ABSTRACT:The article discusses how prominent Latin American authors have reimagined the two Mexican avant-garde groups—the Contemporáneos and Estridentistas—in novels published between 1992-2011. It is obvious that the authors pay tribute to the Mexican avant-garde by casting members of the Contemporáneos and Estridentistas as lead characters in their novels. What is less obvious is the way in which the later authors stylistically borrow from the earlier avant-garde authors. Although critical tradition has tended to separate the Estridentistas from the Contemporáneos, a side-by-side reading of their 1920s prose both argues against this division and lays claim for a more prominent position for the Mexican avant-garde in Latin American letters. Between 1921 and 1929, both Estridentistas and Contemporáneos obsessively produced experimental literary self-portraits. These fragmented, pseudo-autobiographical texts serve as models for the later works from the 1990s to early 2000s, all of which paint portraits of Mexican intellectuals amidst turmoil while using literary devices that simultaneously undermine questions of authorship and the possibility of telling a coherent story. Both sets of experimental autobiographies (those from the 1920s and more recent versions) deeply question the meaning of being an intellectual in Mexico, both then and now. Considering the Estridentistas and Contemporáneos in tandem not only reveals a fuller picture of the 1920s literary scene in Mexico, but allows us to see an organic style that emerged in Mexico and influenced authors and artists throughout the Americas from the 1920s until the current day.
{"title":"The Estridentistas and Contemporáneos Reimagined: Debating the Legacy of the Mexican Literary Avant-Garde","authors":"Ann Warner-Ault","doi":"10.1353/rhm.2022.0021","DOIUrl":"https://doi.org/10.1353/rhm.2022.0021","url":null,"abstract":"ABSTRACT:The article discusses how prominent Latin American authors have reimagined the two Mexican avant-garde groups—the Contemporáneos and Estridentistas—in novels published between 1992-2011. It is obvious that the authors pay tribute to the Mexican avant-garde by casting members of the Contemporáneos and Estridentistas as lead characters in their novels. What is less obvious is the way in which the later authors stylistically borrow from the earlier avant-garde authors. Although critical tradition has tended to separate the Estridentistas from the Contemporáneos, a side-by-side reading of their 1920s prose both argues against this division and lays claim for a more prominent position for the Mexican avant-garde in Latin American letters. Between 1921 and 1929, both Estridentistas and Contemporáneos obsessively produced experimental literary self-portraits. These fragmented, pseudo-autobiographical texts serve as models for the later works from the 1990s to early 2000s, all of which paint portraits of Mexican intellectuals amidst turmoil while using literary devices that simultaneously undermine questions of authorship and the possibility of telling a coherent story. Both sets of experimental autobiographies (those from the 1920s and more recent versions) deeply question the meaning of being an intellectual in Mexico, both then and now. Considering the Estridentistas and Contemporáneos in tandem not only reveals a fuller picture of the 1920s literary scene in Mexico, but allows us to see an organic style that emerged in Mexico and influenced authors and artists throughout the Americas from the 1920s until the current day.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"194 - 211"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42899453","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 past several years has seen an increase in Latin American literary texts that embrace multiple genres. In response, the term "speculative fiction" has gained traction as a tool for talking about them. However, a majority of the existing critical analysis on speculative fiction has been developed through readings of anglophone science fiction. This presents two hurdles as the term grows in popularity among scholars of Latin American literature. The first is the need to adapt theories of speculative fiction to the Latin American literary tradition, and the second is to ensure that this theory registers the broad array of genres under the speculative fiction umbrella. This article moves towards a theory of Latin American speculative fiction by drawing out a thread that runs through several of those genres. I argue that the slipstream phenomenon, previously ascribed in the Latin American tradition only to science fiction, is a defining feature of Latin American speculative fiction more broadly. Taking as a case study Horacio Castellanos Moya's Baile con serpientes, I examine the shifts in genre that occur when speculative forms slip into an otherwise realist Central American noir novel. I conclude that various non-realist genres represented by the umbrella term "Latin American speculative fiction" use slipstream as a tool to recast genre boundaries. The essay moves towards a theory of Latin American speculative fiction that recognizes the shared patterns of impact created by diverse non-realist genres on the landscape of Latin American literature.
{"title":"Familiar Estrangements: Toward a Genre Theory of Latin American Speculative Fiction","authors":"Alexandra R. Brown","doi":"10.1353/rhm.2022.0017","DOIUrl":"https://doi.org/10.1353/rhm.2022.0017","url":null,"abstract":"ABSTRACT:The past several years has seen an increase in Latin American literary texts that embrace multiple genres. In response, the term \"speculative fiction\" has gained traction as a tool for talking about them. However, a majority of the existing critical analysis on speculative fiction has been developed through readings of anglophone science fiction. This presents two hurdles as the term grows in popularity among scholars of Latin American literature. The first is the need to adapt theories of speculative fiction to the Latin American literary tradition, and the second is to ensure that this theory registers the broad array of genres under the speculative fiction umbrella. This article moves towards a theory of Latin American speculative fiction by drawing out a thread that runs through several of those genres. I argue that the slipstream phenomenon, previously ascribed in the Latin American tradition only to science fiction, is a defining feature of Latin American speculative fiction more broadly. Taking as a case study Horacio Castellanos Moya's Baile con serpientes, I examine the shifts in genre that occur when speculative forms slip into an otherwise realist Central American noir novel. I conclude that various non-realist genres represented by the umbrella term \"Latin American speculative fiction\" use slipstream as a tool to recast genre boundaries. The essay moves towards a theory of Latin American speculative fiction that recognizes the shared patterns of impact created by diverse non-realist genres on the landscape of Latin American literature.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"121 - 137"},"PeriodicalIF":0.1,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46939791","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:Estilo is a collection of prose poems written in exile by poet, journalist and activist Dolores Dorantes, after the author suffered an attack by organized crime for her work with Documentación y Estudios de Mujeres A.C., a grassroots organization that collected testimonies of women affected by the so-called "war on drugs". This paper analyzes Dorantes' critical appropriation of an average Mexican style (Luis Felipe Fabre), which under the ahistorical guise of the sublime reproduces sexism, elitism and corporatism. I argue that this appropriation of the sublime, both in its rhetorical (Pseudo-Longinus) and aesthetic (Burke, Kant and his followers, etc.) meanings, aims to visibilize the intertwining between the public discourse on drug trafficking and the diffuse violence of the narco-machine (Rosanna Reguillo), especially against women.
摘要：《Estilo》是诗人、记者和活动家多洛雷斯·多兰特斯在流亡期间创作的散文诗集，此前作者因与Documentación y Estudios de Mujeres a.C.合作而遭到有组织犯罪的袭击，Documentaciín y Estudios de Mujeres a.C.是一个基层组织，收集受所谓“禁毒战争”影响的妇女的证词。本文分析了多兰提斯对一种普通墨西哥风格（路易斯·费利佩·法布尔）的批判挪用，这种风格在崇高的非历史伪装下再现了性别歧视、精英主义和社团主义。我认为，这种对崇高的挪用，无论是在修辞意义上（伪朗吉努斯）还是在美学意义上（伯克、康德及其追随者等），都旨在让人们看到关于贩毒的公共话语与毒品机器（罗莎娜·雷吉略）的扩散暴力之间的交织，尤其是针对女性的暴力。
{"title":"Estilo: lo sublime y la violencia neoliberal en la poesía de Dolores Dorantes","authors":"Ezequiel Zaidenwerg","doi":"10.1353/rhm.2022.0004","DOIUrl":"https://doi.org/10.1353/rhm.2022.0004","url":null,"abstract":"Abstract:Estilo is a collection of prose poems written in exile by poet, journalist and activist Dolores Dorantes, after the author suffered an attack by organized crime for her work with Documentación y Estudios de Mujeres A.C., a grassroots organization that collected testimonies of women affected by the so-called \"war on drugs\". This paper analyzes Dorantes' critical appropriation of an average Mexican style (Luis Felipe Fabre), which under the ahistorical guise of the sublime reproduces sexism, elitism and corporatism. I argue that this appropriation of the sublime, both in its rhetorical (Pseudo-Longinus) and aesthetic (Burke, Kant and his followers, etc.) meanings, aims to visibilize the intertwining between the public discourse on drug trafficking and the diffuse violence of the narco-machine (Rosanna Reguillo), especially against women.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"77 - 93"},"PeriodicalIF":0.1,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49233476","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":"This Ghostly Poetry: History and Memory of Exiled Spanish Republican Poets by Daniel Aguirre-Oteiza (review)","authors":"J. Labanyi","doi":"10.1353/rhm.2022.0007","DOIUrl":"https://doi.org/10.1353/rhm.2022.0007","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"110 - 112"},"PeriodicalIF":0.1,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43574824","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 analyzes the travel account of Clorinda Matto in Italy in 1908, which is part of her posthumous publication, Viaje de recreo. The analysis of her stay in Italy focuses on Matto's combination of text and image, since the narration of her travel experience is accompanied by numerous engravings acquired as postcards by the author. This combination will be analyzed in two basic dimensions. First, in the use and consumption of photographs and postcards as a practice of modern tourism. Second, the essay investigates Viaje de recreo's practices of looking that replicate the aesthetics of both the museum's gallery and the photographic albums and scrapbooks. Finally, the article discusses the ideological dimension of the images' reproduction and selection, what I call here a "pocket modernity." Clorinda Matto reconstructs, from the engravings and from her reflections on them, an image of the Roman empire that not only refers to the foundations of Western civilization but also traces direct ties with the American empires, that of the Incas specifically. Just as at the intersection of text and image offers a new approach to women's travel writing in Latin America, in the parallels established between two civilizations, the Inca and the Roman, we can also read Clorinda Matto's views of modernity, between Europe and America.
摘要:本文分析了克罗琳达·马托1908年在意大利的旅行记录，这是她死后出版的《Viaje de reco》的一部分。对她在意大利的分析主要集中在马托的文字和图像的结合上，因为她的旅行经历的叙述伴随着作者作为明信片获得的大量版画。我们将从两个基本维度来分析这种组合。首先，在使用和消费照片和明信片作为现代旅游的一种做法。其次，本文调查了Viaje de rereo的观察实践，这些实践复制了博物馆画廊和摄影集和剪贴簿的美学。最后，文章讨论了图像复制和选择的意识形态维度，我在这里称之为“口袋现代性”。克罗琳达·马托(Clorinda Matto)根据这些雕刻和她对它们的反思，重建了罗马帝国的形象，这不仅指的是西方文明的基础，而且还追溯到与美洲帝国，特别是印加帝国的直接联系。正如文本和图像的交集为拉丁美洲女性的旅行写作提供了一种新的途径，在印加和罗马两种文明之间建立的相似之处，我们也可以读到克洛琳达·马托对现代性的看法，在欧洲和美国之间。
{"title":"Modernidad de bolsillo: imágenes, consumo e imperio en el viaje a Italia de Clorinda Matto de Turner","authors":"Vanesa Miseres","doi":"10.1353/rhm.2022.0002","DOIUrl":"https://doi.org/10.1353/rhm.2022.0002","url":null,"abstract":"Abstract:This article analyzes the travel account of Clorinda Matto in Italy in 1908, which is part of her posthumous publication, Viaje de recreo. The analysis of her stay in Italy focuses on Matto's combination of text and image, since the narration of her travel experience is accompanied by numerous engravings acquired as postcards by the author. This combination will be analyzed in two basic dimensions. First, in the use and consumption of photographs and postcards as a practice of modern tourism. Second, the essay investigates Viaje de recreo's practices of looking that replicate the aesthetics of both the museum's gallery and the photographic albums and scrapbooks. Finally, the article discusses the ideological dimension of the images' reproduction and selection, what I call here a \"pocket modernity.\" Clorinda Matto reconstructs, from the engravings and from her reflections on them, an image of the Roman empire that not only refers to the foundations of Western civilization but also traces direct ties with the American empires, that of the Incas specifically. Just as at the intersection of text and image offers a new approach to women's travel writing in Latin America, in the parallels established between two civilizations, the Inca and the Roman, we can also read Clorinda Matto's views of modernity, between Europe and America.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"40 - 59"},"PeriodicalIF":0.1,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43099984","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 studies the poetry by the Venezuelan neo-avant-garde collective, El Techo de la Ballena (1961-1969). Inspired by the Cuban Revolution and in opposition to local social-political conditions, the balleneros developed a radical aesthetic project meant to transfigure the avant-garde into an actual weapon for revolutionary struggle. While most scholarship focuses on the group's visual arts, the predominant theory linking El Techo's poetics and politics remains Ángel Rama's "el terrorismo en las artes" (1966), which highlights provocation, aggressivity, and reader ambush. In this essay, I offer a new approach to ballenero poetry. In considering two key works, Juan Calzadilla's Dictado por la jauría (1962) and Caupolicán Ovalles's En uso de razón (1963), I examine what I call "abjection poetics"—the deliberate cultivation of slippage between imposed social limits through abject imagery and expression and the resulting political ramifications. I argue that abjection serves as the primary means through which the poets endeavor to destabilize the matrices of power that characterized early 1960s Venezuela, a moment of "macrocephalic" modernity—the physical and rhetorical execution of rapid, uneven modernization and the strategic ordering of the body politic. Calzadilla's and Ovalles's poetry drive the abject into the innerworkings of the developmentalist agenda in order to disrupt its visual, performative, and discursive execution and, in turn, demystify its claims to reason.
摘要：本文研究了委内瑞拉新先锋派集体El Techo de la Ballena（1961-1969）的诗歌创作。受古巴革命的启发，在反对当地社会政治条件的情况下，芭蕾舞演员们开发了一个激进的美学项目，旨在将先锋派转变为革命斗争的实际武器。虽然大多数学术都集中在该群体的视觉艺术上，但将埃尔·特科的诗学与政治联系起来的主要理论仍然是安吉尔·拉马的《艺术的恐怖》（1966），该书强调了挑衅、侵略性和读者伏击。在这篇文章中，我为巴列纳罗诗歌提供了一种新的方法。在考虑胡安·卡尔扎迪拉（Juan Calzadilla）的《查里亚词典》（Dictado por la jauría）（1962年）和考波利坎·奥瓦利斯（Caupolicán Ovalles。我认为，贬斥是诗人们试图破坏20世纪60年代初委内瑞拉权力矩阵稳定的主要手段，这是一个“宏观”现代性的时刻——快速、不均衡的现代化和政治体战略秩序的物理和修辞执行。Calzadilla和Ovalles的诗歌将卑鄙的人带入发展主义议程的内部运作，以破坏其视觉、表演和话语的执行，进而揭开其理性主张的神秘面纱。
{"title":"In (Dis)Use of Reason: Abjection Poetics and Macrocephalic Modernity in El Techo de la Ballena","authors":"Olivia Lott","doi":"10.1353/rhm.2022.0001","DOIUrl":"https://doi.org/10.1353/rhm.2022.0001","url":null,"abstract":"Abstract:This article studies the poetry by the Venezuelan neo-avant-garde collective, El Techo de la Ballena (1961-1969). Inspired by the Cuban Revolution and in opposition to local social-political conditions, the balleneros developed a radical aesthetic project meant to transfigure the avant-garde into an actual weapon for revolutionary struggle. While most scholarship focuses on the group's visual arts, the predominant theory linking El Techo's poetics and politics remains Ángel Rama's \"el terrorismo en las artes\" (1966), which highlights provocation, aggressivity, and reader ambush. In this essay, I offer a new approach to ballenero poetry. In considering two key works, Juan Calzadilla's Dictado por la jauría (1962) and Caupolicán Ovalles's En uso de razón (1963), I examine what I call \"abjection poetics\"—the deliberate cultivation of slippage between imposed social limits through abject imagery and expression and the resulting political ramifications. I argue that abjection serves as the primary means through which the poets endeavor to destabilize the matrices of power that characterized early 1960s Venezuela, a moment of \"macrocephalic\" modernity—the physical and rhetorical execution of rapid, uneven modernization and the strategic ordering of the body politic. Calzadilla's and Ovalles's poetry drive the abject into the innerworkings of the developmentalist agenda in order to disrupt its visual, performative, and discursive execution and, in turn, demystify its claims to reason.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"22 - 39"},"PeriodicalIF":0.1,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44673655","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 essay discusses the relationship between anger, boredom, and exile in Caribbean literature published in the wake of the nineties, a decade profoundly marked by a change in sensibility, by analyzing Ena Lucía Portela's El pájaro: pincel y tinta china (1999) and Rafael Franco Steeves's El peor de mis amigos (2007). Specifically, in both texts, I detect a fluidity between the concepts of time, water, and a need to disappear. Disappearance as a heterotopic state seems to be connected to a need to destabilize single-authored discourses, functioning as mandates on how to live. This essay, then, argues that disappearance is the most radical effect of subjectivities that operate as, what I call, "angrily bored exiles," a political imagination that challenges the boundaries between subject and object as well as between body, space, and time. If neoliberalism imposes an anxiety about being bored, the exiled position inhabits boredom angrily to enunciate alternate ways of existing. The essay turns this literature into an evaluation of this emotional literary position within a broader context. I propose that the angrily bored mood from the nineties tempered the blind fervor of the sixties and has given contemporary Caribbean subjects a more complicated perspective on their options when imagining utopic representations.
摘要：本文通过分析埃娜·吕西亚·波特拉的《El pájaro：pincel y tinta china》（1999）和拉斐尔·弗兰科·斯蒂维斯的《El peor de mis amigos》（2007），探讨了90年代后出版的加勒比文学中愤怒、无聊和流亡之间的关系。具体来说，在这两篇文章中，我都发现了时间、水和消失需求之间的流动性。作为一种异位状态的消失似乎与破坏单一作者话语稳定的需要有关，这种话语作为如何生活的命令。因此，这篇文章认为，消失是主观主义最激进的影响，我称之为“愤怒无聊的流亡者”，这是一种挑战主体和客体以及身体、空间和时间之间界限的政治想象。如果新自由主义强加了一种对无聊的焦虑，那么流亡的立场就会愤怒地栖息在无聊中，以阐述另一种存在方式。这篇文章将这部文学转变为在更广泛的背景下对这种情感文学立场的评价。我认为，90年代的愤怒无聊情绪缓和了60年代的盲目热情，并使当代加勒比主题在想象乌托邦表现时对自己的选择有了更复杂的视角。
{"title":"The Angrily Bored Condition of Exile in Caribbean Literature at the Turn of the Millennium","authors":"Judith Sierra-Rivera","doi":"10.1353/rhm.2022.0003","DOIUrl":"https://doi.org/10.1353/rhm.2022.0003","url":null,"abstract":"Abstract:This essay discusses the relationship between anger, boredom, and exile in Caribbean literature published in the wake of the nineties, a decade profoundly marked by a change in sensibility, by analyzing Ena Lucía Portela's El pájaro: pincel y tinta china (1999) and Rafael Franco Steeves's El peor de mis amigos (2007). Specifically, in both texts, I detect a fluidity between the concepts of time, water, and a need to disappear. Disappearance as a heterotopic state seems to be connected to a need to destabilize single-authored discourses, functioning as mandates on how to live. This essay, then, argues that disappearance is the most radical effect of subjectivities that operate as, what I call, \"angrily bored exiles,\" a political imagination that challenges the boundaries between subject and object as well as between body, space, and time. If neoliberalism imposes an anxiety about being bored, the exiled position inhabits boredom angrily to enunciate alternate ways of existing. The essay turns this literature into an evaluation of this emotional literary position within a broader context. I propose that the angrily bored mood from the nineties tempered the blind fervor of the sixties and has given contemporary Caribbean subjects a more complicated perspective on their options when imagining utopic representations.","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"60 - 76"},"PeriodicalIF":0.1,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42445847","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":"Pintando al converso: la imagen del morisco en le península ibérica (1492–1614) by Borja Franco Llopis and Francisco J. Moreno Diaz del Campo (review)","authors":"Leyla Rouhi","doi":"10.1353/rhm.2022.0008","DOIUrl":"https://doi.org/10.1353/rhm.2022.0008","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"112 - 114"},"PeriodicalIF":0.1,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47137480","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 Indies of the Setting Sun: How Early Modern Spain Mapped the Far East and the Transpacific West by Ricardo Padrón (review)","authors":"E. Horodowich","doi":"10.1353/rhm.2022.0006","DOIUrl":"https://doi.org/10.1353/rhm.2022.0006","url":null,"abstract":"","PeriodicalId":44636,"journal":{"name":"Revista Hispanica Moderna","volume":"75 1","pages":"107 - 109"},"PeriodicalIF":0.1,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45289802","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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