Pub Date : 2022-04-03DOI: 10.1080/00397709.2022.2064632
Annabel Martín
Abstract This essay studies the writing of Basque author Edurne Portela (1974) and its special sensitivity toward the micropolitics of violence. Rejecting Basque society’s immunity to the tragedy of ETA violence, ignoring the call to “turn the page” after ETA’s permanent disarmament (2011) and disappearance (2018), Portela’s fiction betrays Basque and Spanish society’s ignorance and insensitivity toward the ways trauma infiltrates the fabric of societal, familial, and interpersonal relationships. Instead of promoting a lazy and cowardly amnesiac turn for post ETA society, Portela prefers to look straight into the eyes of a community known for turning its back on what philosopher Reyes Mate terms a society’s “deber de memoria” or responsibility to remember. Portela’s fiction, essay, and autobiographical writing do just that. On the one hand, they confront readers with the uncomfortable weight of the traumatic experiences unjustly suffered by members of Basque society, injuries that undermine its democratic fabric; on the other, and even more importantly, Portela looks inward, and her fictional universe begs readers to question how this indifference also mutilates the affective life of characters who either look the other way or find it easy to participate and justify the logic of terror and violence.
摘要本文研究巴斯克作家埃杜恩·波特拉(Edurne Portela, 1974)的写作及其对暴力微观政治的特殊敏感性。Portela的小说拒绝巴斯克社会对ETA暴力悲剧的免疫力，无视ETA永久解除武装(2011年)和消失(2018年)后“翻页”的呼吁，背叛了巴斯克和西班牙社会对创伤渗透社会、家庭和人际关系结构的方式的无知和不敏感。Portela并没有提倡后ETA社会的懒惰和懦弱的失忆，而是更愿意直视一个以背弃哲学家Reyes Mate所说的社会“deber de memoria”或记忆责任而闻名的社会的眼睛。波特拉的小说、散文和自传体作品就是这样做的。一方面，它们让读者面对巴斯克社会成员所遭受的不公正的创伤经历，这些创伤破坏了巴斯克社会的民主结构;另一方面，更重要的是，波特拉审视了内心，她的虚构世界让读者质疑，这种冷漠是如何破坏了人物的情感生活的，这些人物要么视而不见，要么很容易参与其中，并为恐怖和暴力的逻辑辩护。
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Pub Date : 2022-04-03DOI: 10.1080/00397709.2022.2064629
Cristina Ortiz-Ceberio, M. Pilar Rodríguez
Abstract This special issue focuses on the work of contemporary Basque women writers with four articles dedicated to the study of selected narrative fiction by Katixa Agirre, Karmele Jaio, Edurne Portela, and Eider Rodriguez. A change in the traditionally male canon of Basque literature, represented by figures such as Bernardo Atxaga and Ramon Saizarbitoria, is underway, and female writers are offering new explorations of topics linked to their sociopolitical and affective contexts.
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Pub Date : 2022-04-03DOI: 10.1080/00397709.2022.2064633
Mari Jose Olaziregi
Abstract This article will analyze the thematic and poetic axes that govern Karmele Jaio’s literary universe, with special focus on narrative production formed by three books of short stories—Hamabost zauri (2004; Heridas crónicas, 2010), Zu bezain ahul (2007), and Ez naiz ni (2012)—and two novels—Amaren eskuak (2006; Las manos de mi madre, 2008) and Musika airean (2010; Música en el aire, 2013)—as well as the recipient of the latest Premio Euskadi 2020: Aitaren etxea (2019; La casa del padre, 2020). Jaio’s literary trajectory delves into the silences, lack of communication, and longings of characters many times constrained by gender roles. Women become protagonists in Jaio’s literary universe, a place saturated with glances, memories, and gestures in an intimacy and corporeality that transcends and moves, and has been adapted in the film Amaren eskuak-Las manos de mi madre (2013) by Mireia Gabilondo, also analyzed here in dialogue with Jaio’s original novel. This close reading will situate the author in context with the most recent Basque narrative and serves to interpret, from the commemoration of a violent political past, a contemporary reality marked by the end of decades of terrorism.
本文将分析支配卡梅莱·哈约文学世界的主题轴和诗性轴，并着重分析三部短篇小说集《哈马布斯特·扎乌里》(2004;Heridas crónicas, 2010)， Zu bezain ahul(2007)和Ez naiz ni(2012)，以及两部小说——amaren eskuak (2006;《我的母亲》，2008年)和《爱的音乐》(2010年;Música en el aire, 2013年)-以及最新的2020年Premio Euskadi的获得者:Aitaren etxea (2019;La casa del padre, 2020)。杰奥的文学轨迹深入到沉默，缺乏交流，以及角色的渴望，这些角色经常受到性别角色的限制。女性成为Jaio文学世界的主角，一个充满了目光、记忆和手势的地方，在一种超越和移动的亲密和肉体中，被改编成电影Amaren eskuak-Las manos de mi madre(2013)，由Mireia Gabilondo拍摄，这里也与Jaio的原著小说进行了对话分析。这篇细读将把作者置于最近巴斯克叙事的背景中，并从对暴力政治过去的纪念，解读以几十年恐怖主义结束为标志的当代现实。
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Pub Date : 2022-04-03DOI: 10.1080/00397709.2022.2064631
Jon Kortazar, Paloma Rodríguez-Miñambres
Abstract This article proposes a reading of Katixa Agirre’s (1981) work Atertu arte itxaron (2015), translated as Los turistas desganados (2017). The analysis will include two different aspects: first a consideration of the road-movie structure and then the work will be analyzed through the recuperation of the conflictive memory of violence in the Basque Country. The chapter situates the novel in the context of Katixa Agirre’s narrative work represented in two books of short stories, Sua falta zaigu (2007) and Habitat (2009), and the novel that follows the one in the present study, Amek ez dute (2018), translated as La madres no (2019). Furthermore, certain aspects related to the translation of the works will be studied.
摘要本文建议阅读Katixa Agirre（1981）的作品Atertu arte itxaron（2015），翻译为Los turistas desganados（2017）。分析将包括两个不同的方面：首先考虑公路电影的结构，然后通过对巴斯克地区暴力冲突记忆的恢复来分析作品。本章将小说置于Katixa Agirre的叙事作品的背景下，这两本短篇小说《Sua falta zaigu》（2007）和《Habitat》（2009）以及本研究中的小说《Amek ez dute》（2018）之后的小说，翻译为《La madres no》（2019）。此外，还将研究与作品翻译有关的某些方面。
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Pub Date : 2022-01-02DOI: 10.1080/00397709.2022.2024007
S. Giannini
Jessica A. Folkart is a professor of Spanish at Virginia Tech. Her research centers on the cultural representation of identity, immigration, and the liminal body in contemporary Spain. She has authored two books, Liminal Fiction at the Edge of the Millennium: The Ends of Spanish Identity (Bucknell University Press, 2014) and Angles on Otherness in Post-Franco Spain: The Fiction of Cristina Fernández Cubas (Bucknell University Press, 2002), as well as many articles on Peninsular Spanish literature of the twentieth and twenty-first centuries. Her articles have appeared in such journals as Philosophy and Literature, Revista de Estudios Hispánicos, and Hispanic Review.
{"title":"Nel Golfo Irrequieto: La Narrativa di Piero Chiara","authors":"S. Giannini","doi":"10.1080/00397709.2022.2024007","DOIUrl":"https://doi.org/10.1080/00397709.2022.2024007","url":null,"abstract":"Jessica A. Folkart is a professor of Spanish at Virginia Tech. Her research centers on the cultural representation of identity, immigration, and the liminal body in contemporary Spain. She has authored two books, Liminal Fiction at the Edge of the Millennium: The Ends of Spanish Identity (Bucknell University Press, 2014) and Angles on Otherness in Post-Franco Spain: The Fiction of Cristina Fernández Cubas (Bucknell University Press, 2002), as well as many articles on Peninsular Spanish literature of the twentieth and twenty-first centuries. Her articles have appeared in such journals as Philosophy and Literature, Revista de Estudios Hispánicos, and Hispanic Review.","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47990974","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 : 2022-01-02DOI: 10.1080/00397709.2022.2024009
Lisette Balabarca-Fataccioli
{"title":"Visions of Deliverance. Moriscos and the Politics of Prophecy in the Early Modern Mediterranean","authors":"Lisette Balabarca-Fataccioli","doi":"10.1080/00397709.2022.2024009","DOIUrl":"https://doi.org/10.1080/00397709.2022.2024009","url":null,"abstract":"","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48433424","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 : 2022-01-02DOI: 10.1080/00397709.2022.2024008
Thomas Matusiak
{"title":"Mario Bellatin y Las Formas de la Escritura","authors":"Thomas Matusiak","doi":"10.1080/00397709.2022.2024008","DOIUrl":"https://doi.org/10.1080/00397709.2022.2024008","url":null,"abstract":"","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42653853","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 : 2022-01-02DOI: 10.1080/00397709.2022.2024005
Todd W. Reeser
Abstract Jean de Létraz’s unpublished, little-known vaudeville play The Maiden of Auteuil (La pucelle d’Auteuil) ends, after the stage goes black and just before the curtain falls, with six characters performing a genital inspection on the main character Camille, who passed as both a man and a woman over the course of the play. Performed at the Palais-Royal Theatre in Paris in 1952, the comic play highlights anxieties in the 50 s about how cisgender communities know who is and is not “transsexual.” This article interprets this striking final scene in light of the rest of the play and the legal, medical, and cultural context of 1950s France, arguing that the genital inspection performs the reestablishment of public order out of gender disorder at the same time as it warns the French public about the coming hegemony of binarized sexual definition based on external appearance of genitalia, as codified in French juridical discourse.
摘要Jean de Létraz未出版的、鲜为人知的杂耍剧《Auteuil的少女》（La pucelle d‘Auteuir）在舞台变黑后，幕布落下前结束，六个角色对主角卡米尔进行生殖器检查，卡米尔在剧中以男女身份通过。1952年，这部喜剧在巴黎皇家剧院上演，突显了50年代的焦虑 这是关于顺性别群体如何知道谁是“变性人”，谁不是“变性人。”这篇文章结合该剧的其余部分以及20世纪50年代法国的法律、医学和文化背景来解释这一引人注目的最后一幕，认为生殖器检查是为了从性别混乱中重建公共秩序，同时也警告法国公众，正如法国法律话语中所编纂的那样，基于生殖器外表的二元性定义即将成为霸权。
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Pub Date : 2022-01-02DOI: 10.1080/00397709.2022.2024002
Katarzyna Moszczyńska-Dürst
Abstract The aim of this article is to analyze the inscription of the embodied and political “I” in El lunes nos querrán (2021), Najat El Hachmi’s most recent novel. The study starts from the premises developed by Martine Leibovici in order to focus on the narrator’s particular social position as an “insider-outsider” as a powerful means of (self)knowledge about the mechanisms of social exclusion and estrangement. Consequently, the literary text, when analyzed as the life-narrative of a defector (transfuge), to employ Leibovici’s term, reveals the “psychic life of power” (Butler) that oppresses women. Gender, as codified in the novel, is a regulatory ideal, materialized in a performative way through the imposed and internalized reiteration of transcultural practices.
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Pub Date : 2022-01-02DOI: 10.1080/00397709.2022.2024004
Carlos Feal
Abstract Insolación (1889) is Emilia Pardo Bazán’s version of the Don Juan myth, incarnated in the male protagonist Diego Pacheco. A signifier of masculine desire, Pacheco will become Pardo Bazán’s object of projections of men she loved, such as Benito Pérez Galdós, a womanizer, and José Quiroga, her husband from whom she was separated. He also represents a mother figure in the mind of Asís, the religious protagonist whose sexual repression makes her the typical bourgeoise of the so-called Victorian era that preceded the work of Sigmund Freud. The novel, intended to be a confession to a priest, instead turns into a confession to the readers, who thereby become psychoanalysts, modern confessors of souls, as well as recipients of stories. Doña Emilia’s love letters to Galdós, contemporaneous with the novel, contribute to its understanding: external and internal worlds, in Melanie Klein’s terms, interact creatively. The surprising ending (the marriage of Asís and Pacheco) gives rise to a confrontation between the narrator and Asís. Catholic marriage, which binds the spouses forever, is paradoxically seen as the most natural thing and, at the same time, as irrational, senseless. To the Lacanian demand for impossible love that Asís brings to bear must be added the desire of the desire of the Other, experienced by both Asís and Pacheco.
{"title":"Insolación de Emilia Pardo Bazán: De la burguesía “fin-de-siècle” al psicoanálisis","authors":"Carlos Feal","doi":"10.1080/00397709.2022.2024004","DOIUrl":"https://doi.org/10.1080/00397709.2022.2024004","url":null,"abstract":"Abstract Insolación (1889) is Emilia Pardo Bazán’s version of the Don Juan myth, incarnated in the male protagonist Diego Pacheco. A signifier of masculine desire, Pacheco will become Pardo Bazán’s object of projections of men she loved, such as Benito Pérez Galdós, a womanizer, and José Quiroga, her husband from whom she was separated. He also represents a mother figure in the mind of Asís, the religious protagonist whose sexual repression makes her the typical bourgeoise of the so-called Victorian era that preceded the work of Sigmund Freud. The novel, intended to be a confession to a priest, instead turns into a confession to the readers, who thereby become psychoanalysts, modern confessors of souls, as well as recipients of stories. Doña Emilia’s love letters to Galdós, contemporaneous with the novel, contribute to its understanding: external and internal worlds, in Melanie Klein’s terms, interact creatively. The surprising ending (the marriage of Asís and Pacheco) gives rise to a confrontation between the narrator and Asís. Catholic marriage, which binds the spouses forever, is paradoxically seen as the most natural thing and, at the same time, as irrational, senseless. To the Lacanian demand for impossible love that Asís brings to bear must be added the desire of the desire of the Other, experienced by both Asís and Pacheco.","PeriodicalId":45184,"journal":{"name":"SYMPOSIUM-A QUARTERLY JOURNAL IN MODERN LITERATURES","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43190260","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}
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