Pub Date : 2022-10-02DOI: 10.1080/00397709.2022.2149071
A. Luque
Abstract The reception of Sappho in modernity raises a series of readings that explore various facets of the Greek poetess. This essay analyzes two works by María Rosa de Gálvez (her drama Safo and Poetry. Ode to a lover of the imitation arts) because they take into account the sapphic person and work, combined in the classic category of fame. An 18th-century woman writer projects the voice and figure of the ancient poetess into enlightened Modernity, with a new political and proto-feminist perspective. This projection shows that classical tradition operates as a multidirectional phenomenon, since it is channeled through a complex network of intermediate readings that involves different genres and traditions (Greek lyric poetry, Roman epistolary genre, French travel narrative, Spanish dramatic writing) and various translation strategies (translation from French and Greek as agents of reception).
{"title":"Safo y su recepción moderna: María Rosa de Gálvez","authors":"A. Luque","doi":"10.1080/00397709.2022.2149071","DOIUrl":"https://doi.org/10.1080/00397709.2022.2149071","url":null,"abstract":"Abstract The reception of Sappho in modernity raises a series of readings that explore various facets of the Greek poetess. This essay analyzes two works by María Rosa de Gálvez (her drama Safo and Poetry. Ode to a lover of the imitation arts) because they take into account the sapphic person and work, combined in the classic category of fame. An 18th-century woman writer projects the voice and figure of the ancient poetess into enlightened Modernity, with a new political and proto-feminist perspective. This projection shows that classical tradition operates as a multidirectional phenomenon, since it is channeled through a complex network of intermediate readings that involves different genres and traditions (Greek lyric poetry, Roman epistolary genre, French travel narrative, Spanish dramatic writing) and various translation strategies (translation from French and Greek as agents of reception).","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":"76 1","pages":"183 - 196"},"PeriodicalIF":0.2,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49330633","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 : 2022-07-03DOI: 10.1080/00397709.2022.2127200
Kelly Keenan
Abstract This article argues that the gendered differences present in eighteenth-century French convent literature are put forth by two interconnected factors: (1) the ways in which the author understands and critiques the structure and function of monastic confinement and (2) the mechanism that drives the text forward, namely voice, gaze, or embodiment. Close readings of Olympe de Gouges’s Le Couvent ou les voeux forcés and Denis Diderot’s La Religieuse serve to demonstrate that the authors’ critiques of the convent space are not only present in their plots, but also replicated in the very form of their writing. These Enlightenment texts are juxtaposed with a 2012 theatrical adaptation of Diderot’s La Religieuse staged by French playwright Anne Théron, allowing for an investigation of how the mechanism propelling the work develops or persists when the authorial voice is altered across time and gender.
摘要本文认为，18世纪法国修道院文学中存在的性别差异是由两个相互关联的因素引起的：（1）作者理解和批评修道院禁闭的结构和功能的方式；（2）推动文本前进的机制，即声音、凝视或化身。仔细阅读Olympe de Gouges的《Le Couvent ou les voeux forcés》和Denis Diderot的《宗教》，可以证明作者对修道院空间的批评不仅存在于他们的情节中，而且在他们的写作形式中也得到了复制。这些启蒙运动的文本与法国剧作家Anne Théron于2012年上演的狄德罗的《宗教》的戏剧改编作品并置，从而可以调查当作者的声音随着时间和性别的变化而变化时，推动作品的机制是如何发展或持续的。
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Pub Date : 2022-07-03DOI: 10.1080/00397709.2022.2127195
Akrish Adhikari
Abstract This article considers and develops Jacques Derrida’s ideas on friendship. According to him, friendship between two people is haunted by the knowledge that both will die, and that one will probably witness the death of the other. Due to this knowledge, friendship is structured by a sense of mourning, both before and after the friend’s death. I read this idea in the context of Nathacha Appanah’s novel, Le dernier frère (2007). In it, she recounts a story of two boys, Raj and David, who meet in Mauritius during the Second World War period. More exactly, they become friends in precarious conditions, such that one is constantly aware of the other’s mortality. I argue that, because of this constant awareness, their friendship is haunted by a conscious form of mourning: explicit, intense, and continuous, both in life and in death. I call this affect precarious mourning, which constitutes friendships formed in precarity.
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Pub Date : 2022-07-03DOI: 10.1080/00397709.2022.2127206
Matthew D. Miller
{"title":"Modernism in Trieste: The Habsburg Mediterranean and the Literary Invention of Europe, 1870–1945","authors":"Matthew D. Miller","doi":"10.1080/00397709.2022.2127206","DOIUrl":"https://doi.org/10.1080/00397709.2022.2127206","url":null,"abstract":"","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":"76 1","pages":"176 - 179"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46842869","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 : 2022-07-03DOI: 10.1080/00397709.2022.2127207
Helga Schreckenberger
{"title":"CAROLINE A. KITA. Jewish Difference and the Arts in Vienna. Composing Compassion in Music and Biblical Theater . Bloomington, IN: Indiana up, 2019. 188 pp","authors":"Helga Schreckenberger","doi":"10.1080/00397709.2022.2127207","DOIUrl":"https://doi.org/10.1080/00397709.2022.2127207","url":null,"abstract":"","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":"76 1","pages":"179 - 181"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47176096","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 : 2022-07-03DOI: 10.1080/00397709.2022.2127201
Carlos A. Ortiz
Abstract In response to the 2019 social uprising in Chile that resulted in several casualties, trauma, and an eventual plebiscite where the nation decided to rewrite its constitution, scholars are tracing what led to this social outburst. This study examines Ernesto Orellana’s Inútiles (2016) to show how theater crystallized the desires and need for change prior to the estallido social of October 2019. In this sense, the play is a prelude to the uprising. As a cultural product, it dismantles the racial and gender hierarchies that have been sustaining the nation and materializes a discourse of emancipation embodied by Mapuche characters. By analyzing the hierarchies unveiled by the 2016 play along with images that emerged during and post-October 2019, this study makes the case for art as intuitive toward social change and that art can help to eradicate the oppressing powers of a nation.
{"title":"Awaiting Revolution: Performing Chile’s Hierarchies in Ernesto Orellana’s Inútiles","authors":"Carlos A. Ortiz","doi":"10.1080/00397709.2022.2127201","DOIUrl":"https://doi.org/10.1080/00397709.2022.2127201","url":null,"abstract":"Abstract In response to the 2019 social uprising in Chile that resulted in several casualties, trauma, and an eventual plebiscite where the nation decided to rewrite its constitution, scholars are tracing what led to this social outburst. This study examines Ernesto Orellana’s Inútiles (2016) to show how theater crystallized the desires and need for change prior to the estallido social of October 2019. In this sense, the play is a prelude to the uprising. As a cultural product, it dismantles the racial and gender hierarchies that have been sustaining the nation and materializes a discourse of emancipation embodied by Mapuche characters. By analyzing the hierarchies unveiled by the 2016 play along with images that emerged during and post-October 2019, this study makes the case for art as intuitive toward social change and that art can help to eradicate the oppressing powers of a nation.","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":"76 1","pages":"156 - 171"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43646795","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 : 2022-07-03DOI: 10.1080/00397709.2022.2127203
Christina Baker
{"title":"Ana Elena Puga and Víctor M. Espinosa. Performances of suffering in Latin American migration: Heroes, Martyrs and Saints.","authors":"Christina Baker","doi":"10.1080/00397709.2022.2127203","DOIUrl":"https://doi.org/10.1080/00397709.2022.2127203","url":null,"abstract":"","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":"76 1","pages":"172 - 174"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45327000","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 : 2022-07-03DOI: 10.1080/00397709.2022.2127197
Pavel Andrade
Abstract In this essay, I argue that Carlos Fuentes’ La muerte de Artemio Cruz (1962) delineates a theory of Mexico’s long transition to capitalism. I demonstrate that Fuentes’ novel makes sense of the world as it continually separates the external from the internal, the realm of the social from the realm of the individual, and popular from bourgeois interests. While literary scholarship has often interpreted Artemio Cruz as an emblem of the betrayal of the ideals of the Mexican Revolution, I propose to approach the novel’s main character as a personification of capital, a representative of a definite social class, whose life provides a narrative enclosure of Mexico’s peripheral modernization. Throughout the essay, I focus on separation as a spatial code that accounts for the emergence of a new class formation in Mexico in the 1940s and 50 s. I argue that in its spatial integrations, La muerte de Artemio Cruz formalizes the obstacles presented by economic dependency to the expansion of a national bourgeois order.
摘要在这篇文章中，我认为Carlos Fuentes的La muerte de Artemio Cruz（1962）描绘了墨西哥向资本主义长期过渡的理论。我证明了富恩特斯的小说对世界的理解，因为它不断地将外部与内部、社会领域与个人领域、大众利益与资产阶级利益区分开来。虽然文学学术界经常将阿尔特米奥·克鲁兹解读为对墨西哥革命理想的背叛，但我建议将小说的主人公视为资本的化身，一个特定社会阶层的代表，他们的生活为墨西哥外围现代化提供了一个叙事外壳。在整篇文章中，我把分离作为一种空间编码，它解释了20世纪40年代和50年代墨西哥出现的一种新的阶级结构 s.我认为，在其空间整合中，La muerte de Artemio Cruz正式化了经济依赖对国家资产阶级秩序扩张所带来的障碍。
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Pub Date : 2022-04-03DOI: 10.1080/00397709.2022.2064630
Larraitz Ariznabarreta
Abstract The work of Basque short story writer Eider Rodriguez (Errenteria, 1977) has garnered remarkable acclaim from contemporary critics and readers alike. In the realm of Basque literature—which often rolls into the common sea of politics and/or sentimentality—Rodriguez’s stories slickly swim their way between both waters; and fly inland as the Basque witches’ old saying goes, “sasi guztien gainetik, hodei guztien azpitik” [above all bushes, beneath all clouds]. Awarded with the Basque National Literature Prize in 2018, Rodriguez is the author of four short story collections: Eta handik gutxira gaur (Susa 2004), Haragia (Susa 2007), Katu jendea (Elkar 2010), Bihotz handiegia (Susa 2017) and the title of her first novel Erainkuntzarako Materiala (Susa 2021). Without resorting to the apparel of great events, Rodriguez’s bare sketches explore the everyday, small world of unnamed cities, in small circles from family to local ambiance. Plainly focused on such a microcosm, the author portrays a nuanced milieu of pervasive violence within the interactions of her characters with families, neighbors, friends, lovers, and—none the least—themselves. Bereft of any political correctness, Rodriguez represents a rich universe of frustrated, bored, fearful, and angry characters (Gabilondo 2019). This article examines the author’s fictional world of ubiquitous anger and resentment and explores the origin and scope of such violence by interpreting it as a metaphor of the personal and social anxieties triggered by politics in the—allegedly peaceful—contemporary Basque Country.
摘要巴斯克短篇小说作家Eider Rodriguez（埃伦特里亚，1977）的作品获得了当代评论家和读者的一致好评。在巴斯克文学领域——经常卷入政治和/或情感的共同海洋——罗德里格斯的故事巧妙地游走于两者之间；正如巴斯克女巫的古话所说，“sasi guttien gainetik，hode guttien azpitik”[在所有的灌木丛之上，在所有的云层之下]飞往内陆。罗德里格斯于2018年获得巴斯克国家文学奖，著有四部短篇小说集：Eta handik gutxira gaur（Susa 2004）、Haragia（Susa 2007）、Katu jendea（Elkar 2010）、Bihotz handiegia（Susa2017），以及她的第一部小说《Erainkuntzarako Materiala》（Susa 2021）。罗德里格斯的裸体素描没有借助于大型活动的服装，而是在从家庭到当地环境的小圈子里，探索了无名城市的日常小世界。作者显然专注于这样一个微观世界，在她笔下的人物与家人、邻居、朋友、爱人，以及——至少是——他们自己的互动中，描绘了一个无处不在的暴力的微妙环境。罗德里格斯没有任何政治正确性，他代表了一个由沮丧、无聊、恐惧和愤怒的角色组成的丰富世界（Gabilondo 2019）。这篇文章考察了作者无处不在的愤怒和怨恨的虚构世界，并通过将其解释为政治在所谓和平的当代巴斯克国家引发的个人和社会焦虑的隐喻，探讨了这种暴力的起源和范围。
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