Eva Canel’s play La mulata (Barcelona 1891, premiered in Havana in 1893) places its protagonist, Patria, at the intersection of feminist, anti-racist and anti-colonial agendas. In particular, I argue that it is through an original adaptation of the sentimental ideal of motherhood that the play grounds Patria’s rights as a mother and as an Afro-descendant woman, as well as the standing of a soon to be independent Cuba. In this way, the play invites reflection on the problematic relationship between discourses of disembodied personhood and bodily discrimination.
{"title":"‘Aren’t we mothers all the same?’: Personhood and patria in Eva Canel’s La mulata","authors":"Ana Mateos","doi":"10.3828/bhs.2022.44","DOIUrl":"https://doi.org/10.3828/bhs.2022.44","url":null,"abstract":"\u0000Eva Canel’s play La mulata (Barcelona 1891, premiered in Havana in 1893) places its protagonist, Patria, at the intersection of feminist, anti-racist and anti-colonial agendas. In particular, I argue that it is through an original adaptation of the sentimental ideal of motherhood that the play grounds Patria’s rights as a mother and as an Afro-descendant woman, as well as the standing of a soon to be independent Cuba. In this way, the play invites reflection on the problematic relationship between discourses of disembodied personhood and bodily discrimination.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"219 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78422317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1899, Spanish painter Darío de Regoyos published España negra, a travel book inspired by the journey around Spain that he had made with Belgian poet Émile Verhaeren in 1888. The book comprises fragments of Verhaeren’s ‘Impressions d’artiste’ (1888) [Artist’s Impressions] - a series of articles the poet wrote about his experiences in Spain - that Regoyos translated from French to Spanish and published, together with his own prose and illustrations under the evocative title España negra. This article examines the results and idiosyncrasies of Regoyos’s translation and how the hermeneutic and contemplative processes of translating allowed the painter to assert his authorship in España negra. As he translated, corrected and betrayed ‘Impressions d’artiste’ throughout España negra, Regoyos recast Verhaeren’s melancholy portrait of Spain as a critical reflection on the stereotypes and realities then shaping the nation.
1899年，西班牙画家Darío de regoyoos出版了一本名为España negra的旅行书，这本书的灵感来自于他在1888年与比利时诗人Émile Verhaeren一起环游西班牙的旅行。这本书包括verhaenen的“Impressions d’artiste”(1888年)[艺术家的印象]的片段，这是诗人写的一系列关于他在西班牙的经历的文章，Regoyos将其从法语翻译成西班牙语并出版，连同他自己的散文和插图，标题为España negra。这篇文章探讨了regoyo翻译的结果和特质，以及翻译的解释学和沉思过程如何使画家在España negra中坚持自己的作者身份。在整个España negra期间，雷戈约斯翻译、纠正和背叛了《艺术家的印象》(Impressions d ' artiste)，他重新塑造了verhaenen对西班牙的忧郁描绘，作为对当时塑造这个国家的刻板印象和现实的批判性反思。
{"title":"‘¿Cómo no meter la pata en literatura?’: Untangling Authorship and Translation in España negra (1899) by Darío de Regoyos","authors":"Stacey E. Mitchell","doi":"10.3828/bhs.2022.45","DOIUrl":"https://doi.org/10.3828/bhs.2022.45","url":null,"abstract":"\u0000In 1899, Spanish painter Darío de Regoyos published España negra, a travel book inspired by the journey around Spain that he had made with Belgian poet Émile Verhaeren in 1888. The book comprises fragments of Verhaeren’s ‘Impressions d’artiste’ (1888) [Artist’s Impressions] - a series of articles the poet wrote about his experiences in Spain - that Regoyos translated from French to Spanish and published, together with his own prose and illustrations under the evocative title España negra. This article examines the results and idiosyncrasies of Regoyos’s translation and how the hermeneutic and contemplative processes of translating allowed the painter to assert his authorship in España negra. As he translated, corrected and betrayed ‘Impressions d’artiste’ throughout España negra, Regoyos recast Verhaeren’s melancholy portrait of Spain as a critical reflection on the stereotypes and realities then shaping the nation.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"174 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77497287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La dictadura de Francisco Franco inicialmente intentó legitimarse mediante alusiones a su victoria bélica. No obstante, en los años cincuenta disminuyó la utilidad de este discurso y el régimen se encontraba con la necesidad de relegitimarse ante el pueblo español, enfocándose ahora en justificar su continuidad. Este estudio propone que varios autores y cineastas afines a Franco fueron capaces de percibir las necesidades del régimen y dieron el primer paso en la creación de una nueva retórica, ideando una visión de España en que reinaba la paz, el orden y la prosperidad económica a pesar de las condiciones reales del país. La temática de la guerrilla antifranquista les permitía idear el enemigo perfecto, uno que destruiría estos supuestos logros y planteaba como única alternativa al régimen el caos, la violencia y el atraso económico. La emergencia de estas obras antes de que se produjeran varios cambios políticos y económicos importantes en los sesenta subraya la importancia de reconocer que estos autores y directores, lejos de meramente hacerse eco de una propaganda ya existente, eran hábiles retóricos y nos permite cuestionar si estas obras pudieran haber servido como un catalizador que promovió estos cambios en las políticas del régimen.
{"title":"Relegitimando el régimen: el papel del cine y de la literatura franquista de los maquis","authors":"R. Linville","doi":"10.3828/bhs.2022.46","DOIUrl":"https://doi.org/10.3828/bhs.2022.46","url":null,"abstract":"\u0000La dictadura de Francisco Franco inicialmente intentó legitimarse mediante alusiones a su victoria bélica. No obstante, en los años cincuenta disminuyó la utilidad de este discurso y el régimen se encontraba con la necesidad de relegitimarse ante el pueblo español, enfocándose ahora en justificar su continuidad. Este estudio propone que varios autores y cineastas afines a Franco fueron capaces de percibir las necesidades del régimen y dieron el primer paso en la creación de una nueva retórica, ideando una visión de España en que reinaba la paz, el orden y la prosperidad económica a pesar de las condiciones reales del país. La temática de la guerrilla antifranquista les permitía idear el enemigo perfecto, uno que destruiría estos supuestos logros y planteaba como única alternativa al régimen el caos, la violencia y el atraso económico. La emergencia de estas obras antes de que se produjeran varios cambios políticos y económicos importantes en los sesenta subraya la importancia de reconocer que estos autores y directores, lejos de meramente hacerse eco de una propaganda ya existente, eran hábiles retóricos y nos permite cuestionar si estas obras pudieran haber servido como un catalizador que promovió estos cambios en las políticas del régimen.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88634398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El objeto del presente trabajo es el estudio de las definiciones que ofrece el primer diccionario de la Real Academia Española (1726-1739) para el conjunto léxico formado por las voces que designan animales, atendiendo al contexto, por una parte, de los diccionarios monolingües anteriores, y, por otra parte, de los tratados eruditos que contenían la doctrina naturalista imperante en la época. Observamos cómo el Diccionario de autoridades opta por un camino en gran medida independiente tanto de sus modelos lexicográficos como también de los tratados. De estos últimos adopta únicamente un conjunto limitado de informaciones de tipo enciclopédico y de términos técnicos de origen grecolatino; lo que prevalece, en cambio, en las definiciones es una descripción centrada en los rasgos objetivamente observables en los referentes. De este modo, el diccionario académico introduce una perspectiva innovadora tanto en la descripción zoológica como en la técnica lexicográfica.
{"title":"El Diccionario de autoridades entre la tradición y la innovación. A propósito de la definición de las denominaciones de animales","authors":"Stefan Ruhstaller","doi":"10.3828/bhs.2022.32","DOIUrl":"https://doi.org/10.3828/bhs.2022.32","url":null,"abstract":"\u0000El objeto del presente trabajo es el estudio de las definiciones que ofrece el primer diccionario de la Real Academia Española (1726-1739) para el conjunto léxico formado por las voces que designan animales, atendiendo al contexto, por una parte, de los diccionarios monolingües anteriores, y, por otra parte, de los tratados eruditos que contenían la doctrina naturalista imperante en la época. Observamos cómo el Diccionario de autoridades opta por un camino en gran medida independiente tanto de sus modelos lexicográficos como también de los tratados. De estos últimos adopta únicamente un conjunto limitado de informaciones de tipo enciclopédico y de términos técnicos de origen grecolatino; lo que prevalece, en cambio, en las definiciones es una descripción centrada en los rasgos objetivamente observables en los referentes. De este modo, el diccionario académico introduce una perspectiva innovadora tanto en la descripción zoológica como en la técnica lexicográfica.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88769977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El modelo técnico que Remo Erdosain, protagonista de Los siete locos (1929) y Los lanzallamas (1931) de Roberto Arlt, busca desarrollar reúne los criterios fundamentales que definen la identidad del siglo veinte y prefigura la crisis actual de las condiciones ecológicas de nuestra existencia. Los trabajos que han rozado esta dimensión la han vaciado de contenido al considerar el espacio que Erdosain busca aniquilar de manera simbólica como una metáfora ontológica de su existencia. Al volver a desplegar estos trabajos, analizar cómo intervienen en el contexto político de Argentina en los años 60-70 y cómo Ricardo Piglia absorbe el mismo punto ciego en su propia investigación sobre Arlt, el presente ensayo restituye la consistencia del pensamiento técnico de Erdosain. Un modelo de desarrollo técnico que, paradójicamente, reaparece en la última novela de Piglia, El camino de Ida (2013), a través de una imagen especular e invertida de Erdosain y junto a la pregunta ética y moral frente a la lucha armada y la revolución.
雷莫·埃多塞(Remo Erdosain)是罗伯托·阿尔特(Roberto Arlt)的《七个疯狂的人》(Los siete locos, 1929)和《火焰喷头》(Los lanzallamas, 1931)的主角，他试图开发的技术模型符合定义20世纪身份的基本标准，并预示着我们生存的生态条件的当前危机。埃尔多塞恩试图以一种象征性的方式摧毁的空间，作为他存在的本体论隐喻，触及了这个维度，从而剥夺了它的内容。通过重新展开这些作品，分析它们如何介入60-70年代的阿根廷政治背景，以及里卡多·皮利亚如何在他自己的艺术研究中吸收同样的盲点，本文恢复了埃多塞恩技术思想的一致性。矛盾的是，在皮利亚的最后一部小说《艾达之路》(2013)中，通过埃尔多塞恩的镜像和倒置形象，以及面对武装斗争和革命的伦理和道德问题，技术发展模式再次出现。
{"title":"Eco-terrorismo: Arlt, Piglia y la tecnologización de la vida","authors":"Federico Fridman","doi":"10.3828/bhs.2022.36","DOIUrl":"https://doi.org/10.3828/bhs.2022.36","url":null,"abstract":"\u0000El modelo técnico que Remo Erdosain, protagonista de Los siete locos (1929) y Los lanzallamas (1931) de Roberto Arlt, busca desarrollar reúne los criterios fundamentales que definen la identidad del siglo veinte y prefigura la crisis actual de las condiciones ecológicas de nuestra existencia. Los trabajos que han rozado esta dimensión la han vaciado de contenido al considerar el espacio que Erdosain busca aniquilar de manera simbólica como una metáfora ontológica de su existencia. Al volver a desplegar estos trabajos, analizar cómo intervienen en el contexto político de Argentina en los años 60-70 y cómo Ricardo Piglia absorbe el mismo punto ciego en su propia investigación sobre Arlt, el presente ensayo restituye la consistencia del pensamiento técnico de Erdosain. Un modelo de desarrollo técnico que, paradójicamente, reaparece en la última novela de Piglia, El camino de Ida (2013), a través de una imagen especular e invertida de Erdosain y junto a la pregunta ética y moral frente a la lucha armada y la revolución.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"132 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84113281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay explores how the comic medium fosters transnational, female empowerment and solidarity through the analysis of two graphic novels written by artists from opposite sides of the Atlantic. Las mujeres mueven montañas (2019), by Pepita Sandwich (Josefina Guarracino, Argentina), traces the accomplishments of fourteen exceptional women throughout recent history. The second narrative, Estamos todas bien (2017), by Ana Penyas (Spain), describes the lives of two women, Penyas’s grandmothers, who lived in Spain under the Franco dictatorship. By drawing upon theories of memory studies and the comic as a form of documentary and testimony, this essay demonstrates how these graphic narratives provide a platform that creates a unified genealogy of women across the globe through the retelling of the past.
本文通过分析来自大西洋两岸艺术家的两部漫画小说，探讨漫画媒介如何促进跨国、女性赋权和团结。Pepita Sandwich (Josefina Guarracino，阿根廷)的《Las mujeres mueven montañas》(2019)追溯了近期历史上14位杰出女性的成就。第二个故事《Estamos todas bien》(2017)由西班牙作家安娜·佩尼亚斯(Ana Penyas)创作，描述了两个女人的生活，她们是佩尼亚斯的祖母，生活在佛朗哥独裁统治下的西班牙。通过借鉴记忆研究理论和作为纪录片和证词形式的漫画，本文展示了这些图形叙事如何提供一个平台，通过对过去的复述，创建了全球女性的统一谱系。
{"title":"Transnational Female Solidarity and Gender Equality in the Comic Medium: Pepita Sandwich’s Las mujeres mueven montañas and Ana Penyas’s Estamos todas bien","authors":"Joanne Britland","doi":"10.3828/bhs.2022.34","DOIUrl":"https://doi.org/10.3828/bhs.2022.34","url":null,"abstract":"\u0000This essay explores how the comic medium fosters transnational, female empowerment and solidarity through the analysis of two graphic novels written by artists from opposite sides of the Atlantic. Las mujeres mueven montañas (2019), by Pepita Sandwich (Josefina Guarracino, Argentina), traces the accomplishments of fourteen exceptional women throughout recent history. The second narrative, Estamos todas bien (2017), by Ana Penyas (Spain), describes the lives of two women, Penyas’s grandmothers, who lived in Spain under the Franco dictatorship. By drawing upon theories of memory studies and the comic as a form of documentary and testimony, this essay demonstrates how these graphic narratives provide a platform that creates a unified genealogy of women across the globe through the retelling of the past.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89693978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rejected by the publisher when originally written, the short story ‘Fiestita con animación’, by Ana María Shua provides an allegory of the last Argentine military dictatorship (1976-1983), relating Mikhail Bakhtin’s theory of the carnival or carnivalesque with the legal concept known as the state of exception, as developed by Giorgio Agamben. Specifically, the text offers a subtle representation of enforced disappearance (‘desaparición forzada’) to be interpreted in line with Agamben’s readings on the homo sacer (the sacred man). Consequently, carnival and the state of siege - namely, martial law - are equivalent as a temporary stop on rights or on the law.
Ana María Shua的短篇小说“Fiestita con animación”在最初写作时被出版商拒绝，它提供了阿根廷最后一个军事独裁政权(1976-1983)的寓言，将米哈伊尔·巴赫金的狂欢节理论与乔治·阿甘本提出的被称为例外状态的法律概念联系起来。具体来说，文本提供了强迫失踪的微妙表现(' desaparición forzada ')，以符合阿甘本对homo sacer(神圣的人)的解读。因此，狂欢节和戒严——也就是戒严令——相当于对权利或法律的暂时停止。
{"title":"Carnival and iustitium in Ana María Shua’s ‘Fiestita con animación’","authors":"Vania Barraza","doi":"10.3828/bhs.2022.35","DOIUrl":"https://doi.org/10.3828/bhs.2022.35","url":null,"abstract":"\u0000Rejected by the publisher when originally written, the short story ‘Fiestita con animación’, by Ana María Shua provides an allegory of the last Argentine military dictatorship (1976-1983), relating Mikhail Bakhtin’s theory of the carnival or carnivalesque with the legal concept known as the state of exception, as developed by Giorgio Agamben. Specifically, the text offers a subtle representation of enforced disappearance (‘desaparición forzada’) to be interpreted in line with Agamben’s readings on the homo sacer (the sacred man). Consequently, carnival and the state of siege - namely, martial law - are equivalent as a temporary stop on rights or on the law.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"255 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75763052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this study I discuss the generic implications of Fray Luis’s adoption of the Horatian authorial persona. Firstly, I interpret Ode I as a statement of his poetic programme. Next, I argue that in Ode XXII Fray Luis navigates lyric’s apparent rejection of epic themes by modelling his portrayal of Pedro Portocarrero on Horace’s relationship with Maecenas. I then discuss how other elevated poems are compatible with the lyric persona through their affiliation with the hymn form and particularly with Pindar’s lyric. Critics often comment that Fray Luis avoids amatory themes; while this is true in his original poetry, I argue that in his translations of Horace and in his use of Classical allusion in the Latin commentary In Canticum Canticorum, the lyric persona gives him both the licence to treat amatory themes and the ability to distance himself from them through Horatian humour.
{"title":"‘El canto y lira mía’: The Horatian Authorial Persona in the Work of Fray Luis de León","authors":"Maria Czepiel","doi":"10.3828/bhs.2022.33","DOIUrl":"https://doi.org/10.3828/bhs.2022.33","url":null,"abstract":"\u0000In this study I discuss the generic implications of Fray Luis’s adoption of the Horatian authorial persona. Firstly, I interpret Ode I as a statement of his poetic programme. Next, I argue that in Ode XXII Fray Luis navigates lyric’s apparent rejection of epic themes by modelling his portrayal of Pedro Portocarrero on Horace’s relationship with Maecenas. I then discuss how other elevated poems are compatible with the lyric persona through their affiliation with the hymn form and particularly with Pindar’s lyric. Critics often comment that Fray Luis avoids amatory themes; while this is true in his original poetry, I argue that in his translations of Horace and in his use of Classical allusion in the Latin commentary In Canticum Canticorum, the lyric persona gives him both the licence to treat amatory themes and the ability to distance himself from them through Horatian humour.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73621759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines politics and race in the early novels of Julio Cortázar - those written before Rayuela (1963), sometimes called his ‘Argentine trilogy’, and published after the author’s death. Despite Cortázar’s later public statements about the importance of an author’s engagement with politics, it is the analytical acumen in the realist aspects of these often fantastical novels, rather than a commitment to a stance, or a political message, that ensures the continued potency of his works as political fictions. Furthermore, recent critical investigations of race and racism in Argentina deepen our understanding of the author’s politics through reference to these questions. Cortázar admitted later in life that his former self shared many of the prejudices of his narrators and characters. We aim to nuance Beckman’s recent assertion that Cortázar displays ‘racist […] assumptions embedded within his vision of universality’ (2018) by setting these works against the background of race and politics in Argentina.
{"title":"‘Fantasies of Catastrophe’: Politics and Race in the Early Novels of Julio Cortázar","authors":"B. Bollig","doi":"10.3828/bhs.2022.31","DOIUrl":"https://doi.org/10.3828/bhs.2022.31","url":null,"abstract":"\u0000This paper examines politics and race in the early novels of Julio Cortázar - those written before Rayuela (1963), sometimes called his ‘Argentine trilogy’, and published after the author’s death. Despite Cortázar’s later public statements about the importance of an author’s engagement with politics, it is the analytical acumen in the realist aspects of these often fantastical novels, rather than a commitment to a stance, or a political message, that ensures the continued potency of his works as political fictions. Furthermore, recent critical investigations of race and racism in Argentina deepen our understanding of the author’s politics through reference to these questions. Cortázar admitted later in life that his former self shared many of the prejudices of his narrators and characters. We aim to nuance Beckman’s recent assertion that Cortázar displays ‘racist […] assumptions embedded within his vision of universality’ (2018) by setting these works against the background of race and politics in Argentina.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72711930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En este trabajo se describen las reediciones del Decameron de Boccaccio en la España del siglo XVI, se analizan las singularidades que presentan desde el punto de vista material y socioeditorial, y, a partir de un escogido elenco de variantes, se traza la filiación textual.
{"title":"Las cien novelas de micer Juan Bocacio: Agora nuevamente impresas, corregidas y enmendadas. El Decameron en castellano en la imprenta del siglo XVI","authors":"David González Ramírez","doi":"10.3828/bhs.2022.28","DOIUrl":"https://doi.org/10.3828/bhs.2022.28","url":null,"abstract":"\u0000En este trabajo se describen las reediciones del Decameron de Boccaccio en la España del siglo XVI, se analizan las singularidades que presentan desde el punto de vista material y socioeditorial, y, a partir de un escogido elenco de variantes, se traza la filiación textual.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":"73 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86031950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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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