Pub Date : 2022-10-02DOI: 10.1080/14636204.2022.2142018
Caglar Erteber
RESUMEN Al enfocarse específicamente en el Barrio de la Concepción y los bloques de viviendas al lado de la autopista M-30, el filme Colegas, de Eloy de la Iglesia, sintetiza en la figura del quinqui la realidad urbana y espacial de la periferia madrileña. La presencia y el papel de la autopista M-30, el Barrio de la Concepción y los lugares de tránsito en el filme (como el descampado, los escombros y las ruinas) adquieren un doble significado. Visto a la luz de las teorías y aproximaciones urbanísticas y espaciales de David Harvey, Henri Lefebvre y Tim Edensor, el filme representa las contradicciones de la Transición y la modernización tardía española a través de la mirada cinematográfica. Simultáneamente, al situar la figura del quinqui dentro de la historia urbana y arquitectónica de un Madrid en plena Transición, sugiere la existencia de una conexión entre el espacio y la representación social e identitaria dentro del tejido urbano.
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Pub Date : 2022-10-02DOI: 10.1080/14636204.2022.2141997
J. Krauel
ABSTRACT Drawing on Jacques Rancière’s theorization of the aesthetic as a primary domain of experience where political norms and distinctions are configured, this article reconsiders Eugeni d’Ors’ authoritarianism. By reading a wide array of his newspaper columns in both Catalan and Spanish, I first show that d’Ors’s allegiance to Prat de la Riba’s conservative political Catalanism and his support for Primo de Rivera’s and Franco’s dictatorships share common aesthetic roots that put forward an invariable distribution of the sensible. Second, I argue that d’Ors’s grounding of his politics in aesthetic categories opens a space of indistinction that temporarily loosens the strict hierarchies that structured his view of political communities. As seen in his fictional narratives La Ben Plantada and Sijé, as well as in his reflections on Baroque art, these moments of creative disruption, however, fall short of fully articulating modes of perception that break with those privileged in his classical aesthetic theory.
摘要本文借鉴雅克·兰齐埃的美学理论，认为美学是一个主要的经验领域，政治规范和区别是在这里配置的。通过阅读他在报纸上用加泰罗尼亚语和西班牙语撰写的大量专栏，我首先表明，德奥尔斯对普拉特·德拉里巴保守的政治加泰罗尼亚主义的忠诚，以及他对普里莫·德里维拉和佛朗哥独裁统治的支持，有着共同的美学根源，这就提出了理性的不变分布。其次，我认为，d'Ors在美学范畴中的政治基础打开了一个模糊的空间，暂时放松了构成他政治共同体观的严格等级制度。然而，正如在他的虚构叙事《La Ben Plantada》和《Sijé》中，以及在他对巴洛克艺术的反思中所看到的那样，这些创造性的颠覆时刻未能完全阐明与他古典美学理论中享有特权的感知模式相违的感知模式。
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Pub Date : 2022-10-02DOI: 10.1080/14636204.2022.2140943
Nikolaos Papadogiannis
The monograph entitled Rethinking Democratisation in Spain, Greece and Portugal examines the dialectics between the present and the past, namely, regarding the transitions from dictatorship to democracy in Spain, Greece and Portugal from the 1970s to the era of crisis that emerged in 2008. In so doing, the volume ’ s various chapters primarily address how the 2008 crisis a ff ected the memories of democratization and Europeanization. Moreover, several chapters explore the signi fi cance of the political cultures that emerged during these transitions for political debates in subsequent decades. In investigating those topics, the volume is divided into three parts. Part One explores con fl -icting memories of transition, as a ff ected by the crisis since 2008. Carmina Gustrán and Alejan-dro Quiroga argue that a “ benevolent ” reading of the transition from dictatorship to democracy remains hegemonic in Spain. However, the recession era saw the emergence of a growing popular narrative in this country that spanned academic, political and cultural realms and highlighted gaps in the nation ’ s process of democratization. Similarly, in analysing both Spain and Greece, Kostis Kornetis shows that the crisis “ produced a cognitive shock ” , which facilitated reconsiderations of the past, including the transition from dictatorship to democracy. Filipa Raimundo and Claudia Generoso de Almeida trace the importance of di ff erent moments of the Portuguese Revolution that shaped ideological divisions in the nation even up to the 2010s. In this vein, these authors depict some political parties as “ April-warriors ” , namely, those that praise the collapse of the authoritarian regime
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Pub Date : 2022-10-02DOI: 10.1080/14636204.2022.2140935
Manuel Olmedo Gobante
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Pub Date : 2022-10-02DOI: 10.1080/14636204.2022.2142010
David Casado-Neira
RESUMEN La ciudad de Vigo está coronada por un monumento franquista (la Cruz de los Caídos, o de O Castro); desde 1981 se han llevado diferentes acciones para resignificarla. La cruz está integrada en el paisaje urbano y mantiene su sentido original de exaltación franquista. En la actualidad está siendo cuestionada e interpelada a través de demandas organizadas de derribo e, informalmente, con intervenciones espontáneas (como pintadas, pegatinas, o destrucción de elementos). Asistimos a prácticas de damnatio memoriae (anuladoras, perversas, subversivas y transgresoras) que tienen el efecto de confrontarnos con ese pasado franquista. Se pone de manifiesto la pervivencia y actualización de la memoria sobre el franquismo bajo nuevas modalidades, y se evidencia que su significado se tensa entre la permanencia, el olvido y la denuncia. Las “técnicas del olvido inversas” (Assmann 2016) (subversivas y transgresoras) activan formas de expresión que denuncian el sentido original del monumento. La cruz es símbolo, y ejemplo, de un debate fallido sobre la memoria franquista en la España actual.
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Pub Date : 2022-10-02DOI: 10.1080/14636204.2022.2142188
Stephanie A. Mueller
ABSTRACT This article examines the critically acclaimed Basque-language period drama Handia (The Giant, 2017), directed by Aitor Arregi and Jon Garaño. Handia, which won 10 Goyas, is the most viewed Basque film in history. Based on the true story of Miguel Joaquín Eleizegui Arteaga (1818–1861), a man with acromegaly who traveled throughout Spain and Europe as a freak show attraction, Handia centers on the complicated relationship between brothers Joaquín (the titular “giant”) and Martín, who are raised in a farmhouse near the tiny Gipuzkoan village of Altzo. Handia documents the brothers’ struggle to come to terms with the liberal victory in the First Carlist War and the overturning of the Ancien Régime. Martín seeks to escape the agrarian lifestyle of his upbringing, while Joaquín longs to remain on the homestead. I interpret the brothers as doubles who narratively and visually separate and merge throughout the film. As Martín strives to blend into urban settings by adopting the trappings of the European bourgeois man, the reluctant Joaquín’s body grows increasingly large, peculiar and conspicuous. Through the lenses of disability and gender theory, I contend that Joaquín’s nonstandard body represents an othered, agrarian Basque culture facing extinction within a modernizing Europe, and that the resolution of the conflict between Martín and Joaquín models a minority culture’s survival by embracing change without erasing its essential difference. To do this, I will illustrate how the portrayal of fitting and misfitting bodies in Handia articulates an alternative way of being characterized by interdependency, vulnerability, non-heteronormativity and stubborn resistance to homogenizing external forces. I conclude that Handia exemplifies how the Basques may continually redefine themselves – through strategic misfitting – in a way that merges the dichotomies of change and tradition, universality and particularity and wanderlust and rootedness.
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Pub Date : 2022-10-02DOI: 10.1080/14636204.2022.2142185
N. M. Murray
ABSTRACT In January 2015, the Twitter account @Deportado4443 began sharing the harrowing story of Antonio Hernández Marín (1907–1992), whose exile from Spain following the Spanish Civil War (1936–1939), Nazi capture and eventual deportation to the Mauthausen camp in Austria was communicated through 140-character posts and images to the account’s 40,000 followers. This essay theorizes the use of Twitter as a groundbreaking format for the purposes of twenty-first-century witnessing of concentration camp atrocities. Three dimensions of the Twitter account @Deportado4443 are essential to its reconfiguration of narratives about the Spanish Civil War, the Republican exile and the Nazi camp: its virtual platform as a way to transmit a familial-personal history; its use of the fragment to relate the trauma of the camp in its brute simplicity to readers; and its significance for the theorization of witnessing. These three characteristics of @Deportado4443 are all inextricably linked to its social media format as a Twitter account. @Deportado4443 reaches a mass audience as it shares repressed memories of Republican Spain, thus crafting a unique text that implicates its 2010s readers as potential witnesses to events occurring during the 1940s. The essay ultimately examines the possibilities and limitations of this Twitter project not only as a way to access the history of the Spanish Civil War and of Republicans in the Nazi concentration camps, but also to alter our understanding of the notion of the witness.
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Pub Date : 2022-07-03DOI: 10.1080/14636204.2022.2107156
Jm. Persánch
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Pub Date : 2022-07-03DOI: 10.1080/14636204.2022.2107818
Yeon-soo Kim
ABSTRACT This article examines how Chenta Tsai Tseng engages with Chinese diasporic foodways to construct their identity as a racialized migrant subject. Tsai’s memoir, Arroz tres delicias, uses the iconic Chinese dish as a metaphor for those who have had to survive by being creative, versatile and adaptable in limiting and oppressive diasporic conditions. Tsai also delves into how the popular dish was improvised rather than replicating a traditional recipe, providing a strategy to disidentify with and challenge Asian stereotypes. Tsai notes that Chinese culinary references are often used to racialize this minority community, whether to provoke social anxiety against them or to fetishize them. In the memoir, Tsai’s reflections on their own experience of romantic relationships corroborates how their Asian race conditions their sexual objectification, which makes their identity intersectional. Tsai shifts the debate regarding the identity of Spaniards of Chinese descent from nation-states to transnational alliances, and from binaries to infinite, situational potentials. In contrast, Chinese Spanish cultural productions before Tsai, including Susana Ye’s documentary Chiñoles y bananas and Quan Zhou Wu’s graphic novel Gazpacho agridulce, have defied the Spanish xenophobia and discrimination against Asians by emphasizing the cultural differences between generations. Tsai’s turn to intersectionality opens up the possibility of envisioning identity through an alternative history and a sense of belonging. At the same time, it presents a model for antiracist activism in solidarity with other oppressed groups. Both as a theory and praxis, intersectionality underpins ethical and affective affiliations in Tsai’s identity, art and activism.
摘要本文探讨了陈如何与中国流散的饮食方式接触，以构建他们作为种族化移民主体的身份。蔡的回忆录《Arroz tres delicias》用这道标志性的中国菜来比喻那些不得不在限制性和压迫性的流散条件下通过创造性、多才多艺和适应性来生存的人。蔡还深入探讨了这道受欢迎的菜是如何即兴制作的，而不是复制传统食谱，提供了一种无视和挑战亚洲人刻板印象的策略。蔡指出，中国烹饪经常被用来种族化这个少数民族社区，无论是为了激起对他们的社会焦虑，还是为了崇拜他们。在回忆录中，蔡对他们自己恋爱经历的反思证实了他们的亚洲种族是如何影响他们的性客体化的，这使得他们的身份具有交叉性。蔡将关于华裔西班牙人身份的争论从民族国家转移到跨国联盟，从二元对立转移到无限的情境潜力。相比之下，蔡英文之前的中国-西班牙文化作品，包括苏珊娜·叶的纪录片《Chiñoles y banans》和吴权周的平面小说《Gazpacho agridulce》，通过强调代际文化差异，对抗了西班牙对亚洲人的仇外心理和歧视。蔡转向交叉性，开启了通过另类历史和归属感来设想身份的可能性。与此同时，它为反种族主义激进主义与其他受压迫群体的团结提供了一个模式。作为一种理论和实践，交叉性支撑了蔡身份、艺术和行动主义的伦理和情感关系。
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Pub Date : 2022-07-03DOI: 10.1080/14636204.2022.2107153
Jorge Luis Peralta
{"title":"Fiestas, memorias y archivos: política sexual disidente y resistencias cotidianas en España en los años setenta","authors":"Jorge Luis Peralta","doi":"10.1080/14636204.2022.2107153","DOIUrl":"https://doi.org/10.1080/14636204.2022.2107153","url":null,"abstract":"","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"23 1","pages":"383 - 385"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44371062","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}
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