Arizona Journal of Hispanic Cultural Studies最新文献

{"title":"Censura y literatura. Memorias contestadas ed. by María José Olaziregi y Lourdes Otaegi (review)","authors":"Iker González-Allende","doi":"10.1353/hcs.2022.0012","DOIUrl":"https://doi.org/10.1353/hcs.2022.0012","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126570159","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":"Hasta los dientes: una imagen intolerable de la impunidad en México","authors":"Olga Salazar Pozos","doi":"10.1353/hcs.2021.0001","DOIUrl":"https://doi.org/10.1353/hcs.2021.0001","url":null,"abstract":"Resumen:En El espectador emancipado, Jacques Rancière define la imagen intolerable como aquella que vuelve a los espectadores \"incapaces de mirar . . . sin experimentar dolor o indignación\" (85). Este artículo toma como partida dicho concepto para establecer cómo el documental mexicano Hasta los dientes (Alberto Arnaut, 2018) se convirtió en un arte indigerible para el sistema de justicia nacional pues, a pesar del clima de impunidad imperante, contribuyó a provocar un efecto político: la disculpa pública federal (19 de marzo, 2019) en que el Estado Mexicano y la Secretaría de Defensa Nacional (SEDENA) reconocieron su responsabilidad en las ejecuciones extrajudiciales de Jorge A. Mercado Alonso y Javier F. Arredondo Verdugo. En 2010, ambos estudiantes fueron asesinados por miembros del ejército mexicano tras un enfrentamiento con el crimen organizado y posteriormente declararon que los fallecidos eran \"sicarios armados hasta los dientes.\" Por nueve años instituciones de gobierno, sostuvieron la versión que los reconocía como sicarios. Por esto, resulta fundamental estudiar por qué a un año del estreno del documental el gobierno ofreció una disculpa pública federal. Lo que se propone es que, a través de la conjunción de su diégesis, intertextualidad y campaña de incidencia, Hasta los dientes creó una imagen intolerable.Abstract:In Emancipated Spectator, Jacques Rancière defines an intolerable image as one which makes the spectators unable to view an image without experiencing pain or outrage. This paper takes the given concept as a point of departure to establish how the Mexican documentary Hasta los dientes (Alberto Arnaut, 2018) became an indigestible form of art for the national judicial system. Because, despite the prevailing climate of impunity, it contributed to cause a political effect: a federal public apology (March 19th, 2019) in which the Mexican government and the Mexican Secretariat of National Defense (SEDENA) recognized their responsibility in the extrajudicial executions of Jorge A. Mercado Alonso and Javier F. Arredondo Verdugo. In 2010, both students were murdered by the Mexican Army after an encounter between the soldiers and gangsters. And later, the Mexican Army declared that the two deceased men were \"hitmen armed to the teeth.\" For nine years different government institutions held that they were hitmen. Because of this, it is essential to study why the government offered a federal public apology just one year after the premiere of the documentary. What this paper proposes is that, through the conjunction of its diegesis, intertextuality and advocacy campaign, Hasta los dientes created an intolerable image.","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122772090","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":"Doña Bárbara Unleashed: From Venezuelan Plains to International Screen by Jenni M. Lehtinen (review)","authors":"Cristina E. Pardo Porto","doi":"10.1353/hcs.2021.0021","DOIUrl":"https://doi.org/10.1353/hcs.2021.0021","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114415874","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":"Querencia: Reflections on the New Mexico Homeland ed. by Vanessa Fonseca-Chávez, Levi Romero and Spencer R. Herrera (review)","authors":"Carmella Scorcia Pacheco","doi":"10.1353/hcs.2021.0016","DOIUrl":"https://doi.org/10.1353/hcs.2021.0016","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130112470","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":"Spanish Culture from Romanticism to the Present. Structures of Feeling by Jo Labanyi (review)","authors":"P. López-Gay","doi":"10.1353/hcs.2021.0020","DOIUrl":"https://doi.org/10.1353/hcs.2021.0020","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132493384","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":"De Sab (1841) a \"Sab\" (2014): cubanía y conflictos raciales en el Periodo Revolucionario","authors":"Allen Guillermo Rivas Prado","doi":"10.1353/hcs.2021.0002","DOIUrl":"https://doi.org/10.1353/hcs.2021.0002","url":null,"abstract":"Resumen:En la adaptación a la danza de la novela Sab, Reinaldo Echemendía le rinde un homenaje a Gertrudis Gómez de Avellaneda y refleja una ideología de la mulatez como elemento distintivo de la cultura nacional. Al hacer un despliegue del folclor, la música, el baile, el vestuario y el lenguaje de los cuerpos, esta coreografía le adjudica a la novela Sab unos visos de cubanía que se identifican con la identidad cultural cubana publicitada durante el Periodo Revolucionario. En este ensayo se cuestiona la subordinación de esta coreografía al discurso oficial, que celebra la representación de la transculturación en la producción cultural de la Revolución a expensas de reconocer el racismo como un problema del pasado y no del presente. También se analiza la relevancia de este ballet del 2014 mediante una discusión contra el trasfondo de las desigualdades raciales fomentadas por la industria del turismo y el modelo cuentapropista surgido en el Periodo Especial de los años 1990. Así, este estudio considera la versión coreográfica de Sab con las políticas culturales y las relaciones raciales de la Revolución.Abstract:In the adaptation to dance of the novel Sab, Reinaldo Echemendía pays homage to Gertrudis Gómez de Avellaneda and reflects an ideology of mulatez as a distinctive element of the national culture. By making a display of folklore, music, dance, costumes and the language of the bodies, this choreography gives the novel Sab some overtones of Cubanness that are identified with the Cuban cultural identity advertised during the Revolutionary Period. This essay questions the subordination of this choreography to the official discourse, which celebrates the representation of transculturation in the cultural production of the Revolution at the expense of recognizing racism as a problem of the past and not of the present. The relevance of this 2014 ballet is also analyzed through a discussion against the background of the racial inequalities fostered by the tourism industry and the self-employment model that emerged in the Special Period of the 1990's. Thus, this study considers the choreographic version of Sab with the cultural policies and race relations of the Revolution.","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114732031","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":"Ecologismo y edenismo en el espacio rural de Cenizas del cielo","authors":"A. Martínez-Expósito","doi":"10.1353/hcs.2021.0024","DOIUrl":"https://doi.org/10.1353/hcs.2021.0024","url":null,"abstract":"Resumen:El cine español ha tratado el tema clásico de las relaciones entre campo y ciudad desde el binomio tradición/progreso, las migraciones interiores o la relación entre nacionalismo y cosmopolitismo, aspectos a los que desde los primeros años del nuevo siglo hay que añadir una preocupación inconfundiblemente ecologista. La película Cenizas del cielo (2008), del asturiano José Antonio Quirós, ilustra un cine militante que persigue el cambio ideológico y social mediante la denuncia de la energía contaminante y sus efectos letales sobre el idílico entorno rural en el que se asienta. La película dialoga con las agendas ecologistas y con el topos campo/ciudad; además, moviliza la marca oficial de la región, \"Asturias, Paraíso Natural\". Este trabajo usa teorías ecocríticas y de marca-lugar para analizar la poética del espacio rural como lugar de resistencia a las prácticas insostenibles del industrialismo y la capacidad transformadora de la marca regional/nacional.Abstract:The classic topos of country versus city was approached in Spanish cinema in its relations to the themes of tradition/progress, internal migrations and nationalism/cosmopolitanism. In the 21st century, the theme of ecologism complicates further previous treatments of the topic. The film Cenizas del cielo (2008, dir. José Antonio Quirós), is an example of militant cinema that fights for social and ideological change through the denounce of polluting energy sources and their lethal effects on idyllic rural settings. The film enters a dialogue with ecological agendas, with the country-versus-city topos, and with the official branding of the Asturias region–'Asturias, a Natural Paradise'. This paper draws on ecocriticism and place-branding theories. The analysis of Quirós's film relies on the poetics of rural space as a place of resistance to hardly sustainable industrial practices and the transformative potential of regional and national branding.","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121858102","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":"Ojos negros, entre el refugio del locus amoenus y el paisaje como alegoría personal en el viaje iniciático a la raíz rural","authors":"J. González del Pozo","doi":"10.1353/hcs.2021.0027","DOIUrl":"https://doi.org/10.1353/hcs.2021.0027","url":null,"abstract":"Resumen:A modo de bildungsroman y como si de un \"locus amoenus\" se tratara, surge Ojos negros. La pieza opera como viaje iniciático para la adolescente protagonista, que encuentra en el campo una perspectiva desde la que comprender su mundo. La libertad que permite el campo, así como la memoria rural que se pierde, simboliza la cuestión latente en esta obra sobre la España vacía: ¿Volverá la sociedad española al campo o lo dejará morir en esta ya dilatada agonía rural? Más allá de la pregunta, este estudio se acerca a Ojos negros desde el punto de vista visual, artístico, narrativo y social, para interpretar la duda que deja la obra al observar cómo el campo muere al igual que las gentes que viven en él, planteando si será el destino del campo español convertirse en una naturaleza muerta, como los que la película estampa recurrentemente.Abstract:As a bildungsroman and located in an a locus amoenus, Ojos negros sets the tone. The piece operates as an initiatory journey for the adolescent protagonist, who finds in the countryside a perspective from which to understand the world. The freedom that the rural context allows her, as well as the memories that are being lost, symbolizes the latent question in this study about the empty Spain: Will Spanish society return to the villages or will it let them die in their long rural agony? Beyond this question, this analysis approaches the film from the visual, artistic, narrative, and social point of view, in order to interpret the doubt generated when observing how the countryside vanishes along with the people that live in it. The fate of the Spanish rural areas become a still life, similar to the ones that the film repeatedly portrays.","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129500913","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":"Galdós, 100 años después, y en el presente (Ensayos actualizadores) by Víctor Fuentes (review)","authors":"J. Payán","doi":"10.1353/hcs.2021.0006","DOIUrl":"https://doi.org/10.1353/hcs.2021.0006","url":null,"abstract":"","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129886086","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":"Sobre un cierto registro infrapolítico del cine rural: Vida vaquera de Ramón Lluís Bande (2016)","authors":"Pedro A. Aguilera-Mellado","doi":"10.1353/hcs.2021.0008","DOIUrl":"https://doi.org/10.1353/hcs.2021.0008","url":null,"abstract":"Resumen:De la mano de la película Vida vaquera del director independiente asturiano Ramón Lluís Bande (2016), este artículo reflexiona sobre la posibilidad de la existencia singular. Considerando insuficientes las demandas de modernización del medio rural de \"la España Vacía\" pero también a distancia del romanticismo esencialista y humanista sobre \"lo rural\" como un afuera del Capital, este trabajo estudia la noción de \"depresentación\" como forma no espectacular ni representativa de observar lo rural y pensarlo hoy. Situando la denominada \"vida rural\" en el contexto global contemporáneo de decontención (Gareth Williams), esto es, de disolución de las principales categorías modernas—progreso, igualdad, pueblo, nación, urbe vs. ciudad, etc.—operado por el tecno-capital global, se explora un cierto registro infrapolítico de la existencia en relación a los procesos modernos de subjetivación y de sus repuestas modernas.Abstract:This article reflects on the possibility of singular existence in dialogue with Vida vaquera (2016), a rural movie directed by Asturian independent director Ramón Lluís Bande. I lay out a notion of depresentation which, considering as necessary as insufficient the demands for the modernization of rural life—the so-called \"España Vacía\"—and also at a distance from the essentialist, romantic, and humanist views on \"rural life\" as life outside of capital, invites us to contemplate existence itself out of spectacular, and representational views of rural life. By contextualizing the analysis of rural life within global decontainment (Gareth Williams) that is in the context of demise of the fundamental categories of modern times—progress, people, nation, city life vs. rural life—as operated by global techno-capital, I explore a certain infrapolitical register of existence vis a vis the modern processes of subjectification and their also modern responses that still fall under modern subjectivity and technicity.","PeriodicalId":366492,"journal":{"name":"Arizona Journal of Hispanic Cultural Studies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126606782","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}