HISPANIA-REVISTA ESPANOLA DE HISTORIA最新文献

This article examines the portrayal of cognitive experience in the published version of Miguel de Cervantes's short story El celoso extremeño (1613), drawing both on recent studies of empathy and current debates about the inseparability of cognition and emotion. It considers how cognitive experience is marked by particular bodily sensations and shaped by internal representations (i.e., mental images) that are closely tied to emotions such as fear, jealousy, joy, and sorrow. Paying particular attention to the ways in which the narrative underscores the characters' limited sensory experiences and their defective understanding of each other's positions, the article argues that this provides the reader with the opportunity to simulate mentally his or her own challenging situations, faulty judgments, and injudicious actions. While being invited to use his or her imagination and judgment to enjoy being placed in a position of greater power and knowledge than the characters, Cervantes's reader is also encouraged to consider the possibility of not knowing and to accept the limits of empathy.

The article analyzes the portrayal of the male perpetrator of heterosexual domestic violence in a selection of contemporary Spanish texts (novel, drama, and autobiography) that form part of a clearly discernible cultural response to the issue of intimate partner violence in Spain today. It reads the figure of the abuser in conjunction with a range of primarily Spanish studies on domestic aggression, with the aim of showing how and why the chosen authors engage with bodies of theory that address battery. The study concludes that some cultural producers devise a strategy of eliding the male aggressor in an attempt to subvert the power he wields over the female victim.

This essay looks at the representation of disability in the recent Spanish film "Yo, también" through the lens of disability studies, understood as a political project. The film's portrayal of a character who is, like the actor who plays him, Europe's first university graduate with Down syndrome, is unique. Moreover, "Yo, también" provides the opportunity to assess the state of the struggle for rights for persons with disabilities both in the film's narrative arc and also in the wider Spanish (and global) society. Among other sources, specific articles of the United Nations's recent Convention on the Rights of People with Disabilities are incorporated into the essay. Both essay and film coincide in emphasizing the need to grant disabled populations greater autonomy in the spheres of love and work.

Domestic abuse continues to claim many lives in Spain despite a series of new laws to protect women and to punish abusers. This essay explores the cultural influences of contemporary Spanish cinema on domestic violence. Four films are assessed against a Portfolio Model of social responsibility that uses two basic dimensions: realism and human rights. Realism in each film is determined by the behavioral components of the internationally recognized Duluth Model and the Wheel of Power and Control. The human rights dimension addresses equality, power and agency for women. This study focuses on Icíar Bollaín's "Te doy mis ojos" (2003), Javier Balaguer's "Sólo mía" (2001), Benito Zambrano's "Solas" (1999), and Pedro Almodóvar's "Pepi, Luci, Bom y otras chicas del montón" (1980). The results demonstrate significant variations in the measure of social responsibility indicating that contemporary Spanish cinema may play a role in perpetuating gender-based violence.