Abstract:Medieval male friendship, at the intersection of sociopolitics, rhetoric, and philosophy, is both a habitus of affect and a possibility for unification. In Diego de San Pedro's Cárcel de amor (1483–1492), the bonding between el auctor and Leriano represents an Iberian late-medieval secretary–lord friendship that both constitutes el auctor's persona and persists throughout the story as the only certainty against passionate love, courtly enmity, and injustice. This article studies this friendship from the perspective of "virtue" and "unification," or "becoming one," the two principle dimensions of amiçiçia discussed by fifteenth-century moral philosophers—especially Alfonso Fernández de Madrigal and Ferrán Núñez. It argues that Cárcel incorporates these philosophical thoughts into its narrative-rhetorical design. By reading the paratexts of Cárcel, this article further contends that the pervasiveness of friendship creates a space of boundary-crossing in which the author, el auctor, and Leriano mirror each other and produce a conflated literary subjectivity.
摘要：中世纪男性友谊，处于社会政治、修辞学和哲学的交汇点，既是情感的习惯，也是统一的可能性。在迭戈·德·圣佩德罗（Diego de San Pedro）的《爱的力量》（Cárcel de amor，1483–1492）中，埃尔·奥克特和勒里亚诺之间的纽带代表了伊比利亚中世纪晚期的秘书-领主友谊，这两种友谊都构成了埃尔·奥克特的个性，并在整个故事中始终是对抗激情爱情、宫廷恩怨和不公正的唯一确定因素。本文从“美德”和“统一”或“成为一体”的角度来研究这种友谊，这是15世纪道德哲学家特别是阿方索·费尔南德斯·德·马德里加尔和费尔兰·努涅斯所讨论的两个基本维度。它认为Cárcel在其叙事修辞设计中融入了这些哲学思想。通过阅读Cárcel的副文本，本文进一步认为，友谊的普遍性创造了一个跨界空间，在这个空间中，作者、埃克托和勒里亚诺相互镜像，产生了一种融合的文学主体性。
{"title":"\"Entre él y mí grandes cosas pasaron\": Secretary– Lord Friendship in Cárcel de amor","authors":"Chenyun Li","doi":"10.1353/hir.2023.0018","DOIUrl":"https://doi.org/10.1353/hir.2023.0018","url":null,"abstract":"Abstract:Medieval male friendship, at the intersection of sociopolitics, rhetoric, and philosophy, is both a habitus of affect and a possibility for unification. In Diego de San Pedro's Cárcel de amor (1483–1492), the bonding between el auctor and Leriano represents an Iberian late-medieval secretary–lord friendship that both constitutes el auctor's persona and persists throughout the story as the only certainty against passionate love, courtly enmity, and injustice. This article studies this friendship from the perspective of \"virtue\" and \"unification,\" or \"becoming one,\" the two principle dimensions of amiçiçia discussed by fifteenth-century moral philosophers—especially Alfonso Fernández de Madrigal and Ferrán Núñez. It argues that Cárcel incorporates these philosophical thoughts into its narrative-rhetorical design. By reading the paratexts of Cárcel, this article further contends that the pervasiveness of friendship creates a space of boundary-crossing in which the author, el auctor, and Leriano mirror each other and produce a conflated literary subjectivity.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"273 - 296"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48864108","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}
selling of products as agencies increasingly become tied to US and Eu ro pean counter parts. There existed a growing belief among these professionals that “Spain was in many ways more alike than dif er ent from its Western Eu ro pean neighbors, and that Spain’s future lay in becoming a member of a pros perous, Western cap i tal ist, international community” (141) and that advertising had a key role to play in making this vis i ble. Attention is placed, for example, on the publicizing of the introduction of British inspired unisex clothing and the profound sociocultural transformations this addresses. A newly professionalized generation of admen (144) was in place and ready to make modernization (at least in cultural terms) real. Readers will also enjoy the history behind the state inspired “Spain is Dif er ent” slogan and its manipu lation from state run campaigns to international advertising meetings (157–159). Fi nally, Chapter 5: “On That Day, Borders Did Not Exist”: Department Stores and Social Liberalization in Spain, 1960–1975 studies the upheaval in socio cultural and gender norms that collapsed during the final years of the dic tatorship (1960–1975) as it contrasts the close knit Francoist leaning Galerías Preciados with its more progressive and countercultural US– Spanish counterpart, Sears Roebuck of Spain. The chapter addresses the expansion of the department store to all major Spanish urban centers as well as discussing the importance of interstore tourism and the development of a business cul ture unique to each enterprise. Buying into Change is an excellent study of mass consumer culture in Spain. It ofers well documented examples of the internationalization of Spanish cul tural mores through the rise of purchasing power of citizens who normal ized the state of po liti cal afairs with the betterment of their daily lives and emotional affiliation with all things international.
{"title":"Imperial Educación: Race and Republican Motherhood in the Nineteenth-Century Americas by Thomas Genova (review)","authors":"Felipe Martínez-Pinzón","doi":"10.1353/hir.2023.0021","DOIUrl":"https://doi.org/10.1353/hir.2023.0021","url":null,"abstract":"selling of products as agencies increasingly become tied to US and Eu ro pean counter parts. There existed a growing belief among these professionals that “Spain was in many ways more alike than dif er ent from its Western Eu ro pean neighbors, and that Spain’s future lay in becoming a member of a pros perous, Western cap i tal ist, international community” (141) and that advertising had a key role to play in making this vis i ble. Attention is placed, for example, on the publicizing of the introduction of British inspired unisex clothing and the profound sociocultural transformations this addresses. A newly professionalized generation of admen (144) was in place and ready to make modernization (at least in cultural terms) real. Readers will also enjoy the history behind the state inspired “Spain is Dif er ent” slogan and its manipu lation from state run campaigns to international advertising meetings (157–159). Fi nally, Chapter 5: “On That Day, Borders Did Not Exist”: Department Stores and Social Liberalization in Spain, 1960–1975 studies the upheaval in socio cultural and gender norms that collapsed during the final years of the dic tatorship (1960–1975) as it contrasts the close knit Francoist leaning Galerías Preciados with its more progressive and countercultural US– Spanish counterpart, Sears Roebuck of Spain. The chapter addresses the expansion of the department store to all major Spanish urban centers as well as discussing the importance of interstore tourism and the development of a business cul ture unique to each enterprise. Buying into Change is an excellent study of mass consumer culture in Spain. It ofers well documented examples of the internationalization of Spanish cul tural mores through the rise of purchasing power of citizens who normal ized the state of po liti cal afairs with the betterment of their daily lives and emotional affiliation with all things international.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"323 - 328"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41572059","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":"Teoría en tránsito: arqueología de la crítica y la teoría literaria españolas de 1966 a la posdictadura by Max Hidalgo Nácher (review)","authors":"Albert Jornet Somoza","doi":"10.1353/hir.2023.0011","DOIUrl":"https://doi.org/10.1353/hir.2023.0011","url":null,"abstract":"","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"332 - 335"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48476678","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:Through a close reading of the rhetoric, structure, and context of the Probanza de méritos of Juan Garrido (1538), this article repositions an African-born servant who made himself indispensable to the Mexican Conquest(s). I argue that Garrido developed a hybrid identity that allowed him to live not on the fringe of the Ibero-Atlantic world, but rather as an imperial agent operating at the heart of the expanding empire. Tracing how probanzas deploy rhetoric to engage in individual and collective negotiations with the Crown, demonstrating the bridge from a feudal society to an early modern state, I explore how Garrido may have understood the impact of "race" in his petition and thus reconsider blackness itself in the context of sixteenth-century colonial Mexico. Ultimately, I recast how we understand experiences of Afrodescendants in the conquest of the Americas, and how their own relationship with royal authorities reveals their agency.
摘要:本文通过对胡安·加里多(Juan Garrido) 1538年出版的《关于msamritos的证明》(Probanza de msamritos)的修辞、结构和语境的仔细解读，重新定位了一个在墨西哥征服中不可或缺的非洲裔仆人。我认为，加里多形成了一种混合身份，使他不再生活在伊比利亚-大西洋世界的边缘，而是作为一个在不断扩张的帝国中心活动的帝国代理人。通过追溯probanzas如何运用修辞来参与个人和集体与国王的谈判，展示从封建社会到早期现代国家的桥梁，我探索了加里多如何在他的请愿书中理解“种族”的影响，从而在16世纪殖民墨西哥的背景下重新考虑黑人本身。最后，我重塑了我们如何理解非洲后裔征服美洲的经历，以及他们与王室当局的关系如何揭示了他们的能力性。
{"title":"Sowing Wheat and Other Merits: The First \"Black Conquistador\" of the Mexican Field","authors":"J. Velázquez","doi":"10.1353/hir.2023.0015","DOIUrl":"https://doi.org/10.1353/hir.2023.0015","url":null,"abstract":"Abstract:Through a close reading of the rhetoric, structure, and context of the Probanza de méritos of Juan Garrido (1538), this article repositions an African-born servant who made himself indispensable to the Mexican Conquest(s). I argue that Garrido developed a hybrid identity that allowed him to live not on the fringe of the Ibero-Atlantic world, but rather as an imperial agent operating at the heart of the expanding empire. Tracing how probanzas deploy rhetoric to engage in individual and collective negotiations with the Crown, demonstrating the bridge from a feudal society to an early modern state, I explore how Garrido may have understood the impact of \"race\" in his petition and thus reconsider blackness itself in the context of sixteenth-century colonial Mexico. Ultimately, I recast how we understand experiences of Afrodescendants in the conquest of the Americas, and how their own relationship with royal authorities reveals their agency.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"197 - 219"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43128250","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:Pre-Hispanic codices hold an iconographic representation of a defeated warrior, which indicates events of a historical and religious nature and is reflected in steles with highly developed art. The tlacuilos' competent painting techniques showed that it was not easy for Spaniards and mestizo intellectuals to duplicate it and understand it. After Spanish intervention and with the help of the indigenous sages and the tlacuilos, the Spaniards and mestizos barely managed to create another series of analogous documents. Fernando Ortiz's concept of transculturation allows us to trace the transformations and reconfigurations that this image had through eight different manuscripts, not only throughout pre-Hispanic codices, but also among colonial documents. The selected images show the transit of cultures that existed in Mexico, firstly, between indigenous lordships, and later with the arrival of the Spaniards.
{"title":"La transculturación de las representaciones iconográficas en los manuscritos mexicanos: La reproducción del guerrero vencido a través de varios documentos precolombinos y textos coloniales","authors":"Brayan Serratos","doi":"10.1353/hir.2023.0017","DOIUrl":"https://doi.org/10.1353/hir.2023.0017","url":null,"abstract":"Abstract:Pre-Hispanic codices hold an iconographic representation of a defeated warrior, which indicates events of a historical and religious nature and is reflected in steles with highly developed art. The tlacuilos' competent painting techniques showed that it was not easy for Spaniards and mestizo intellectuals to duplicate it and understand it. After Spanish intervention and with the help of the indigenous sages and the tlacuilos, the Spaniards and mestizos barely managed to create another series of analogous documents. Fernando Ortiz's concept of transculturation allows us to trace the transformations and reconfigurations that this image had through eight different manuscripts, not only throughout pre-Hispanic codices, but also among colonial documents. The selected images show the transit of cultures that existed in Mexico, firstly, between indigenous lordships, and later with the arrival of the Spaniards.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"247 - 271"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43950753","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:Lucrecia Martel's Zama (2017) is the adaptation of the homonymous novel by Antonio di Benedetto, published in 1956. The action takes place in the 18th century, something we know from the novel, and from the representation of the colonial society in the film. The film, however, does not make any clear indication of the date in which the action takes place. Instead, it immerses the spectator in an atmosphere that is both natural and social. This immersion is achieved through sound and its connection with images. This immersion, however, does not entail illusion but is, in fact, intertwined with critical distance. This paper explores the apparent paradox between immersion and critique, paying attention to sound, the creation of a multisensory atmosphere, the composition of the frames, and the geometry of some scenes. This paper ultimately explores the connection between sound, image and power structures.
{"title":"Immersive Critique in Lucrecia Martel's Zama","authors":"Liliana Galindo Orrego","doi":"10.1353/hir.2023.0013","DOIUrl":"https://doi.org/10.1353/hir.2023.0013","url":null,"abstract":"Abstract:Lucrecia Martel's Zama (2017) is the adaptation of the homonymous novel by Antonio di Benedetto, published in 1956. The action takes place in the 18th century, something we know from the novel, and from the representation of the colonial society in the film. The film, however, does not make any clear indication of the date in which the action takes place. Instead, it immerses the spectator in an atmosphere that is both natural and social. This immersion is achieved through sound and its connection with images. This immersion, however, does not entail illusion but is, in fact, intertwined with critical distance. This paper explores the apparent paradox between immersion and critique, paying attention to sound, the creation of a multisensory atmosphere, the composition of the frames, and the geometry of some scenes. This paper ultimately explores the connection between sound, image and power structures.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"157 - 178"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48634542","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:Este artículo plantea una interpretación de «Garcilaso 1991», un poema de Habitaciones separadas (1994) de Luis García Montero, como poética. Dicha interpretación se propone a la luz de las hasta ahora desatendidas relaciones intertextuales que el poema establece con el soneto 33 de Garcilaso de la Vega y en vista de otros textos metaliterarios del autor granadino que son contemporáneos a la creación del poema. Asimismo, se propone observar la poética de García Montero como definitoria del género lírico y de raigambre clásica, en vez de como síntoma de un zeitgeist estético.Abstract:This article argues for an interpretation of "Garcilaso 1991"—a poem from Luis García Montero's book Habitaciones separadas (1994)—as a poetics. This interpretation is submitted considering other contemporaneous metaliterary texts by the author and the overlooked intertextual relationships that the poem establishes with Garcilaso de la Vega's Sonnet 33. This article also suggests that some aspects of García Montero's poetics are less a symptom of an aesthetic Zeitgeist than defining features of the lyric genre as exemplified by classical examples.
{"title":"El Garcilaso de Luis García Montero en 1991 y la tradición lírica","authors":"A. Lloret","doi":"10.1353/hir.2023.0014","DOIUrl":"https://doi.org/10.1353/hir.2023.0014","url":null,"abstract":"Abstract:Este artículo plantea una interpretación de «Garcilaso 1991», un poema de Habitaciones separadas (1994) de Luis García Montero, como poética. Dicha interpretación se propone a la luz de las hasta ahora desatendidas relaciones intertextuales que el poema establece con el soneto 33 de Garcilaso de la Vega y en vista de otros textos metaliterarios del autor granadino que son contemporáneos a la creación del poema. Asimismo, se propone observar la poética de García Montero como definitoria del género lírico y de raigambre clásica, en vez de como síntoma de un zeitgeist estético.Abstract:This article argues for an interpretation of \"Garcilaso 1991\"—a poem from Luis García Montero's book Habitaciones separadas (1994)—as a poetics. This interpretation is submitted considering other contemporaneous metaliterary texts by the author and the overlooked intertextual relationships that the poem establishes with Garcilaso de la Vega's Sonnet 33. This article also suggests that some aspects of García Montero's poetics are less a symptom of an aesthetic Zeitgeist than defining features of the lyric genre as exemplified by classical examples.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"179 - 195"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42126707","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:La novela Bajo este sol tremendo (2009) del escritor argentino Carlos Busqued (Chaco 1970; Buenos Aires, 2021) parece llevar a un extremo su trabajo sobre este interrogante: ¿Cómo se dibuja otra vez un espacio escritural tras una gran crisis? En este artículo, propongo que Bajo este sol tremendo podría leerse como una respuesta a la percepción de fractura de lo nacional, que surge tras la crisis de 2001 en el contexto argentino. Así, analizaré ciertos mecanismos narrativos en relación con lo espacial que permiten leer la novela de Busqued como un ejemplo de la búsqueda por trazar nuevos lugares desde donde enunciarse tras la crisis. Postulo que esta búsqueda de nuevos espacios literarios enfatiza la clausura de la idea de una "literatura argentina" en singular, y subraya la emergencia de nuevos corpus marcados por la diversidad.Abstract:The novel Bajo este sol tremendo (2009) by the Argentine writer Carlos Busqued (Chaco 1970 – Buenos Aires, 2021) seems to take his work on this question to an extreme: How is a space for writing redrawn after a major crisis? In this article, I propose that Bajo este sol tremendo could be read as a response to the perception of national fracture that arises after the 2001 crisis in the Argentine context. Thus, I will analyze certain narrative mechanisms in relation to the spatial that allow us to read Busqued's novel as an example of the search to trace new places from which to enunciate after the crisis. I postulate that this search for new literary spaces emphasizes the closure of the idea of an "Argentine Literature" in the singular, and underlines the emergence of new corpora marked by diversity.
摘要:阿根廷作家卡洛斯·布斯奎德(查科，1970;布宜诺斯艾利斯，2021年)似乎将他的作品推向了一个极端:在一场重大危机之后，如何重新绘制一个写作空间?在这篇文章中，我提出，在这灿烂的阳光下，它可以被解读为对2001年阿根廷危机后出现的国家分裂的回应。因此，我将分析一些与空间相关的叙事机制，这些机制允许读者阅读巴斯奎德的小说，作为一个例子，在危机之后寻找新的地方来表达自己。我认为，这种对新的文学空间的探索强调了“阿根廷文学”这一单一概念的终结，并强调了以多样性为标志的新语料库的出现。阿根廷作家卡洛斯·布斯奎德(Carlos Busqued，查科，1970 -布宜诺斯艾利斯，2021)的小说《Bajo este sol tremendo》(2009)似乎把他在这个问题上的作品带到了极端:在重大危机之后，写作的空间是怎样的?在这篇文章中，我提出，在这个巨大的太阳下，可以解读为对2001年阿根廷危机后出现的国家分裂的看法的回应。因此，我将分析与空间相关的某些叙事机制，使我们能够阅读《寻找小说》，作为寻找新的地方的一个例子，从那里我们可以在危机之后陈述。我认为，这种对新文学空间的探索强调了单数“阿根廷文学”思想的终结，并强调了以多样性为标志的新语料库的出现。
{"title":"Literatura argentina poscrisis 2001: Nuevos espacios escriturales en Bajo este sol tremendo (2009) de Carlos Busqued","authors":"N. D’Alessandro","doi":"10.1353/hir.2023.0019","DOIUrl":"https://doi.org/10.1353/hir.2023.0019","url":null,"abstract":"Abstract:La novela Bajo este sol tremendo (2009) del escritor argentino Carlos Busqued (Chaco 1970; Buenos Aires, 2021) parece llevar a un extremo su trabajo sobre este interrogante: ¿Cómo se dibuja otra vez un espacio escritural tras una gran crisis? En este artículo, propongo que Bajo este sol tremendo podría leerse como una respuesta a la percepción de fractura de lo nacional, que surge tras la crisis de 2001 en el contexto argentino. Así, analizaré ciertos mecanismos narrativos en relación con lo espacial que permiten leer la novela de Busqued como un ejemplo de la búsqueda por trazar nuevos lugares desde donde enunciarse tras la crisis. Postulo que esta búsqueda de nuevos espacios literarios enfatiza la clausura de la idea de una \"literatura argentina\" en singular, y subraya la emergencia de nuevos corpus marcados por la diversidad.Abstract:The novel Bajo este sol tremendo (2009) by the Argentine writer Carlos Busqued (Chaco 1970 – Buenos Aires, 2021) seems to take his work on this question to an extreme: How is a space for writing redrawn after a major crisis? In this article, I propose that Bajo este sol tremendo could be read as a response to the perception of national fracture that arises after the 2001 crisis in the Argentine context. Thus, I will analyze certain narrative mechanisms in relation to the spatial that allow us to read Busqued's novel as an example of the search to trace new places from which to enunciate after the crisis. I postulate that this search for new literary spaces emphasizes the closure of the idea of an \"Argentine Literature\" in the singular, and underlines the emergence of new corpora marked by diversity.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"297 - 317"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46376452","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 Turkish telenovela phenomenon that has swept Latin America since 2014 and, more recently, the Hispanic media market in the US. Drawing on media scholar Marwan Kraidy's concept of hybridity, the article examines the processes and conditions that created fertile ground for the enthusiastic reception of dizis, the name by which these series are known in Turkey. The article briefly examines the cross-pollination that is taking place between the Turkish dizi, an already hybrid genre, and the Latin American telenovela. It suggests that these cross-cultural exchanges are fueling a renewal of the Latin American telenovela after years of decline. The article's analysis of the internationally successful melodrama ¿Qué culpa tiene Fatmagul? provides an in-depth example for the discussion. The paper explores the reasons why this telenovela in particular has resonated strongly with audiences all around Latin America.
{"title":"The Ottomans Conquer Latin America: The Rise of Turkish Melodramas","authors":"Mirna Trauger","doi":"10.1353/hir.2023.0016","DOIUrl":"https://doi.org/10.1353/hir.2023.0016","url":null,"abstract":"Abstract:This article explores the Turkish telenovela phenomenon that has swept Latin America since 2014 and, more recently, the Hispanic media market in the US. Drawing on media scholar Marwan Kraidy's concept of hybridity, the article examines the processes and conditions that created fertile ground for the enthusiastic reception of dizis, the name by which these series are known in Turkey. The article briefly examines the cross-pollination that is taking place between the Turkish dizi, an already hybrid genre, and the Latin American telenovela. It suggests that these cross-cultural exchanges are fueling a renewal of the Latin American telenovela after years of decline. The article's analysis of the internationally successful melodrama ¿Qué culpa tiene Fatmagul? provides an in-depth example for the discussion. The paper explores the reasons why this telenovela in particular has resonated strongly with audiences all around Latin America.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"91 1","pages":"221 - 245"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42166053","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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