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The use of syntax of the traditional Galician songbook of the nineteenth century in the cultured variety of modern Galician 十九世纪加利西亚传统歌曲集句法在现代加利西亚文化中的运用
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.124
Xosé Manuel Sánchez Rei
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引用次数: 0
La escritura del yo en el ensayo audiovisual español 西班牙视听作品中的自我书写论文
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.114
N. Mínguez, Isleny Cruz-Carvajal
{"title":"La escritura del yo en el ensayo audiovisual español","authors":"N. Mínguez, Isleny Cruz-Carvajal","doi":"10.37668/oceanide.v16i.114","DOIUrl":"https://doi.org/10.37668/oceanide.v16i.114","url":null,"abstract":"Este artículo analiza la construcción de la subjetividad en La Morte Rouge (Víctor Erice, 2006), Guest (José Luis Guerín, 2010) y Mapa (León Siminiani, 2012), tres películas que representan distintas tendencias en cuanto a la escritura del yo en el ensayo audiovisual español. Se trata de tres generaciones de autores destacados en la evolución de la no ficción audiovisual española. Utilizando un marco conceptual interdisciplinar que contempla la teoría del ensayo y el análisis del discurso, se estudia el referente, el uso del lenguaje y el modo particular en que el yo enuncia y se construye a través de la escritura. Aunque es posible un ensayo fílmico sólo con imágenes, las películas analizadas parten de una práctica cultural en que la imagen y la palabra interactúan para construir un discurso pleno. El artículo revela cómo el soliloquio, el cuaderno de viaje y el diario manifiestan diversos modos de puesta en escena de la subjetividad, pero comparten la construcción del yo en la interacción con el otro, la creación de un espacio íntimo donde el sujeto es tan consciente del enunciado como de la enunciación y la presencia de la identidad en el contexto de una temporalidad histórica.","PeriodicalId":255846,"journal":{"name":"Oceánide","volume":" 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139786765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Tales of Becoming: Borders and Posthuman Anxieties in Daisy Johnson’s "Starver" (2016) 成为的故事：黛西-约翰逊的《星河》（2016）中的边界与后人类焦虑
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.123
Laura Maria Lojo Rodríguez
{"title":"Tales of Becoming: Borders and Posthuman Anxieties in Daisy Johnson’s \"Starver\" (2016)","authors":"Laura Maria Lojo Rodríguez","doi":"10.37668/oceanide.v16i.123","DOIUrl":"https://doi.org/10.37668/oceanide.v16i.123","url":null,"abstract":"This article aims at examining Daisy Johnson’s collection of short stories Fen (2014) and, most particularly, its opening piece “Starver”, through the lens of posthuman feminism by arguing that Johnson’s collection poses forward a relational ontology which refuses to consider human subjectivity as exclusively restricted to the confines of human bodies by blurring traditional boundaries as constitutive of oppositions such as nature/culture, human/non-human, male/female which have traditionally articulated anthropocentric worldviews. Johnson’s focus on the English Fenlands as a borderline, liminal topology mirrors contemporary preoccupations with the porosity and instability of allegedly firm borders and, by extension, of identity. Johnson’s collection ultimately interrogates the relationship between individuals and their environment, radically distressed by human intervention and capitalist consumerism, thus heading to the “sixth extinction” of the Anthropocene.","PeriodicalId":255846,"journal":{"name":"Oceánide","volume":" 844","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139787004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The use of syntax of the traditional Galician songbook of the nineteenth century in the cultured variety of modern Galician 十九世纪加利西亚传统歌曲集句法在现代加利西亚文化中的运用
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.124
Xosé Manuel Sánchez Rei
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引用次数: 0
"He Has Made Us All Look Unreal": Strange(r)ness in Jackie Kay's "Trumpet" (1998) "他让我们都变得不真实"：杰基-凯的《小号》（1998）中的奇怪之处
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.118
Laura Aldeguer Pardo
{"title":"\"He Has Made Us All Look Unreal\": Strange(r)ness in Jackie Kay's \"Trumpet\" (1998)","authors":"Laura Aldeguer Pardo","doi":"10.37668/oceanide.v16i.118","DOIUrl":"https://doi.org/10.37668/oceanide.v16i.118","url":null,"abstract":"This article analyses, from the perspective of gender and affect theory, the representation of Joss Moody, the deceased protagonist of Jackie Kay’s debut novel, Trumpet (1998). This work centres around the portrayal of the transgender stranger, as delineated by those characters who represent the legal and medical discourses during a series of posthumous strange encounters. For that purpose, this article combines close reading techniques with an interdisciplinary theoretical approach to the selected novel, where intersectional perspectives allow for the examination of the literary text. Firstly, I offer an examination of Sara Ahmed’s contemporary theory of strange(r)ness, as well as her model of the sociality of emotion, with a special focus on the model of the stickiness of disgust. This theoretical framework is then applied to the literary analysis of Trumpet, which rests on the juxtaposition of Joss’s (mis)representation, based on the discrepancy between his female birth sex and his lived masculinity.","PeriodicalId":255846,"journal":{"name":"Oceánide","volume":"100 3-4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139847264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Cine personal y estética de la fisicidad: una reconfiguración del realismo en el cine digital contemporáneo 个人电影与身体美学：当代数字电影制作中的现实主义重构
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.127
Luis M. García-Mainar
{"title":"Cine personal y estética de la fisicidad: una reconfiguración del realismo en el cine digital contemporáneo","authors":"Luis M. García-Mainar","doi":"10.37668/oceanide.v16i.127","DOIUrl":"https://doi.org/10.37668/oceanide.v16i.127","url":null,"abstract":"El artículo analiza una reconfiguración del realismo en el cine contemporáneo marcada por las nuevas posibilidades de la tecnología digital. Mediante un estudio estilístico de Moonlight (2016), 120 pulsaciones por minuto (2017) y The Last Tree (2019) se exploran las características de un realismo asociado con lo personal y que los estudios de cine no han detectado ya que no coincide exactamente con los dictados de la autobiografía. El artículo propone un acercamiento más flexible a este realismo, ceñido al carácter personal de las historias y su lenguaje cinematográfico, al tiempo que lo sitúa en el marco de la doble lógica digital de inmediatez/hipermediación y analiza la estética de la fisicidad de las tres películas. El resultado es un realismo emparentado con el lenguaje documental de cierto cine estadounidense y europeo, que en su formulación contemporánea utiliza la fisicidad para sugerir autenticidad mediante un estilo intensamente subjetivo.","PeriodicalId":255846,"journal":{"name":"Oceánide","volume":" 398","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139787215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
La escritura del yo en el ensayo audiovisual español 西班牙视听作品中的自我书写论文
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.114
N. Mínguez, Isleny Cruz-Carvajal
{"title":"La escritura del yo en el ensayo audiovisual español","authors":"N. Mínguez, Isleny Cruz-Carvajal","doi":"10.37668/oceanide.v16i.114","DOIUrl":"https://doi.org/10.37668/oceanide.v16i.114","url":null,"abstract":"Este artículo analiza la construcción de la subjetividad en La Morte Rouge (Víctor Erice, 2006), Guest (José Luis Guerín, 2010) y Mapa (León Siminiani, 2012), tres películas que representan distintas tendencias en cuanto a la escritura del yo en el ensayo audiovisual español. Se trata de tres generaciones de autores destacados en la evolución de la no ficción audiovisual española. Utilizando un marco conceptual interdisciplinar que contempla la teoría del ensayo y el análisis del discurso, se estudia el referente, el uso del lenguaje y el modo particular en que el yo enuncia y se construye a través de la escritura. Aunque es posible un ensayo fílmico sólo con imágenes, las películas analizadas parten de una práctica cultural en que la imagen y la palabra interactúan para construir un discurso pleno. El artículo revela cómo el soliloquio, el cuaderno de viaje y el diario manifiestan diversos modos de puesta en escena de la subjetividad, pero comparten la construcción del yo en la interacción con el otro, la creación de un espacio íntimo donde el sujeto es tan consciente del enunciado como de la enunciación y la presencia de la identidad en el contexto de una temporalidad histórica.","PeriodicalId":255846,"journal":{"name":"Oceánide","volume":"24 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139846675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Tales of Becoming: Borders and Posthuman Anxieties in Daisy Johnson’s "Starver" (2016) 成为的故事：黛西-约翰逊的《星河》（2016）中的边界与后人类焦虑
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.123
Laura Maria Lojo Rodríguez
{"title":"Tales of Becoming: Borders and Posthuman Anxieties in Daisy Johnson’s \"Starver\" (2016)","authors":"Laura Maria Lojo Rodríguez","doi":"10.37668/oceanide.v16i.123","DOIUrl":"https://doi.org/10.37668/oceanide.v16i.123","url":null,"abstract":"This article aims at examining Daisy Johnson’s collection of short stories Fen (2014) and, most particularly, its opening piece “Starver”, through the lens of posthuman feminism by arguing that Johnson’s collection poses forward a relational ontology which refuses to consider human subjectivity as exclusively restricted to the confines of human bodies by blurring traditional boundaries as constitutive of oppositions such as nature/culture, human/non-human, male/female which have traditionally articulated anthropocentric worldviews. Johnson’s focus on the English Fenlands as a borderline, liminal topology mirrors contemporary preoccupations with the porosity and instability of allegedly firm borders and, by extension, of identity. Johnson’s collection ultimately interrogates the relationship between individuals and their environment, radically distressed by human intervention and capitalist consumerism, thus heading to the “sixth extinction” of the Anthropocene.","PeriodicalId":255846,"journal":{"name":"Oceánide","volume":"18 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139846860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Eleanor Oliphant Is not that Fine: Exploring the Transformative Potential of Vulnerability in Gail Honeyman’s Debut (2017) 埃莉诺-奥利芬特没那么好：探索盖尔-霍尼曼处女作中脆弱性的变革潜力（2017）
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.122
María Magdalena Flores Quesada
{"title":"Eleanor Oliphant Is not that Fine: Exploring the Transformative Potential of Vulnerability in Gail Honeyman’s Debut (2017)","authors":"María Magdalena Flores Quesada","doi":"10.37668/oceanide.v16i.122","DOIUrl":"https://doi.org/10.37668/oceanide.v16i.122","url":null,"abstract":"This article explores the notion of vulnerability as a condition of potential and openness towards personal transformation and connection with others. The current approach to the notion of vulnerability focuses on challenging and re-orienting its restrictively negative connotation, as the works by Jean-Michel Ganteau and Susana Onega (2017) or Erinn Gilson (2016), among many others, have shown. The notion has also proved useful in connection with political or social action (Butler 2020), as well as in the framework of ethical philosophy (Maillard 2011, Le Blanc 2011). However, analysing vulnerability in contemporary literary works can be problematic, as sometimes the complexity of the notion hinders the representation of the character’s journey through the good and bad. In this article, my aim is to peruse Gail Honeyman’s debut novel, Eleanor Oliphant Is Completely Fine (2017), which has received little critical attention in this area in spite of its popularity following its publication. Addressing the ideal of invulnerability, the connection between vulnerability and social isolation, its movement towards openness to the other, and its portrayal through formal choices, I argue that this text is an example of how contemporary literary works of British fiction contribute to portray the potential that can be found in experiences of vulnerability.","PeriodicalId":255846,"journal":{"name":"Oceánide","volume":"117 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139786458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Eleanor Oliphant Is not that Fine: Exploring the Transformative Potential of Vulnerability in Gail Honeyman’s Debut (2017) 埃莉诺-奥利芬特没那么好：探索盖尔-霍尼曼处女作中脆弱性的变革潜力（2017）
Oceánide Pub Date : 2024-02-10 DOI: 10.37668/oceanide.v16i.122
María Magdalena Flores Quesada
{"title":"Eleanor Oliphant Is not that Fine: Exploring the Transformative Potential of Vulnerability in Gail Honeyman’s Debut (2017)","authors":"María Magdalena Flores Quesada","doi":"10.37668/oceanide.v16i.122","DOIUrl":"https://doi.org/10.37668/oceanide.v16i.122","url":null,"abstract":"This article explores the notion of vulnerability as a condition of potential and openness towards personal transformation and connection with others. The current approach to the notion of vulnerability focuses on challenging and re-orienting its restrictively negative connotation, as the works by Jean-Michel Ganteau and Susana Onega (2017) or Erinn Gilson (2016), among many others, have shown. The notion has also proved useful in connection with political or social action (Butler 2020), as well as in the framework of ethical philosophy (Maillard 2011, Le Blanc 2011). However, analysing vulnerability in contemporary literary works can be problematic, as sometimes the complexity of the notion hinders the representation of the character’s journey through the good and bad. In this article, my aim is to peruse Gail Honeyman’s debut novel, Eleanor Oliphant Is Completely Fine (2017), which has received little critical attention in this area in spite of its popularity following its publication. Addressing the ideal of invulnerability, the connection between vulnerability and social isolation, its movement towards openness to the other, and its portrayal through formal choices, I argue that this text is an example of how contemporary literary works of British fiction contribute to portray the potential that can be found in experiences of vulnerability.","PeriodicalId":255846,"journal":{"name":"Oceánide","volume":"18 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139846166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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