Revista Alicantina de Estudios Ingleses最新文献

{"title":"Contradictions and Regularities in Webster’s Works","authors":"Virginia Meirelles","doi":"10.14198/raei.2023.38.06","DOIUrl":"https://doi.org/10.14198/raei.2023.38.06","url":null,"abstract":"Noah Webster believed that a pure, regular and better form of the language existed, usually represented by a former variety that is more appropriate. However, he also believed that British English was not a model for American English because it did not follow “the analogy of the language.” Accordingly, he started a search to find the “true principles” of the English language. At that moment, his writings became more descriptive than prescriptive, but, because he was a successful textbook writer, he could not use the same model when he wrote schoolbooks. Consequently, his language analyses and his educational material became contradictory. Moreover, his earlier works and his later works are also inconsistent. This paper investigates the many inconsistencies found in Webster’s writings and tries to interpret them under the light of linguistics historiography. The results show that the contradiction in Webster’s work originates from his continued development as a language scholar and from his uncertainties arising from the linguistic practices of the time.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46157769","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":"Reading Doris Lessing’s Short Story “England vs England” through the Lenses of Space, Trauma, and History","authors":"Maria Eugenia Berio","doi":"10.14198/raei.2023.38.05","DOIUrl":"https://doi.org/10.14198/raei.2023.38.05","url":null,"abstract":"Past armed conflicts and their aftermaths left everlasting traces hidden in the physical places as well as in the spaces generated by the survivors. The present article examines the treatment of traumatic spaces in the British author Doris Lessing’s short story “England vs England” (1963) set in the years following the end of the Second World War. Even though Lessing’s works have been studied from different perspectives–as the abundant scholarship shows–the poetics of space in her short stories set in European places other than London has not been widely analysed. This paper argues that the immediate past is present in Lessing’s literature embedded in the spaces where the characters lead their everyday lives. The primary corpus includes the story under analysis and is supported by studies by scholars who have extensively researched the subjects of space and trauma and of literary critics who have examined the use of spatiality in Lessing’s oeuvre. Analysing the traumatic spaces of post-war Europe in the narration, firstly, gives visibility to a narrative that seems to have been overlooked by the critics and, secondly, allows the study of its spatiality in its physical, psychological, and sociohistorical division. Scrutinising the physical places of the story and the atmosphere generated in them, I have found that they represent the trauma endured by the countless anonymous people who suffered the horrors of the wars and their devastating consequences and who have only been made visible by the author’s skilled pen. In so doing my contribution adds another perspective to approaching the study of Doris Lessing.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45006199","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 Influence of British Directors on the Fundación Siglo de Oro and its Productions of Early Modern Drama, 2007-2021","authors":"Simon Breden","doi":"10.14198/raei.2022.37.02","DOIUrl":"https://doi.org/10.14198/raei.2022.37.02","url":null,"abstract":"The Fundación Siglo de Oro –formerly Compañía Rakatá– has been staging Spanish Golden Age and Elizabethan theatre since it was founded in 2006. Over this time, the company has developed an identity associated not only with its staging of early modern drama, but also with the influence of a series of contemporary British theatre practitioners on its rehearsal process. Perhaps one of the most noteworthy constants in its work is a fruitful series of collaborations with British stage directors, beginning in 2007 with Laurence Boswell directing El perro del hortelano (revived in 2014), in 2009 Fuenteovejuna, and in 2015 co-directing Mujeres y criados with company founder and producer Rodrigo Arribas. While, at first, we can ascribe this collaboration to the impact of the Royal Shakespeare Company Golden Age season, curated by Boswell, which visited Madrid’s emblematic Teatro Español in 2004, the company have continued to seek out British directors including Tim Hoare on Don Juan en Alcalá (2016) and Trabajos de amor perdidos (2016), and most recently Dominic Dromgoole on a new production of El perro del hortelano (2021). This latter partnership is also the culmination of a collaboration with Shakespeare’s Globe Theatre which saw the company take part in the Cultural Olympiad with Enrique VIII (2012) and become the first company to perform Lope de Vega in Spanish at the London theatre, with El castigo sin venganza (2014). There has therefore been a clear exchange of ideas between Spanish classical theatre and contemporary British theatre practice. This article proposes to explore the methodological contributions of British directors to better understand how this has altered the in-rehearsal perspectives on the Spanish Golden Age to explain the benefits of this Anglo-Hispanic collaborative approach to the company’s work. This will be supported by an interview with Rodrigo Arribas, whose constant presence as founder, producer, actor and most recently as director can help us to understand the contributions made by Boswell, Hoare and Dromgoole to the company’s rehearsal methodology.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41276726","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 Presence of American Drama in the Spanish Non-Professional Theatre of the 1950s","authors":"Masa Kmet","doi":"10.14198/raei.2022.37.04","DOIUrl":"https://doi.org/10.14198/raei.2022.37.04","url":null,"abstract":"American dramatists arrived in the Spanish theaters rather late, in the 1950s. In the beginning they were generally represented by non-professional theater groups (exemplified here by Dido Pequeño Teatro) that aimed to challenge the obsolete plays produced on the mainstream stages during Franco’s dictatorship (1939-1975). Thanks to these companies that were an alternative to the commercial theaters, Spanish audiences gradually discovered many contemporary playwrights whose plays were being staged in the rest of Europe at the time. This article focuses on three American authors who were the first significant ones to be staged in Spain: Eugene O’Neill, Tennessee Williams and the American-born T.S. Eliot, and were chosen by Dido Pequeño Teatro. This paper briefly presents the three authors and their theater, together with their success in the United States, in order to then concentrate on their first appearance in Spain. We highlight four plays that were produced by one of the most significant Spanish non-professional groups of that era, Dido Pequeño Teatro. The article then takes a closer look at how the plays were received by the critics and the general audience and analyze their success.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48996604","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 Early Reception of Romeo and Juliet in Spain","authors":"Jennifer Ruiz-Morgan","doi":"10.14198/raei.2022.37.05","DOIUrl":"https://doi.org/10.14198/raei.2022.37.05","url":null,"abstract":"The tragic story of the star-crossed lovers of Verona was first presented to Spanish theatergoers during the early decades of the nineteenth century. During this period Shakespeare was largely unknown to the general public. The article examines the early reception of Shakespeare in Spain focusing on one iconic play, Romeo and Juliet, and its earliest adaptations: Dionisio Solís’s Julia y Romeo (1803) and Manuel Bernardino García Suelto’s Romeo y Julieta (1817). At a time when the Spanish public was captivated by the allure displayed by adaptations of Othello, this article argues that the adaptations of Romeo and Juliet composed by Solís and García Suelto also enjoyed popularity, as evidenced by their several revivals and the prestige of some of the actors and actresses who intervened in the productions. The article examines the historical, political and sociocultural factors that contributed to the composition and popularity of Julia y Romeo and Romeo y Julieta. Historical contextualization is combined with an analysis of the sources and main features of each adaptation. The article also offers a detailed account of the reception and performance history of both plays on the Spanish stage from 1803 to 1836. These neoclassical versions remain –up to this day– largely unknown texts, but they deserve close attention since both plays strongly contributed to the gradual dissemination of Shakespeare and his work in Spain.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47910943","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":"Theatre and Performance Practices on the Spanish Stage: An Introduction","authors":"V. Rodríguez, Isabel Guerrero Llorente, David Rodríguez-Solás","doi":"10.14198/raei.2022.37.06","DOIUrl":"https://doi.org/10.14198/raei.2022.37.06","url":null,"abstract":"Theatre and Performance Practices on the Spanish Stage: An Introduction.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44530214","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":"Sunset Boulevard in Spanish Performance: Translations on the Musical Stage","authors":"M. Mateo","doi":"10.14198/raei.2022.37.03","DOIUrl":"https://doi.org/10.14198/raei.2022.37.03","url":null,"abstract":"This article focuses on Andrew Lloyd Webber’s musical Sunset Boulevard (1993), in order to present some relevant aspects of the production and reception of musicals both in an original and a target context. The study will first describe the eventful creative process of this musical text in its Anglophone source contexts, and will then move on to examine it from the perspective of its performance in Spanish translation. Recently translated for a Spanish-language production staged in Tenerife in 2017 (soon followed by another one in Argentina in 2018), Sunset Boulevard is a good example of the powerful impact that the importation of Anglo-American musicals has had in Spain in recent decades (see Mateo 2008) while it also serves to illustrate interesting aspects of the evolution and current situation of musicals’ production in this country. This macro-level study will therefore examine Lloyd Webber’s musical performed in sung translation, addressing it from a contextual standpoint and with a focus in Spain, with the aim of contributing to a deeper knowledge of theatre translation when it involves musical plays.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48791827","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":"Spain’s Francoist Broadway: American musicals in Madrid, 1955-1975","authors":"Ramón Espejo","doi":"10.14198/raei.2022.37.01","DOIUrl":"https://doi.org/10.14198/raei.2022.37.01","url":null,"abstract":"This article traces the itinerary followed by the earliest Broadway musicals to be imported to Madrid in the 1950s and 1960s. Such innovative format dazzled critics and audiences, carving out a niche of enthusiastic followers that would grow larger over time. The handful of works borrowed in this period will receive attention, especially insofar as their reception is concerned. The final phase of the Francoist dictatorship brought an increased visibility to the form, as heated controversy surrounded the eventual importation and prohibition of titles such as Hair and Jesus Christ Superstar. In the case of the former, shows purporting to bring to Spaniards what the authorities had banned will be briefly discussed. The latter will receive closer attention. Both these plays will serve as privileged viewing platforms whence the tensions inherent to a moribund regime and its outdated cultural policies will become obvious.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47543632","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":"Metaphors of Modernity: Palimpsestic Identities, Polygamous Marriages and Global Capitalism in Aidoo’s Changes: A Love Story","authors":"Meyre Santana Da Silva","doi":"10.14198/raei.2022.36.07","DOIUrl":"https://doi.org/10.14198/raei.2022.36.07","url":null,"abstract":"African routes to modernities have been marked by internal fissures and ambivalences that affect social life and political and economic structures in several ways. In the novel Changes: A Love Story, the Ghanaian writer Ama Ata Aidoo deals with the inconsistencies of modernities, asking whether global capitalism promotes gender equity or mainly contributes to social stratification, generating more complex hierarchies. This essay examines how Aidoo’s narrative utilizes women’s sexuality as an allegory to provide a vehement critique of colonial and post-independence policies, abusive indigenous practices, male privilege and corruption while shedding some light on women’s condition in modern urban Accra.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43615085","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":"Linguistic Varieties in Homegoing: Translating the Other’s Voice into Spanish","authors":"M. Sanz Jiménez","doi":"10.14198/raei.2022.36.08","DOIUrl":"https://doi.org/10.14198/raei.2022.36.08","url":null,"abstract":"The objective of this paper is to study the Spanish translation of Yaa Gyasi’s Homegoing (2016), a novel that adopts the form of a neo-slave narrative to chronicle a black family’s history from eighteenth-century Ghana to the early twenty-first century in the United States. The contexts in which both the source and target text were published will be described, paying attention to paratexts, to the book’s reception, and to the translation’s positive reviews. Gyasi’s debut oeuvre depicts alterity and the non-standard linguistic varieties, such as Black English, spoken by the dispossessed Other. This paper examines the strategies that the translator, Maia Figueroa (2017), has made use of to render this interplay of voices into Spanish. In addition, it considers how her choice to standardize some fragments and to introduce marked non-standard language in certain passages affects the reflection of the narrative Us vs. Otherness in the target text.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45955899","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}