{"title":"Ink under the Fingernails: Printing Politics in Nineteenth-Century Mexico by Corinna Zeltsman (review)","authors":"Christopher Conway","doi":"10.1353/rhm.2023.0006","DOIUrl":"https://doi.org/10.1353/rhm.2023.0006","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"76 1","pages":"110 - 112"},"PeriodicalIF":0.1,"publicationDate":"2023-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44679842","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":"Popular Political Participation and the Democratic Imagination in Spain: From Crowd to People, 1766–1868 by Pablo Sánchez León (review)","authors":"Vicente Rubio-Pueyo","doi":"10.1353/rhm.2022.0016","DOIUrl":"https://doi.org/10.1353/rhm.2022.0016","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"234 - 237"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41372181","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:The expanding field of Latin American ecocriticism has repeatedly shown how environmental approaches to cultural production often transcend national and regional borders. A case in point is Mário de Andrade's modernist novel Macunaíma (1928), whose homonymous protagonist has the ability to rapidly travel across Brazilian territory and into neighboring countries in what Andrade defined as a process of "degeographication." This article proposes that, rather than simply erasing borders, Macunaíma's continental wanderings highlight the singular, ambivalent position Brazil has occupied in conceptualizations of Latin America. Moreover, these transnational journeys occur primarily in the geographically undetermined space of the "virgin woods," where distances and limits on movement are less marked than in São Paulo and Rio de Janeiro. By investigating how a borderless Latin America is imagined via the space of the virgin woods, this article demonstrates how Macunaíma's degeographication is geographically and environmentally conditioned. In doing so, it aims to reconsider the longstanding debates about Brazil's status in Latin America in light of ecocritical studies and to show how environmental considerations may contribute to this discussion.
摘要:拉丁美洲不断扩大的生态批评领域一再表明，文化生产的环境方法往往超越了国家和地区的界限。一个恰当的例子是Mário de Andrade的现代主义小说Macunaíma(1928)，其同名主人公有能力迅速穿越巴西领土并进入邻国，Andrade将其定义为“去地理化”的过程。本文提出，Macunaíma的大陆漫游并不是简单地抹去边界，而是突出了巴西在拉丁美洲概念化中所占据的独特而矛盾的地位。此外，这些跨国旅行主要发生在地理上不确定的“原始森林”空间，那里的距离和运动限制不如圣保罗和巴西里约热内卢明显。通过调查如何通过原始森林的空间想象一个无边界的拉丁美洲，本文展示了Macunaíma的去地理化是如何受到地理和环境的制约的。在这样做的过程中，它旨在根据生态批评研究重新考虑关于巴西在拉丁美洲地位的长期争论，并展示环境因素如何有助于这一讨论。
{"title":"Geographies of Degeographication: Latin America and the Virgin Woods in Mário de Andrade's Macunaíma","authors":"Victoria Saramago","doi":"10.1353/rhm.2022.0020","DOIUrl":"https://doi.org/10.1353/rhm.2022.0020","url":null,"abstract":"ABSTRACT:The expanding field of Latin American ecocriticism has repeatedly shown how environmental approaches to cultural production often transcend national and regional borders. A case in point is Mário de Andrade's modernist novel Macunaíma (1928), whose homonymous protagonist has the ability to rapidly travel across Brazilian territory and into neighboring countries in what Andrade defined as a process of \"degeographication.\" This article proposes that, rather than simply erasing borders, Macunaíma's continental wanderings highlight the singular, ambivalent position Brazil has occupied in conceptualizations of Latin America. Moreover, these transnational journeys occur primarily in the geographically undetermined space of the \"virgin woods,\" where distances and limits on movement are less marked than in São Paulo and Rio de Janeiro. By investigating how a borderless Latin America is imagined via the space of the virgin woods, this article demonstrates how Macunaíma's degeographication is geographically and environmentally conditioned. In doing so, it aims to reconsider the longstanding debates about Brazil's status in Latin America in light of ecocritical studies and to show how environmental considerations may contribute to this discussion.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"177 - 193"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46687777","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:Using the work of Barthes, Derrida, Pratt, Rancière, and Sontag, among others, this paper explores how what is shown, not shown, and hidden play an equally important role in the work of Antonio Méndez Rubio (1967-) and Ana Merino (1971-). While Merino's La voz de los relojes (2000) interrogates the visible by expanding and simultaneously subdividing it, showing that different people see different things, Méndez Rubio's El fin del mundo (1995) highlights the impact of the (in)visible and out-of-frame in his interrogation of the visible. Even though each poet engages with different forms of visual representation—painting in Merino's work and photography and film in Méndez Rubio's—and represents different spaces—Cuba in Merino's work and Albania in Méndez Rubio's—both show that it is possible to interrogate visual representation as a larger phenomenon even if their work does not use more traditional ekphrastic approaches in which poems engage with and establish a dialogue with existing visual representations. The work of these two poets ultimately reveals the importance of continuing this interrogation of visual representation, since such critiques of modes of representation do not sever the inextricable link between visual representation and discourse, but instead only reshape and reframe it.
摘要:本文以巴尔特、德里达、普拉特、朗西孔特和桑塔格等人的作品为基础，探讨了在安东尼奥·姆姆萨恩德斯·卢比奥(1967-)和安娜·梅里诺(1971-)的作品中，“显示”、“未显示”和“隐藏”三者之间的关系。美利诺的La voz de los relojes(2000)通过扩展和同时细分可见的事物来拷问可见的事物，表明不同的人会看到不同的事物，而姆萨姆德斯·卢比奥的El fin del mundo(1995)则在他对可见事物的拷问中强调了可见和非可见的影响。尽管每个诗人都使用不同形式的视觉表现——美利诺的作品中有绘画，姆姆姆德斯·卢比奥的作品中有摄影和电影——并且代表不同的空间——美利诺的作品中有古巴，姆姆姆德斯·卢比奥的作品中有阿尔巴尼亚——两者都表明，即使他们的作品没有使用更传统的语言方法，也可以将视觉表现作为一种更大的现象进行质疑，在这种方法中，诗歌与现有的视觉表现进行接触并建立对话。这两位诗人的作品最终揭示了继续对视觉表现的质疑的重要性，因为这种对表现模式的批评并没有切断视觉表现与话语之间不可分割的联系，而只是重塑和重新构建它。
{"title":"Invisible Points and Open Windows: Picturing Representation in the Poetry of Antonio Méndez Rubio and Ana Merino","authors":"P. Cahill","doi":"10.1353/rhm.2022.0018","DOIUrl":"https://doi.org/10.1353/rhm.2022.0018","url":null,"abstract":"ABSTRACT:Using the work of Barthes, Derrida, Pratt, Rancière, and Sontag, among others, this paper explores how what is shown, not shown, and hidden play an equally important role in the work of Antonio Méndez Rubio (1967-) and Ana Merino (1971-). While Merino's La voz de los relojes (2000) interrogates the visible by expanding and simultaneously subdividing it, showing that different people see different things, Méndez Rubio's El fin del mundo (1995) highlights the impact of the (in)visible and out-of-frame in his interrogation of the visible. Even though each poet engages with different forms of visual representation—painting in Merino's work and photography and film in Méndez Rubio's—and represents different spaces—Cuba in Merino's work and Albania in Méndez Rubio's—both show that it is possible to interrogate visual representation as a larger phenomenon even if their work does not use more traditional ekphrastic approaches in which poems engage with and establish a dialogue with existing visual representations. The work of these two poets ultimately reveals the importance of continuing this interrogation of visual representation, since such critiques of modes of representation do not sever the inextricable link between visual representation and discourse, but instead only reshape and reframe it.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"138 - 154"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47727249","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":"Expanded Geographies: Recent Trends in Mexican Cultural Studies","authors":"R. Gallo","doi":"10.1353/rhm.2022.0011","DOIUrl":"https://doi.org/10.1353/rhm.2022.0011","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"213 - 221"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44611104","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":"¿Qué será la vanguardia? Utopías y nostalgias en la literatura contemporánea by Julio Premat (review)","authors":"J. Locane","doi":"10.1353/rhm.2022.0014","DOIUrl":"https://doi.org/10.1353/rhm.2022.0014","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"229 - 231"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49213249","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":"The Senses of Democracy: Perception, Politics, and Culture in Latin America by Francine Masiello (review)","authors":"Vanesa Miseres","doi":"10.1353/rhm.2022.0015","DOIUrl":"https://doi.org/10.1353/rhm.2022.0015","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"231 - 234"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44147333","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":"Dead Voice: Law, Philosophy, and Fiction in the Iberian Middle Ages by Jesús R. Velasco (review)","authors":"Manuela Bragagnolo","doi":"10.1353/rhm.2022.0012","DOIUrl":"https://doi.org/10.1353/rhm.2022.0012","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"223 - 226"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47419395","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":"Hemispheric Integration: Materiality, Mobility, and the Making of Latin American Art by Niko Vicario (review)","authors":"M. Coffey","doi":"10.1353/rhm.2022.0013","DOIUrl":"https://doi.org/10.1353/rhm.2022.0013","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"226 - 229"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49297090","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 focuses on a series of visual essays in the literary production of the Puerto Rican writer Eduardo Lalo (1960): Los pies de San Juan (2002), donde (2005), and El deseo del lápiz (2010). We analyze these books in chronological order, regarding them as a unit in evolution, an organic sequence that meticulously builds, develops, and alters a way of looking. If Los pies de San Juan represents the claustrophobic experience of the physical city of San Juan, donde transforms this experience into a condition and projects it outwards to a conceptual space that imbues everything around the speaker. In El deseo del lápiz this "conditioned" way of dwelling is taken to its extreme by suggesting prison can be interpreted as a synecdoche of all these previous experiences. By exploring fissures in the hegemonic models of visuality (in the physical, conceptual-epistemological, and institutional levels), Lalo's work blurs the imaginary line of "the distribution of the sensible" (Rancière). This means that by combining the visual experimentation of photography with the conceptual-epistemological exploration of the text, Lalo conceives a new aesthetic community that presents bodies with another way of experiencing their daily reality. At the same time, we analyze the tension created by the constant, perhaps unintended irruption of the self-referential authorial voice within the texts.
摘要:本文关注波多黎各作家爱德华多·拉洛(Eduardo Lalo, 1960)文学作品中的一系列视觉散文:《圣胡安的馅饼》(2002)、《donde》(2005)和《El deseo del lápiz》(2010)。我们按照时间顺序来分析这些书，把它们看作是进化中的一个单元，一个有机的顺序，一丝不苟地建立、发展和改变了一种观察方式。如果说Los pies de San Juan代表了圣胡安这个实体城市的幽闭恐惧症体验，那么donde将这种体验转化为一种状态，并将其向外投射到一个概念性的空间中，从而渗透到说话者周围的一切。在El deseo del lápiz中，这种“条件化”的居住方式被发挥到了极致，暗示监狱可以被解释为所有这些以前经历的提喻。通过探索视觉的霸权模型(在物理、概念认识论和制度层面)的裂缝，拉洛的作品模糊了“感性的分布”(ranci)的想象线。这意味着，通过将摄影的视觉实验与文本的概念认识论探索相结合，Lalo构想了一个新的美学社区，以另一种方式呈现身体体验他们的日常现实。与此同时，我们分析了文本中自我指涉的作者声音的不断的，也许是无意的中断所造成的紧张。
{"title":"\"La sofisticación de la pérdida\": Usos y abusos de la fotografía en la obra de Eduardo Lalo","authors":"Gustavo Quintero Vera","doi":"10.1353/rhm.2022.0019","DOIUrl":"https://doi.org/10.1353/rhm.2022.0019","url":null,"abstract":"ABSTRACT:This article focuses on a series of visual essays in the literary production of the Puerto Rican writer Eduardo Lalo (1960): Los pies de San Juan (2002), donde (2005), and El deseo del lápiz (2010). We analyze these books in chronological order, regarding them as a unit in evolution, an organic sequence that meticulously builds, develops, and alters a way of looking. If Los pies de San Juan represents the claustrophobic experience of the physical city of San Juan, donde transforms this experience into a condition and projects it outwards to a conceptual space that imbues everything around the speaker. In El deseo del lápiz this \"conditioned\" way of dwelling is taken to its extreme by suggesting prison can be interpreted as a synecdoche of all these previous experiences. By exploring fissures in the hegemonic models of visuality (in the physical, conceptual-epistemological, and institutional levels), Lalo's work blurs the imaginary line of \"the distribution of the sensible\" (Rancière). This means that by combining the visual experimentation of photography with the conceptual-epistemological exploration of the text, Lalo conceives a new aesthetic community that presents bodies with another way of experiencing their daily reality. At the same time, we analyze the tension created by the constant, perhaps unintended irruption of the self-referential authorial voice within the texts.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"155 - 176"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41394899","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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