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":"90 1","pages":"1 - 24"},"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":"90 1","pages":"135 - 138"},"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}
Abstract:¿Cómo puede una película enfrentarse a la muerte de quien la está realizando? Esta cuestión fue especialmente clave en el cine de la década del 90, producido por cineastas homosexuales con el VIH. Sin embargo, a mediados de la década, los nuevos tratamientos evitan la identificación del VIH con una muerte segura, y estas películas desaparecieron. En E agora? Lembra-me (Portugal, 2013), Joaquim Pinto, como un superviviente con el VIH, recupera esta tradición del cine en primera persona que confronta la propia muerte. En este artículo trazo una redefinición de qué es sobrevivir en la película de Pinto, a través de su propia genealogía en tres películas de los noventa. Pinto aporta una nueva idea de supervivencia, más allá de la autobiografía individual, criticando el concepto darwinista asociado a la evolución y el progreso. Su experiencia con el VIH le permite reconceptualizar su modo de comprender la enfermedad y la vida desde la supervivencia.Abstract:How can a movie deal with the death of the person who is making it? This question was especially crucial in the cinema of the 1990s made by gay people with AIDS. Nevertheless, at mid-decade, the new approaches avoid the identification of AIDS with sure death, and these movies disappeared. In E agora? Lembra-me (Portugal, 2013), Joaquim Pinto, as a survivor with AIDS, recovered this tradition of first-person movies that confront one's own death. In this article I trace the redefinition of survival in Pinto's film, through its own genealogy in three first-person movies from the nineties. Pinto provides a new idea of survival, beyond individual autobiography, by criticizing the Darwinist concept associated with evolution and progress. His experience of AIDS allows him to reconceptualize his way of understanding illness and life from survival.
摘要:电影如何面对导演的死亡?这个问题在20世纪90年代由感染艾滋病毒的同性恋电影制作人制作的电影中尤其重要。然而，到了20世纪中期，新的治疗方法阻止了艾滋病毒的确定死亡，这些电影也消失了。现在怎么办?《remara -me》(葡萄牙，2013)，Joaquim Pinto，作为一名艾滋病毒幸存者，恢复了面对死亡的第一人称电影的传统。在这篇文章中，我重新定义了平托在电影中生存的意义，通过他自己在90年代的三部电影中的谱系。平托提出了一种新的生存观念，超越了个人自传，批评了达尔文与进化和进步有关的概念。她感染艾滋病毒的经历使她能够从生存的角度重新概念化自己对疾病和生活的理解。Abstract: How can电影deal with the死刑of the who is making it的人吗?这个问题在20世纪90年代由同性恋艾滋病患者制作的电影中尤其重要。然而，在十年中期，新的方法避免了艾滋病的确定死亡，这些电影已经消失。现在怎么办?《回忆我》(葡萄牙，2013)，Joaquim Pinto，作为艾滋病幸存者，恢复了第一个人面对自己死亡的电影的传统。在这篇文章中，我通过平托的三部第一个人电影的血统，在他的电影中重新定义了生存。平托提供个人生存权利的新想法,beyond autobiography, by criticizing Darwinist概念相关与evolution and progress。其experience of艾滋病遂宁市allows to reconceptualize其way of understanding illness and life from生存。
{"title":"E agora? Lembra-me: Una genealogía de las películas del VIH desde la supervivencia","authors":"Alberto Carpio Jiménez","doi":"10.1353/hir.2022.0007","DOIUrl":"https://doi.org/10.1353/hir.2022.0007","url":null,"abstract":"Abstract:¿Cómo puede una película enfrentarse a la muerte de quien la está realizando? Esta cuestión fue especialmente clave en el cine de la década del 90, producido por cineastas homosexuales con el VIH. Sin embargo, a mediados de la década, los nuevos tratamientos evitan la identificación del VIH con una muerte segura, y estas películas desaparecieron. En E agora? Lembra-me (Portugal, 2013), Joaquim Pinto, como un superviviente con el VIH, recupera esta tradición del cine en primera persona que confronta la propia muerte. En este artículo trazo una redefinición de qué es sobrevivir en la película de Pinto, a través de su propia genealogía en tres películas de los noventa. Pinto aporta una nueva idea de supervivencia, más allá de la autobiografía individual, criticando el concepto darwinista asociado a la evolución y el progreso. Su experiencia con el VIH le permite reconceptualizar su modo de comprender la enfermedad y la vida desde la supervivencia.Abstract:How can a movie deal with the death of the person who is making it? This question was especially crucial in the cinema of the 1990s made by gay people with AIDS. Nevertheless, at mid-decade, the new approaches avoid the identification of AIDS with sure death, and these movies disappeared. In E agora? Lembra-me (Portugal, 2013), Joaquim Pinto, as a survivor with AIDS, recovered this tradition of first-person movies that confront one's own death. In this article I trace the redefinition of survival in Pinto's film, through its own genealogy in three first-person movies from the nineties. Pinto provides a new idea of survival, beyond individual autobiography, by criticizing the Darwinist concept associated with evolution and progress. His experience of AIDS allows him to reconceptualize his way of understanding illness and life from survival.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"90 1","pages":"41 - 61"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44158768","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":"Ficciones de verdad: archivo y narrativas de vida by Patricia López-Gay (review)","authors":"Ignasi Gozalo-Salellas","doi":"10.1353/hir.2022.0005","DOIUrl":"https://doi.org/10.1353/hir.2022.0005","url":null,"abstract":"","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"90 1","pages":"138 - 141"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43875609","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:El exemplo XI del Libro del Conde Lucanor, además de constituir una admonición contra la ingratitud, revela una distinción ideológica clave en la obra, que marca la tensión entre el pujante mundo intelectual seglar del llamado “largo siglo XIII” y la Iglesia, justamente en el momento en que los conflictos entre ellos se debatían por los escolásticos en las aulas de las universidades y los studia generalia a lo largo de la cristiandad. En él se desvela una de las bases culturales fundamentales del ideario del libro que refleja su íntimo discernimiento de la lucha por el control y la vigilancia ética del conocimiento que siguió aun después de la muerte de santo Tomás de Aquino (1274), para quien la sapiencia debería regirse por una filosofía moral—una deontología—que disciplina y ordena las pasiones. De esta manera, el exemplo XI capta un momento decisivo en la socialización y secularización éticas del saber justamente cuando este se va perfilando como una forma extraordinaria del poder.Abstract:In addition to comprising an admonition against ingratitude (the traditional interpretation), Exemplum XI of the Libro del Conde Lucanor reveals a key ideological distinction in the book. It reveals a pronounced tension between the emerging world of lay intellectuals, the science of the so-called “Long Thirteenth Century,” and the Church, just when the conflict between them was being contested in universities and studia generalia throughout Christendom. When read in this larger cultural context, the exemplum discloses an awareness of the power of knowledge, and the struggle for its vigilance and ethical control, a theme disputed well beyond the death of Thomas Aquinas (1274), for whom knowledge should be regulated by a moral philosophy—a code of ethics or a deontology—that orders and disciplines the passions. In this fashion, Exemplum XI captures a decisive moment in the ethical socialization and secularization of knowledge, just as knowledge is recognized as a formidable instrument for good and evil.
摘要:exemplo十一Lucanor伯爵》的书,除了构成途对关键思想忘恩负义,表彰在打了,标志着世界强大的世俗知识间的紧张关系叫做长13世纪教堂,在此时他们之间讨论的冲突在课堂上escolásticos大学和studia generalia沿线基督教。推出文化奠定了基本的哲学书判断密切反映他们斗争为控制和监测伦理知识继续即便死后的圣托马斯阿基诺(1274),对那些睿智应由一个道德—一个—伦理哲学纪律和命令的激情。因此，例子十一抓住了知识的伦理社会化和世俗化的决定性时刻，而知识正成为一种非凡的权力形式。摘要:除了对恩尼格的警告(传统的解释)，卢卡诺伯爵的书的例子11揭示了书中的一个关键的意识形态区别。它揭示了新兴的知识分子世界，所谓的“长期十三世纪”的科学和教会之间的明显紧张关系，当他们之间的冲突在大学和研究generalia之间的基督。当read in this larger cultural context, exemplum discloses an认识of the power of knowledge and斗争for its vigilance和伦理控制,主题手续well beyond the of Thomas 1964(1274)死刑,道德的知识应当监察法by a philosophy—a code of ethics或deontology—命令和约束the passions。
{"title":"In Toletum daemones: el deán de Santiago, don Yllán de Toledo y la ética de la sapiencia","authors":"E. Gerli","doi":"10.1353/hir.2021.0027","DOIUrl":"https://doi.org/10.1353/hir.2021.0027","url":null,"abstract":"RESUMEN:El exemplo XI del Libro del Conde Lucanor, además de constituir una admonición contra la ingratitud, revela una distinción ideológica clave en la obra, que marca la tensión entre el pujante mundo intelectual seglar del llamado “largo siglo XIII” y la Iglesia, justamente en el momento en que los conflictos entre ellos se debatían por los escolásticos en las aulas de las universidades y los studia generalia a lo largo de la cristiandad. En él se desvela una de las bases culturales fundamentales del ideario del libro que refleja su íntimo discernimiento de la lucha por el control y la vigilancia ética del conocimiento que siguió aun después de la muerte de santo Tomás de Aquino (1274), para quien la sapiencia debería regirse por una filosofía moral—una deontología—que disciplina y ordena las pasiones. De esta manera, el exemplo XI capta un momento decisivo en la socialización y secularización éticas del saber justamente cuando este se va perfilando como una forma extraordinaria del poder.Abstract:In addition to comprising an admonition against ingratitude (the traditional interpretation), Exemplum XI of the Libro del Conde Lucanor reveals a key ideological distinction in the book. It reveals a pronounced tension between the emerging world of lay intellectuals, the science of the so-called “Long Thirteenth Century,” and the Church, just when the conflict between them was being contested in universities and studia generalia throughout Christendom. When read in this larger cultural context, the exemplum discloses an awareness of the power of knowledge, and the struggle for its vigilance and ethical control, a theme disputed well beyond the death of Thomas Aquinas (1274), for whom knowledge should be regulated by a moral philosophy—a code of ethics or a deontology—that orders and disciplines the passions. In this fashion, Exemplum XI captures a decisive moment in the ethical socialization and secularization of knowledge, just as knowledge is recognized as a formidable instrument for good and evil.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"375 - 395"},"PeriodicalIF":0.3,"publicationDate":"2021-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48618597","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":"Dematerialization: Art and Design in Latin America by Karen Benezra (review)","authors":"T. McEnaney","doi":"10.1353/hir.2021.0029","DOIUrl":"https://doi.org/10.1353/hir.2021.0029","url":null,"abstract":"","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"507 - 511"},"PeriodicalIF":0.3,"publicationDate":"2021-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66430876","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 Cuba Secreta” (1948) has been a germinal text for the study of exiled Spanish writer María Zambrano’s work on national, poetic, and subjective identity formation. In this essay, I focus specifically on the apego (attachment) she feels for Cuba in order to explore how affective relations, for Zambrano, could potentially avoid the violent hierarchies imposed by Enlightenment values. I analyze the sites where apego signals an intersubjective immersion as a mode of radically anti-Enlightenment relationality. However, while the sticky relation between Zambrano and the island might avoid Rationalism’s destructive subject–object boundaries, it is also tethered to the destruction of subjectivity occasioned by the island’s racial and colonial traumas. Ultimately, I suggest that Zambrano’s apego is a compelling example of relations for the field of Transatlantic Studies that wishes to avoid the hierarchies of modernity while still bringing to the surface the traumas and violence of racism and colonialism.
{"title":"Sticky Affections: María Zambrano’s “La Cuba secreta” and Transatlantic Relationality","authors":"I. Russell","doi":"10.1353/hir.2021.0030","DOIUrl":"https://doi.org/10.1353/hir.2021.0030","url":null,"abstract":"Abstract:“La Cuba Secreta” (1948) has been a germinal text for the study of exiled Spanish writer María Zambrano’s work on national, poetic, and subjective identity formation. In this essay, I focus specifically on the apego (attachment) she feels for Cuba in order to explore how affective relations, for Zambrano, could potentially avoid the violent hierarchies imposed by Enlightenment values. I analyze the sites where apego signals an intersubjective immersion as a mode of radically anti-Enlightenment relationality. However, while the sticky relation between Zambrano and the island might avoid Rationalism’s destructive subject–object boundaries, it is also tethered to the destruction of subjectivity occasioned by the island’s racial and colonial traumas. Ultimately, I suggest that Zambrano’s apego is a compelling example of relations for the field of Transatlantic Studies that wishes to avoid the hierarchies of modernity while still bringing to the surface the traumas and violence of racism and colonialism.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"441 - 463"},"PeriodicalIF":0.3,"publicationDate":"2021-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47078871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
RESUMEN:En 1927, la revista española La Gaceta Literaria publicó el conocido editorial titulado “Madrid, meridiano intelectual de Hispanoamérica”, en el que se defendía la necesidad de que Madrid fuera el referente intelectual de esa región. Esa misma postura, con una profunda carga ideológica, estuvo también presente en la base de otra polémica menos conocida pero también de gran importancia, la que mantuvo en la península ibérica con Portugal y Cataluña, territorios a los que la publicación dirigida por Ernesto Giménez Caballero se acercó con el interés de sumarlos a la causa de una política cultural centralista con sede irrenunciable en Madrid. A través del acercamiento a Cataluña, mediante una supuesta estrategia de defensa de la pluralidad peninsular, se tejía en realidad una orquestada campaña basada en la unidad inquebrantable de España, cuya cultura sería ofrecida—aunque con resultados igualmente negativos—en Portugal e Hispanoamérica, como una posibilidad real de oposición a la hegemonía internacional francesa.Abstract:In 1927, the Spanish magazine La Gaceta Literaria published the well-known editorial entitled “Madrid, meridiano intelectual de Hispanoamérica,” which defended the need for Madrid to be the intellectual point of reference for Latin America. This same position, with a deep ideological charge, was also present at the base of another, lesser known but also very important, debate, the one promoted in the Iberian Peninsula with Portugal and Catalonia, territories which this publication directed by Ernesto Giménez Caballero approached with the interest of adding them to the cause of a centralist cultural policy with an inevitable seat in Madrid. Through the approach to Catalonia, by means of a supposed strategy of defense of the peninsular plurality, an orchestrated campaign was actually mounted based on the unbreakable unity of Spain, whose culture would be presented—although with equally negative results—to Portugal and Latin America, as a real possibility for opposing French international hegemony.
摘要:1927年，西班牙杂志《la Gaceta Literaria》发表了著名的社论《Madrid, meridiano intellectual de hispanoamerica》，为马德里成为该地区知识分子参考的必要性进行了辩护。同一姿势,深厚的思想负担,数据库是另一个争议的著名但也非常重要的,他在伊比利亚半岛的葡萄牙和加泰罗尼亚,领土由Ernesto首相府发表走近绅士兴趣事业累加集权专门授予总部设在马德里的文化政策。通过加泰隆尼亚的方法,通过所谓的战略防御半岛多元性、织实际上的策划推广基于西班牙坚定团结,其文化是提供—尽管结果同样—底片在葡萄牙和美洲,比如法国国际反对霸权主义的真正机会。摘要:1927年，西班牙杂志《La Gaceta Literaria》发表了一篇著名的社论，题为“马德里，meridiano intellectual de hispanoamerica”，主张马德里需要成为拉丁美洲的知识参考点。萨米This position, with a deep ideological弹,国内目前at the base of another, lesser已知的但也非常重要的辩论,the one promoted in the Iberian半岛与葡萄牙和加泰罗尼亚,领土which此出版物杜加德by Ernesto首相府绅士询问with the interest of adding them to the必然造成centralist文化政策with an抓住在马德里。Through the approach to加泰罗尼亚,by means of a送交半岛战略of defense of the plurality, an orchestrated campaign was actually mounted based on the unity of Spain”,谁的文化将介绍—尽管equally消极的结果—葡萄牙和Latin America, as a real possibility for数百名French international hegemony。
{"title":"Madrid, meridiano intelectual ibérico (la polémica peninsular de La Gaceta Literaria)","authors":"Antonio Sáez Delgado","doi":"10.1353/hir.2021.0032","DOIUrl":"https://doi.org/10.1353/hir.2021.0032","url":null,"abstract":"RESUMEN:En 1927, la revista española La Gaceta Literaria publicó el conocido editorial titulado “Madrid, meridiano intelectual de Hispanoamérica”, en el que se defendía la necesidad de que Madrid fuera el referente intelectual de esa región. Esa misma postura, con una profunda carga ideológica, estuvo también presente en la base de otra polémica menos conocida pero también de gran importancia, la que mantuvo en la península ibérica con Portugal y Cataluña, territorios a los que la publicación dirigida por Ernesto Giménez Caballero se acercó con el interés de sumarlos a la causa de una política cultural centralista con sede irrenunciable en Madrid. A través del acercamiento a Cataluña, mediante una supuesta estrategia de defensa de la pluralidad peninsular, se tejía en realidad una orquestada campaña basada en la unidad inquebrantable de España, cuya cultura sería ofrecida—aunque con resultados igualmente negativos—en Portugal e Hispanoamérica, como una posibilidad real de oposición a la hegemonía internacional francesa.Abstract:In 1927, the Spanish magazine La Gaceta Literaria published the well-known editorial entitled “Madrid, meridiano intelectual de Hispanoamérica,” which defended the need for Madrid to be the intellectual point of reference for Latin America. This same position, with a deep ideological charge, was also present at the base of another, lesser known but also very important, debate, the one promoted in the Iberian Peninsula with Portugal and Catalonia, territories which this publication directed by Ernesto Giménez Caballero approached with the interest of adding them to the cause of a centralist cultural policy with an inevitable seat in Madrid. Through the approach to Catalonia, by means of a supposed strategy of defense of the peninsular plurality, an orchestrated campaign was actually mounted based on the unbreakable unity of Spain, whose culture would be presented—although with equally negative results—to Portugal and Latin America, as a real possibility for opposing French international hegemony.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"490 - 505"},"PeriodicalIF":0.3,"publicationDate":"2021-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66430905","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:Before Pilar Miro’s famous filmic adaptation of The Dog in the Manger, Lope de Vega’s masterpiece had been successfully brought to the small screen in Soviet Russia. The Leningrad director Yan Frid’s 1977 musical comedy Sobaka na Sene (The Dog on the Hay), while almost unknown in the West, is considered a classic of Soviet cinema. This article explores the reasons behind the extraordinary popularity of this television film in relation to the Russian Lopean performance canon, as well as to the specific sociocultural conditions of the Stagnation era. I argue that, by prioritizing the issue of gender relations over the conflict of honor, Sobaka na sene managed to inscribe new cultural meanings in the story of the Countess of Belflor and her secretary and, therefore, to bring Lope’s play closer to the Soviet viewers of the late 1970s.
{"title":"Adapting Diana of Belflor: The Dog in the Manger’s Soviet Adventures","authors":"V. Ryjik","doi":"10.1353/hir.2021.0031","DOIUrl":"https://doi.org/10.1353/hir.2021.0031","url":null,"abstract":"Abstract:Before Pilar Miro’s famous filmic adaptation of The Dog in the Manger, Lope de Vega’s masterpiece had been successfully brought to the small screen in Soviet Russia. The Leningrad director Yan Frid’s 1977 musical comedy Sobaka na Sene (The Dog on the Hay), while almost unknown in the West, is considered a classic of Soviet cinema. This article explores the reasons behind the extraordinary popularity of this television film in relation to the Russian Lopean performance canon, as well as to the specific sociocultural conditions of the Stagnation era. I argue that, by prioritizing the issue of gender relations over the conflict of honor, Sobaka na sene managed to inscribe new cultural meanings in the story of the Countess of Belflor and her secretary and, therefore, to bring Lope’s play closer to the Soviet viewers of the late 1970s.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"465 - 489"},"PeriodicalIF":0.3,"publicationDate":"2021-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48813662","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:Known as a “manipulador del lenguaje” by his contemporaries, the Chilean poet Rodrigo Lira (1949–1981) has barely made it onto the international poetry stage for his biting and striking antipoetics. While his poetry has especially been recognized for his semantic wit in his almost sardonic parodies of his predecessors and contemporaries, Lira’s antipoetic work, I propose, gathers force with his attention to the visual aspects of language on the page that both informs and is informed by language’s materiality. I argue that it is through Lira’s manipulation of language and poetry’s visual qualities that his commitment to social critique comes to the fore. The reader can interact with Lira’s poems as physical objects not only intellectually, but also by engaging multiple senses. Through close readings of exemplary poems, I consider how his manipulation of the letter, the word, the line, and the page itself contributes to his antipoetics.
{"title":"“Printed Matter”: Rodrigo Lira’s Visual Antipoetics","authors":"Rachel Robinson","doi":"10.1353/hir.2021.0020","DOIUrl":"https://doi.org/10.1353/hir.2021.0020","url":null,"abstract":"ABSTRACT:Known as a “manipulador del lenguaje” by his contemporaries, the Chilean poet Rodrigo Lira (1949–1981) has barely made it onto the international poetry stage for his biting and striking antipoetics. While his poetry has especially been recognized for his semantic wit in his almost sardonic parodies of his predecessors and contemporaries, Lira’s antipoetic work, I propose, gathers force with his attention to the visual aspects of language on the page that both informs and is informed by language’s materiality. I argue that it is through Lira’s manipulation of language and poetry’s visual qualities that his commitment to social critique comes to the fore. The reader can interact with Lira’s poems as physical objects not only intellectually, but also by engaging multiple senses. Through close readings of exemplary poems, I consider how his manipulation of the letter, the word, the line, and the page itself contributes to his antipoetics.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":"89 1","pages":"265 - 291"},"PeriodicalIF":0.3,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49397749","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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