ROMANCE QUARTERLY最新文献_第10页

Goya, o de la Ilustración como adumbramiento: Variaciones contemporáneas de Farideh Lashai a Los desastres de la guerra de Goya 戈雅，或启蒙运动作为预兆：法里德·拉沙伊对戈雅战争灾难的当代变化

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-12-21 DOI: 10.1080/08831157.2020.1854553

Pedro A. Aguilera-Mellado

引用次数: 0

Little monstrous “others”: Recent trends in childhood representation in Spanish film 小怪物“其他人”：西班牙电影中儿童形象的最新趋势

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-10-01 DOI: 10.1080/08831157.2020.1807821

David L. Foshee

引用次数: 0

Postgrowth Imaginaries: New Ecologies and Counterhegemonic Culture in Post-2008 Spain 后增长想象:2008年后西班牙的新生态与反霸权文化

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-09-08 DOI: 10.1080/08831157.2020.1807824

Michael L. Martínez

引用次数: 1

Orientaciones transpacíficas: La modernidad mexicana y el espectro de Asia 跨太平洋方向：墨西哥现代性与亚洲幽灵

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-08-31 DOI: 10.1080/08831157.2020.1807822

Ignacio López-Calvo

引用次数: 0

Alberto Jiménez Fraud. Epistolario 1905–1964. James Valender, José García-Velasco, Tatiana Aguilar-Álvarez Bay and Trilce Arroyo, editors. Madrid: Fundación Unicaja/Publicaciones de la Residencia de Estudiantes, 2018. 3 vols, boxed: 769–1165–1040 pp. 阿尔贝托·希门尼斯·弗劳德。1905-1964年书信。詹姆斯·瓦伦德、何塞·加西亚·贝拉斯科、塔蒂亚娜·阿吉拉尔·阿尔瓦雷斯·贝和特里斯·阿罗约，编辑。马德里：Unicaja基金会/学生宿舍出版物，2018年。3卷，盒装：769-1165-1040页。

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-08-28 DOI: 10.1080/08831157.2020.1807823

Juan Herrero-Senés

引用次数: 0

Peru’s living dead: Spectrality, untimeliness, and the internal armed conflict 秘鲁的活死人：肮脏、不整洁和内部武装冲突

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-08-28 DOI: 10.1080/08831157.2020.1807818

Talía Dajes

{"title":"Peru’s living dead: Spectrality, untimeliness, and the internal armed conflict","authors":"Talía Dajes","doi":"10.1080/08831157.2020.1807818","DOIUrl":"https://doi.org/10.1080/08831157.2020.1807818","url":null,"abstract":"Abstract In this article I examine the use of spectral figures in two works related to the Peruvian internal armed conflict, Julio Ortega’s novella Adiós Ayacucho (1986) and theater troupe Grupo Cultural Yuyachkani’s play Santiago (2000), as representations of the untimely, a notion that, according to Giorgio Agamben, defines the contemporary. I contend that by employing ghostly images, as well as those of undead beings and hauntings, both pieces not only bring to the fore the underlying tensions that gave rise to the conflict and gesture toward the victims of political violence, but they also reveal official narratives of healing, national reconciliation, and the overcoming of trauma as essentially fractured. By countering these current discourses, the text and the play offer the possibility of rethinking the period of violence in order to see it not as a dark chapter to grapple with, but as the condition of possibility of Peruvian national history. Finally, I argue that these texts constitute an intervention into the current discourse of memory—one that is officially sanctioned by the state—to offer a glimpse of the past that uncovers the myriad ways in which it is still at work in the present.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"67 1","pages":"181 - 195"},"PeriodicalIF":0.2,"publicationDate":"2020-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1807818","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42197922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Jordi Puntí’s Els castellans: Reshaping Catalan narratives of immigration and integration Jordi Puntí的Els castellans:重塑加泰罗尼亚的移民和融合叙事

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-08-28 DOI: 10.1080/08831157.2020.1807820

Stephanie A. Mueller

{"title":"Jordi Puntí’s Els castellans: Reshaping Catalan narratives of immigration and integration","authors":"Stephanie A. Mueller","doi":"10.1080/08831157.2020.1807820","DOIUrl":"https://doi.org/10.1080/08831157.2020.1807820","url":null,"abstract":"Abstract Acclaimed Catalan writer Jordi Puntí’s fictional memoir Els castellans (2011) offers an important contribution to contemporary debates on immigration and national identity in Catalonia. Set in the 1970s in the small industrial city of Manlleu, this collection of semi-autobiographical vignettes about two rival groups of boys narrates not only Puntí’s adolescence, but also provincial Catalonia’s struggle to integrate large numbers of working-class Spanish migrants who arrived to the region in the mid-twentieth century. Els castellans is groundbreaking in its literary telling of the experience of the 1950s–1970s migratory wave from a Catalan-identified point of view. Adopting a geographical approach to examine how the memoir interrogates the divisions between Catalans and Spanish migrants, this essay argues for reading Els castellans as a coming-of-age allegory of Catalan and Spanish political transitions that provides a much-needed reckoning with Catalonia’s history of immigration. At the same time, the memoir spatially connects the mid-century Spanish migrants to present-day Moroccan immigrants, revealing a recurring fear of mobility. Els castellans counters this fear by articulating a dynamic, bidirectional integration process that transforms the host as much as the migrant.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"67 1","pages":"214 - 229"},"PeriodicalIF":0.2,"publicationDate":"2020-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1807820","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47121234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Democracy’s Crown: Singular bowler hats, iterable individuals in Ramón Gómez de la Serna’s El caballero del hongo gris (1928) 民主的王冠：拉蒙·戈麦斯·德拉塞尔纳的《灰蘑菇骑士》（1928年）中的独特保龄球帽、可重复的个人

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-08-28 DOI: 10.1080/08831157.2020.1807819

W. J. Ryan

{"title":"Democracy’s Crown: Singular bowler hats, iterable individuals in Ramón Gómez de la Serna’s El caballero del hongo gris (1928)","authors":"W. J. Ryan","doi":"10.1080/08831157.2020.1807819","DOIUrl":"https://doi.org/10.1080/08831157.2020.1807819","url":null,"abstract":"Abstract In this analysis of Ramón Gómez de la Serna’s avant-garde novel El caballero del hongo gris (1928), I examine the narrative centrality of the main character’s use of a bowler hat, which, after its invention in the mid-nineteenth century, would become a frequent cultural reference. I engage Jacques Derrida’s conceptions of ipseity and democracy to explore the opposition of the singular and the iterable via the transnational business exploits of the protagonist Leonardo and his bowler, to which he attributes his economic success and ascension in society. This particular hat—offering democratizing possibilities and social mobility—is compared in the text to a crown, a figure of sovereignty, while the character is likened to a prince, king, and president. Read against the backdrop of the collapse of parliamentarism during the 1920s and 1930s, the paradoxical associations of the bowler—fluctuating between the democratic and the authoritarian—allow for a reflection on Leonardo’s classism and disregard for social disparities. Asserting himself to be the singular “caballero del hongo gris,” he is confronted on separate occasions by two different doppelgängers sporting bowlers, who disrupt his ipseity and reveal an underlying anxiety about the prospect of an individual becoming iterable, namely substitution and death. I thread into my discussion this fear of death with Leonardo’s trepidation concerning the discontent of the majority of society. Menacing over his opulent lifestyle is the specter of an imminent catastrophe, a literary anxiety which symptomatically responds to the political and economic crises of the interwar period.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"67 1","pages":"196 - 213"},"PeriodicalIF":0.2,"publicationDate":"2020-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1807819","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49536536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Tropes of taste: The poetics of food and flavor in the Libro de Apolonio 味觉的战利品：《阿波罗自由报》中的食物与风味诗学

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-06-22 DOI: 10.1080/08831157.2020.1772660

Matthew V. Desing

{"title":"Tropes of taste: The poetics of food and flavor in the Libro de Apolonio","authors":"Matthew V. Desing","doi":"10.1080/08831157.2020.1772660","DOIUrl":"https://doi.org/10.1080/08831157.2020.1772660","url":null,"abstract":"Abstract Food in the Libro de Apolonio is not simply a function of the plot but rather an aspect of the poet’s rhetorical and poetic technique. Four interrelated deployments of food in the poem (portrayals of bread, gendered uses of food, food practices related to health, and additional feasting scenes), when compared to the Latin source text, highlight the mester de clerecía poet’s skill in adaptation. Bread in the poem has sacramental overtones and brings the Apolonio into relation with other more explicitly religious works of mester de clerecía poetry. Food is not gendered in typically medieval ways in the Libro de Apolonio, as the poet does not connect women to food preparation or service, but rather to its sacramental and medicinal aspects. The poet uses food in relation to health throughout the poem, but perhaps most significant is the episode of Tarsiana’s proposed medicinal cure of her father Apolonio. Finally, the scenes of feasting that the poet inherits from the Latin are stark in terms of their portrayal of foods, but the feasts that the poet adds out of his own invention are the most descriptive segments involving sustenance. These four aspects, along with other food-related uses, such as the synesthetic employment of flavor throughout the poem and inserted anecdotes and moralizing digressions involving edible substances, create a vision of food in the poem that goes beyond plot and into the realm of poetic technique and characterization.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"67 1","pages":"149 - 164"},"PeriodicalIF":0.2,"publicationDate":"2020-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1772660","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43772569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Leveling the world: Metaphor and deshumanización in the cinematic dissolve 夷平世界:隐喻和deshumanización在电影溶解

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2020-06-16 DOI: 10.1080/08831157.2020.1772658

A. McAdams

{"title":"Leveling the world: Metaphor and deshumanización in the cinematic dissolve","authors":"A. McAdams","doi":"10.1080/08831157.2020.1772658","DOIUrl":"https://doi.org/10.1080/08831157.2020.1772658","url":null,"abstract":"Abstract José Ortega y Gasset’s essay “La deshumanización del arte” (1924) describes the distinct mode of perception that he attributed to the modern artist. According to Ortega, the avant-garde artist views all entities—from inanimate objects to human beings—strictly from the outside, perceiving only the “lights, shadows and chromatic values” that constitute an entity’s visible surface. This form of seeing engenders a leveled vision of the world in which the presence or absence of inner experience is irrelevant, and subjects and objects are thus rendered equivalent. Ortega and likeminded avant-garde poets considered metaphor to embody this mode of vision because it posits similarity among patently disparate beings and things; through metaphor, the differences in category that separate two compared entities are shown to be less significant than their shared esthetic qualities. This article investigates the relevance of the cinematic technique of dissolve—in which two images are briefly superimposed so that one appears to change smoothly into the other—to Ortega’s concept of dehumanized metaphor. I examine the role of the dissolve in Un chien andalou (1929) in order to demonstrate the function that it served for Luis Buñuel, Salvador Dalí and other filmmakers inclined toward Orteguian dehumanization. By joining together and implicitly equalizing human beings and things on the basis of their visual likeness, the dissolve employed the same strategy as verbal metaphor but was able to convey more vividly the lack of differentiation between subjects and objects.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"67 1","pages":"119 - 135"},"PeriodicalIF":0.2,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08831157.2020.1772658","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46912416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0