta, claramente mediterr anea, ofrece los alimentos que se establecieron durante la romanizaci on y los producidos por las mejoras introducidas por los arabes —az ucar, naranja amarga, lim on, berenjena y alcachofa—; y se apuntan los grandes descubrimientos que ir ıan ampliando la variedad de alimentos como la gallina de Guinea, reintroducida por los portugueses, y los pimientos americanos aportados por Col on tras su primer viaje. En la ultima parte se estudia el conjunto escult orico en el ambito de otros bodegones p etreos para situar la imaginer ıa en otros contextos como el de la “Cocina, arte y literatura” (cap ıtulo XVIII). Acaba esta secci on con la proyecci on del arco y su contenido en tierras americanas. A modo de anexos el libro se complementa con: un conjunto de planos de la ciudad, la catedral y la situaci on de cada plato en el arco se~ nalando su contenido; una reproducci on fotogr afica de cada plato y una extensa bibliograf ıa. Solo resta felicitar al autor por el tema y el trabajo realizado, y a la editorial por su publicaci on, e","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"547 - 548"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43611524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061698
Mark McDonald, Sarah Symmons
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