Abstract:Early modern Spanish lyric's connections with music are manifold, and imagery of instruments and singing voices is virtually everywhere in the texts, often playing a part in the articulation of affect and providing a vocabulary for poets to reflect about their own verbal powers. And yet, as I argue in this article, the story of Golden Age lyric begins with tension and conflict at the center of the music–poetry relation. There is, I contend, a discrepancy between the Orphean tropes that equate writing verse with playing music, and the relative autonomy that poetry and music were developing in Renaissance Spain. In this context, I draw attention to a nostalgia that cuts across the texts: the sense that poets have only inherited one half of Orpheus's torrential and effective mixture of media, poetry, and song. To make these points, I draw from a collection of printed and manuscript sources from 1500 to 1700, by poets canonical and obscure.
{"title":"Orphans of Orpheus: Music Lost and Regained in Spanish Golden Age Poetry","authors":"Lorena Uribe Bracho","doi":"10.1353/hir.2021.0013","DOIUrl":"https://doi.org/10.1353/hir.2021.0013","url":null,"abstract":"Abstract:Early modern Spanish lyric's connections with music are manifold, and imagery of instruments and singing voices is virtually everywhere in the texts, often playing a part in the articulation of affect and providing a vocabulary for poets to reflect about their own verbal powers. And yet, as I argue in this article, the story of Golden Age lyric begins with tension and conflict at the center of the music–poetry relation. There is, I contend, a discrepancy between the Orphean tropes that equate writing verse with playing music, and the relative autonomy that poetry and music were developing in Renaissance Spain. In this context, I draw attention to a nostalgia that cuts across the texts: the sense that poets have only inherited one half of Orpheus's torrential and effective mixture of media, poetry, and song. To make these points, I draw from a collection of printed and manuscript sources from 1500 to 1700, by poets canonical and obscure.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"193 - 216"},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45695298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Despertarse de Europa: arte, literatura, euroescepticismo by Luis Martín-Estudillo (review)","authors":"Marta Manrique-Gómez","doi":"10.1353/hir.2021.0017","DOIUrl":"https://doi.org/10.1353/hir.2021.0017","url":null,"abstract":"","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"243 - 246"},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44930735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:El artículo analiza la manera en que Canción de tumba (2011) de Julián Herbert articula el proceso de duelo por la muerte de su madre con el pasado político y el presente de violencia en el México de la así llamada "Guerra contra las drogas" ejecutada a partir del gobierno del Presidente Calderón (2006-2012). Con base en una lectura detallada y cercana de la novela, el estudio se centra en las representaciones del tiempo y el espacio. Como la mayor parte de la novela ocurre en espacios transicioneales o "no-lugares", según la noción de Marc Augé, se argumenta que el proceso de duelo es imposible producto de las masacres ocurridas en el contexto de esos años, y también por la alienación que sufre el narrador debido a la debilitada noción de comunidad. A partir de los planteamientos de Robert Pogue Harrison sobre los lugares y representaciones de la muerte y los ritos mortuorios, se argumenta que la novela ensaya una reconstrucción de la idea de comunidad a partir de la memoria colectiva acompañada de una puntual revisión crítica del pasado político en México.Abstract:This article analyzes how the novel Canción de tumba (2011), by Mexican author Julián Herbert, articulates the mourning process for his mother's death with the political past and the violence in Mexico related to the so-called War on Drugs implemented by President Calderón (2006-2012). This paper is based on a close reading of the novel, especially on how it depicts space and time. Since most of the action occurs in transitional spaces or nonspaces, following Marc Augé's famous theory, I posit that the mourning process becomes impossible to carry out because of all the carnage wrought during those years, but also because of the alienation the narrator suffers due to his weakened sense of community. Following Robert Pogue Harrison's concept of places, representations, and rituals of death, I argue that the novel reconstructs an idea of community based on collective memory together with a critical review of Mexico's political past.
{"title":"Duelo, escritura de la vida y memoria en Canción de tumba (2011) de Julián Herbert","authors":"I. Daniel","doi":"10.1353/hir.2021.0012","DOIUrl":"https://doi.org/10.1353/hir.2021.0012","url":null,"abstract":"Abstract:El artículo analiza la manera en que Canción de tumba (2011) de Julián Herbert articula el proceso de duelo por la muerte de su madre con el pasado político y el presente de violencia en el México de la así llamada \"Guerra contra las drogas\" ejecutada a partir del gobierno del Presidente Calderón (2006-2012). Con base en una lectura detallada y cercana de la novela, el estudio se centra en las representaciones del tiempo y el espacio. Como la mayor parte de la novela ocurre en espacios transicioneales o \"no-lugares\", según la noción de Marc Augé, se argumenta que el proceso de duelo es imposible producto de las masacres ocurridas en el contexto de esos años, y también por la alienación que sufre el narrador debido a la debilitada noción de comunidad. A partir de los planteamientos de Robert Pogue Harrison sobre los lugares y representaciones de la muerte y los ritos mortuorios, se argumenta que la novela ensaya una reconstrucción de la idea de comunidad a partir de la memoria colectiva acompañada de una puntual revisión crítica del pasado político en México.Abstract:This article analyzes how the novel Canción de tumba (2011), by Mexican author Julián Herbert, articulates the mourning process for his mother's death with the political past and the violence in Mexico related to the so-called War on Drugs implemented by President Calderón (2006-2012). This paper is based on a close reading of the novel, especially on how it depicts space and time. Since most of the action occurs in transitional spaces or nonspaces, following Marc Augé's famous theory, I posit that the mourning process becomes impossible to carry out because of all the carnage wrought during those years, but also because of the alienation the narrator suffers due to his weakened sense of community. Following Robert Pogue Harrison's concept of places, representations, and rituals of death, I argue that the novel reconstructs an idea of community based on collective memory together with a critical review of Mexico's political past.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"169 - 191"},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49022247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article argues for a shift toward aurality and away from the emphasis on orality that has long been a keynote in criticism about the work of Juan Rulfo. To attend to the ears that listen rather than solely the voice that speaks, I not only consider the Jaliscan writer's entire oeuvre but also turn to a seldom-studied yet readily available archive: Rulfo's recordings of a few stories from El llano en llamas and two fragments from Pedro Páramo. Addressing these audio versions amplifies the importance of the aural throughout Rulfo's writings and expands on the readings of other critics who examine some of the sounds that echo across his works but who rarely acknowledge the constitutive role of the listener. And just as Rulfo's own experiences with tape reveal these listening techniques, his representations of other sound reproduction technologies portray the effects of changing aural perceptions and practices.
摘要:这篇文章主张转向听觉，而不是强调口头，这一直是批评胡安·鲁尔福作品的基调。为了倾听的耳朵，而不仅仅是说话的声音，我不仅考虑了这位哈利斯坎作家的全部作品，还查阅了一份很少被研究但现成的档案:鲁尔福对《El llano en llamas》的几个故事的录音，以及《Pedro Páramo》的两个片段。通过对这些音频版本的阐述，鲁尔福的作品中听觉的重要性得到了放大，并扩展了其他评论家的阅读，这些评论家研究了鲁尔福作品中回响的一些声音，但他们很少承认听众的构成作用。正如鲁尔福自己的磁带经历揭示了这些聆听技巧一样，他对其他声音再现技术的描述也描绘了听觉感知和实践变化的影响。
{"title":"Escribir la auralidad: Listening in and to Rulfo","authors":"Sam Carter","doi":"10.1353/hir.2021.0000","DOIUrl":"https://doi.org/10.1353/hir.2021.0000","url":null,"abstract":"abstract:This article argues for a shift toward aurality and away from the emphasis on orality that has long been a keynote in criticism about the work of Juan Rulfo. To attend to the ears that listen rather than solely the voice that speaks, I not only consider the Jaliscan writer's entire oeuvre but also turn to a seldom-studied yet readily available archive: Rulfo's recordings of a few stories from El llano en llamas and two fragments from Pedro Páramo. Addressing these audio versions amplifies the importance of the aural throughout Rulfo's writings and expands on the readings of other critics who examine some of the sounds that echo across his works but who rarely acknowledge the constitutive role of the listener. And just as Rulfo's own experiences with tape reveal these listening techniques, his representations of other sound reproduction technologies portray the effects of changing aural perceptions and practices.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"1 - 23"},"PeriodicalIF":0.3,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48731862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
resumen:Este artículo aborda el auge de la cultura visual en la literatura española y, en particular, el papel que desempeña el archivo visual sobre la Transición en las tramas literarias contemporáneas. En primer lugar, se define el nuevo régimen visual contemporáneo desde los presupuestos de la teoría estética y la crítica de las ideologías para explicar cómo la digitalización ha extendido el valor de lo serial, y no de lo único e irrepetible. En este contexto, llamado posfotográfico, el valor documental de lo fotográfico se ha visto alterado y ya no posee la función verificadora que tuvo cuando se almacenaba física y materialmente en los archivos históricos. Los almacenes de la memoria colectiva se conforman hoy según el paradigma de la inmaterialidad que dictan las nuevas tecnologías para la captación de imágenes. El artículo explica cómo determina el análisis político y cultural de la Transición la manera en que el escritor incluye este archivo visual de la memoria colectiva en su obra. Esta explicación se realiza en particular mediante el comentario crítico de las obras de Javier Cercas y Marta Sanz.abstract:This paper examines the increasing role of visual culture within Spanish literature and, more specifically, the role played by the visual archive of the Spanish Transition in contemporary literary plots. First, we turn to the postulates of aesthetic theory and ideological criticism to define the new visual nature of our time and to describe how digitalization has reinforced the value of the multiple, as opposed to the unique and unrepeatable. In the so-called postphotographic context, the factual value of photography has been altered: photography has lost the verification function it used to have when it was physically stored in archives. Today, the new storage systems for collective memory are characterized by the immateriality that new technologies impose on the way we take pictures. Secondly, we explain how the political and cultural analysis of Spain's transition to democracy has a decisive influence on the way writers have recourse to the visual archive of collective memory in their work. This is done mainly through a critical reading of the works of Javier Cercas and Marta Sanz.
{"title":"El archivo visual y la memoria literaria de la Transición, dos instantáneas posfotográficas: Javier Cercas y Marta Sanz","authors":"Á. Pons","doi":"10.1353/hir.2021.0001","DOIUrl":"https://doi.org/10.1353/hir.2021.0001","url":null,"abstract":"resumen:Este artículo aborda el auge de la cultura visual en la literatura española y, en particular, el papel que desempeña el archivo visual sobre la Transición en las tramas literarias contemporáneas. En primer lugar, se define el nuevo régimen visual contemporáneo desde los presupuestos de la teoría estética y la crítica de las ideologías para explicar cómo la digitalización ha extendido el valor de lo serial, y no de lo único e irrepetible. En este contexto, llamado posfotográfico, el valor documental de lo fotográfico se ha visto alterado y ya no posee la función verificadora que tuvo cuando se almacenaba física y materialmente en los archivos históricos. Los almacenes de la memoria colectiva se conforman hoy según el paradigma de la inmaterialidad que dictan las nuevas tecnologías para la captación de imágenes. El artículo explica cómo determina el análisis político y cultural de la Transición la manera en que el escritor incluye este archivo visual de la memoria colectiva en su obra. Esta explicación se realiza en particular mediante el comentario crítico de las obras de Javier Cercas y Marta Sanz.abstract:This paper examines the increasing role of visual culture within Spanish literature and, more specifically, the role played by the visual archive of the Spanish Transition in contemporary literary plots. First, we turn to the postulates of aesthetic theory and ideological criticism to define the new visual nature of our time and to describe how digitalization has reinforced the value of the multiple, as opposed to the unique and unrepeatable. In the so-called postphotographic context, the factual value of photography has been altered: photography has lost the verification function it used to have when it was physically stored in archives. Today, the new storage systems for collective memory are characterized by the immateriality that new technologies impose on the way we take pictures. Secondly, we explain how the political and cultural analysis of Spain's transition to democracy has a decisive influence on the way writers have recourse to the visual archive of collective memory in their work. This is done mainly through a critical reading of the works of Javier Cercas and Marta Sanz.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"25 - 43"},"PeriodicalIF":0.3,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47397795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
resumen:En este trabajo sugiero que el análisis de algunos episodios de El perro del hortelano a través de su verosímil contexto mediterráneo puede ayudar a matizar su adscripción al género de las comedias palatinas. Con ello quiero aportar claves para entender cómo Lope, en un período de madurez creativa, no solo reorienta y actualiza el material literario de sus fuentes, sino que también muestra una vez más que la mezcla e hibridación de géneros está en la base de la Comedia Nueva. A lo largo del artículo complemento diversas aportaciones críticas sobre la obra con los así llamados Estudios Mediterráneos, analizo múltiples rasgos dramáticos de la pieza vinculados a este mar, e incido especialmente en su ingeniosa conclusión; finalmente propongo una explicación respecto de por qué Lope elige para resolver la trama que el gracioso encarne precisamente a un mercader intermediario greco-armenio, una figura solo entendible a principios del siglo XVII.abstract:In this article, I suggest that the analysis of a few episodes in El perro del hortelano, thanks to the play's credible Mediterranean context, can help qualify its adscription to the genre of palatine comedies. My aim is to contribute to our understanding of how Lope, in a period of creative maturity, not only reshapes and updates the literary material of his sources, but also demonstrates that the blending and hybridization of genres lies at the core of his Comedia Nueva. Throughout the article, I engage diverse critical readings of the play and consider them within the context of recent contributions in Mediterranean Studies. I likewise analyze several of the play's dramatic themes related to the Mediterranean Sea and draw attention to its ingenious conclusion. Finally, I explain why Lope chooses the gracioso to end the plot by impersonating a Greek-Armenian merchant, a figure only comprehensible at the beginning of the seventeenth century.
摘要:本文通过对《hortelano的狗》中一些情节的分析，通过其合理的地中海背景，可以帮助确定其与宫廷喜剧流派的联系。因此，我想为理解洛普在创作成熟的时期，如何不仅重新定位和更新其来源的文学材料，而且再次表明，体裁的混合和杂交是新喜剧的基础。在整篇文章中，我用所谓的地中海研究补充了对作品的各种批评贡献，分析了与这片海洋有关的作品的多个戏剧性特征，特别是在其巧妙的结论中;最后，我提出了一个解释，为什么洛普选择扮演一个希腊-亚美尼亚商人的滑稽人物来解决这个情节，这个人物直到17世纪早期才被理解。摘要:在这篇文章中，我认为对El perro del hortelano中几集的分析，由于该剧可信的地中海背景，有助于将其描述为palatine喜剧类型。My aim is to的to our understanding of how大步慢跑,in a period of creative成熟度,not only更新reshapes and the literary其材料来源,确保秘书处that the blending and hybridization genres的前途在于at the core of其新喜剧。在这篇文章中，我对游戏进行了各种批判性的解读，并在最近对地中海研究的贡献的背景下加以考虑。我喜欢分析与地中海有关的几个戏剧性主题，并注意到它的聪明结论。最后，我解释了为什么Lope选择了la gracioso来结束这段情节，通过描绘一个希腊-亚美尼亚商人，一个人物不理解在十七世纪的开始。
{"title":"Comedia palatina y límites genéricos: El perro del hortelano en su contexto mediterráneo","authors":"Juan Udaondo Alegre","doi":"10.1353/hir.2021.0002","DOIUrl":"https://doi.org/10.1353/hir.2021.0002","url":null,"abstract":"resumen:En este trabajo sugiero que el análisis de algunos episodios de El perro del hortelano a través de su verosímil contexto mediterráneo puede ayudar a matizar su adscripción al género de las comedias palatinas. Con ello quiero aportar claves para entender cómo Lope, en un período de madurez creativa, no solo reorienta y actualiza el material literario de sus fuentes, sino que también muestra una vez más que la mezcla e hibridación de géneros está en la base de la Comedia Nueva. A lo largo del artículo complemento diversas aportaciones críticas sobre la obra con los así llamados Estudios Mediterráneos, analizo múltiples rasgos dramáticos de la pieza vinculados a este mar, e incido especialmente en su ingeniosa conclusión; finalmente propongo una explicación respecto de por qué Lope elige para resolver la trama que el gracioso encarne precisamente a un mercader intermediario greco-armenio, una figura solo entendible a principios del siglo XVII.abstract:In this article, I suggest that the analysis of a few episodes in El perro del hortelano, thanks to the play's credible Mediterranean context, can help qualify its adscription to the genre of palatine comedies. My aim is to contribute to our understanding of how Lope, in a period of creative maturity, not only reshapes and updates the literary material of his sources, but also demonstrates that the blending and hybridization of genres lies at the core of his Comedia Nueva. Throughout the article, I engage diverse critical readings of the play and consider them within the context of recent contributions in Mediterranean Studies. I likewise analyze several of the play's dramatic themes related to the Mediterranean Sea and draw attention to its ingenious conclusion. Finally, I explain why Lope chooses the gracioso to end the plot by impersonating a Greek-Armenian merchant, a figure only comprehensible at the beginning of the seventeenth century.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"45 - 68"},"PeriodicalIF":0.3,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43194524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
provided a more expanded thesis on nostalgia. LópezCalvo highlights saudade in the book title and engages it on numerous occasions throughout the manuscript (1, 36, 51, 85, 117, 118, 158, 161, 183, 185, 187, 188, 194, 214, 236, among others) with frequent quotes from Svetlana Boym. These stimulating observations scattered throughout the book like small gems could have shone brighter in a larger crystallization in the final chapter. Japa nese Brazilian Saudades is a deeply researched and thoughtprovoking book that tackles the complex subject head-on with grace, nuance, and intricacy. I recommend this book not just to those scholars studying Brazil or Japan but also to anyone who is interested in diasporic identities and minority strug gles.
{"title":"Hercules and the King of Spain: Icons of Masculinity and Nation in Calderón's Spain by Dian Fox (review)","authors":"Lucas A. Marchante-Aragón","doi":"10.1353/hir.2021.0008","DOIUrl":"https://doi.org/10.1353/hir.2021.0008","url":null,"abstract":"provided a more expanded thesis on nostalgia. LópezCalvo highlights saudade in the book title and engages it on numerous occasions throughout the manuscript (1, 36, 51, 85, 117, 118, 158, 161, 183, 185, 187, 188, 194, 214, 236, among others) with frequent quotes from Svetlana Boym. These stimulating observations scattered throughout the book like small gems could have shone brighter in a larger crystallization in the final chapter. Japa nese Brazilian Saudades is a deeply researched and thoughtprovoking book that tackles the complex subject head-on with grace, nuance, and intricacy. I recommend this book not just to those scholars studying Brazil or Japan but also to anyone who is interested in diasporic identities and minority strug gles.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"124 - 126"},"PeriodicalIF":0.3,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47466046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:In 2009, Spanish public broadcaster RTVE released 50 años de, a series of documentaries on Spanish cultural icons, trends, and audiovisual memories of the last fifty years. Within that framework, its episodes seem to work towards the felicitous continuation of the Renanian vote for the Spanish nation. The series, which draws its raw materials from the vast archive of RTVE, attempts to achieve that purpose by persistently putting to work different structural and formal devices in the filmic treatment of the selected footage. There is nothing intrinsically extraordinary in this, except for the cultural perplexity that it produced in one of the most contentious peripheries of that Spanish nation, Catalonia, and on the very cusp of divisive times. Through my analysis, I show some peculiarities of nation formation in postdictatorial Spain. I also posit that this peculiar peripheral construction of the nation is not that extraordinary throughout the history of Spain.
{"title":"Spain, Made in Catalonia: Mechanics of Spanish Nation-Building in the Television Series 50 años de","authors":"A. Zamora","doi":"10.1353/hir.2021.0004","DOIUrl":"https://doi.org/10.1353/hir.2021.0004","url":null,"abstract":"abstract:In 2009, Spanish public broadcaster RTVE released 50 años de, a series of documentaries on Spanish cultural icons, trends, and audiovisual memories of the last fifty years. Within that framework, its episodes seem to work towards the felicitous continuation of the Renanian vote for the Spanish nation. The series, which draws its raw materials from the vast archive of RTVE, attempts to achieve that purpose by persistently putting to work different structural and formal devices in the filmic treatment of the selected footage. There is nothing intrinsically extraordinary in this, except for the cultural perplexity that it produced in one of the most contentious peripheries of that Spanish nation, Catalonia, and on the very cusp of divisive times. Through my analysis, I show some peculiarities of nation formation in postdictatorial Spain. I also posit that this peculiar peripheral construction of the nation is not that extraordinary throughout the history of Spain.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"114 - 93"},"PeriodicalIF":0.3,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49344555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article explores the representations of plant life and botanical ethics in José Vasconcelos's philosophical work. Drawing from some ideas of so-called critical plant studies, I investigate the ontological, political, and ecological implications of Vasconcelos's plant theory. I contend that it is a set of suggestions that ultimately put pressure on the stability of his own philosophical and political thought. The article focuses on two aspects of vegetal life that Vasconcelos highlights and theorizes: consciousness and collectivity. While the idea of plant consciousness as a tight interweaving of organic and inorganic elements tends to destabilize the anthropomorphic notion of human consciousness, plant collectivity stages a contingent and proliferating multiplicity that resists its domestication into a stable totality. In this way, Vasconcelos's encounter with plants suddenly uncovers the possibility of an ecological and anarchic thought. In the last section, I examine how these philosophical ideas about plants shed new light and cast an innovative image of La raza cósmica.
{"title":"José Vasconcelos's Plant Theory: The Life of Plants, Botanical Ethics, and the Cosmic Race","authors":"Jorge Quintana-Navarrete","doi":"10.1353/hir.2021.0003","DOIUrl":"https://doi.org/10.1353/hir.2021.0003","url":null,"abstract":"abstract:This article explores the representations of plant life and botanical ethics in José Vasconcelos's philosophical work. Drawing from some ideas of so-called critical plant studies, I investigate the ontological, political, and ecological implications of Vasconcelos's plant theory. I contend that it is a set of suggestions that ultimately put pressure on the stability of his own philosophical and political thought. The article focuses on two aspects of vegetal life that Vasconcelos highlights and theorizes: consciousness and collectivity. While the idea of plant consciousness as a tight interweaving of organic and inorganic elements tends to destabilize the anthropomorphic notion of human consciousness, plant collectivity stages a contingent and proliferating multiplicity that resists its domestication into a stable totality. In this way, Vasconcelos's encounter with plants suddenly uncovers the possibility of an ecological and anarchic thought. In the last section, I examine how these philosophical ideas about plants shed new light and cast an innovative image of La raza cósmica.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"69 - 92"},"PeriodicalIF":0.3,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43178099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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