Romance Studies最新文献

{"title":"Amazonian Ecopoetics: Paes Loureiro’s Shamanic Zoophytography","authors":"P. Vieira","doi":"10.1080/02639904.2023.2180942","DOIUrl":"https://doi.org/10.1080/02639904.2023.2180942","url":null,"abstract":"ABSTRACT In this article, I discuss the notion of Amazonian ecopoetry. Given that poetry from the Amazon expresses Amazonian culture and that culture from the region is marked by an indistinction between nature and culture, between human and non-human cultures and societies, I argue that Amazonian poetry is necessarily an ecopoetry. I subsequently reflect upon the concept of Amazonian perspectivism, developed, among others, by anthropologist Eduardo Viveiros de Castro, as an entry-point into the interpretation of the multiple metamorphoses that characterize Amazonian literature, broadly understood to include folktales, legends, and so on. I draw a comparison between the Indigenous, shamanic goal of translating between non-human and human perspectives, and Amazonian ecopoetics that allows plants and animals to find self-expression within human literature. In the final section of the essay, I analyze the writings of Amazonian-born poet João de Jesus Paes Loureiro (1939-) as an example of Amazonian shamanic ecopoetry. In his texts, legendary and actual Amazonian entities speak in the first person to express the convergences as well as the equivocations that punctuate the myriad interaction between human and non-human beings.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"41 1","pages":"54 - 64"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43082669","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":"Spain’s First Environmental Campaign: Free Market Liberalism Under Challenge","authors":"N. Sharman","doi":"10.1080/02639904.2023.2180941","DOIUrl":"https://doi.org/10.1080/02639904.2023.2180941","url":null,"abstract":"ABSTRACT In February 1888, the workforce at the British-owned Rio Tinto mines went on strike seeking better wages and conditions. As part of their struggle, the miners joined an alliance of local landowners and communities to oppose the company’s open-air calcination operations. These threw vast quantities of poisonous sulphur dioxide into the atmosphere, severely damaging the health of workers and local communities. This paper suggests the strike, the first such environmental action in Spain, was an example of broad-based political resistance to the application of free market ideology to the process of industrialization. It builds on Karl Polanyi’s theory that the unconstrained operation of free markets in the fields of land, labour and finance, advocated by radical economic liberalism, results in existential threats to the social fabric of nations. This leads groups with widely different interests to unite and press for state intervention to curtail the freedom of markets, in the wider interest of society’s survival. The Rio Tinto strike which ended with the massacre of a defenceless crowd of protesters and strikers, provides a good example of Polanyi’s proposition, as well as illuminating a tragic and often over-looked event in the history of environmental studies.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"41 1","pages":"41 - 53"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47165559","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":"Posthuman Destinations: Indigenous Cultures in Leonora Carrington’s Mexican Oeuvre","authors":"Karen Eckersley","doi":"10.1080/02639904.2023.2180940","DOIUrl":"https://doi.org/10.1080/02639904.2023.2180940","url":null,"abstract":"ABSTRACT When surrealist Leonora Carrington (1917–2011) arrived in Mexico in 1943, she found herself in a post-revolutionary country seeking to steer its new identity away from colonial influence. Carrington’s orientation away from Europe resonated with Mexico’s quest for a new cultural identity, no longer inflected by colonial powers. This article examines the extent to which Carrington’s Mexican oeuvre exhibits an immersion within its post-colonial identity in a way which synthesises with her own revolutionary, feminist politics. I consider how her embrace with Mexico’s indigenous past in her mural “El Mundo Magico de Los Mayas” (1963) connects with a culture which eschews the centrality of the speciesist human for a more balanced ecology, giving voice to the more-than-human sphere and thus loosening European colonial ties. I suggest that Mexico’s embrace with its indigenous heritage is one that aligns with Carrington’s feminist exploration of a pre-patriarchal past, where Goddess figures emerge, and a non-Eurocentric culture of myth and magic is evoked. Examining her evocation of Chiapas Indian culture, Goddess motifs, and images of indigenous flora and fauna, this article suggests that Carrington demonstrates how indigenous philosophies guard against human exceptionalism, thus providing a perspective and portal outside of Western cultural imperialism.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"41 1","pages":"30 - 40"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41978142","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":"‘Green Hispanisms’: An Overview","authors":"Brígida M. Pastor, L. Davies","doi":"10.1080/02639904.2023.2201049","DOIUrl":"https://doi.org/10.1080/02639904.2023.2201049","url":null,"abstract":"‘Nowadays’ is a civilization in which the prime emblems of poetry are dishonoured. In which serpent, lion and eagle belong to the circus-tent; ox, salmon and boar to the cannery; racehorse and greyhound to the betting ring; and the sacred grove to the saw-mill. In which the Moon is despised as a burned-out satellite of the Earth and woman reckoned as ‘auxiliary State personnel’. In which money will buy almost anything but truth, and almost anyone but the truth-possessed poet.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"41 1","pages":"1 - 3"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49602182","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":"Female Filiations as a Locus of Politicization in Faïza Guène’s œuvre: An Intersectionalist Reading of Kiffe kiffe demain and La Discrétion","authors":"Christina Horvath","doi":"10.1080/02639904.2022.2133464","DOIUrl":"https://doi.org/10.1080/02639904.2022.2133464","url":null,"abstract":"ABSTRACT This article explores the theme of postcolonial transmission through the comparative analysis of two novels by French author Faïza Guène, her bestselling debut novel Kiffe kiffe demain and her latest narrative La Discrétion. It argues that intimate bonds between immigrant parents and their French-born children have been particularly pivotal to the politicization of the author’s writing. The article traces how Guène’s representation of women living in socio-economically disadvantaged French banlieues has evolved throughout her career. It shows how her initial optimism and faith in the Republican values has given way to an increasingly disenchanted vision. Drawing on decolonial feminist theory, the paper investigates how, in Guène’s latest and most political novel to date, the transmission of silenced colonial and postcolonial history and withheld anger is depicted through a superposition of violent episodes from the life of a 70-year-old Algerian woman with the apparently insignificant yet persistent microaggressions experienced by her grown-up children in contemporary France. This strategy enables the author to reflect on the role of cultural transmission while reconstructing the silenced history of colonization, immigration and failed social mobility while also debunking the myth of Republican meritocracy.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"40 1","pages":"233 - 252"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48385354","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":"Exposing and Exploring Modes of Motherhood: The Evolution of Motherwork in Igiaba Scego’s œuvre","authors":"C. Hogarth","doi":"10.1080/02639904.2022.2133465","DOIUrl":"https://doi.org/10.1080/02639904.2022.2133465","url":null,"abstract":"ABSTRACT This article discusses several of contemporary Italian writer Igiaba Scego’s literary works, from her 2003 children’s novella La nomade che amava Alfred Hitchcock [The Nomad Woman Who Loved Alfred Hitchcock] and her first 2004 novel Rhoda, to her latest novel, the 2020 work La linea del colore [The Colour Line]. I position this article as a tribute to scholar Adalgisa Giorgio and engage Giorgio’s reading of a story by Natalia Ginzburg in order to further my exploration of Scego’s work. Reading Scego through the lens of Ginzburg, I highlight Scego’s complex portrayals of women, focusing on the absence of the mother, on surrogate mother figures, and on relationships between women. Reading Scego through lenses suggested by Giorgio’s reading of Ginzburg, I establish common points between two Italian women writers from differing eras and contribute to the work of bringing recognition to writers such as Scego, who are often labelled under migration or G2 (second-generation migrant) epithets, as writers within the Italian literary canon.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"40 1","pages":"253 - 266"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47311421","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":"Female Genealogies of Creation: Marie Darrieussecq and Paula Modersohn-Becker, Tatiana de Rosnay and Tamara de Lempicka","authors":"Sandra Daroczi","doi":"10.1080/02639904.2022.2133462","DOIUrl":"https://doi.org/10.1080/02639904.2022.2133462","url":null,"abstract":"ABSTRACT Excluding women’s art from public attention significantly affects the possibility of building female genealogies of creation. As such, women artists must constantly recreate their foremothers, because all too often history has erased them from view. Nonetheless, women creators are redressing this imbalance, by rewriting women into history. This article analyses two such contemporary examples: Marie Darrieussecq’s text on Paula Modersohn-Becker [Être ici est une splendeur: Vie de Paula M. Becker (2016)], and Tatiana de Rosnay’s work on Tamara de Lempicka [Tamara par Tatiana (2018)]. Paula Modersohn-Becker was an artist of many firsts, having painted the first (known) nude self-portrait by a woman, the first (known) nude pregnant self-portrait in art history (destroyed in 1943), and having the first museum in the world dedicated exclusively to the works of a woman (opened in 1927). Tatiana de Rosnay in collaboration with her daughter, Charlotte Jolly de Rosnay, unpacks the glamourous life of Tamara de Lempicka, the queen of Art Deco, highlighting the struggles and identity quests of a woman artist in the Parisian art world of the 1920s. This article comparatively examines the way Darrieussecq and de Rosnay adapt the traditional artist’s biography to facilitate the emergence of female genealogies of creation.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"40 1","pages":"195 - 208"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48774257","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":"Gender and Generation: Elena Ferrante, Annie Ernaux and the Legacy of Simone de Beauvoir","authors":"N. Edwards","doi":"10.1080/02639904.2022.2133449","DOIUrl":"https://doi.org/10.1080/02639904.2022.2133449","url":null,"abstract":"ABSTRACT Simone de Beauvoir’s novella La Femme rompue tells the tale of Monique, who is abandoned by her husband after twenty-two years of marriage. In a didactic style, Beauvoir represents Monique as a caricature of a woman dependent on a man. Several decades later, Elena Ferrante and Annie Ernaux published texts that explore the motif of a woman being abandoned by a man: Ferrante’s I giorni dell’abbandono and Ernaux’s Passion simple. In this article, I examine these two texts and the ways in which they offer a riposte to Beauvoir’s novella. Reading their work through theories of diary fiction, I argue that these two writers depict women who are able to move beyond a narrative of abandonment and, in so doing, they stretch the boundaries of this genre to offer new approaches to the representation of female subjectivity.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"40 1","pages":"180 - 194"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46007043","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":"Female Filiations: A Festschrift for Adalgisa Giorgio: Romance Studies","authors":"C. Horvath, Eliana Maestri","doi":"10.1080/02639904.2022.2133460","DOIUrl":"https://doi.org/10.1080/02639904.2022.2133460","url":null,"abstract":"The aims of this double issue on Female Filiations in Romance Studies are twofold. On the one hand, the contributors seek to draw renewed attention to women as producers of art, sources of transgenerational memory, promoters of female emancipation and participants in networks of solidarity, networks that are powerful enough to challenge patriarchal hegemonies. On the other hand, this issue reflects the contributors’ desire to honour the scholarship of the outstanding female thinker Dr Adalgisa Giorgio, who has not only advanced our understanding of the literary representation of women, motherhood, maternal practices, daughterhood and sororities but also championed the values of intellectual uprightness, academic mentorship, female solidarity and intellectual transmission between generations of scholars. Born in the South of Italy, Giorgio has developed her expertise between three countries, Italy, Great Britain and New Zealand, and in the intersecting areas of Women’s Writing, Women’s Studies, Literary Criticism, Cultural Studies, Feminist Theory, Psychoanalysis, Politics and Translation Studies. Her wide-ranging interests have included culture and society in Naples and Southern Italy; literary representations of mothers and daughters in Italy, Western Europe and the world; Italian diaspora, family structures and motherhood in New Zealand; and expressions of identity in the narratives of Māori Italians. Her research has addressed the entangled topics of ethnic identity, motherhood, daughterhood, nomadism, migration, trauma, sexuality, gender, creativity, experimentalism, self-representation, ethics, class and intergenerational relations, but she has also contributed to theorizing the concepts of textuality, postmodernism, globalization, and precariousness. Giorgio has worked on a wide range of authors including Fabrizia Ramondino, Marosia Castaldi, Elsa Morante, Elena Ferrante, Mariateresa Di Lascia, Natalia Ginzburg, Francesca Sanvitale, Clara Sereni, Antonella Cilento, Edith Bruck, Silvia Ballestra, Rossana Campo, Isabella Santacroce, Sibilla Aleramo, Ermanno Rea, Giuseppe Montesano, Antonio Pascale, Gabriele Frasca, Eleonora De Fonseca Pimentel, Silvana La Spina, Igiaba Scego and many more. She has brought to light the most original and innovative traits of these writers while informing the contemporary reading and appreciation of them on an international scale. She is one of the founder-members of the Centre for the Study of Contemporary Women’s Writing (CCWW, Institute of Languages, Cultures","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"40 1","pages":"117 - 126"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43522635","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 Handmaid’s Liberation: Bewitched Worlds, Underground Stories, Dystopian Narratives in Elsa Morante, Elena Ferrante and Margaret Atwood","authors":"Tiziana de Rogatis","doi":"10.1080/02639904.2022.2133448","DOIUrl":"https://doi.org/10.1080/02639904.2022.2133448","url":null,"abstract":"ABSTRACT This paper will examine three novels by three different women writers: Lies and Sorcery (1948) by Elsa Morante; the Neapolitan Quartet (2011–2014) by Elena Ferrante; and Margaret Atwood’s The Handmaid’s Tale (published in 1985, but revived on a global scale in 2017 thanks to the homonymous TV series). The aim of this paper is to demonstrate that these novels share four common aspects: the metanarrative frame, the polyphony, the traumatic realism and the allegorical form of time. In each case, writing and history are defined through the identification of physical/symbolic places that enable and/or stimulate forms of resistance and survival in the three protagonists and narrating voices. The physical architecture of these spaces shares another constant element: they are all subverted spaces that have been freed by the practice of survival of the three protagonists. The subversion precisely resides in their being initially featured as cloistered, painful, realistically and/or metaphorically sunken spaces. The underground realism coincides with the assumption of perspective from below. Within this hallucinated realism arises a given temporal quality, each time characterized in a different manner: bewitched in Lies and Sorcery; historical and generational in Ferrante’s quadrilogy; dystopian in The Handmaid’s Tale.","PeriodicalId":41864,"journal":{"name":"Romance Studies","volume":"40 1","pages":"162 - 179"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45833542","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}