Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2230872
Ji Gao
Abstract This article proposes an interpretation of Fronton du Duc’s L’Histoire tragique de la Pucelle d’Orleans (1580), an important early adaptation of Joan of Arc’s story partially based on contemporary records of her trial. Through a close reading of this little-known work, the article shows that the Jesuit playwright consciously made use of three types of discourse—politics, religion, and gender. As this piece was written for the French king’s visit to Lorraine, Fronton du Duc underlines the alliance between France and Lorraine and highlights the image of a united France. By calling attention to the divide between Roman Catholic Church and the Anglican Church, the author anachronistically makes use of Joan of Arc’s story to emphasize the religious dimension of late sixteenth century French nationalism. Besides, Fronton du Duc brings a gender discourse into play to underscore Joan of Arc’s “feminity,” and thus maintains Joan’s mystical role without affecting the masculinized image of the French state. This specific portrayal of Joan of Arc corresponded to the historical context of the French wars of religion in the second half of the sixteenth century and marked a crucial step in the early representation of Joan of Arc as a national heroine.
摘要本文对弗朗顿·杜的《奥尔良的历史》（1580）进行了解读，这是对圣女贞德故事的早期重要改编，部分基于对她的审判的当代记录。通过仔细阅读这部鲜为人知的作品，文章表明这位耶稣会剧作家有意识地使用了三种类型的话语——政治、宗教和性别。由于这篇文章是为法国国王访问洛林而写的，《公爵前线》强调了法国和洛林之间的联盟，并突出了统一法国的形象。通过提请人们注意罗马天主教会和英国圣公会之间的分歧，作者不合时宜地利用圣女贞德的故事来强调16世纪末法国民族主义的宗教层面。此外，Fronton du Duc还运用了性别话语来强调圣女贞德的“女性气质”，从而在不影响法国国家男性化形象的情况下保持了贞德的神秘角色。这一对圣女贞德的具体刻画与16世纪下半叶法国宗教战争的历史背景相吻合，标志着圣女贞女作为民族英雄的早期形象迈出了关键一步。
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Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2231347
María Celina Bortolotto, May Summer Farnsworth
Abstract Umami (2015) by the Mexican author Laia Jufresa deals with the themes of loss, mourning and identity through several interrelated stories. Residents of an apartment complex in Mexico City live in separate flats and experience individual traumas linked to the loss of loved ones. In their daily interactions, they recognize each other’s pain while processing their own grief and exploring creative transformations in their identities and communities. Jufresa shows the intimate and personal process of mourning as a counterpart to stories of massive violence and narco-terrorism by presenting detailed examples of “ordinary grief.” Jufresa also explores the cultural dimensions of more traditional types of mourning in Mexico. The characters in Umami recognize each other, keep each other company, and experience collective vulnerability, recreating what Barbara Fredrickson, Judith Butler, and Iona Heath attribute to the roles of mutual support in grief and the key role of positive emotion in individual and community transformation. Through these perspectives from psychology, psychotherapy, and medicine, our essay reads Umami as a literary representation of the complex relationship between the personal and the communal in the creative-affective exchanges that allow us to navigate the turbulent waters of everyday mourning.
{"title":"Los sabores de la pena: duelos mundanos y transformación comunitaria en Umami (2015) de Laia Jufresa","authors":"María Celina Bortolotto, May Summer Farnsworth","doi":"10.1080/00397709.2023.2231347","DOIUrl":"https://doi.org/10.1080/00397709.2023.2231347","url":null,"abstract":"Abstract Umami (2015) by the Mexican author Laia Jufresa deals with the themes of loss, mourning and identity through several interrelated stories. Residents of an apartment complex in Mexico City live in separate flats and experience individual traumas linked to the loss of loved ones. In their daily interactions, they recognize each other’s pain while processing their own grief and exploring creative transformations in their identities and communities. Jufresa shows the intimate and personal process of mourning as a counterpart to stories of massive violence and narco-terrorism by presenting detailed examples of “ordinary grief.” Jufresa also explores the cultural dimensions of more traditional types of mourning in Mexico. The characters in Umami recognize each other, keep each other company, and experience collective vulnerability, recreating what Barbara Fredrickson, Judith Butler, and Iona Heath attribute to the roles of mutual support in grief and the key role of positive emotion in individual and community transformation. Through these perspectives from psychology, psychotherapy, and medicine, our essay reads Umami as a literary representation of the complex relationship between the personal and the communal in the creative-affective exchanges that allow us to navigate the turbulent waters of everyday mourning.","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42341858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2235745
G. Bulman
{"title":"Jennifer Ponce De León. Another Esthetics is Possible: Arts of Rebellion in the Fourth World War","authors":"G. Bulman","doi":"10.1080/00397709.2023.2235745","DOIUrl":"https://doi.org/10.1080/00397709.2023.2235745","url":null,"abstract":"","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45089144","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2231426
Anne M. Pasero
Esteemed professor, critic, and scholar Sharon Keefe Ugalde, who for many years has provided groundbreaking analyses of contemporary Spanish women poets, has recently published a significant book that is in many ways a compilation and overview of the context of her work since the death of Franco in 1975. This recent book, Ophelia: Shakespeare and Gender in Contemporary Spain, undertakes an in-depth study of the Ophelia theme in different genres and settings, responding to the question of why the importance of the theme for Spain and its relationship to both time and place. From the outset, Professor Ugalde states the need for such an analysis: “Despite the originality and abundance of literary, dramatic and artistic transformations of Ophelia, the Spanish is completely overlooked in recent analyses (2). For Ugalde then, the purpose of her book is to “remedy this critical oversight and to highlight for an international audience the range and quality of creative endeavours produced in Spain since the Transition” (2). According to Ugalde, chapter’s end, Dr. Leavitt offers a compelling discussion of the category of neorealism today. While sympathetic to the argument of Alan O’Leary and Catherine O’Rawe and others that neorealism and realism have had perhaps unwarranted critical precedence in studies of Italian cinema, Dr. Leavitt interrogates these terms that, for better or for worse, are held up as the bars by which many other national cinemas are measured. Neorealism: A Cultural History is a valuable resource for anyone working in European cultural history, Italian film studies and literary history, and film studies more broadly. Further, in its exploration into the persistence of neorealism as a cultural category that has captivated individuals across the globe, Italian Neorealism: A Cultural History unveils how neorealism has become a “fixed historical signifier” (175) even when it emerged in the 1940s as a complex cultural conversation with a distinct cultural legacy.
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Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2231829
María Andrea Díaz Miranda
Abstract This article analyzes the transformations of the hacienda system in the Peruvian highlands during the second half of the twentieth century through the novel Todas las sangres written by José María Arguedas. Departing from Michel Foucault’s work and his distinction between sovereign power and biopolitics, the article analyses different social formations that evolve from the hacienda system through processes of transculturation. By analyzing fragments of the novel where the biopolitical project that hides behind one of these social formations is revealed, the goal of the article is to discover how Arguedas articulates an ideological critique toward the implementation of foreign models of productivity in the Peruvian highlands through an ending that leaves in suspense the role of local communities and their epistemologies in the political and economic renewal of Peru.
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Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2231341
David Delgado López
Abstract This essay analyzes the representation of institutionalized torture in 1980’s Spanish cinema as it denounces police practices during the early years of Democracy. Consequently, this essay studies and examines the data on tortures practiced during the Spanish Transition based on Sophie Baby’s and Ignacio Mendiola’s research. It also analyzes the role torture has in a democratic government in conversation with Darius Rejali’s work. Under this premise, the essay examines two films which have been celebrated due to the different topics they show on screen and the different perspectives they represent within Spanish cinema, yet both express a clear representation of state torture. These movies are: El crimen de Cuenca (1979) and La muerte de Mikel (1984).
{"title":"Quis custodiet ipsos custodes? Tortura institucional en el cine español de la Transición","authors":"David Delgado López","doi":"10.1080/00397709.2023.2231341","DOIUrl":"https://doi.org/10.1080/00397709.2023.2231341","url":null,"abstract":"Abstract This essay analyzes the representation of institutionalized torture in 1980’s Spanish cinema as it denounces police practices during the early years of Democracy. Consequently, this essay studies and examines the data on tortures practiced during the Spanish Transition based on Sophie Baby’s and Ignacio Mendiola’s research. It also analyzes the role torture has in a democratic government in conversation with Darius Rejali’s work. Under this premise, the essay examines two films which have been celebrated due to the different topics they show on screen and the different perspectives they represent within Spanish cinema, yet both express a clear representation of state torture. These movies are: El crimen de Cuenca (1979) and La muerte de Mikel (1984).","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45822156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2231450
C. Serrano
{"title":"Carolyn Wolfenzon. Nuevos fantasmas recorren México. Lo espectral en la literatura mexicana del siglo XXI. Madrid: Iberoamericana Editorial Vervuert, 2020. 340 pp.","authors":"C. Serrano","doi":"10.1080/00397709.2023.2231450","DOIUrl":"https://doi.org/10.1080/00397709.2023.2231450","url":null,"abstract":"","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48324973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2229234
Tania De Miguel Magro
{"title":"Michael J. McGrath. Don Quixote and Catholicism: Rereading Cervantine Spirituality","authors":"Tania De Miguel Magro","doi":"10.1080/00397709.2023.2229234","DOIUrl":"https://doi.org/10.1080/00397709.2023.2229234","url":null,"abstract":"","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49513353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-03DOI: 10.1080/00397709.2023.2231425
J. Cherbuliez
In Huguenot writer Anne de La Roche Guilhem’s 1697 historical nouvelle “Marie de Beauvilliers, Abbesse de Montmartre, sous Henri IV, Roi de France,” the first Bourbon monarch is still Protestant, and the debate over the Reformation is a matter of conversation. Convents are compared to “purgatories,” and the mother superior jocularly calls one of her charges a “Huguenot.” Such overt polemic is surprising even to seasoned readers of seventeenth-century literature. We are used to critique of any kind appearing in far more subtle ways, if at all. In other stories included in the same collection, L’Histoire des Favorites (translated as The History of Female Favorites), theologians are said to have no other purpose than to echo the king’s wishes, and papal machinations are indistinguishable from monarchical excesses. Was La Roche Guilhem an anti-absolutist? Was she a novelist or a propagandist? Twenty years ago, I would have answered the first question in the affirmative, but also have argued that as a novelist she couldn’t also be a propagandist. Now I am not so sure. New research on seventeenth-century French cultures of dissent has rethought the idea of anti-absolutism and questioned the very constitution of absolutism itself. It is not coincidental that so much of this research also insists on new archives and methodologies, compelling readers to rethink taxonomies that treat novels and political tracts as generically distinct. Kathrina Ann LaPorta’s Performative Polemics is part of this new research focus and contributes to a general call among scholars of the French seventeenth century to explore a much less starkly defined “Grand Siècle” by expanding the sources from which we draw our analyses. The re-exploration in question includes many forms of “decentering:” Anna Rosensweig’s Subjects of Affection (2021) uncouples tragedy, the most codified and structured of literary genres, from its traditional role as a confirmation of absolutist esthetics and instead embeds it in the aftermath of political debates over the Wars of Religion. Ellen Welch’s Theater of Diplomacy (2018) explores court archives both French and foreign in order to return the performing arts to their role as agents of diplomatic efficacity, while Hall Bjørnstad’s Dream of Absolutism (2022) dismantles from within by showing how the esthetic and political imaginary we call “absolutism” was and remains a constructed, affectively driven fantasy that continues to wield enormous power today. These and other recent works of scholarship compel us to consider a cultural and political landscape that was not nearly as monolithic as that on which the abiding myth of absolutism has insisted for far too long. Performative Polemics joins these reconsiderations of absolutism, following a distinct approach by exploring the ways in which anti-absolutist writers used rhetorical strategies drawn from legal, literary, and philosophical discourse to counter the official discourse Notes on contributor
在胡格诺派作家Anne de La Roche Guilhem 1697年的历史新著《Marie de Beauvilliers, Abbesse de Montmartre, sous Henri IV, Roi de France》中，波旁王朝的第一位君主仍然是新教徒，关于宗教改革的争论是一个谈话的问题。修道院被比作“炼狱”，院长院长开玩笑地称她的一个下属为“胡格诺派”。如此公开的争论甚至会让17世纪文学的资深读者感到惊讶。我们习惯了任何形式的批评，如果有的话，都会以更微妙的方式出现。在同一合集《女宠史》(L’histoire des Favorites，译为《女宠史》)中的其他故事中，据说神学家除了呼应国王的意愿之外没有其他目的，而教皇的阴谋与君主的过度行为是无法区分的。拉罗希·吉莱姆是一个反专制主义者吗?她是小说家还是宣传家?20年前，我会肯定地回答第一个问题，但也会认为，作为小说家，她不可能同时也是一个宣传家。现在我不那么肯定了。对17世纪法国异见文化的新研究重新思考了反专制主义的概念，并质疑了专制主义本身的构成。并非巧合的是，这些研究也坚持使用新的档案和方法，迫使读者重新思考将小说和政治小册子视为普遍不同的分类法。凯瑟琳娜·安·拉波尔塔的《表演论战》是这一新研究焦点的一部分，它对十七世纪法国学者的普遍呼吁做出了贡献，即通过扩大我们分析的来源，探索一个定义不那么明确的“大矛盾”。这种重新探索包括多种形式的“去中心化”:安娜·罗森斯威格(Anna Rosensweig)的《情感主题》(Subjects of Affection, 2021)将最具典式化和结构化的文学体裁——悲剧——从其作为绝对主义美学确认的传统角色中分离出来，而是将其嵌入宗教战争政治辩论的后果中。艾伦·韦尔奇的《外交剧场》(2018)探索了法国和外国的法庭档案，以使表演艺术回归其作为外交效率代理人的角色，而霍尔·比约恩斯塔德的《绝对主义之梦》(2022)则从内部拆除，展示了我们称之为“绝对主义”的美学和政治想象是如何构建的，情感驱动的幻想，在今天继续发挥着巨大的力量。这些和其他最近的学术著作迫使我们去思考一个文化和政治景观，它不像专制主义的神话长久以来所坚持的那样，几乎是铁板一块的。《行为论战》加入了这些对专制主义的重新思考，遵循一种独特的方法，探索反专制主义作家使用从法律、文学和哲学话语中得出的修辞策略来对抗官方话语的方式
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Pub Date : 2023-04-03DOI: 10.1080/00397709.2023.2200100
Sharon D. Voros
Abstract For Thomas Case and Erik Coenen, Pedro Calderón de la Barca’s notion of justice has theological origins in Saint Thomas Aquinas’s natural law and national self-determination. Issues of Morisco justice become a means of dramatic development. In Amar después de la muerte, Calderón dramatizes the Morisco revolt in Granada (1567–1571). Moorish descendants sought refuge and a return to Islam, after Philip II’s edicts banned their cultural heritage. Calderón’s play moves through four different attempts to deal with the Morisco community. The first is the enslavement of survivors of the rebellion. The second attempt is intermarriage, evidenced when Malec’s daughter Clara, betrothed to El Tuzaní de Alpujarras, accepts marriage as a means of revenge against Juan de Mendoza, whom she plans to kill for disrespecting her father. With the third issue, the revolt, the play becomes a revenge drama as El Tuzaní seeks out the murderer of his wife. The fourth issue is true conversion to Catholicism. Redemptive justice and true faith are perhaps what attracted Calderón to this historical event. His play stands as a tribute to a disenfranchised population.
摘要托马斯·凯斯和埃里克·科宁认为，佩德罗·卡尔德隆·德拉巴卡的正义观源于圣托马斯·阿奎那的自然法和民族自决。莫里斯科司法问题成为一种戏剧性发展的手段。在Amar después de la muerte中，Calderón戏剧性地描述了格拉纳达的莫里斯科起义（1567-1571）。在腓力二世颁布法令禁止摩尔人的文化遗产后，摩尔人的后代寻求庇护并回归伊斯兰教。卡尔德龙的剧本经历了四次不同的尝试，以应对莫里斯科社区。首先是对叛乱幸存者的奴役。第二种尝试是通婚，马雷克的女儿克拉拉（Clara）与El Tuzaníde Alpujarras订婚，接受婚姻作为对胡安·德·门多萨（Juan de Mendoza）的报复手段，她计划杀死胡安·德·门多萨，因为她不尊重父亲。随着第三期《反抗》的播出，这部剧变成了一部复仇剧，因为El Tuzaní正在寻找杀害他妻子的凶手。第四个问题是真正皈依天主教。救赎的正义和真正的信仰也许是吸引卡尔德龙参加这一历史事件的原因。他的剧本是对被剥夺权利的人民的致敬。
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