ROMANCE QUARTERLY最新文献

{"title":"Aging Men and Masculinities in Contemporary Spanish Cinemas and Audiovisual Industries","authors":"Josep M. Armengol, Raquel Medina","doi":"10.1080/08831157.2023.2294508","DOIUrl":"https://doi.org/10.1080/08831157.2023.2294508","url":null,"abstract":"Published in Romance Quarterly (Ahead of Print, 2024)","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"54 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139757896","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}

{"title":"Dolores Romero López and Jeffrey Zamostny, editorsDolores Romero López and Jeffrey Zamostny, editors. <i>Toward the Digital Cultural History of the Other Silver Age Spain</i> . Berlin; New York: Peter Lang, 2022. 279 pp. Hardcover.","authors":"Thomas Antorino","doi":"10.1080/08831157.2023.2254485","DOIUrl":"https://doi.org/10.1080/08831157.2023.2254485","url":null,"abstract":"\"Dolores Romero López and Jeffrey Zamostny, editors.\" Romance Quarterly, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136014360","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}

{"title":"“The Mystery Unsolved, Without Any Attempt to Solve It”: Detective Fiction and Waywardness in Norah Lange’s <i>People in the Room</i>","authors":"David Conlon","doi":"10.1080/08831157.2023.2252815","DOIUrl":"https://doi.org/10.1080/08831157.2023.2252815","url":null,"abstract":"In 1950, Argentinian author Norah Lange published her experimental novel Personas en la sala [People in the Room]; she would later describe the novel (which is told from the perspective of an adolescent girl who spies on her neighbors) as “pure espionage.” This article picks up on this remark and other elements in the text to situate the novel in the context of the detective genre, and specifically as a domestic re-writing of Edgar Allan Poe’s proto-detective narrative “The Man of the Crowd” (1840), famously described by Walter Benjamin as an “X-ray picture of a detective story.” In situating the novel in this way, the article seeks (i) to show how Lange’s novel stands as the culmination of a decade-long series of homages to Poe by Argentinian writers, beginning with “El jardín de senderos que se bifurcan” (1941) [“The Garden of Forking Paths”] by Jorge Luis Borges, and that includes works by Adolfo Bioy Casares and Silvina Ocampo; (ii) to assess the novel in the context of queer theory, and more generally as a genealogically “wayward” text both in terms of its relationship to the evolution of the detective genre and its deviant attitudes toward family, reproduction, and heredity; (iii) finally, to situate the novel in the context of the rising homophobic panic that characterized Argentina under the Perón government throughout the late 1940s.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135968385","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}

{"title":"Mario Verdaguer as Battlefield: The Struggles of a Name from Public Emergence to Memorialization","authors":"Carles Ferrando Valero","doi":"10.1080/08831157.2023.2252801","DOIUrl":"https://doi.org/10.1080/08831157.2023.2252801","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 Jacint Verdaguer is what Marijan Dović and Jón Karl Helgason call a national poet and cultural saint. His canonization entailed his induction as a “català il·lustre” by Barcelona City Hall and the dedication of streets, monuments, sculptures, and even an asteroid. Mercè Rodoreda recounted that her grandfather, “quan mossèn Cinto va morir, va fer ampliar una fotografia de mossèn Cinto, al peu hi va fer posar unes lletres amb caràcters gòtics que deien Sant Jacint Verdaguer i la va fer emmarcar de negre i or” (157).2 Verdaguer engages in self-mockery when remembering this episode: “el grupo se sintió desalentado y más llorón que nunca al ver la incomprensión y el materialismo que le rodeaban” (La ciudad 164). Sarcasm notwithstanding, the romantic/modernista vision of professional writers (and critics) as tainted by materialism, which is in turn antithetical to literary authenticity, is central to Verdaguer, as I discuss further on.3 Verdaguer encountered several people who embodied a similar internal struggle. One example is the barber and artist Antoni Gelabert, a greatly talented painter—José Carlos Llop considers him “el millor pintor que ha donat Mallorca” (La ciutat)—who was unable to produce much work and never received the esteem he deserved because he refused to sell his paintings in order to make a living and quit his job as a barber: “¿Es que te figuras que la pintura es una mercancía?” (Verdaguer, La ciudad 134). Verdaguer’s remarks about Gelabert could double as description of the protagonist of Un intelectual y su carcoma: “La lucha entre los dos elementos que habitaban dentro de aquel cuerpo feo y vulgar era verdaderamente trágica; pues se trataba de dos fuerzas antagónicas e irreconciliables, entre las cuales no podría establecerse jamás pacto alguno” (La ciudad 132).4 The character also bears resemblance with someone Verdaguer encountered in real life: “El poeta García Rover, que trabajaba como tipógrafo en la imprenta de ‘La Almudaina’” (La ciudad 138).5 While not politically focused, Verdaguer’s works do contain some critiques to Marxism (El marido 57), the Dictatorship of Primo de Rivera, and Catholic pundits (Un intelectual 63–64). His review of Rafael Campalans’s Hacia la España de todos (1932) suggests that he harbored favorable views toward Iberianism (“Hacia la España de todos” 1)—views that transcended the strictly cultural realm, which he contributed to in the capacity of editor-in-chief of the journal Mundo ibérico (1927).6 For a comprehensive account of the events, see the Crònica del Centenari de Màrius Verdaguer available at the Bilbioteca de Catalunya (F 08–Fol 10).7 Aina and Nina Moll’s father, Francesc de Borja Moll, had played a crucial role in maintaining the flame of Catalan language and culture alive in the Balearic Islands after the Civil War through his work to complete the Diccionari català-valencià-balear and the founding of Obra Cultural Balear","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135968670","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}

{"title":"<i>Women’s Work. How Culinary Cultures Shaped Modern Spain.</i> Ingram, Rebecca. <i>Women’s Work. How Culinary Cultures Shaped Modern Spain</i> . Nashville: Vanderbilt University Press, 2022, 220 pp., $34.95, paperback","authors":"Marcela T. Garcés","doi":"10.1080/08831157.2023.2253983","DOIUrl":"https://doi.org/10.1080/08831157.2023.2253983","url":null,"abstract":"\"Women’s Work. How Culinary Cultures Shaped Modern Spain..\" Romance Quarterly, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135968387","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}

{"title":"Queer Futurity and Conflicted Feeling(s) in the Poetry of Ariadna G. García","authors":"Paul Cahill","doi":"10.1080/08831157.2023.2252805","DOIUrl":"https://doi.org/10.1080/08831157.2023.2252805","url":null,"abstract":"AbstractThe work of Spanish poet Ariadna G. García (Madrid, 1977) occupies an unusual place within the archive of modern queer Spanish poetry. Collections like Construyéndome en ti (1997), Napalm. Cortometraje poético (2001), La Guerra de Invierno (2013), Helio (2014), and Ciudad sumergida (2018) are the product of a changing society in which poets can engage with questions surrounding queer participation in social institutions like couples and families as a concrete reality instead of imagined and anticipated future possibilities. The past(s), present(s), and future(s) that García’s poems explore highlight the potential that both negative and positive emotions have as sources of meaning for queer subjects and vehicles through which to imagine and think through potential alternative roles, identities, and opportunities. This poetry traces how poetic subjects who seek out social benefits and strive to make the most of fleeting moments of happiness and record past and present struggles for future generations stake out a complex position between hetero- and homonormativity and look beyond what José Esteban Muñoz has termed “the quagmire of the present.” Futurity in García’s work thus builds on positive affect in the present to imagine, project and cope with future moments, in the process demonstrating that queer utopianism need not rely on a negative view of the present to imagine a more inclusive future.Keywords: AffectAriadna G. Garcíacontemporary Spanish poetryfuturityqueer poetry AcknowledgmentI would like to thank Enrique Álvarez, Alfredo Martínez Expósito, and Gema Pérez-Sánchez for their thorough and insightful feedback on earlier versions of this article.Notes1 Following the publication of her first collection, García won the prestigious Premio Hiperión de Poesía with her next collection, Napalm. Cortometraje poético (2001), followed four years later by Apátrida, which received the Premio de Arte Joven –Poesía– de la Comunidad de Madrid. Almost a decade later she published La Guerra de Invierno (2013), which received the Premio Internacional «Miguel Hernández-Comunidad Valenciana» and was a finalist for the Premio de la Crítica de Madrid. This collection was followed by Helio a year later and then by Línea de flotación (2017) and Ciudad sumergida (2018). García is also the author of two novels, Inercia (2014) and El año cero (2019), in addition to a volume of children’s poetry, Las noches de Ugglebo (2016). Her work has appeared in both generational and gendered anthologies like Veinticinco poetas españoles jóvenes (2003) and (Tras)lúcidas. Poesía escrita por mujeres (1980–2016) (2016).2 Perhaps the clearest example of this approach can be found in García Montero’s 1992 essay entitled “¿Por qué no sirve para nada la poesía? (Observaciones en defensa de una poesía para los seres normales),” included in ¿Por qué no es útil la literatura? (1993), a volume co-authored with Spanish novelist Antonio Muñoz Molina. For a thorough overview of the ten","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"248 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135968677","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}

{"title":"A Lost Copy of the Old French <i>Vie</i> (or <i>Chanson</i> ) <i>de Saint Alexis</i> (Alexandrine Quatrain Version)","authors":"Krista A. Milne","doi":"10.1080/08831157.2023.2252808","DOIUrl":"https://doi.org/10.1080/08831157.2023.2252808","url":null,"abstract":"The Municipal Library of Tournai was struck in an air raid during the Second World War. Among the valuable manuscripts that were lost was Bibliothèque de la ville de Tournai MS 129, a fragmentary manuscript containing the alexandrine quatrain version of the Old French Vie de Saint Alexis. This poem, also known as the Chanson de Saint Alexis, represents one of the oldest surviving poetic traditions in French and enjoyed considerable popularity during the centuries after it was produced. Despite considerable scholarship on the Vie de Saint Alexis, the Tournai MS has gone largely unnoticed and is not mentioned in editions of the decasyllabic version of the Vie, nor is it mentioned in the only edition of the quatrain version. Thankfully, a nineteenth-century transcription of the lost Tournai copy survived the war. This article compares this transcription to surviving versions of the Vie de Saint Alexis to explore how the lost Tournai text intersects with, and illuminates, the broader tradition of the poem.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136014472","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}

{"title":"El dinero como principio de mecánica imprecisa en El hombre pobre todo es trazas (1637) de Pedro Calderón de la Barca","authors":"Escudero Baztán Juan Manuel","doi":"10.1080/08831157.2023.2224768","DOIUrl":"https://doi.org/10.1080/08831157.2023.2224768","url":null,"abstract":"Abstract Calderón de la Barca’s comedy, El hombre pobre todo es trazas, belongs to the genre of ‘capa y espada’ comedy. A very common comic genre in the Spanish theater of the seventeenthth century, highly cultivated by most playwrights, which entails a high degree of artificiality and repetition of entanglement situations and conventional motifs that can be included within the so-called principle of precise mechanics. But there are other elements that individualize these works and that respond to that other principle of the so-called imprecise mechanics. Calderón, aware of the need to innovate in this type of comic comedy genre, always resorts to surprising variants that, in this case, have to do with money and the picaresque behavior of a nobleman who, characterized by poverty, uses his ingenuity to try thriving in society through an advantageous marriage. At the end of the comedy, as in the picaresque novel, the protagonist fails resoundingly in his aspirations to achieve wealth.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"219 - 231"},"PeriodicalIF":0.2,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47769834","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}

{"title":"‘¡La Vaguada es nuestra!’: The Cultural Politics of Madrid’s First Shopping Mall","authors":"Michael L. Martínez","doi":"10.1080/08831157.2023.2224803","DOIUrl":"https://doi.org/10.1080/08831157.2023.2224803","url":null,"abstract":"Abstract This article adopts an urban cultural studies method to elaborate the historical-geographical formation of Madrid’s first American-style shopping mall, La Vaguada, in relation to important socio-spatial transformations unfolding in the Spanish capital from the 1950s to the early democratic period. Using insights developed in the field of critical geography, it construes the production of space in and around La Vaguada as a historically contingent process that offers remarkably unique insights into wider socio-cultural shifts occurring at a variety of geographical scales. With an eye toward urban planning in Spain during the twentieth century, the article first traces the origins of La Vaguada back to the capitalist speculators that built El Pilar and shows how this neighborhood was closely bound up with the urbanization of capital under dictator Francisco Franco. It then goes on to examine the grassroots campaign organized by the La Vaguada es nuestra neighborhood association in defense of El Pilar in order to map the constellation of contested discourses that ultimately coalesced around the proposed shopping center against the backdrop of Madrid’s historic 1979 municipal elections. The article concludes by performing a close reading of the mall’s architectural form to draw out its unique relationship to (post)modernity.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"151 - 178"},"PeriodicalIF":0.2,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44819396","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}

{"title":"The Battle of the Widows: La Montálvez versus Clemencia","authors":"Rosalía Cornejo-Parriego","doi":"10.1080/08831157.2023.2224800","DOIUrl":"https://doi.org/10.1080/08831157.2023.2224800","url":null,"abstract":"Abstract Their liminality in a patriarchal society and the cultural apprehensions surrounding widows explain why literature has rarely been sympathetic to them. This has been particularly the case with the seductive ones, the viudas alegres who are perceived as a threat to the social order. With a didactic and ideological purpose in mind, José María de Pereda condemns Madrid’s viudas verdes in La Montálvez (1888), while in Clemencia (1852), Fernán Caballero combats the backlash against widows by creating an impeccable role model and representative of Spain’s periphery. This article reads both novels as counternarratives of widowhood and examines how their authors develop two very different narratives to control and confine female excess –sexual in one case, intellectual in the other– within a conservative gender and national paradigm.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"206 - 218"},"PeriodicalIF":0.2,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46823592","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}