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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
El present article analitza el tractament que rep a la Crònica de Ramon Muntaner Guillem Galceran de Cartellà, senyor d’Hostoles a Catalunya, que va servir com a general diversos sobirans del casal d’Aragó entre la segona meitat del segle XIII i els inicis del XIV. Amb aquest propòsit, el relat de Muntaner sobre la vida i els fets de Guillem Galceran és contrastat amb les informacions que sobre aquest mateix personatge aporten diverses fonts cronístiques i documentals de l’època. L’exercici posa de manifest que si d’una banda Muntaner idealitza la figura del noble català tot comparant-lo amb els herois de la tradició artúrica, de l’altra sembla amagar alguns punts controvertits de la seva biografia, com ara la seva oposició a Jaume II d’Aragó en el període 1295-1302, durant el qual va lluitar a favor de Frederic de Sicília, llavors enfrontat amb el rei catalanoaragonès.
{"title":"‘Entrò hac XC anys portà armes’: la imatge de Guillem Galceran de Cartellà a la Crònica de Ramon Muntaner","authors":"Josep Antoni Aguilar Ávila","doi":"10.3828/bhs.2022.27","DOIUrl":"https://doi.org/10.3828/bhs.2022.27","url":null,"abstract":"\u0000El present article analitza el tractament que rep a la Crònica de Ramon Muntaner Guillem Galceran de Cartellà, senyor d’Hostoles a Catalunya, que va servir com a general diversos sobirans del casal d’Aragó entre la segona meitat del segle XIII i els inicis del XIV. Amb aquest propòsit, el relat de Muntaner sobre la vida i els fets de Guillem Galceran és contrastat amb les informacions que sobre aquest mateix personatge aporten diverses fonts cronístiques i documentals de l’època. L’exercici posa de manifest que si d’una banda Muntaner idealitza la figura del noble català tot comparant-lo amb els herois de la tradició artúrica, de l’altra sembla amagar alguns punts controvertits de la seva biografia, com ara la seva oposició a Jaume II d’Aragó en el període 1295-1302, durant el qual va lluitar a favor de Frederic de Sicília, llavors enfrontat amb el rei catalanoaragonès.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78640435","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}
Este artículo explora la presencia de mariposas nocturnas y aves en algunos sonetos del poeta novohispano del siglo XVII Luis de Sandoval Zapata. Propone que estos pequeños animales, considerados menores, tienen amplia relevancia filosófica en sus trabajos. Con el objetivo de demostrar esto, el artículo establece un diálogo entre la existencia de las mencionadas criaturas en algunos de sus sonetos y la tradición e innovación poéticas a partir del concepto de multum in parvo.
{"title":"Multum in parvo: pequeños animales voladores en algunos sonetos de Luis de Sandoval Zapata","authors":"J. Robles","doi":"10.3828/bhs.2022.30","DOIUrl":"https://doi.org/10.3828/bhs.2022.30","url":null,"abstract":"\u0000Este artículo explora la presencia de mariposas nocturnas y aves en algunos sonetos del poeta novohispano del siglo XVII Luis de Sandoval Zapata. Propone que estos pequeños animales, considerados menores, tienen amplia relevancia filosófica en sus trabajos. Con el objetivo de demostrar esto, el artículo establece un diálogo entre la existencia de las mencionadas criaturas en algunos de sus sonetos y la tradición e innovación poéticas a partir del concepto de multum in parvo.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76045103","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 presente trabajo examina la influencia de mitos y estructuras provenientes de la tragedia griega en la novela Doña Perfecta de Benito Pérez Galdós. Considerando el reconocimiento previo por parte de la crítica de cuatro modelos fundamentales en la novela: la vida de Cristo, el rapto de Perséfone, el castigo de Prometeo y la historia de Don Quijote, este artículo propone una nueva aproximación mítica a Doña Perfecta a partir de su relación simbólica y estructural con tragedias relativas al ciclo tebano, especialmente con el Edipo Rey de Sófocles y Los Siete Contra Tebas de Esquilo. Esta lectura tebana permite iluminar zonas de significación de la novela ignoradas por interpretaciones simbólicas anteriores, como la guerra civil, la casa sitiada, la prohibición de enterramiento, entre otras, al mismo tiempo que ofrece una mejor comprensión de su estética trágica y anfibológica en el contexto del liberalismo español.
{"title":"El ciclo tebano en Doña Perfecta de Galdós. Nuevas máscaras míticas de un héroe liberal","authors":"G. Díaz","doi":"10.3828/bhs.2022.17","DOIUrl":"https://doi.org/10.3828/bhs.2022.17","url":null,"abstract":"\u0000El presente trabajo examina la influencia de mitos y estructuras provenientes de la tragedia griega en la novela Doña Perfecta de Benito Pérez Galdós. Considerando el reconocimiento previo por parte de la crítica de cuatro modelos fundamentales en la novela: la vida de Cristo, el rapto de Perséfone, el castigo de Prometeo y la historia de Don Quijote, este artículo propone una nueva aproximación mítica a Doña Perfecta a partir de su relación simbólica y estructural con tragedias relativas al ciclo tebano, especialmente con el Edipo Rey de Sófocles y Los Siete Contra Tebas de Esquilo. Esta lectura tebana permite iluminar zonas de significación de la novela ignoradas por interpretaciones simbólicas anteriores, como la guerra civil, la casa sitiada, la prohibición de enterramiento, entre otras, al mismo tiempo que ofrece una mejor comprensión de su estética trágica y anfibológica en el contexto del liberalismo español.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90161051","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 article I argue that, while Diana is central to the plot of Agustín Moreto’s comedy of 1694, her motivations and life preceding the start of El desdén con el desdén have been largely ignored by critics and practitioners alike. By looking at her interactions from start to finish, a pattern emerges that tells her backstory, one that is more complex than we first imagine. While Diana has often been discussed as a well-educated and intelligent character, a close reading of her dialogue demonstrates that she also rejects love as a result of her experience. This reading is in line with Moreto’s reputation as a more modern, proto-feminist dramaturg. It also gives contemporary audiences a portrayal to which they can relate more readily.
在这篇文章中，我认为，虽然戴安娜是Agustín莫雷托1694年喜剧的核心情节，但她的动机和她在El desdsamen con desdsamen开始之前的生活在很大程度上被评论家和从业者所忽视。通过从头到尾观察她的互动，一个模式出现了，讲述了她的背景故事，一个比我们最初想象的更复杂的故事。虽然戴安娜经常被认为是一个受过良好教育和聪明的角色，但仔细阅读她的对话就会发现，由于她的经历，她也拒绝爱情。这种解读与莫雷托作为一个更现代、更原始的女权主义剧作家的声誉是一致的。它也为当代观众提供了一个他们更容易理解的形象。
{"title":"‘Hija del desengaño’: Diana’s Life Prior to Agustín Moreto’s El desdén con el desdén","authors":"E. Cowling","doi":"10.3828/bhs.2022.16","DOIUrl":"https://doi.org/10.3828/bhs.2022.16","url":null,"abstract":"\u0000In this article I argue that, while Diana is central to the plot of Agustín Moreto’s comedy of 1694, her motivations and life preceding the start of El desdén con el desdén have been largely ignored by critics and practitioners alike. By looking at her interactions from start to finish, a pattern emerges that tells her backstory, one that is more complex than we first imagine. While Diana has often been discussed as a well-educated and intelligent character, a close reading of her dialogue demonstrates that she also rejects love as a result of her experience. This reading is in line with Moreto’s reputation as a more modern, proto-feminist dramaturg. It also gives contemporary audiences a portrayal to which they can relate more readily.","PeriodicalId":44702,"journal":{"name":"BULLETIN OF HISPANIC STUDIES","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80720416","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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