Revista Canaria de Estudios Ingleses最新文献

{"title":"The Long History of CanLit’s New Globality, or: When The History of Emily Montague Became Canada’s First Novel","authors":"R. Zacharias","doi":"10.25145/J.RECAESIN.2019.78.02","DOIUrl":"https://doi.org/10.25145/J.RECAESIN.2019.78.02","url":null,"abstract":"espanolEste ensayo aborda la «globalidad» de la novela de Frances Brooke The History of Emily Montague, fechada en 1769, como un medio para historizar el surgimiento aparentemente reciente de la literatura canadiense como un corpus literario globalizado. Argumento que las temporalidades complejas que entran en juego en la construccion de las tradiciones literarias nacionales han servido para oscurecer las lineas de continuidad en la globalidad de dos periodos clave en el campo: la institucionalizacion de la escritura anglofona canadiense despues de 1960 como «CanLit», que goza de una cierta prominencia reciente en el ambito cultural internacional, y la primera aparicion en Canada de la literatura, que siempre fue internacional en su forma y practica. La novela de Brooke, publicada en Inglaterra un siglo antes de la Confederacion canadiense pero habitualmente identificada como «la primera novela de Canada», ocupa una posicion privilegiada en ambos periodos y ofrece una oportunidad convincente para explorar la historia anacronicamente larga de la reciente globalidad de la literatura canadiense contemporanea. EnglishThis essay engages the “globality” of Frances Brooke’s 1769 novel The History of Emily Montague as a means of historicizing Canadian literature’s ostensibly recent emergence as a globalized body of writing. I argue that the complex temporalities at play in the construction of national literary traditions have worked to obscure the lines of continuity in the globality of two key periods in the field: the post-1960 institutionalization of English Canadian writing as “CanLit,” which has recently risen to some prominence in the international cultural sphere, and the first emergence of literature in Canada, which was always already international in form and practice. Brooke’s novel, published in England a century before Canadian Confederation yet routinely identified as “Canada’s First Novel,” holds a privileged position within both periods, and offers a compelling opportunity to explore the anachronistically long history of contemporary Canadian literature’s recent globality.","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"394 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127595010","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}

{"title":"The Waste Land: Meaning and Multiplicity","authors":"F. Sampson","doi":"10.25145/j.recaesin.2022.85.10","DOIUrl":"https://doi.org/10.25145/j.recaesin.2022.85.10","url":null,"abstract":"\"T.S. Eliot’s “stony rubbish ... / A heap of broken images” is often characterised as both The Waste Land’s theme, and the technique it employs to “connect” aspects of modernity. To read the poem from within the British twenty first century lyric tradition is to admire the way that such tessellation creates a literary whole. What lessons can be learnt for contemporary poetics, in an era characterised arguably less by a breakdown in meaning than by a multiplication of meanings: in the multiplying sources of authority offered by identity politics, or citizen journalism; in competing public discourses; in the ramifying identities one individual may acquire as they occupy a number of social or emotional roles? If the impulse of lyric poetry is to “sing” these into a kind of coherence, a unifying voice too often creates unifying perspective, is it possible that The Waste Land offers a counterexample?\"","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132282195","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}

{"title":"Queer Aztlán in Cherríe Moraga’s The Hungry Woman: A Mexican Medea","authors":"Allison Ramay","doi":"10.25145/j.recaesin.2020.81.11","DOIUrl":"https://doi.org/10.25145/j.recaesin.2020.81.11","url":null,"abstract":"Drawing on Cherríe Moraga’s semi-autobiographical writings and varied scholarly work, this article contends that in her play, The Hungry Woman: A Mexican Medea (2001), she not only critiques patriarchal heteronormativity, but she goes further by naming the necessary elements for a society in which her “Queer Aztlán” (1993), would be possible. Through a close reading of The Hungry Woman: A Mexican Medea (2001), this article demonstrates that the play not only focuses on the necessary deconstruction of patriarchal nationalism, but it also offers the unexpected seeds of change, found in the secondary character of Luna. By shifting our focus onto this character, we may better appreciate Moraga’s forward thinking and the kernels of “Queer Aztlán” expressed in this play.","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126580986","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}

{"title":"Fashionable Flappers: Constructing Femininity in F.S. Fitzgerald’s The Offshore Pirate and The Ice Palace","authors":"I. Milică","doi":"10.25145/j.recaesin.2022.84.08","DOIUrl":"https://doi.org/10.25145/j.recaesin.2022.84.08","url":null,"abstract":"Transition, dynamism, prosperity, freedom, and youth characterize the Roaring Twenties. Women experienced some of the most radical changes in all areas of life, private and public, and fashion reflected this newly gained freedom: shorter dresses, short hair, make-up, deep necklines, and a boyish charm. Francis Scott Fitzgerald’s writings mirror this world of contradictions: its enthusiasm and frivolity, its freedom and failures. This article analyzes two of Fitzgerald’s earliest short stories, The Offshore Pirate and The Ice Palace, in order to point out the writer’s ambiguous way of representing the flapper, positioned at the crossroads between rebellion and conventionality, emancipation and superficiality. The analysis is mainly based on an evaluation of fashion imagery, a tool into decoding Fitzgerald’s manner mainly based on an evaluation of fashion imagery, a tool into decoding Fitzgerald’s manner of constructing femininity.","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131317478","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}

{"title":"The Concept of Experience as Grounding for The Waste Land","authors":"C. Altieri","doi":"10.25145/j.recaesin.2022.85.03","DOIUrl":"https://doi.org/10.25145/j.recaesin.2022.85.03","url":null,"abstract":"\"This essay tries to understand one shaping logic by which Anglo-American modernist poets distinguish themselves from their nineteenth century predecessors. Both William James and F.H. Bradley developed ways of thinking that did not divide experience into how subjects process objects. Instead there is, first, experience –an encounter with qualities of events. The mind imposes its interest either in experience, mainly mattering for the person, or for the state of the world it makes present. But for Eliot and the Modernists there was something beyond the person and so a call for impersonality as a potentially fuller, more immediate encounter with the world. Eliot’s concerns for immediate experience operate in The Waste Land primarily to shape how he treats events and voices. But by the end, he cannot but place interpretation against experience in regards to the Thunder. This prepares for Eliot’s separation of humanism from the ways faith requires direct experience.\"","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130175756","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}

{"title":"From Punjab to Peggy’s Cove: Joyful Activism in Behind the Bhangra Boys (2019)","authors":"R. Bannerjee","doi":"10.25145/j.recaesin.2021.83.11","DOIUrl":"https://doi.org/10.25145/j.recaesin.2021.83.11","url":null,"abstract":"This paper will examine how the 2019 Nancy Ackerman documentary film Behind the Bhangra Boys both deconstructs the complexities of contemporary Sikh immigrant identity in Eastern Canada and reinforces the intricacies of one’s social responsibility of being a welcome guest on the unceded territories of Mi’kma’ki, otherwise known as Nova Scotia. Following the energetic choreography and generous hearts of five young Sikh immigrants, the film reminds viewers that the protection of community and the planet is part and parcel of joyful activism, whilst following Guru Nanak’s teachings, be it along the rocky shoreline of Peggy’s Cove or the fertile farmlands of Punjab.","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130727176","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}

{"title":"Canadian Fictions of Globality: Introduction","authors":"Pedro Miguel Carmona-Rodríguezna-Rodríguez","doi":"10.25145/J.RECAESIN.2019.78.001","DOIUrl":"https://doi.org/10.25145/J.RECAESIN.2019.78.001","url":null,"abstract":"","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130806111","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}

{"title":"Exposing the Whore: Misogyny in Prostitute Narratives of Restoration England","authors":"Figueroa Dorrego Jorge","doi":"10.25145/j.recaesin.2019.79.03","DOIUrl":"https://doi.org/10.25145/j.recaesin.2019.79.03","url":null,"abstract":"espanolAunque la prostituta es un personaje frecuente en la novela inglesa del siglo XVIII, ya aparece en textos narrativos publicados en la Inglaterra de la Restauracion, aunque la mayoria de ellos han sido ignorados. Este articulo analiza tres de esos textos: 1) The Crafty Whore (1658), un dialogo anonimo entre dos cortesanas que esta enmarcado entre un prefacio que lo presenta como una advertencia, y un epilogo titulado «Disuasion de la lujuria»; 2) The Miss Display’d de Richard Head (1675), una novela en modo picaresco introducida por un prefacio tambien admonitorio y relatada por un narrador intruso en tercera persona que es a menudo critico con las prostitutas y las mujeres en general: y 3) la anonima The London Jilt (1683), otra novela picaresca presentada como relato que alerta a los lectores contra el engano y la corrupcion de las prostitutas, pero con un narrador autodiegetico que entrelaza la narracion con comentarios de tipo social y moral. En estos textos la voz y agencia femenina se ven refrenadas por una voz autorial masculina que utiliza un discurso misogino con la intencion de revelar los astutos ardides de las prostitutas con el fin de enganar a los hombres. EnglishAlthough the prostitute became a fairly common figure in eighteenth-century prose fiction, there were already narrative texts dealing with that type of character in Restoration England, although most of them have been largely disregarded. This article will focus on three of those texts: 1) The Crafty Whore (1658), an anonymous dialogue between two courtesans that is framed between a preface that presents it as a cautionary text, and an epilogue entitled “Dehortation from Lust”; 2) Richard Head’s The Miss Display’ d (1675), a narrative in the picaresque mode introduced by an admonitory preface and told by an intrusive third-person narrator that is often critical of prostitutes and women in general; and 3) the anonymous The London Jilt (1683), another picaresque novel presented as a cautionary tale to warn readers against the deceit and corruption of prostitutes, but with an autodiegetic narrator who interlaces the relation with social and moral comments. In these texts the female agency and voice are often curbed by a male authorial voice that uses a misogynistic discourse in an alleged attempt to expose the crafty contrivances of prostitutes in order to ensnare men.","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126859118","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}

{"title":"Sexuality and Evil: Lady Macbeth in the Indian film adaptations of Macbeth Maqbool and Veeram","authors":"Rosa García-Periago","doi":"10.25145/j.recaesin.2021.83.08","DOIUrl":"https://doi.org/10.25145/j.recaesin.2021.83.08","url":null,"abstract":"An early Indian film adaptation of Macbeth, Jwala (dir. Vinayak, 1938) shows a Lady Macbeth that sides with Banquo against Macbeth, as if an evil female character were difficult to conceive in the Indian imagination. In 21st century film adaptations of Macbeth, Maqbool (dir. Vishal Bhardwaj, 2003) and Veeram (dir. Jayaraj, 2017), the female character is as evil as in the source text. Yet, neither Nimmi (Lady Macbeth in Maqbool) nor Kuttimani (Lady Macbeth in Veeram) is married to Macbeth at the outset of the film, the implication being an Indian married woman is incapable of such atrocities. In both movies, sexual drive becomes crucial in the course of events. By analyzing the role of Lady Macbeth in Maqbool and Veeram, this paper aims to show that these Lady Macbeths are as based on the play as on the role of the vamp (the evil woman) in popular Indian movies, since characters that are sexually driven are always condemned to death.","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133875343","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}

{"title":"Where Is the Transgender in the TransCanadian? Kai Cheng Thom and Vivek Shraya’s Response-Able Fictions","authors":"L. García Zarranz","doi":"10.25145/j.recaesin.2019.78.010","DOIUrl":"https://doi.org/10.25145/j.recaesin.2019.78.010","url":null,"abstract":"","PeriodicalId":273717,"journal":{"name":"Revista Canaria de Estudios Ingleses","volume":"143 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123501531","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}