“我的朋友!”(远离!)西班牙语冠状小说中的身体距离谈判

Julia Obermayr, Yvonne Völkl
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引用次数: 1

摘要

2020年3月,世界上100多个国家的政府实施了部分或全面封锁政策,禁止人们离开家园,除了被认为必要的活动(如采购食物、上班),以减少SARS-CoV-2的传播。此外,当局、媒体和同行鼓励人们采取身体距离行为,要求不要相互接触,甚至彼此保持至少一到两米的距离。文化和文学作品——所谓的“冠状病毒小说”——代表和处理了疫情期间人们感知和应对封锁局势的多种方式及其各种影响。虽然在禁闭期间写的文学作品和出版的选集关注的是禁闭对心理影响所增强的情绪状态,但电影中的叙事,如诺贝托·拉莫斯·德尔瓦尔的《我是一个囚犯!》(2020)注重协商身体距离本身的过程。因此,这篇文章将研究与第一次封锁相比,在书面和视听作品中保持物理距离的表现,并分析其中的相似之处。从文化研究的角度来看,我们特别感兴趣的是这些Corona小说在各自媒介的叙述中如何处理物理距离、隔离和自我反思。
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¡Ni te me acerques! (Stay Away!) Negotiating Physical Distancing in Hispanophone Corona Fictions
In March 2020, more than 100 governments around the world imposed partial or full lockdown policies prohibiting people to leave their homes except for activities deemed essential (e.g. procuring food, going to work) to reduce SARS-CoV-2 transmissions. Furthermore, authorities, media and peers encouraged people to adopt physical distancing behaviors, requesting not to touch each other and even keep a distance of at least one to two meters from one another. Cultural and literary productions—so-called Corona Fictions—represent and process the multitude of ways the population perceived and coped with the lockdown situation during the pandemic and its diverse effects. While literary texts written during confinement and published in anthologies focus on emotional states enhanced by the psychological impact of the lockdown, the narratives in films such as Norberto Ramos del Val’s ¡Ni te me acerques! (2020) focus on negotiating the process of physical distancing itself. This contribution will, thus, look at the representations of physical distancing in written and audiovisual productions from the first lockdown and analyze the similarities therein. From a cultural studies point of view, we are particularly interested in the ways these Corona Fictions negotiate physical distancing, isolation and self-reflection in their narratives of the respective medium.
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
68
审稿时长
5 weeks
期刊介绍: Altre Modernità (AM), a six-monthly journal, ISSN 2035-7680, features articles, discussions, interviews, translations, creative works, reviews, and bibliographical information on the cultural production of Modernity. The themes and topics tackled in each issue will take Altre Modernità to areas of the world traditionally perceived as geographically and culturally disparate, aiming at capturing the newness of the cultural paradigms that are taking shape in several places today in order to isolate, subvert, weaken or transcend the monologic discourse of mainstream culture. AM is dedicated to the study of the peripheries of the world and the peripheries of societies that act as vibrant centres of cultural production, with special attention paid to those aspects of his cultural production that offer alternative models, suggestions and tools for overcoming it. The literary discourse still represents - for Altre Modernità - the point of departure and the unavoidable hub collating explorations in contiguous cultural and artistic fields. Altre Modernità is an Open Access journal devoted to the promotion of competent and definitive contributions to literary and cultural studies knowledge. The journal welcomes also works that fall into various disciplines: cultural studies, religion, history, literature, liberal arts, law, political science, computer science and economics that deal with contemporary issues, as listed in AM CfPs. Altre Modernità uses a policy of double-blind blind review (in which both the reviewer and author identities are concealed from the reviewers, and vice versa, throughout the review process) by at least two consultants to evaluate articles accepted for consideration. Altre Modernità promotes special issues on particular topics of special relevance in the cultural debates. Altre Modernità occasionally has opportunities for Guest Editors for special issues of the journal. Altre Modernità publishes at least 2 original issues in a calendar year.
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