{"title":"Iberian Moorings: Al-Andalus, Sefarad, and the Tropes of Exceptionalism by Ross Brann","authors":"Maribel Fierro","doi":"10.1353/rhm.2023.0007","DOIUrl":"https://doi.org/10.1353/rhm.2023.0007","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46004183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Knowing Fictions: Picaresque Reading in the Early Modern Hispanic World by Barbara Fuchs","authors":"Jorge Téllez","doi":"10.1353/rhm.2023.0009","DOIUrl":"https://doi.org/10.1353/rhm.2023.0009","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42079470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Argentine Fin-de-Siècle: Melancholic Decadence and the Rise of the Popular","authors":"Alejandra Uslenghi","doi":"10.1353/rhm.2023.0004","DOIUrl":"https://doi.org/10.1353/rhm.2023.0004","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49527819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:This article spotlights an experimental form of early moving-image storytelling by examining the formal novelty and generic creativity of Pío Baroja's novela film. Thus subtitled, his short novel El poeta y la princesa o el Cabaret de la Cotorra Verde (1929) incorporates cinema's narrative strategies and engages cinema's associated print cultural form of the novelized film plot. As a different kind of 'cinematographic novel,' Baroja's novela film launches an inquiry into notions of genre, narration, audience, and medium, revealing a unique insight into the ways in which the modernist novel was being redefined in response to cinema's methodological challenge to traditional modes of writing. Through its exploration of what it means to fuse literature and film—and, hence, its interrogation of what it means to write for a different kind of reading—Baroja's novela film adapts and speaks to an expanding body of cinema-literate readers. As it elicits an enhanced awareness and sophisticated critical attention on the part of a reader-viewer through metafictional disclosing, intertextuality, and parodic content, it may be considered that its formal innovation advances a new manner of intellectualized consumer reading. Ultimately, as a response to entertainment industries such as film and cinema print culture, the novela film rethinks the very notion of what is literature.
摘要：本文通过考察Pío Baroja的中篇小说电影的形式新颖性和一般创造性，重点探讨了早期运动图像故事的一种实验形式。因此，他的短篇小说《El poeta y la Princessa o El Cabaret de la Cotorra Verde》（1929）加上了字幕，融合了电影的叙事策略，并采用了电影的相关印刷文化形式，即小说化的电影情节。作为一种不同类型的“电影小说”，Baroja的中篇小说电影对类型、叙事、观众和媒介的概念展开了探索，揭示了现代主义小说在应对电影对传统写作模式的方法挑战时被重新定义的独特见解。Baroja的中篇小说电影通过探索融合文学和电影意味着什么，以及因此对为不同类型的阅读而写作意味着什么的质疑，对越来越多的电影读者进行了改编和对话。由于它通过元小说的披露、互文性和戏仿内容，引起了读者-观众的意识增强和复杂的批判性关注，因此它的形式创新可以被认为是推动了一种智能化消费者阅读的新方式。最终，作为对电影和电影印刷文化等娱乐行业的回应，这部中篇小说电影重新思考了什么是文学的概念。
{"title":"Writing for New Literacies: Pío Baroja's Novela Film (1929)","authors":"Anna Torres-Cacoullos","doi":"10.1353/rhm.2023.0003","DOIUrl":"https://doi.org/10.1353/rhm.2023.0003","url":null,"abstract":"ABSTRACT:This article spotlights an experimental form of early moving-image storytelling by examining the formal novelty and generic creativity of Pío Baroja's novela film. Thus subtitled, his short novel El poeta y la princesa o el Cabaret de la Cotorra Verde (1929) incorporates cinema's narrative strategies and engages cinema's associated print cultural form of the novelized film plot. As a different kind of 'cinematographic novel,' Baroja's novela film launches an inquiry into notions of genre, narration, audience, and medium, revealing a unique insight into the ways in which the modernist novel was being redefined in response to cinema's methodological challenge to traditional modes of writing. Through its exploration of what it means to fuse literature and film—and, hence, its interrogation of what it means to write for a different kind of reading—Baroja's novela film adapts and speaks to an expanding body of cinema-literate readers. As it elicits an enhanced awareness and sophisticated critical attention on the part of a reader-viewer through metafictional disclosing, intertextuality, and parodic content, it may be considered that its formal innovation advances a new manner of intellectualized consumer reading. Ultimately, as a response to entertainment industries such as film and cinema print culture, the novela film rethinks the very notion of what is literature.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47939505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Several of Cortázar's stories feature animals represented in a range from the fully realistic, to the fantastic, to the symbolic or purely imaginary. One of his most widely read stories, "Axolotl," turns on the transmigration of a human consciousness into that of a salamander. This limit situation is predicated on the act of looking, a mutual gaze that ultimately leads to the inexplicable absorption of the human subject into the animal object. Two other lesser-known texts by Cortázar—the early short story "Bestiario" and a later sui generis text called "Paseo entre las jaulas"—likewise develop the trope of the human-animal gaze as a mode of knowledge or understanding, but they do so using a variety of techniques that obviate the kind of fantastical twist we see at the end of "Axolotl." These two texts, whose animal logic is developed discursively and associatively, offer the reader a more psychologically plausible and even intimate glimpse into the potential of the interspecies gaze. Taken together, these three very different works serve to further elucidate Cortázar's insistent grappling with the problematic of self and (animal) other.
摘要:Cortázar的一些故事以动物为特色，从完全现实的，到梦幻的，到象征性的或纯粹想象的。他最广为人知的故事之一《蝾螈》(Axolotl)讲述了人类意识转化为蝾螈意识的故事。这种限制的情况是基于看的行为，一种相互的凝视，最终导致人类主体对动物客体的不可解释的吸收。Cortázar-the早期的短篇小说《野兽》和后来的自成一体的小说《Paseo entre las jaulas》也同样把人与动物的凝视作为一种知识或理解的模式发展起来，但它们使用了各种各样的技巧，避免了我们在《蝾螈》结尾看到的那种幻想的转折。这两篇文章的动物逻辑是在话语和联想中发展起来的，为读者提供了一种心理上更合理的、甚至是亲密的一瞥，以了解物种间凝视的潜力。总之，这三个非常不同的作品有助于进一步阐明Cortázar坚持不懈地努力解决自我和(动物)他者的问题。
{"title":"\"El oficio de mirar\": Regarding the Human-Animal Gaze in Three Texts by Julio Cortázar","authors":"Melanie Nicholson","doi":"10.1353/rhm.2023.0000","DOIUrl":"https://doi.org/10.1353/rhm.2023.0000","url":null,"abstract":"ABSTRACT:Several of Cortázar's stories feature animals represented in a range from the fully realistic, to the fantastic, to the symbolic or purely imaginary. One of his most widely read stories, \"Axolotl,\" turns on the transmigration of a human consciousness into that of a salamander. This limit situation is predicated on the act of looking, a mutual gaze that ultimately leads to the inexplicable absorption of the human subject into the animal object. Two other lesser-known texts by Cortázar—the early short story \"Bestiario\" and a later sui generis text called \"Paseo entre las jaulas\"—likewise develop the trope of the human-animal gaze as a mode of knowledge or understanding, but they do so using a variety of techniques that obviate the kind of fantastical twist we see at the end of \"Axolotl.\" These two texts, whose animal logic is developed discursively and associatively, offer the reader a more psychologically plausible and even intimate glimpse into the potential of the interspecies gaze. Taken together, these three very different works serve to further elucidate Cortázar's insistent grappling with the problematic of self and (animal) other.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41920654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Patrícia Galvão's Parque Industrial: romance proletário (1933) is a study of the politicization of the masses at the very beginning of Getúlio Vargas's populism. In this piece, I analyze the ways in which the novel intervenes in the incipient getulismo, destabilizing its political logic by negating two of its key elements: nationalism and strong personal leadership. Then, I parse the novel's political counterproposal by examining how it aesthetically works through the ambiguous relationship between the proletariat and the masses. In doing so, I propose that the novel presents us with an aesthetic of the masses that exposes the masses' political nature. Finally, I argue that Parque Industrial's political and aesthetic project displays an essential problem that both the Left and Vargas were facing: how to give political form to the masses.
{"title":"A Form for the Masses! The Brazilian Process of Politicization in Patrícia Galvão's Parque Industrial","authors":"M. Pape","doi":"10.1353/rhm.2023.0001","DOIUrl":"https://doi.org/10.1353/rhm.2023.0001","url":null,"abstract":"ABSTRACT:Patrícia Galvão's Parque Industrial: romance proletário (1933) is a study of the politicization of the masses at the very beginning of Getúlio Vargas's populism. In this piece, I analyze the ways in which the novel intervenes in the incipient getulismo, destabilizing its political logic by negating two of its key elements: nationalism and strong personal leadership. Then, I parse the novel's political counterproposal by examining how it aesthetically works through the ambiguous relationship between the proletariat and the masses. In doing so, I propose that the novel presents us with an aesthetic of the masses that exposes the masses' political nature. Finally, I argue that Parque Industrial's political and aesthetic project displays an essential problem that both the Left and Vargas were facing: how to give political form to the masses.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47358767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:Teresa of Avila established her first Discalced Carmelite convent in the city of Avila in 1561, financed by the golden pesos her brother Lorenzo de Cepeda sent her from the Viceroyalty of Peru. Taking this economic dependence as a starting point, this article hopes to unravel the multitasking relationship Teresa established with America. The distant territory did not only become a source of economic relief, but it also became one of the rhetorical and spiritual pillars that would hold the unstable beginnings of Teresa's religious project. Drawing on the study of the letters, relics, and religious imagery exchanged with her brother in Quito, and focusing on the metallurgical lexicon displayed in her visionary rhetoric, as well as on her crucial understanding of the Franciscan missionary tactics, I argue that Teresa of Avila learned to strategically define her relationship with America to authorize her multifaceted spiritual and literary endeavor.
摘要：1561年，阿维拉的特蕾莎（Teresa of Avila）在阿维拉市建立了她的第一座Discalcated Carmelite修道院，由她的哥哥洛伦佐·德·塞佩达（Lorenzo de Cepeda）从秘鲁总督那里派来的金比索资助。本文以这种经济依赖为出发点，希望解开特蕾莎与美国建立的多重任务关系。这片遥远的领土不仅成为了经济救济的来源，而且也成为了支撑特蕾莎宗教项目不稳定开端的修辞和精神支柱之一。通过对她在基多与哥哥交换的信件、遗物和宗教图像的研究，并关注她富有远见的修辞中所展示的冶金词汇，以及她对方济各会传教策略的重要理解，我认为，阿维拉的特蕾莎学会了战略性地定义她与美国的关系，以授权她多方面的精神和文学努力。
{"title":"Materiales para acercar mundos: América en las cartas y fundaciones de Teresa de Jesús","authors":"A. Garriga","doi":"10.1353/rhm.2023.0010","DOIUrl":"https://doi.org/10.1353/rhm.2023.0010","url":null,"abstract":"ABSTRACT:Teresa of Avila established her first Discalced Carmelite convent in the city of Avila in 1561, financed by the golden pesos her brother Lorenzo de Cepeda sent her from the Viceroyalty of Peru. Taking this economic dependence as a starting point, this article hopes to unravel the multitasking relationship Teresa established with America. The distant territory did not only become a source of economic relief, but it also became one of the rhetorical and spiritual pillars that would hold the unstable beginnings of Teresa's religious project. Drawing on the study of the letters, relics, and religious imagery exchanged with her brother in Quito, and focusing on the metallurgical lexicon displayed in her visionary rhetoric, as well as on her crucial understanding of the Franciscan missionary tactics, I argue that Teresa of Avila learned to strategically define her relationship with America to authorize her multifaceted spiritual and literary endeavor.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45266486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mapping the Amazon: Literary Geography After the Rubber Boom by Amanda M. Smith (review)","authors":"Charlotte Rogers","doi":"10.1353/rhm.2023.0008","DOIUrl":"https://doi.org/10.1353/rhm.2023.0008","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41989113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Polemics, Literature, and Knowledge in Eighteenth-Century Mexico: A New World for the Republic of Letters by José Francisco Robles (review)","authors":"Miruna Achim","doi":"10.1353/rhm.2023.0005","DOIUrl":"https://doi.org/10.1353/rhm.2023.0005","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42218821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACT:In this article, I examine the rhetoric of gender equity and sexual diversity that guides the repackaging of the 1939 Basque exile in Javier de Isusi's graphic novel Asylum (2015). Seeking to promote solidarity with asylum seekers, the graphic novel weaves together stories of past and present displacement via a teleological approach to the history of the Basque feminism. I draw on Jasbir Puar's theorization of homonationalism to elucidate how Asylum relies on the mutability of nationalistic tropes to refashion the 1939 Basque exile as part of a celebratory women's and gay rights tale of the nation. I argue that Isusi's book bridges past and present by recasting in terms of gender equity and sexual identity what I call the trope of liberatory Basque blood: a lineage of Basque warriors for universal freedom. Through this nationalistic trope, Asylum refashions, and simultaneously conceals, the neocolonial imaginary that shaped the relationship between the Basque Country and Latin America. In doing so, the graphic novel also overlooks heterodox voices within the Basque nationalist exile of 1939 that provided alternatives to the trope of liberatory Basque blood.
{"title":"In the Name of the Basque Mother: The Repackaging of the 1939 Basque Exile in Javier de Isusi's Asylum (2015)","authors":"Nagore Sedano","doi":"10.1353/rhm.2023.0002","DOIUrl":"https://doi.org/10.1353/rhm.2023.0002","url":null,"abstract":"ABSTRACT:In this article, I examine the rhetoric of gender equity and sexual diversity that guides the repackaging of the 1939 Basque exile in Javier de Isusi's graphic novel Asylum (2015). Seeking to promote solidarity with asylum seekers, the graphic novel weaves together stories of past and present displacement via a teleological approach to the history of the Basque feminism. I draw on Jasbir Puar's theorization of homonationalism to elucidate how Asylum relies on the mutability of nationalistic tropes to refashion the 1939 Basque exile as part of a celebratory women's and gay rights tale of the nation. I argue that Isusi's book bridges past and present by recasting in terms of gender equity and sexual identity what I call the trope of liberatory Basque blood: a lineage of Basque warriors for universal freedom. Through this nationalistic trope, Asylum refashions, and simultaneously conceals, the neocolonial imaginary that shaped the relationship between the Basque Country and Latin America. In doing so, the graphic novel also overlooks heterodox voices within the Basque nationalist exile of 1939 that provided alternatives to the trope of liberatory Basque blood.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43494306","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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