RESUMEN:A partir del análisis de las piezas teatrales Los perturbados entre lilas (1969), de Alejandra Pizarnik, y Melancolía y manifestaciones (2012), de Lola Arias, propongo una relectura de estos textos desde la capacidad de la melancolía como tropo, recurso estilístico y característica definitoria de los personajes, para aportar una nueva mirada sobre los discursos de género y la construcción de la memoria en el teatro argentino contemporáneo. Presentando a sus protagonistas, Pizarnik y Arias subvierten el paradigma genérico en el cual el genio melancólico es un hombre, mientras la mujer melancólica resulta una improductiva víctima de la depresión. La melancolía permite la validación creativa del cuerpo femenino (en Pizarnik), y se muestra como consecuencia invisible de la dictadura militar argentina (en Arias). En ambas obras las escrituras biográficas y autobiográficas permiten incorporar el ámbito de lo privado a la escena, dándoles visibilidad y agencia a personajes históricamente relegados de los discursos oficiales y públicos.Abstract:Based on the analysis of the theatrical pieces "Los perturbados entre lilas" (1969), by Alejandra Pizarnik, and "Melancolía y manifestaciones" (2012), by Lola Arias, I propose a rereading of these texts from the capacity of melancholy as a trope, stylistic resource, and defining characteristic of the characters, to provide a new perspective on gender discourses and the construction of memory in contemporary Argentine theater. By presenting their protagonists as melancholic, Pizarnik and Arias subvert the paradigm where the melancholic genius is a man, while the melancholic woman is an unproductive victim of depression. Melancholy allows the creative validation of the female body (in Pizarnik), and is shown as an invisible consequence of the Argentine military dictatorship (in Arias). In both works, biographical and autobiographical writing allows the incorporation of the private sphere into the stage, giving visibility and agency to characters historically relegated from official and public discourses.
摘要:分析戏剧零件之间的扰乱紫丁香(1969年)、亚历山德拉Pizarnik喜怒无常和表现阿里亚斯(2012),罗拉,我们将这些案文第二阅读从蒸汽作为一种修辞格,文体资源和能力的决定性特征问题人物,以提供一个新的眼睛讲话,性别和建筑的记忆在阿根廷当代剧场。通过介绍他们的主角，皮扎尼克和阿里亚斯颠覆了一般的范式，在这种范式中，忧郁的天才是一个男人，而忧郁的女人是抑郁的无效受害者。忧郁允许对女性身体的创造性验证(皮扎尼克)，并被展示为阿根廷军事独裁的无形后果(阿里亚斯)。在这两部作品中，传记和自传体作品都允许将私人领域纳入场景，赋予历史上被官方和公共话语边缘化的人物可见性和代理性。Abstract: Based on the analysis of the theatrical pieces紫丁香之间的“下定决心”(1969年),由亚历山德拉Pizarnik,和“喜怒无常和表现”(2012年),by Lola Arias I propose a rereading of这些texts from the capacity of melancholy trope, stylistic resource, and defining characteristic of the characters,提供a new perspective on gender discourses and the construction of memory in包含阿根廷theatre)。就由印有protagonists melancholic, Pizarnik和阿里亚斯subvert范式where the genius melancholic is a man, the melancholic woman is an unproductive受害人of forgotten。Melancholy允许女性身体的创造性验证(在Pizarnik)，并被视为阿根廷军事独裁的无形后果(在Arias)。在他的作品中，传记和自传写作都允许将私人领域纳入舞台，使历史上被官方和公共话语所限制的人物能够看到和代理。
{"title":"Melancolía y autoexposición: Los perturbados entre lilas de Alejandra Pizarnik y Melancolía y manifestaciones de Lola Arias","authors":"Lilianne Lugo Herrera","doi":"10.1353/hir.2022.0021","DOIUrl":"https://doi.org/10.1353/hir.2022.0021","url":null,"abstract":"RESUMEN:A partir del análisis de las piezas teatrales Los perturbados entre lilas (1969), de Alejandra Pizarnik, y Melancolía y manifestaciones (2012), de Lola Arias, propongo una relectura de estos textos desde la capacidad de la melancolía como tropo, recurso estilístico y característica definitoria de los personajes, para aportar una nueva mirada sobre los discursos de género y la construcción de la memoria en el teatro argentino contemporáneo. Presentando a sus protagonistas, Pizarnik y Arias subvierten el paradigma genérico en el cual el genio melancólico es un hombre, mientras la mujer melancólica resulta una improductiva víctima de la depresión. La melancolía permite la validación creativa del cuerpo femenino (en Pizarnik), y se muestra como consecuencia invisible de la dictadura militar argentina (en Arias). En ambas obras las escrituras biográficas y autobiográficas permiten incorporar el ámbito de lo privado a la escena, dándoles visibilidad y agencia a personajes históricamente relegados de los discursos oficiales y públicos.Abstract:Based on the analysis of the theatrical pieces \"Los perturbados entre lilas\" (1969), by Alejandra Pizarnik, and \"Melancolía y manifestaciones\" (2012), by Lola Arias, I propose a rereading of these texts from the capacity of melancholy as a trope, stylistic resource, and defining characteristic of the characters, to provide a new perspective on gender discourses and the construction of memory in contemporary Argentine theater. By presenting their protagonists as melancholic, Pizarnik and Arias subvert the paradigm where the melancholic genius is a man, while the melancholic woman is an unproductive victim of depression. Melancholy allows the creative validation of the female body (in Pizarnik), and is shown as an invisible consequence of the Argentine military dictatorship (in Arias). In both works, biographical and autobiographical writing allows the incorporation of the private sphere into the stage, giving visibility and agency to characters historically relegated from official and public discourses.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46376425","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 focuses on an important subset of the work of Spanish poet, critic, and theorist Antonio Méndez Rubio (1967–) and explores the often overlooked role that questions play in lyric poetry. Following earlier work by Spanish and Latin American poets like Pablo Neruda, Francisco Pino, José Hierro, and Juan Gelman, Méndez Rubio's poems consisting entirely of questions span nearly two decades (1998–2017) and illustrate the potential that questions have as spaces from which to develop, explore, and interrogate poetic thinking. Establishing a dialogue between question poems that focus on writing, speaking, and expression and theoretical work on lyric structures (Culler), poetic attention (Alford), poetic thinking (Vendler), lyric address (Waters), and the use of questions in poetry (Jauss and Wolfson) helps us rethink the way we approach poetry in general and engage with the concepts it constructs, presents, and examines.
{"title":"Interrogating Poetic Thinking in Antonio Méndez Rubio's \"Question\" Poems","authors":"P. Cahill","doi":"10.1353/hir.2022.0019","DOIUrl":"https://doi.org/10.1353/hir.2022.0019","url":null,"abstract":"ABSTRACT:This article focuses on an important subset of the work of Spanish poet, critic, and theorist Antonio Méndez Rubio (1967–) and explores the often overlooked role that questions play in lyric poetry. Following earlier work by Spanish and Latin American poets like Pablo Neruda, Francisco Pino, José Hierro, and Juan Gelman, Méndez Rubio's poems consisting entirely of questions span nearly two decades (1998–2017) and illustrate the potential that questions have as spaces from which to develop, explore, and interrogate poetic thinking. Establishing a dialogue between question poems that focus on writing, speaking, and expression and theoretical work on lyric structures (Culler), poetic attention (Alford), poetic thinking (Vendler), lyric address (Waters), and the use of questions in poetry (Jauss and Wolfson) helps us rethink the way we approach poetry in general and engage with the concepts it constructs, presents, and examines.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48108383","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}
Several literary critics and readers— both in Brazil and elsewhere— have lamented Brazilian writer Machado de Assis’s limited presence in world lit er ature. Susan Sontag, for instance, in a widely known and debated statement, deems Machado “the greatest author ever produced in Latin Amer i ca” and goes on to regret the fact that he is largely ignored beyond the Lusophone world (102).1 The marginality of the Portuguese language, the peripheral position of Brazilian lit er a ture, and the scarcity of translations may have all been part of the prob lem. In recent years, however, new publications, mainly in En glish, are gradually offering a wider win dow into Machado’s oeuvre. It is only too predictable that, as Machado’s works progressively reach beyond national borders and gain the attention of a larger number of literary scholars outside Brazil, competing critical studies would appear. At least since the 1970s, literary studies in Brazil mostly agree that through his novels, short stories, and journalistic writings, Machado skillfully captured the ambiguities of Brazil’s historical experience. From that standpoint, Machado’s
{"title":"Machado de Assis and Narrative Theory: Language, Imitation, Art, and Verisimilitude in the Last Six Novels by Earl E. Fitz (review)","authors":"Carlos Cortez Minchillo","doi":"10.1353/hir.2022.0003","DOIUrl":"https://doi.org/10.1353/hir.2022.0003","url":null,"abstract":"Several literary critics and readers— both in Brazil and elsewhere— have lamented Brazilian writer Machado de Assis’s limited presence in world lit er ature. Susan Sontag, for instance, in a widely known and debated statement, deems Machado “the greatest author ever produced in Latin Amer i ca” and goes on to regret the fact that he is largely ignored beyond the Lusophone world (102).1 The marginality of the Portuguese language, the peripheral position of Brazilian lit er a ture, and the scarcity of translations may have all been part of the prob lem. In recent years, however, new publications, mainly in En glish, are gradually offering a wider win dow into Machado’s oeuvre. It is only too predictable that, as Machado’s works progressively reach beyond national borders and gain the attention of a larger number of literary scholars outside Brazil, competing critical studies would appear. At least since the 1970s, literary studies in Brazil mostly agree that through his novels, short stories, and journalistic writings, Machado skillfully captured the ambiguities of Brazil’s historical experience. From that standpoint, Machado’s","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45276527","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 cuento Avecilla, publicado por Leopoldo Alas "Clarín" en 1882, se centra en el encuentro entre un humilde oficinista y una mujer monstruosa en una feria popular. Clarín utiliza este episodio para explorar la manera en que las formas de diversión pública reflejan la relación entre el individuo y las estructuras sociales, culturales y políticas que dan sentido a su experiencia. En particular, el autor sugiere que la distinción entre lo "normal" y lo "anormal" constituye la base de una gran variedad de discursos de la época mientras satiriza las ansiedades de clase social y género del protagonista, cuyo concepto de sí mismo depende del establecimiento de jerarquías sociales y culturales.Abstract:The novella Avecilla, published by Leopoldo Alas "Clarín" in 1882, has at its center the encounter between a lowly office worker and a monstrous woman on display at a public fair. Clarín uses this episode as the basis for an exploration of the way in which forms of public entertainment reflect the relationship between individuals and the social, cultural, and political structures that give their experience meaning. In particular, he suggests how notions of what is "normal" and "abnormal" underpin a wide variety of discourses of the time while satirizing the class and gender anxieties of the protagonist, whose sense of self-worth depends on the establishment of social and cultural hierarchies.
{"title":"El monstruo en el espejo: Diversiones públicas e identidad individual en Avecilla (1882) de Clarín","authors":"Ramón Espejo-Saavedra","doi":"10.1353/hir.2022.0002","DOIUrl":"https://doi.org/10.1353/hir.2022.0002","url":null,"abstract":"Abstract:El cuento Avecilla, publicado por Leopoldo Alas \"Clarín\" en 1882, se centra en el encuentro entre un humilde oficinista y una mujer monstruosa en una feria popular. Clarín utiliza este episodio para explorar la manera en que las formas de diversión pública reflejan la relación entre el individuo y las estructuras sociales, culturales y políticas que dan sentido a su experiencia. En particular, el autor sugiere que la distinción entre lo \"normal\" y lo \"anormal\" constituye la base de una gran variedad de discursos de la época mientras satiriza las ansiedades de clase social y género del protagonista, cuyo concepto de sí mismo depende del establecimiento de jerarquías sociales y culturales.Abstract:The novella Avecilla, published by Leopoldo Alas \"Clarín\" in 1882, has at its center the encounter between a lowly office worker and a monstrous woman on display at a public fair. Clarín uses this episode as the basis for an exploration of the way in which forms of public entertainment reflect the relationship between individuals and the social, cultural, and political structures that give their experience meaning. In particular, he suggests how notions of what is \"normal\" and \"abnormal\" underpin a wide variety of discourses of the time while satirizing the class and gender anxieties of the protagonist, whose sense of self-worth depends on the establishment of social and cultural hierarchies.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49058156","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":"Defiant Geographies: Race and Urban Space in 1920s Rio de Janeiro by Lorraine Leu (review)","authors":"Beatriz Jaguaribe","doi":"10.1353/hir.2022.0010","DOIUrl":"https://doi.org/10.1353/hir.2022.0010","url":null,"abstract":"","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44215127","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 presente estudio examina las actividades literarias de las poetas españolas de entreguerras y las conexiones que establecieron con figuras de la vanguardia latinoamericana. Con el fin de remediar la exclusión de las poetas mujeres de la llamada "Generación de 1927", se examina el papel de la mujer moderna como mediadora cultural no solo en España, sino también a nivel internacional. Más precisamente, se aborda la participación de Concha Méndez, Josefina de la Torre, Pilar de Zubiaurre y Carmen Conde en el núcleo artístico y literario madrileño Lyceum Club Femenino así como en el grupo de vanguardia Amistades Hispano-Belga-Americanas fundado en 1932 en Bruselas bajo la tutela de Paul Vanderborght. Estos dos grupos literarios servirán de base para un análisis de los intercambios culturales entre España, Bélgica y América Latina. Al situar a las poetas españolas en un contexto internacional, este estudio arroja luz sobre su participación en la escena literaria y sobre el impacto que ellas tuvieron más allá de las fronteras nacionales.Abstract:This study examines the literary activities of Spanish women poets of the interwar period and the connections they established with figures of the Latin American avant-garde. To address the exclusion of women poets from the so-called "Generation of 1927," this article sheds light on the role of modern women as cultural mediators not only in Spain, but also internationally. To this end, it examines the participation of Concha Méndez, Josefina de la Torre, Pilar de Zubiaurre, and Carmen Conde in the literary gatherings of the Lyceum Club Femenino in Madrid as well as in the avant-garde group Amistades Hispano-Belga-Americanas founded in 1932 in Brussels under the leadership of Paul Vanderborght. These two literary groups serve as the basis for an analysis of the intercultural exchanges among Spain, Belgium, and Latin America. By placing Spanish poets in an international context, this study explores their participation in the literary scene and analyzes their impact beyond national borders.
摘要:本文探讨了西班牙诗人在两次世界大战之间的文学活动，以及他们与拉丁美洲先锋人物建立的联系。为了纠正女性诗人被排除在所谓的“1927年一代”之外，现代女性作为文化调解人的角色不仅在西班牙，而且在国际上都得到了审视。更确切地说,讨论了参与海螺mendez, de la Torre约瑟芬,Zubiaurre和卡门伯爵在支柱的核心艺术文学马德里Lyceum女性俱乐部以及朋友圈前沿小组Hispano-Belga-Americanas成立于1932年在布鲁塞尔保罗Vanderborght的监护之下。这两个文学团体将作为分析西班牙、比利时和拉丁美洲之间文化交流的基础。通过将西班牙诗人置于国际背景下，本研究揭示了她们在文学领域的参与以及她们在国界之外的影响。摘要:本研究考察了两次世界大战期间西班牙女诗人的文学活动，以及她们与拉丁美洲先锋人物建立的联系。为了解决所谓的“1927年一代”排斥女诗人的问题，本文阐明了现代女性作为文化调解人的作用，不仅在西班牙，而且在国际上。To this end,它检查参与贝壳mendez,约瑟芬塔、Zubiaurre支柱的和Carmen女伯爵in the literary gatherings of the Lyceum俱乐部在马德里as well as in the avant-garde group朋友Hispano-Belga-Americanas理由in 1932年in under the领导of Paul Vanderborght布鲁塞尔。这两个文学团体是分析西班牙、比利时和拉丁美洲跨文化交流的基础。通过将西班牙诗人置于国际语境中，本研究探讨了他们在文学舞台上的参与，并分析了他们在国界之外的影响。
{"title":"Amistades Hispano-Belga-Americanas (1932–1936): Relaciones Literarias y Proyección Internacional Temprana de las Poetas Españolas de Entreguerras","authors":"Christina Bezari","doi":"10.1353/hir.2022.0001","DOIUrl":"https://doi.org/10.1353/hir.2022.0001","url":null,"abstract":"Abstract:El presente estudio examina las actividades literarias de las poetas españolas de entreguerras y las conexiones que establecieron con figuras de la vanguardia latinoamericana. Con el fin de remediar la exclusión de las poetas mujeres de la llamada \"Generación de 1927\", se examina el papel de la mujer moderna como mediadora cultural no solo en España, sino también a nivel internacional. Más precisamente, se aborda la participación de Concha Méndez, Josefina de la Torre, Pilar de Zubiaurre y Carmen Conde en el núcleo artístico y literario madrileño Lyceum Club Femenino así como en el grupo de vanguardia Amistades Hispano-Belga-Americanas fundado en 1932 en Bruselas bajo la tutela de Paul Vanderborght. Estos dos grupos literarios servirán de base para un análisis de los intercambios culturales entre España, Bélgica y América Latina. Al situar a las poetas españolas en un contexto internacional, este estudio arroja luz sobre su participación en la escena literaria y sobre el impacto que ellas tuvieron más allá de las fronteras nacionales.Abstract:This study examines the literary activities of Spanish women poets of the interwar period and the connections they established with figures of the Latin American avant-garde. To address the exclusion of women poets from the so-called \"Generation of 1927,\" this article sheds light on the role of modern women as cultural mediators not only in Spain, but also internationally. To this end, it examines the participation of Concha Méndez, Josefina de la Torre, Pilar de Zubiaurre, and Carmen Conde in the literary gatherings of the Lyceum Club Femenino in Madrid as well as in the avant-garde group Amistades Hispano-Belga-Americanas founded in 1932 in Brussels under the leadership of Paul Vanderborght. These two literary groups serve as the basis for an analysis of the intercultural exchanges among Spain, Belgium, and Latin America. By placing Spanish poets in an international context, this study explores their participation in the literary scene and analyzes their impact beyond national borders.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46160424","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:Miguel de Cervantes found animals to be productive, if polyvalent, mirrors through which humanity could understand its place in the natural order. While the specular role of animals in human attempts at self-definition might seem at odds with the goals of Animal Studies today, there is great value in appraising Cervantine theriophily. From Plutarch to Montaigne, theriophily questioned anthropocentrism by comparing the ills of human society to the order of the animal world. This comparison between humans and animals was central to how Cervantes's Casamiento–Coloquio questioned anthropocentrism, as Campuzano's descent into animality at the hands of Estefanía de Caicedo results in a dialogue between dogs that prefer their canine "buen natural" to the prospect of a latent humanity. Foregrounding the specular thinking between humans and dogs, art and nature, reveals the roots, as well, of Berganza's racism, as the logic of animal husbandry is projected back onto humans.
摘要：Miguel de Cervantes发现动物是多价的，也是生产力的镜子，人类可以通过它来理解它在自然秩序中的地位。虽然动物在人类自我定义尝试中的镜像作用似乎与当今动物研究的目标不一致，但评估塞万提斯亲兽性具有很大价值。从普鲁塔克到蒙田，亲兽主义通过将人类社会的弊病与动物世界的秩序进行比较来质疑人类中心主义。这种人与动物之间的比较是塞万提斯的Casamiento–Coloquio如何质疑人类中心主义的核心，因为坎普扎诺在Estefanía de Caicedo手中沦为动物，导致了狗之间的对话，它们更喜欢自己的狗“天生”，而不是潜在的人类前景。展望人类与狗、艺术与自然之间的镜像思维，也揭示了Berganza种族主义的根源，因为畜牧业的逻辑被投射回了人类身上。
{"title":"Berganza's \"buen natural\" and the Theriophily of El casamiento engañoso and Coloquio de los perros","authors":"L. Rodríguez-Rincón","doi":"10.1353/hir.2022.0009","DOIUrl":"https://doi.org/10.1353/hir.2022.0009","url":null,"abstract":"Abstract:Miguel de Cervantes found animals to be productive, if polyvalent, mirrors through which humanity could understand its place in the natural order. While the specular role of animals in human attempts at self-definition might seem at odds with the goals of Animal Studies today, there is great value in appraising Cervantine theriophily. From Plutarch to Montaigne, theriophily questioned anthropocentrism by comparing the ills of human society to the order of the animal world. This comparison between humans and animals was central to how Cervantes's Casamiento–Coloquio questioned anthropocentrism, as Campuzano's descent into animality at the hands of Estefanía de Caicedo results in a dialogue between dogs that prefer their canine \"buen natural\" to the prospect of a latent humanity. Foregrounding the specular thinking between humans and dogs, art and nature, reveals the roots, as well, of Berganza's racism, as the logic of animal husbandry is projected back onto humans.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43818778","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 La ciudad roja, Mancisidor rewrites the 1922 tenant strikes in the city of Veracruz, a social movement that managed to paralyze the city's economy throughout that year. In this article, we discuss the novel in relation to the larger ambitions and objectives of the collective project of "proletarian literature." The article focuses on three aspects of the novel: first, the process of historical rewriting that frames, selects, and erases different elements of the Veracruz tenant strikes; second, the novel's account of the communal urban space that emerged during the rent strikes; and finally, the relation presented in the novel between the artist-leader of the tenant movement and the proletarian masses. We will suggest that this may be understood as a novelization or a novelized debate of the aesthetic and political program of proletarian literature as a whole.
摘要:在La ciudad roja中，曼西多尔改写了1922年发生在韦拉克鲁斯市(Veracruz)的房客罢工事件，这场社会运动在那一年使该市的经济陷入瘫痪。在这篇文章中，我们将从“无产阶级文学”这一集体工程的更大的抱负和目标来讨论这部小说。本文主要从三个方面对小说进行分析:第一，对韦拉克鲁斯佃农罢工的不同要素进行框架、选择和抹去的历史改写过程;其次，小说对房租罢工期间出现的公共城市空间的描述;最后，小说中表现的佃农运动的艺术家领袖与无产阶级群众的关系。我们认为，这可以被理解为一种小说化，或一种对整个无产阶级文学的美学和政治纲领的小说化辩论。
{"title":"The Proletarian Commune in Veracruz: José Mancisidor's La ciudad roja","authors":"A. Fierro","doi":"10.1353/hir.2022.0008","DOIUrl":"https://doi.org/10.1353/hir.2022.0008","url":null,"abstract":"Abstract:In La ciudad roja, Mancisidor rewrites the 1922 tenant strikes in the city of Veracruz, a social movement that managed to paralyze the city's economy throughout that year. In this article, we discuss the novel in relation to the larger ambitions and objectives of the collective project of \"proletarian literature.\" The article focuses on three aspects of the novel: first, the process of historical rewriting that frames, selects, and erases different elements of the Veracruz tenant strikes; second, the novel's account of the communal urban space that emerged during the rent strikes; and finally, the relation presented in the novel between the artist-leader of the tenant movement and the proletarian masses. We will suggest that this may be understood as a novelization or a novelized debate of the aesthetic and political program of proletarian literature as a whole.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43855189","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 that the allusions to cannibalism through snippets of text that appear on screen and the insistent representation of commodity and monetary exchange through visual associations, montage, framing, and dialogue establish an undeniable cause–effect, social relationship between money and violence. This indictment is bolstered by a complex network of interweaving stories and multilayered imagery that comprises an allegory of cannibalistic capitalism in Mexico on the eve of the twenty-first century. In this light, the figure of the neoliberal cannibal, the entrepreneur engaged in the commodification of violence, profiting from murder and the spectacle of violence, personifies this allegorical critique of neoliberalism. This interpretation of the film's complex allegory centered on the image of a meat market as a metaphor for cannibalistic capitalism includes a preliminary discussion of the interrelationship between violence, neoliberalism, and cannibalism, followed by a close analysis of the visual language and dialogue.
{"title":"The Allegory of the Meat Market in Amores perros: Cannibalism, Consumption, and Money","authors":"M. Abeyta","doi":"10.1353/hir.2022.0000","DOIUrl":"https://doi.org/10.1353/hir.2022.0000","url":null,"abstract":"Abstract:This article argues that the allusions to cannibalism through snippets of text that appear on screen and the insistent representation of commodity and monetary exchange through visual associations, montage, framing, and dialogue establish an undeniable cause–effect, social relationship between money and violence. This indictment is bolstered by a complex network of interweaving stories and multilayered imagery that comprises an allegory of cannibalistic capitalism in Mexico on the eve of the twenty-first century. In this light, the figure of the neoliberal cannibal, the entrepreneur engaged in the commodification of violence, profiting from murder and the spectacle of violence, personifies this allegorical critique of neoliberalism. This interpretation of the film's complex allegory centered on the image of a meat market as a metaphor for cannibalistic capitalism includes a preliminary discussion of the interrelationship between violence, neoliberalism, and cannibalism, followed by a close analysis of the visual language and dialogue.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47282485","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}
us, is aimed at students and scholars “who may not read Portuguese, and who therefore cannot benefit from the extensive body of criticism that exists in that language” (11). Building bridges between the Anglophone reader and the vast and most often uncharted territory of the lit er a tures of peripheral countries like Brazil is a noble mission and a muchneeded initiative. Along with the translation of more works by Brazilian writers and scholars alike, books like Machado de Assis and Narrative Theory pave the way for the reception of literary works that, other wise, remain regrettably off the radar even among many in academia.
{"title":"Anarchaeologies: Reading as Misreading by Erin Graff Zivin (review)","authors":"S. Dowd","doi":"10.1353/hir.2022.0004","DOIUrl":"https://doi.org/10.1353/hir.2022.0004","url":null,"abstract":"us, is aimed at students and scholars “who may not read Portuguese, and who therefore cannot benefit from the extensive body of criticism that exists in that language” (11). Building bridges between the Anglophone reader and the vast and most often uncharted territory of the lit er a tures of peripheral countries like Brazil is a noble mission and a muchneeded initiative. Along with the translation of more works by Brazilian writers and scholars alike, books like Machado de Assis and Narrative Theory pave the way for the reception of literary works that, other wise, remain regrettably off the radar even among many in academia.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44576289","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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