ROMANCE QUARTERLY最新文献_第5页

Le Clézio’s La Guerre and Les Géants: Counter-Hegemonic, Situationist, User Manuals for the Post-Modern Subject? 《La Guerre》和《Les gsamants》:反霸权主义、情境主义、后现代主体的使用手册?

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2023-03-21 DOI: 10.1080/08831157.2023.2180337

Keith Moser

{"title":"Le Clézio’s La Guerre and Les Géants: Counter-Hegemonic, Situationist, User Manuals for the Post-Modern Subject?","authors":"Keith Moser","doi":"10.1080/08831157.2023.2180337","DOIUrl":"https://doi.org/10.1080/08831157.2023.2180337","url":null,"abstract":"Abstract This article proposes a Situationist reading of Le Clézio’s novels La Guerre (1970) and Les Géants (1973). Debord and Le Clézio illustrate that it is not by accident that the rise of multinational capitalism coincides with the birth of hyperreality and the post-truth era. Faced with the realistic possibility of losing their power and influence, the masters or the giants shifted their approach in order to survive. Debord and Le Clézio denounce the devastating ripple effects of this structural adaptation that would redefine society and the entirety of social relations through the skillful imposition of commercial simulacra. Even if both authors engage in hyperbolic discourse to underscore their main points, they are cognizant of what is at stake in the age of (dis-) information. Without providing any facile optimism that the road ahead will be easy, Debord and Le Clézio urge the alienated, post-modern subject to revolt. Despite the apparent limitations of the user manuals for contestation that they promote, their counter-hegemonic techniques could be a preliminary blueprint for combatting the commodification of the social, the death of the subject, and the subjugation of the populace through signs in consumer republics.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"192 - 205"},"PeriodicalIF":0.2,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46910751","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

Correa Ramón, Amelina. 科雷亚·拉蒙，阿梅琳娜。

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2023-01-10 DOI: 10.1080/08831157.2022.2151263

J. C. López

引用次数: 0

Historia cultural de los hispanohablantes en Japón 在日本说西班牙语的人的文化史

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2023-01-02 DOI: 10.1080/08831157.2022.2151261

D. R. George

引用次数: 0

The Possibilities of Gender Representation in Enlightenment Spain: The Case of Leandro Fernández de Moratín’s El viejo y la niña (1790) 启蒙运动西班牙性别代表的可能性：莱安德罗·费尔南德斯·德·莫拉廷的《老人与女孩》（1790年）

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2022-12-20 DOI: 10.1080/08831157.2022.2149290

Julian Barnes

{"title":"The Possibilities of Gender Representation in Enlightenment Spain: The Case of Leandro Fernández de Moratín’s El viejo y la niña (1790)","authors":"Julian Barnes","doi":"10.1080/08831157.2022.2149290","DOIUrl":"https://doi.org/10.1080/08831157.2022.2149290","url":null,"abstract":"Abstract This article reconsiders the legacy of Leandro Fernández de Moratín’s first play, El viejo y la niña (1790), particularly in comparison with his much more famous last play, El sí de las niñas (1806). Analyzing three aspects of El viejo, I argue that this play is more willing to question and undermine prevailing notions of gender and authority in Enlightenment Spain. First, the surprise ending allows the play’s heroine to defend her autonomy and determine her own future while offering the option of marital separation in cases of irreconcilable differences. Second, the play depicts a rare instance in neoclassical Spanish drama of solidarity and friendship between women. Doña Beatriz counsels and defends her young sister-in-law. Finally, the play breaks with all of Moratín’s later work because only in El viejo does an older widow represent a voice of Enlightenment reason. The independently wealthy widow Doña Beatriz serves as a principal voice of Enlightenment reason in contrast with all of Moratín’s later plays—particularly El sí de las niñas—in which male characters embody reason while older, illogical widows are the object of ridicule. The differences in how these plays address the topic of women’s place in society contributes to our understanding of the gender anxiety that so preoccupied the enlightened reformers of eighteenth-century Spain.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"70 1","pages":"45 - 59"},"PeriodicalIF":0.2,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49287858","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

Planetariedad en El mal de la taiga, de Cristina Rivera Garza 克里斯蒂娜·里维拉·加尔扎的《泰加邪恶中的行星》

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2022-12-20 DOI: 10.1080/08831157.2022.2149289

Emily Celeste Vázquez Enríquez

引用次数: 0

White Horror in Bacurau Bacurau的白色恐怖

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2022-12-20 DOI: 10.1080/08831157.2022.2149288

David M. Mittelman

引用次数: 0

Lorca After Life. 生命之后的洛尔卡。

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2022-12-20 DOI: 10.1080/08831157.2022.2151260

J. Zamostny

引用次数: 0

Inquietudes tardías, aprendizajes ociosos: Breath, Eyes, Memory, de Danticat, y L’Exil selon Julia, de Pineau 迟来的焦虑，懒散的学习:Danticat的《呼吸、眼睛、记忆》和Pineau的《朱莉娅的流放》

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2022-10-21 DOI: 10.1080/08831157.2022.2124569

Giselle Román Medina

引用次数: 0

Losing Our Heads: Expanded Cinema and Unreason Between Javier Téllez and Carl Theodor Dreyer 失去理智：哈维尔·泰勒斯和卡尔·西奥多·德雷尔之间的扩展电影和虚幻

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2022-10-02 DOI: 10.1080/08831157.2022.2118561

Thomas Matusiak

{"title":"Losing Our Heads: Expanded Cinema and Unreason Between Javier Téllez and Carl Theodor Dreyer","authors":"Thomas Matusiak","doi":"10.1080/08831157.2022.2118561","DOIUrl":"https://doi.org/10.1080/08831157.2022.2118561","url":null,"abstract":"Abstract Recent decades have seen the rise of film installation as a consequence of cinema’s displacement in the digital age. This expansion of film exhibition to the gallery has given rise to what Raymond Bellour terms an other cinema, or a cinematic praxis that opens new possibilities for the theorization of the moving image, its history, and its relation to other disciplines. In a cinematic landscape marked by intermediality and transnationality, expanded cinema offers a path forward for filmmakers and moving-image artists in and from Latin America. In this article, I study the relation between cinema and madness in Carl Theodor Dreyer’s 1928 film La Passion de Jeanne d’Arc and the 2004 film installation La Passion de Jeanne d’Arc (Rozelle Hospital) by Venezuelan artist Javier Téllez. I argue that through his citation of Dreyer’s signature close-ups, his direct intervention in the original work, and his staging of projection, Téllez theorizes the relation between spectatorship and an embodied unreason by enacting a mimetic encounter between the audience and the mentally ill. Téllez embraces the legacy of avant-garde cinema, which sought to highlight film’s ability to suspend a cognitively oriented perception. By experimenting with the material basis of exhibition, Rozelle Hospital imagines a new audiovisual politics that stages an ethical encounter with the mentally ill through an embodied spectatorship.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"198 - 213"},"PeriodicalIF":0.2,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47035495","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

La conquista sónica del desierto: La Pampa como paisaje sonoro en el canon literario argentino del siglo XIX 1 沙漠的声音征服:潘帕草原作为19世纪阿根廷文学经典中的声音景观

IF 0.2 3区文学

ROMANCE QUARTERLY Pub Date : 2022-10-02 DOI: 10.1080/08831157.2022.2124391

Cristina E. Pardo Porto

{"title":"La conquista sónica del desierto: La Pampa como paisaje sonoro en el canon literario argentino del siglo XIX 1","authors":"Cristina E. Pardo Porto","doi":"10.1080/08831157.2022.2124391","DOIUrl":"https://doi.org/10.1080/08831157.2022.2124391","url":null,"abstract":"Abstract El lugar común de la Pampa desértica, vacía e inconmensurable se erige en la cultura letrada como el espacio emblemático para la reconstrucción de la nación argentina en el siglo XIX. La necesidad de refundar el estado-nación que exige el avance estrepitoso del capital hace que el desierto sea vaciado de cuerpos, pero saturado de representaciones. Ese espacio no cartografiado, “incierto, vaporoso, indefinido” (Sarmiento) no estará precisamente en silencio; en él se oirá algo productivo. Con los hechos que constituyeron a la Conquista del Desierto como marco, este ensayo estudia las evidencias literarias de lo que denominaré como una “guerra sónica” en un grupo de textos canónicos que tratan el proceso de ocupación y vaciamiento de la Pampa, la eliminación de la población indígena y el cautiverio de gauchos y mujeres. En concreto, se analiza la imagen del desierto como un paisaje sonoro en el poema “La Cautiva” (1837) de Esteban Echeverría, en la gauchesca Martín Fierro (1872) de José Hernández, en Una excursión a los Indios Ranqueles (1870) de Lucio V. Mansilla y en el Facundo: Civilización y Barbarie (1845) de Domingo Faustino Sarmiento. La guerra sónica que se inscribe en el paisaje de la Pampa argentina implica el uso del sonido como fuerza seductora y violenta por medio de máquinas culturales y políticas, con el fin de modular los afectos y los deseos de un pueblo, de una multitud, de unos cuerpos.","PeriodicalId":41843,"journal":{"name":"ROMANCE QUARTERLY","volume":"69 1","pages":"181 - 197"},"PeriodicalIF":0.2,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48155796","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