Abstract (Lang: Spanish):El objetivo de este trabajo es abordar la producción literaria de Juan Balboa Boneke desde la perspectiva de la desterritorialización, que lo marca vital y escriturariamente de manera similar a muchos otros escritores ecuatoguineanos y africanos. Dentro del importante papel que juega el paisaje en su producción literaria, dada su condición de exiliado, nos centraremos en cómo el autor establece en su obra distintos geosímbolos para lograr rehabitar ese paisaje perdido, poniendo palabras —por medio de una interesante operación lingüística— que llenen el vacío de un espacio lejano, robado, y pudiendo observarse un tratamiento desigual de ese paisaje a través de los distintos géneros que cultiva.Abstract (Lang: English):The aim of this work is to address the literary production of Juan Balboa Boneke from the perspective of deterritorialization, marking him vitally and scripturally, like many other Equatoguinean and African writers. Within the important role that the landscape plays in his literary production, given his condition as an exile, we will focus on how the author establishes different geosymbols in his work in order to reinhabit that lost landscape, using words—through an interesting linguistic operation—that fill the void of a distant, stolen space. We will also see an unequal treatment of that landscape through the different genres that he cultivates.
摘要:本文的目的是从非领土化的角度来探讨胡安·巴尔博亚·博内克的文学创作，非领土化标志着他的生命，在写作上与许多其他赤道几内亚和非洲作家相似。景观内发挥重要作用,在其流亡文学生产,因为她的条件,我们将把重点放在如何规定,在不同的作品实现寄居geosímbolos这种失去景观,通过一个有趣的操作lingüística的话——一个遥远空间填补这一真空,偷来的不平等对待,可以看到这种景观通过不同性别较少。摘要(Lang: English):本作品的目的是从非领土化的角度来处理胡安·巴尔博亚·博内克的文学作品，像许多其他赤道几内亚和非洲作家一样，对他进行了重要的和圣经的标志。Within the important role that the状况plays literary国内生产,给予其condition as an聊天,we will focus on how提交人的问题将其geosymbols work in order to reinhabit lost状况,using his words—through an interesting linguistic operation—that规范性the void of a distant, stolen space。= =地理= =根据美国人口普查，这个县的土地面积为。
{"title":"Rehabitando el espacio perdido: la desterritorialización en la obra de Juan Balboa Boneke","authors":"Antonio Becerra Bolaños, Nayra Pérez Hernández","doi":"10.1353/hir.2022.0039","DOIUrl":"https://doi.org/10.1353/hir.2022.0039","url":null,"abstract":"Abstract (Lang: Spanish):El objetivo de este trabajo es abordar la producción literaria de Juan Balboa Boneke desde la perspectiva de la desterritorialización, que lo marca vital y escriturariamente de manera similar a muchos otros escritores ecuatoguineanos y africanos. Dentro del importante papel que juega el paisaje en su producción literaria, dada su condición de exiliado, nos centraremos en cómo el autor establece en su obra distintos geosímbolos para lograr rehabitar ese paisaje perdido, poniendo palabras —por medio de una interesante operación lingüística— que llenen el vacío de un espacio lejano, robado, y pudiendo observarse un tratamiento desigual de ese paisaje a través de los distintos géneros que cultiva.Abstract (Lang: English):The aim of this work is to address the literary production of Juan Balboa Boneke from the perspective of deterritorialization, marking him vitally and scripturally, like many other Equatoguinean and African writers. Within the important role that the landscape plays in his literary production, given his condition as an exile, we will focus on how the author establishes different geosymbols in his work in order to reinhabit that lost landscape, using words—through an interesting linguistic operation—that fill the void of a distant, stolen space. We will also see an unequal treatment of that landscape through the different genres that he cultivates.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47954717","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 (Lang: Spanish):Este artículo se enfoca en las películas colombianas El vuelco del cangrejo y La Sirga. Sus protagonistas llegan a lugares desconocidos tras episodios de intenso sufrimiento. Estos lugares funcionan como falsos umbrales que separan a los personajes de sus comunidades de origen pero que no pueden ofrecerles una nueva. Suspendidos en un estado liminal, los personajes se encuentran con la imposibilidad de hacer una experiencia de lo que han vivido, ya que, como nos recordaba Walter Benjamin, esto requiere una comunidad que cuente historias y las escuche. Las crisis de la comunidad, de la narración y de la experiencia son el resultado de la modernización que penetra en la periferia geográfica y económica del país. Postulamos que estas películas configuran una estética de la lentitud que les permite expresar y responder a esta triple crisis.Abstract (Lang: English):This article focuses on the Colombian films El vuelco del cangrejo and La Sirga. Their protagonists arrive in unknown places after events of intense suffering. These places function as false thresholds that separate the characters from their original communities but cannot offer them a new one. Suspended in a liminal state, the characters find it impossible to create experience out of what they have lived through, since, as Walter Benjamin reminds us, this requires a community that tells and listens to stories. The crisis of community, narrative, and experience are the result of modernization, as it enters the geographic and economic periphery of the country. We postulate that these films develop an aesthetics of slowness that allows them to express and respond to this triple crisis.
摘要:本文主要研究哥伦比亚电影《蟹的翻转》和《瑟加》。在经历了一段强烈的痛苦之后，主人公们来到了未知的地方。这些地方就像一个虚假的门槛，将人物与他们的家乡社区分开，但却无法提供一个新的社区。在一种阈值状态下，角色发现自己不可能体验他们所经历的，因为正如沃尔特·本杰明提醒我们的那样，这需要一个讲故事和倾听故事的社区。社区、叙事和经历的危机是渗透到国家地理和经济边缘的现代化的结果。我们认为，这些电影构成了一种缓慢的美学，使它们能够表达和应对这三重危机。摘要:本文聚焦于哥伦比亚电影《El vuelco del cangrejo》和《La Sirga》。他们的主角在经历了强烈的痛苦之后来到了未知的地方。= =地理= =根据美国人口普查，这个县的面积为，其中土地面积为，其中土地面积为。在一种阈值状态下，角色不可能创造出他们所经历的体验，因为正如沃尔特·本杰明提醒我们的那样，这需要一个社区来讲述和倾听故事。The crisis of community, narrative and experience are The公诉modernization, as it enters地理和经济periphery of The country。We postulate,这些电影会议应为an aesthetics of slowness that他们allows to express and respond to this三重危机。
{"title":"La crisis de la comunidad, de la narración y de la experiencia en El vuelco del cangrejo y La Sirga","authors":"Daniel Jerónimo Tobón, Andrés Villegas","doi":"10.1353/hir.2022.0035","DOIUrl":"https://doi.org/10.1353/hir.2022.0035","url":null,"abstract":"Abstract (Lang: Spanish):Este artículo se enfoca en las películas colombianas El vuelco del cangrejo y La Sirga. Sus protagonistas llegan a lugares desconocidos tras episodios de intenso sufrimiento. Estos lugares funcionan como falsos umbrales que separan a los personajes de sus comunidades de origen pero que no pueden ofrecerles una nueva. Suspendidos en un estado liminal, los personajes se encuentran con la imposibilidad de hacer una experiencia de lo que han vivido, ya que, como nos recordaba Walter Benjamin, esto requiere una comunidad que cuente historias y las escuche. Las crisis de la comunidad, de la narración y de la experiencia son el resultado de la modernización que penetra en la periferia geográfica y económica del país. Postulamos que estas películas configuran una estética de la lentitud que les permite expresar y responder a esta triple crisis.Abstract (Lang: English):This article focuses on the Colombian films El vuelco del cangrejo and La Sirga. Their protagonists arrive in unknown places after events of intense suffering. These places function as false thresholds that separate the characters from their original communities but cannot offer them a new one. Suspended in a liminal state, the characters find it impossible to create experience out of what they have lived through, since, as Walter Benjamin reminds us, this requires a community that tells and listens to stories. The crisis of community, narrative, and experience are the result of modernization, as it enters the geographic and economic periphery of the country. We postulate that these films develop an aesthetics of slowness that allows them to express and respond to this triple crisis.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41799438","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:La escatología constituye uno de los recursos humorísticos esenciales del teatro del Siglo de Oro a pesar de que la crítica literaria ha tendido a obviar que autores tan consagrados como Lope de Vega, Cervantes, Tirso de Molina o Calderón de la Barca mezclaban sus ficciones con materia fecal. Las obras dramáticas demuestran la existencia de procedimientos frecuentes que los dramaturgos utilizaban como lugares comunes y que permiten realizar una clasificación tripartita de motivos escatológicos: los vinculados con la gastronomía, el miedo y la sátira del cortejo. En ellos, el gracioso no es el único blanco de las heces, pero sí la víctima predilecta, pues se enmarca en un sistema que certifica la correspondencia entre la clase inferior, las funciones fisiológicas y las características risibles.Abstract:Scatology constitutes one of the essential humorous resources of Spanish Golden Age theater, despite the fact that literary criticism has tended to ignore that established authors such as Lope de Vega, Cervantes, Tirso de Molina and Calderón de la Barca mixed their fictions with feces. The dramatic works prove the existence of frequent procedures that the playwrights used as commonplace and that allow a tripartite classification of scatological motifs: those related to gastronomy, to fear, and to the satire of courtship. In them, the "gracioso" is not the only target of the feces, but the favorite victim, since it is part of a system that certifies the correspondence between the lower class, physiological functions, and laughable characteristics.
摘要：末世论是黄金时代戏剧的基本幽默资源之一，尽管文学批评往往忽视了洛普·德·维加、塞万提斯、蒂尔索·德·莫利纳或卡尔德龙·德拉巴尔卡等著名作家将他们的小说与粪便混合在一起。戏剧作品证明了剧作家经常使用的程序的存在，这些程序可以对末世动机进行三方分类：与美食、恐惧和对求爱的讽刺有关的程序。在他们中，幽默并不是粪便的唯一目标，而是最受欢迎的受害者，因为它是证明下层阶级、生理功能和可笑特征之间对应关系的系统的一部分。摘要：Scatology是西班牙黄金时代剧院必不可少的幽默资源之一，尽管文学批评倾向于忽视Lope de Vega、Cervantes、Tirso de Molina和Calderón de la Barca等知名作家将他们的小说与Feces混合在一起。戏剧作品证明了剧作家经常使用的程序的存在，这些程序允许对scatological motif进行三方分类：与美食、恐惧和讽刺宫廷有关的程序。在他们中，“有趣”不仅是约会的目标，也是最受欢迎的受害者，因为它是证明下层阶级、生理功能和可喜特征之间对应关系的系统的一部分。
{"title":"\"¡Agua va!\": Recursos del humor escatológico en el teatro del Siglo de Oro","authors":"Gaston Gilabert","doi":"10.1353/hir.2022.0024","DOIUrl":"https://doi.org/10.1353/hir.2022.0024","url":null,"abstract":"Resumen:La escatología constituye uno de los recursos humorísticos esenciales del teatro del Siglo de Oro a pesar de que la crítica literaria ha tendido a obviar que autores tan consagrados como Lope de Vega, Cervantes, Tirso de Molina o Calderón de la Barca mezclaban sus ficciones con materia fecal. Las obras dramáticas demuestran la existencia de procedimientos frecuentes que los dramaturgos utilizaban como lugares comunes y que permiten realizar una clasificación tripartita de motivos escatológicos: los vinculados con la gastronomía, el miedo y la sátira del cortejo. En ellos, el gracioso no es el único blanco de las heces, pero sí la víctima predilecta, pues se enmarca en un sistema que certifica la correspondencia entre la clase inferior, las funciones fisiológicas y las características risibles.Abstract:Scatology constitutes one of the essential humorous resources of Spanish Golden Age theater, despite the fact that literary criticism has tended to ignore that established authors such as Lope de Vega, Cervantes, Tirso de Molina and Calderón de la Barca mixed their fictions with feces. The dramatic works prove the existence of frequent procedures that the playwrights used as commonplace and that allow a tripartite classification of scatological motifs: those related to gastronomy, to fear, and to the satire of courtship. In them, the \"gracioso\" is not the only target of the feces, but the favorite victim, since it is part of a system that certifies the correspondence between the lower class, physiological functions, and laughable characteristics.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42102821","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:Most Cuban antislavery narratives from the 19th century were published abroad due to censorship. However, some antislavery children's stories circulated without restriction in public and private schools across the island. These stories are little known and have not been studied as part of the abolitionist effort in Cuba. I examine the antislavery stories that appeared in Cirilo Villaverde's El librito de los cuentos (1847) and Francisco Javier Balmaseda's Fábulas morales (1858). These books were approved by Spanish censors and became official reading material in schools at a time when slavery was the foundation of Cuba's economy. I argue that because the children's genre was not perceived as politically dangerous and was, therefore, less scrutinized, Villaverde and Balmaseda used it as a safe platform to promote their anticolonial programs. I consider the two authors' strategies vis-à-vis censorship and draw from postcolonial theory to discuss the use of violence in these stories.
摘要：由于审查制度，19世纪的大多数古巴反奴隶制叙事都在国外出版。然而，一些反奴隶制儿童的故事在全岛公立和私立学校不受限制地流传。这些故事鲜为人知，也没有作为古巴废奴主义努力的一部分进行研究。我研究了Cirilo Villaverde的《El librito de los cuentos》（1847年）和Francisco Javier Balmaseda的《Fábulas morales》（1858年）中出现的反奴隶制故事。这些书得到了西班牙审查机构的批准，并在奴隶制是古巴经济基础的时候成为学校的官方读物。我认为，由于儿童类型没有被认为是政治危险的，因此也没有受到太多的审查，维拉韦德和巴尔马塞达将其作为一个安全的平台来宣传他们的反殖民计划。我考虑了两位作者对审查制度的策略，并借鉴后殖民理论来讨论这些故事中暴力的使用。
{"title":"Circumventing Censorship through Children's Textbooks in Cuba: The Antislavery Campaign of Cirilo Villaverde and Francisco J. Balmaseda","authors":"Carolina Rodríguez Tsouroukdissian","doi":"10.1353/hir.2022.0027","DOIUrl":"https://doi.org/10.1353/hir.2022.0027","url":null,"abstract":"Abstract:Most Cuban antislavery narratives from the 19th century were published abroad due to censorship. However, some antislavery children's stories circulated without restriction in public and private schools across the island. These stories are little known and have not been studied as part of the abolitionist effort in Cuba. I examine the antislavery stories that appeared in Cirilo Villaverde's El librito de los cuentos (1847) and Francisco Javier Balmaseda's Fábulas morales (1858). These books were approved by Spanish censors and became official reading material in schools at a time when slavery was the foundation of Cuba's economy. I argue that because the children's genre was not perceived as politically dangerous and was, therefore, less scrutinized, Villaverde and Balmaseda used it as a safe platform to promote their anticolonial programs. I consider the two authors' strategies vis-à-vis censorship and draw from postcolonial theory to discuss the use of violence in these stories.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42011709","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 finds the sixth of María de Zayas y Sotomayor's Desengaños amorosos unique among all her novelasfor two elements: its dense intertextuality and its strikingly unreliable narrator. Achilles's transvestite initiation into heroic manhood is a trope replicated in sixteenth-century Spanish chivalric novels, seventeenth-century drama, and Amar solo porvencer. With both the plot and Matilde's shifty manner of telling it, Zayas acknowledges and revises the classical figure's cross-dressing performance. The result is a chilling assessment of her culture's eroding norms of manly behavior.
{"title":"Gender Reveal: The Achilles/Amadís Paradigm in María de Zayas's Amar solo por vencer","authors":"Dian Fox","doi":"10.1353/hir.2022.0023","DOIUrl":"https://doi.org/10.1353/hir.2022.0023","url":null,"abstract":"Abstract:This article finds the sixth of María de Zayas y Sotomayor's Desengaños amorosos unique among all her novelasfor two elements: its dense intertextuality and its strikingly unreliable narrator. Achilles's transvestite initiation into heroic manhood is a trope replicated in sixteenth-century Spanish chivalric novels, seventeenth-century drama, and Amar solo porvencer. With both the plot and Matilde's shifty manner of telling it, Zayas acknowledges and revises the classical figure's cross-dressing performance. The result is a chilling assessment of her culture's eroding norms of manly behavior.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43678363","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 essay analyzes positive representations of superstition and aged femininity in Emilia Pardo Bazán's travel narrative "Enelcastillo de Sobroso" (1888) and her short story "La santa de Karnar" (1891). These works rewrite negative narratives of aging popular in Galician folksongs, which frequently targeted elderly peasant women (vellas) as objects of satire and ridicule. I argue that the positive framing of feminine senescence in these texts reflects the Galician author's desire to incorporate both regional and feminine discourses into her articulation of the Spanish nation. Through her authorial intervention, Pardo Bazán positions herself, not unproblematically, as a privileged arbiter of Galician popular traditions, coopting the vellainto her cosmopolitan self-fashioning as a cultural elite.
{"title":"Beyond Witchy Women: Rewriting Narratives of Rural Feminine Senescence and Superstition in \"La santa de Karnar\" and \"En el castillo de Sobroso\" by Emilia Pardo Bazán","authors":"Gabrielle Miller","doi":"10.1353/hir.2022.0025","DOIUrl":"https://doi.org/10.1353/hir.2022.0025","url":null,"abstract":"Abstract:This essay analyzes positive representations of superstition and aged femininity in Emilia Pardo Bazán's travel narrative \"Enelcastillo de Sobroso\" (1888) and her short story \"La santa de Karnar\" (1891). These works rewrite negative narratives of aging popular in Galician folksongs, which frequently targeted elderly peasant women (vellas) as objects of satire and ridicule. I argue that the positive framing of feminine senescence in these texts reflects the Galician author's desire to incorporate both regional and feminine discourses into her articulation of the Spanish nation. Through her authorial intervention, Pardo Bazán positions herself, not unproblematically, as a privileged arbiter of Galician popular traditions, coopting the vellainto her cosmopolitan self-fashioning as a cultural elite.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44553143","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}
en el importante papel del catalán en la construcción formal de la crónica periodística en España y en su asentamiento definitivo dentro de una industria destinada a construir y publicar acontecimientos del presente inmediato y difundirlos “como episodios significativos de la historia que pasaba”, mecanismo de imposible existencia sin la presencia “de un público deseoso de leer sobre ellos” (260). Por su parte, “Crisis y crítica” inicia con la experiencia periodística de Clarín para reflexionar sobre la relación “entre tesela, mosaico y vida”, es decir, entre un texto, cada texto y el proceso de elaboración de cada uno de ellos. En ese sentido, la labor periodística de Clarín demuestra que, en ocasiones, esta no conforma un trabajo final, único y cerrado que ha de brindarse así al lector, sino un proceso fragmentario, metonímico, administrado a retazos para que sea el lector el encargado de juzgar y reconstruir, como si de un puzle se tratara, la fotografía final que se le entrega. Escritores y lectores de un día todos se ocupa de uno de los temas a los que sin duda menos ha prestado atención la crítica: la relación entre literatura y periodismo, y cómo aspectos tales como la inmediatez, la fragmentación y la heterogeneidad afectaban el propio proceso de creación literaria, todo ello en un momento en el que los lindes que separaban la escritura periodística de la creativa eran difusos. Además de llenar ese importante hueco, la gran cantidad de datos, nombres y referencias citadas abren un enorme rastro que sin duda facilitará el trabajo a los futuros estudiosos que quieran profundizar en ese apasionante mundo que fue el periodismo decimonónico.
{"title":"Military Life Writing in Early Modern Spain by Faith S. Harden (review)","authors":"M. Borowitz","doi":"10.1353/hir.2022.0030","DOIUrl":"https://doi.org/10.1353/hir.2022.0030","url":null,"abstract":"en el importante papel del catalán en la construcción formal de la crónica periodística en España y en su asentamiento definitivo dentro de una industria destinada a construir y publicar acontecimientos del presente inmediato y difundirlos “como episodios significativos de la historia que pasaba”, mecanismo de imposible existencia sin la presencia “de un público deseoso de leer sobre ellos” (260). Por su parte, “Crisis y crítica” inicia con la experiencia periodística de Clarín para reflexionar sobre la relación “entre tesela, mosaico y vida”, es decir, entre un texto, cada texto y el proceso de elaboración de cada uno de ellos. En ese sentido, la labor periodística de Clarín demuestra que, en ocasiones, esta no conforma un trabajo final, único y cerrado que ha de brindarse así al lector, sino un proceso fragmentario, metonímico, administrado a retazos para que sea el lector el encargado de juzgar y reconstruir, como si de un puzle se tratara, la fotografía final que se le entrega. Escritores y lectores de un día todos se ocupa de uno de los temas a los que sin duda menos ha prestado atención la crítica: la relación entre literatura y periodismo, y cómo aspectos tales como la inmediatez, la fragmentación y la heterogeneidad afectaban el propio proceso de creación literaria, todo ello en un momento en el que los lindes que separaban la escritura periodística de la creativa eran difusos. Además de llenar ese importante hueco, la gran cantidad de datos, nombres y referencias citadas abren un enorme rastro que sin duda facilitará el trabajo a los futuros estudiosos que quieran profundizar en ese apasionante mundo que fue el periodismo decimonónico.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44723640","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:Resulta interesante considerar ciertas reelaboraciones del mito de Antígona en el marco de la relación entre irracionalismo y tragedia durante el contexto del exilio y de la posguerra civil española. Tanto La tumba de Antígona de María Zambrano como La sangre de Antígona de José Bergamín señalan—a partir de sus semejanzas y también de sus diferencias—una cierta conciencia sobre el declive de la razón. Asimismo, la diversa valoración que exhiben con respecto a la existencia de un nuevo saber experiencial—de herecia unamuniana—ayuda a comprender el contraste de ambas miradas sobre la tragedia como fuente de conocimiento.Abstract:It is interesting to consider certain reworkings of the myth of Antigone in the context of the relationship between irrationalism and tragedy in the context of exile and the post-Spanish Civil War period. Both La tumba de Antígona by María Zambrano and La sangre de Antígona by José Bergamín point out—from their similarities and also their differences—a certain awareness about the decline of reason. Likewise, the different valuation they show in relation to the existence of a new experiential knowledge—of Unamunian heritage—helps to understand the contrast of both views on tragedy as a source of knowledge.
{"title":"Antígona o el otro saber: Zambrano, Bergamín y la tragedia de la razón","authors":"M. Saba","doi":"10.1353/hir.2022.0028","DOIUrl":"https://doi.org/10.1353/hir.2022.0028","url":null,"abstract":"Resumen:Resulta interesante considerar ciertas reelaboraciones del mito de Antígona en el marco de la relación entre irracionalismo y tragedia durante el contexto del exilio y de la posguerra civil española. Tanto La tumba de Antígona de María Zambrano como La sangre de Antígona de José Bergamín señalan—a partir de sus semejanzas y también de sus diferencias—una cierta conciencia sobre el declive de la razón. Asimismo, la diversa valoración que exhiben con respecto a la existencia de un nuevo saber experiencial—de herecia unamuniana—ayuda a comprender el contraste de ambas miradas sobre la tragedia como fuente de conocimiento.Abstract:It is interesting to consider certain reworkings of the myth of Antigone in the context of the relationship between irrationalism and tragedy in the context of exile and the post-Spanish Civil War period. Both La tumba de Antígona by María Zambrano and La sangre de Antígona by José Bergamín point out—from their similarities and also their differences—a certain awareness about the decline of reason. Likewise, the different valuation they show in relation to the existence of a new experiential knowledge—of Unamunian heritage—helps to understand the contrast of both views on tragedy as a source of knowledge.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45014269","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":"Escritores y lectores de un día todos: literaturas periódicas en la España del siglo XIX by Santiago Díaz Lage (review)","authors":"J. Diz","doi":"10.1353/hir.2022.0029","DOIUrl":"https://doi.org/10.1353/hir.2022.0029","url":null,"abstract":"","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46278787","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}
petition and testimony, and missionary correspondence, among others— but her election of Greenblatt over Butler enables her to sidestep accusations of anachronism while still demonstrating that honor affords individual subjects a means to negotiate with and authorize themselves to institutional power, and to claim agency within its sphere of control. The book’s most significant contribution revolves around this dynamic of negotiation and exchange between soldier and sovereign, providing valuable new insight into the popu lar understanding of sovereignty in the early modern Spanish Empire. The notion of meritorious ser vice implies that certain conditions or forms of ser vice exceed the general pact of subjection— that is, the idea that sovereigns owe their subjects something (order, protection, wellbeing) in exchange for their compliance— and therefore require additional recognition. Harden shows us that, at least in the military context, the concept of honor cuts both ways; it is the common currency between soldier and sovereign, insofar as it codifies the norms of be hav ior for both parties to this unspoken agreement to exchange extraordinary ser vice for extraordinary reward (loyalty and re spect from the soldier, and timely and proportionate recognition from the sovereign). Arms and Letters may prove most useful to researchers working on military textual production— life writing, petitions and probanzas, testimony, correspondence, and historiography—in the early modern Spanish Empire, but will certainly also be of interest to anyone studying autobiography, selffashioning and identity formation, and conceptualizations of sovereign power during the period.
{"title":"Staging Habla de Negros: Radical Performance of the African Diaspora in Early Modern Spain by Nicholas R. Jones (review)","authors":"Julio Vélez-Sainz","doi":"10.1353/hir.2022.0031","DOIUrl":"https://doi.org/10.1353/hir.2022.0031","url":null,"abstract":"petition and testimony, and missionary correspondence, among others— but her election of Greenblatt over Butler enables her to sidestep accusations of anachronism while still demonstrating that honor affords individual subjects a means to negotiate with and authorize themselves to institutional power, and to claim agency within its sphere of control. The book’s most significant contribution revolves around this dynamic of negotiation and exchange between soldier and sovereign, providing valuable new insight into the popu lar understanding of sovereignty in the early modern Spanish Empire. The notion of meritorious ser vice implies that certain conditions or forms of ser vice exceed the general pact of subjection— that is, the idea that sovereigns owe their subjects something (order, protection, wellbeing) in exchange for their compliance— and therefore require additional recognition. Harden shows us that, at least in the military context, the concept of honor cuts both ways; it is the common currency between soldier and sovereign, insofar as it codifies the norms of be hav ior for both parties to this unspoken agreement to exchange extraordinary ser vice for extraordinary reward (loyalty and re spect from the soldier, and timely and proportionate recognition from the sovereign). Arms and Letters may prove most useful to researchers working on military textual production— life writing, petitions and probanzas, testimony, correspondence, and historiography—in the early modern Spanish Empire, but will certainly also be of interest to anyone studying autobiography, selffashioning and identity formation, and conceptualizations of sovereign power during the period.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47338091","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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