ROMANCE NOTES最新文献

Abstract:

Rosalía's experimentation with flamenco and other genres including reggaeton, trap, and bachata have catapulted the Catalunya-born performer to international success since the release of her sophomore album, El mal querer (2018). Rosalía's third studio album, Motomami, which was released in March 2022, charts the artist's voyage deeper into the world of Latin rhythms and electronic beats and further from her flamenco roots. In addition to her sound, Rosalía's aesthetic has continued to evolve, incorporating a seemingly endless collage of cultural references. One noteworthy aspect of this change is the appearance of frequent references to Japanese culture and Japanese-inspired trends. This paper proposes a reading of Rosalía's lyrical references to Japanese culture in Motomami as well as the music videos for "Saoko," "Candy," and "Chicken Teriyaki."

Resumen:

Este artículo se centra en el uso específico que hace Rosalía del flamenco y la sitúa dentro del panorama español de artistas que beben de él y lo utilizan en sus producciones. Se estudia en concreto el modo en que la propuesta musical de la artista catalana refleja su apreciación—que no apropiación— del flamenco y su conocimiento de este. Asimismo, se compara su trabajo con el de otros artistas con planteamientos musicales singulares dentro del multiverso flamenco tales como Mayte Martín, Miguel Poveda, María Peláe, Las Migas, La Shica o Rosario la Tremendita. El trabajo parte del análisis de los palos específicos que la cantante usa como el tango "Catalina" del disco Los Ángeles (2017) y el tema "Bulerías" del álbum Motomami (2022), de la que, además, se analiza la letra. Ambas piezas demuestran la intencionalidad y la convicción flamenca de Rosalía desde un principio, además de un profundo conocimiento de la tradición al versionar composiciones que cantaores icónicos como Manuel Vallejo, la Perla de Cádiz, la Paquera de Jerez o Camarón de la Isla cantaron en su tiempo y que muchos otros artistas han versionado a su vez y siguen haciendo. El estudio intenta desligar de toda polémica o ilegitimidad flamenca el trabajo de la cantante y enmarca su trabajo en la evolución e idiosincrasia natural de la música española y del flamenco en las últimas décadas.

Resumen:

Este ensayo analiza la canción y el videoclip de "Aunque es de noche" (2017) como un punto de inflexión en la trayectoria artística de Rosalía. El concepto de lo dionisíaco, desarrollado a lo largo de la obra de Friedrich Nietzsche, ofrece un modelo de interpretación de las distintas fases de la carrera de la cantante, sintetizadas en esta adaptación del poema de San Juan de la Cruz. Además de una progresión en línea con las tres vías de la experiencia mística que estructuran el texto de San Juan—la purgativa, la iluminativa y la unitiva— "Aunque es de noche" puede leerse como una alegoría de la apoteosis de Rosalía, su desarrollo de una actitud heroica, capitalista, conquistadora, en fin, "apolínea", tras sus comienzos orgánicos y extáticos o, en términos nietzscheanos, propiamente "dionisíacos".

Abstract:

Jorge Luis Borges's interest in and admiration for Walt Whitman has been well-documented and studied. However, there has been no consideration of the overlaps in their writing practices. In this paper, I place two early manuscripts, one by Whitman (1855) and another by Borges (c. 1929), in conversation as a way to highlight their shared compositional methods. In particular, I show how their conception of physical books exhibits what I call compositional convergence, or the independent evolution of similar ways of thinking about the structure of books in different moments in time.

Abstract:

The juxtaposition of adoration and criticism that audiences have directed towards Rosalía's album El mal querer since its 2018 release has led scholars to take notice. Many scholars have tried to analyze the reasoning behind the album's sudden controversial success and have attributed it to everything from Rosalía's use of flamenco fusion and Andalusian elements (Peter Manuel) to the overall heterogenous nature of her work (Carlos Morales Gálvez, Marisol Salanova, Jorge Carrión, and Javier Blánquez). Only a few (Morales Gálvez and Salanova) have gone beyond discussing Rosalía's artistic choices and their impact to also mention the role of viewers, and even these two individuals have failed to provide an in-depth analysis of the global viewers' role in Rosalía's rapid rise to stardom. My article aims to fill this gap by concentrating on the instrumentality of Rosalía's global spectators in the impact of El mal querer. Through a focus on the aural and visual elements within the album's video chapter "Malamente," I will illustrate how both the album's popularity and controversy stem from its nature as a postmodern "universe" of intertexts that gives fans and critics around the world the agency to create an abundance of meanings alongside Rosalía.

Abstract:

From 2008 until her untimely death in 2021, Almudena Grandes wrote a weekly column in El País where she often addressed, and lamented, the state of Spanish democracy and the need to reconcile Spain's history for a chance at a better future, a topic familiar to readers of her novels. Although her fiction writing on these themes is well studied, her nonfiction has garnered less attention. The 2019 publication of a selection of these columns, La herida perpetua, spanning the decade marked by the 2008 economic crisis through the 2018 resurgence of the far right, provides us an opportunity to look more closely at the impact and importance of Grandes's nonfiction. Informed by recent scholarship on the state of Spanish democracy and criticism of traditional narratives of the transition to democracy (1975–1982), I argue that these columns represent a public call to action with the goal of (re)building a society that values open debate and fosters an active citizenry, one with the resilience to exercise their rights daily to hold accountable corrupt politicians. Collecting a selection of Grandes's weekly writing into one volume allows readers to contemplate the political events of an important period in Spain's democracy and to engage the legacies of the past while suggesting possibilities for the future, a dialogical exchange that defines democracy and is necessary for its survival.

Abstract:

In 2001, Luiz Ruffato published Eles eram muitos cavalos, one of the most celebrated Brazilian novels of the last thirty years. That same year, the renowned geographer Ana Fani Alessandri Carlos—who has dedicated most of her career to studying São Paulo— published the article "São Paulo hoje: as contradições no processo de reprodução do espaço." Ruffato's and Carlos's texts render a moment just prior to widespread access to the internet and social media that transformed spatial practices, communication, activism, and consumption within global cities. I return to Ruffato's novel over two decades after its initial publication to analyze how it—in ways that dovetail with contemporary Brazilian urban geography— envisions the right to the global city, particularly residents' experience of estrangement. Both Ruffato and Carlos capture the ways that the dominance of the capitalist production of space creates estrangement because residents are disconnected from a social fabric, fearful of the street, and less able to create collective urban memories. As Carlos spatially explains the production of estrangement in São Paulo, Ruffato, employing innovative aesthetic solutions, imagines how individuals experience estrangement in the city. The novel, despite its local specification, conveys, more broadly, residents' sensory and emotional experiences of estrangement in global cities.

Resumen:

El objetivo del presente ensayo es identificar ecos del proceso creativo empleado por Carlos Saura en su producción cinematográfica flamenca en el trabajo de Rosalía. Esto me permitirá posicionar a Rosalía en la línea genealógica—artísticamente hablando— de Saura, genio cinematográfico cuya creación fílmica en torno al flamenco ha contribuido, como también lo está haciendo Rosalía, al impulso del flamenco a una escala global y a la defensa de este como manifestación artística de la alta cultura. Al hacer esto, este ensayo establece una conexión concreta entre Rosalía—entendida como fenómeno global— y Carlos Saura, director icónico y referencia fundamental en los debates contemporáneos sobre el cine español en una escala internacional.

Resumen:

El éxito global de Rosalía muestra la porosa, inestable y compleja relación que existe entre los mercados globales y la cultura nacional. Además de los múltiples debates públicos que Rosalía ha generado en los últimos años, en Cataluña la discusión sobre la artista ha girado también alrededor de su catalanidad. En este artículo me centro en la recepción de Rosalía en el entorno político catalán para discutir distintas maneras en que los límites de la cultura catalana han sido tratados después del referéndum de independencia de Cataluña de 2017. Centrándome específicamente en los dos principales partidos independentistas—Junts per Catalunya y Esquerra Republicana de Catalunya— y las reacciones de sus líderes al éxito de Rosalía, muestro el papel que la lengua sigue jugando en la confección de los discursos culturales en Cataluña. Teniendo en cuenta la globalización y la cada vez más reducida influencia de los gobiernos en la confección de los sistemas culturales, exploro la necesidad de repensar la jerarquía de los factores que definen la identidad catalana.

Abstract:

The ubiquity of multimodal advertisements, digital platforms, and social media has increasingly exposed twenty-first-century students to different elements of visual culture, thus facilitating their familiarity with interpretations of visual signs and iconography. It is my contention that instructors of Spanish can utilize elements of Spanish visual culture in their classroom to provide increased opportunities for deep cultural analysis and the development of students' overall communicative competence. Engaging with authentic materials relating to the popular Spanish singer Rosalía Vila Tobella is one way to achieve such competencies. The artist's global popularity and visual embodiment of Spanish culture in her music videos and social media posts offers students useful opportunities to reflect on issues of visuality relating to gender, race, and Spain's unique geographic and symbolic position as a southern European nation with linkages to the Americas, Africa, and Asia. Drawing on the work of visual theorists such as Roland Barthes and Stuart Hall, I suggest students can reflect on Rosalía's visual oeuvre both through the identity-based tensions and within a larger genealogy of Spanish iconography. By creating their own multimodal publications about the artist through digital platforms such as Flipsnack, Google Sites, or Canva, students can study the politics of representation within the context of Spanish culture in a manner that facilitates visual learning beyond the confines of the traditional written assignment. Analyzing the visuality of Rosalía and her representation of Spanish culture teaches students practical linguistic skills related to their established online presence as "digital natives."