ROMANCE NOTES最新文献_第4页

Rethinking Rosalía Through the Japanese Commodification of Flamenco Culture 通过日本对弗拉门戈文化的商品化反思罗莎莉亚

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ROMANCE NOTES Pub Date : 2024-02-22 DOI: 10.1353/rmc.2023.a919725

Yeon-Soo Kim

引用次数: 0

Point de rencontres: Une étude de passages "infrahumains" dans Le Rond-Point d'Évelyne Trouillot Point de rencontres：对 Évelyne Trouillot 所著 Le Rond-Point 中 "非人 "段落的研究

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ROMANCE NOTES Pub Date : 2024-02-22 DOI: 10.1353/rmc.2023.a919733

Jason Herbeck

{"title":"Point de rencontres: Une étude de passages \"infrahumains\" dans Le Rond-Point d'Évelyne Trouillot","authors":"Jason Herbeck","doi":"10.1353/rmc.2023.a919733","DOIUrl":"https://doi.org/10.1353/rmc.2023.a919733","url":null,"abstract":"Résumé:Dans Le Rond-point (2015) d'Évelyne Trouillot, se profilent à tour de rôle les parcours de trois habitants esseulés de Port-au-Prince au début des années 2000. Dans cette étude, il s'agira dans un premier temps de signaler la fonction pratique de l'aménagement routier éponyme, lequel est censé rendre la circulation plus fluide et contribuer à améliorer la sécurité routière. Or, puisque le rond-point se doit d'être pris au sens figuré dans ce roman, nous nous intéresserons dans un deuxième temps aux conséquences d'une société-voirie haïtienne où l'on ne s'arrête guère et où « les gens semblent évoluer dans des univers différents mais si proches » (43). Aussi nous pencherons-nous sur le mouvement-matrice qui s'opère au centre même de l'œuvre de Trouillot et qui ne cesse de donner lieu aux interactions essentielles et fondamentales entre ses différents personnages ; car ce qui nous préoccupera en l'occurrence, c'est que Le Rond-point semble, au contraire et de manière paradoxale, y marquer un point d'arrêt, une sorte de suspension non négligeable de l'élan chaleureux et combien rédempteur à l'égard de la condition humaine qui caractérise l'ensemble de la production écrite de l'écrivaine.","PeriodicalId":42940,"journal":{"name":"ROMANCE NOTES","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139919762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Rosalía's Cante: (Non-)Gitanidad, Gender, and Anti-Carceral Flamenco Tradition in "Juro Que" Rosalía's Cante: (Non-)Gitanidad, Gender, and Anti-Carceral Flamenco Tradition in "Juro Que".

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ROMANCE NOTES Pub Date : 2024-02-22 DOI: 10.1353/rmc.2023.a919724

Tania Arabelle Flores

{"title":"Rosalía's Cante: (Non-)Gitanidad, Gender, and Anti-Carceral Flamenco Tradition in \"Juro Que\"","authors":"Tania Arabelle Flores","doi":"10.1353/rmc.2023.a919724","DOIUrl":"https://doi.org/10.1353/rmc.2023.a919724","url":null,"abstract":"Abstract:This article intervenes in the emerging field of Rosalía scholarship to demonstrate the viability of reading Rosalía as an experimental flamenco artist and to point to the value of such readings for studies of race in contemporary Spain. In this project, I demonstrate that Rosalía's 2020 single \"Juro que\" innovates upon flamenco's long tradition of decrying the violence of incarceration, particularly as that violence relates to gitano, or Spanish Roma, communities, and revises the historically masculinist boundaries of this tradition. By analyzing the racial and gendered dimensions of the construction of the poetic speaker in \"Juro que,\" I argue that this text renders audible gitanidad and the critique of anti-gitanidad that is implicit in anti-carceral flamenco tradition while also circumventing a problematic identification with gitanidad itself. In its opposition to the criminal legal system as well as the racist stereotypes produced by the good Gypsy/bad Gypsy dichotomy, \"Juro que\" resists the historical function of the white Gypsy paradigm as defined by Eva Woods Peiró. Simultaneously, however, I examine the deployment of racially ambiguous aesthetics in \"Juro que\" in the context of that paradigm and point to the ways in which those aesthetics risk obfuscating anti-gitano carceral violence.","PeriodicalId":42940,"journal":{"name":"ROMANCE NOTES","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139919834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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

Rosalía's Butterflies: Self-Reflective Celebrity and the Confessional Text 罗莎莉亚的蝴蝶自我反思的名人与忏悔文本

4区文学

ROMANCE NOTES Pub Date : 2024-02-22 DOI: 10.1353/rmc.2023.a919730

Jorge Pérez

{"title":"Rosalía's Butterflies: Self-Reflective Celebrity and the Confessional Text","authors":"Jorge Pérez","doi":"10.1353/rmc.2023.a919730","DOIUrl":"https://doi.org/10.1353/rmc.2023.a919730","url":null,"abstract":"Abstract:In this essay, I examine Rosalía's Motomami (2022) as a confessional text in which the artist speaks openly about her feelings and reflects on being a celebrity and her relationship with audiences. Music critics immediately noted that it departs from the formula of her previous flamenco-based albums and praised its experimentation and combination of multiple genres. The symbol of the butterfly that appears on the album cover, in the lyrics of the first track (\"Saoko\"), and on Rosalía's dental grills represents this transformation. But perhaps the biggest change has to do with the intimate tone of the entire album, as Rosalía confesses her struggles, fears, and desires. As Foucault shows in the History of Sexuality, confession has been a central ritual in the discursive production of truth in Western societies. Prominent celebrity studies scholars such as Sean Redmond have noted that the confessional address has become pervasive in contemporary celebrity culture, since it is almost mandatory as a promotional strategy to brand the celebrity persona and do damage control in the case of waning stars. Rosalía's confession is striking because it is played out not only in the lyrics of Motomami but also through the musical features. Most songs have a minimalist composition, with few instrumentals that are filtered and devoid of high frequencies to allow for Rosalía's vocal delivery to stand out. And it is often a bare voice that appears in contrast to aggressive drums to convey the hostile environment Rosalía has faced in the last few years.","PeriodicalId":42940,"journal":{"name":"ROMANCE NOTES","volume":"973 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139919752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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

Rosalía as Resource: Pedagogical Synergies 作为资源的罗莎莉亚：教学协同作用

4区文学

ROMANCE NOTES Pub Date : 2024-02-22 DOI: 10.1353/rmc.2023.a919731

Marcela T. Garcés

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Glotofobia, apropiación cultural y privación relativa en la escena musical española contemporánea 当代西班牙音乐界的 "恐 Glotophobia"、"文化挪用 "和 "相对剥夺 "现象

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ROMANCE NOTES Pub Date : 2024-02-22 DOI: 10.1353/rmc.2023.a919723

Ana León-Távora

{"title":"Glotofobia, apropiación cultural y privación relativa en la escena musical española contemporánea","authors":"Ana León-Távora","doi":"10.1353/rmc.2023.a919723","DOIUrl":"https://doi.org/10.1353/rmc.2023.a919723","url":null,"abstract":"Resumen:Glotofobia, del francés glottophobie, es el término acuñado recientemente por el sociolingüista francés Philippe Blanchet para denunciar la discriminación lingüística que, según él, no queda lo suficientemente expresada con términos más tradicionales como \"lingüicismo\" o \"languagismo\". El neologismo busca exponer la intención de odio y exclusión de ciertas personas por su lengua o por su uso particular de una determinada lengua. En España, de todas las variedades lingüísticas, la andaluza es percibida como un habla inculta, un español mal hablado, o una forma de hablar cómica. La discriminación del habla andaluza es palpable en muchas áreas de la sociedad española; sin embargo, la escena musical contemporánea se ha visto inundada de un auténtico tsunami de intérpretes que cantan con acento andaluz, ya sean andaluces o no. Entre dichos intérpretes se encuentra la estrella internacional Rosalía, la cual ha sido acusada de apropiación cultural por cantar flamenco sin ser gitana, aunque poco o nada se ha dicho de su acento andaluz impostado. El presente trabajo analizará el contraste entre la \"andalufobia\", y el fenómeno de la profusión del andaluz en la música popular actual como un caso de apropiación cultural que se extiende más allá de Rosalía. Un análisis desde la lente teórica de la privación relativa o relative deprivation servirá para exponer conflictos de marginación de distintas identidades en España, así como para revelar la larga tradición de discriminación de género en las artes y, en particular, en el mundo de la industria musical.","PeriodicalId":42940,"journal":{"name":"ROMANCE NOTES","volume":"204 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139919760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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

Rosalía and Flamenco: A Musicological Perspective 罗莎莉亚与弗拉门戈：音乐学视角

4区文学

ROMANCE NOTES Pub Date : 2024-02-22 DOI: 10.1353/rmc.2023.a919720

Peter Manuel

{"title":"Rosalía and Flamenco: A Musicological Perspective","authors":"Peter Manuel","doi":"10.1353/rmc.2023.a919720","DOIUrl":"https://doi.org/10.1353/rmc.2023.a919720","url":null,"abstract":"Abstract:While the styles and sources of Rosalía's music are diverse and eclectic, flamenco is certainly the genre of which she has made most consistent and extensive use, with her idiosyncratic and original interpretations provoking much controversy in flamenco circles. Without discussing such polemics, this article explores in some specificity the particular flamenco forms she has used, from her first album Los Ángeles through her 2022 Motomami. It further makes some general observations about her flamenco interpretations, though these resist facile categorization. Some of the specific flamenco forms (cantes and estilos) that she performs are familiar and iconic, such as the \"yeli yeli\" tango chorus in \"Di mi nombre.\" Others, such as the tango of Porrina de Badajoz in \"Juro que,\" are items that only flamenco connoisseurs would recognize. Similarly, some of her interpretations are straightforward and por derecho, while others are strikingly original, whether in terms of instrumental accompaniment, production effects, or her own vocal rendering. A close observation of these rearticulations reveals both her originality as well as her deliberate engagement with traditional flamenco forms.","PeriodicalId":42940,"journal":{"name":"ROMANCE NOTES","volume":"139 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139919837","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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

1520/2020: En tiempos del virus, o, quinientos años de medición biopolítica 1520/2020:在病毒时代，或者，500年的生物政治测量

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ROMANCE NOTES Pub Date : 2023-08-15 DOI: 10.1353/rmc.2023.a904315

Romana Radlwimmer

引用次数: 0

Reescritura antitética de dos mitos ovidianos en la Novela del licenciado Vidriera de Miguel de Cervantes: Las leyendas de Venus y Marte, y Faetón 米格尔·德·塞万提斯(Miguel de Cervantes)的维德里埃拉(Vidriera)小说《维纳斯和火星的传说》(the legends of Venus and mars)中两个奥维德神话的对立改写

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ROMANCE NOTES Pub Date : 2023-08-15 DOI: 10.1353/rmc.2023.a904324

J. M. Hidalgo

{"title":"Reescritura antitética de dos mitos ovidianos en la Novela del licenciado Vidriera de Miguel de Cervantes: Las leyendas de Venus y Marte, y Faetón","authors":"J. M. Hidalgo","doi":"10.1353/rmc.2023.a904324","DOIUrl":"https://doi.org/10.1353/rmc.2023.a904324","url":null,"abstract":"EL personaje principal de la Novela del licenciado Vidriera, Tomás Rodaja, imagina que su cuerpo está hecho todo de vidrio debido al envenenamiento que sufre a manos de una morisca. A partir de aquí, deambula por la ciudad antes de marcharse a la corte por orden de un noble. Durante su paseo se cuentan cuatro situaciones muy peculiares. Las dos últimas narran la situación de infidelidad de un hombre, y el castigo que padece un joven a manos de su padre. El análisis de estos dos sucesos revela una interpretación mítica que conecta con los dos eventos precedentes, y con la idea principal de transformación de la novela. Así, estos dos últimos incidentes desvelan los mitos de Venus y Marte, y el de Faetón a partir de una lectura antitética de sus originales. Estos dos mitos van en línea con los dos que anteceden: Deucalión y Pirra, y Níobe, pues comparten la temática de cambio de la sustancia, al igual que la presencia de dos artífices capaces de modelar la materia. Así, este estudio revela la conexión intrínseca que estas dos historias poseen con sus precedentes y con la historia principal de la novela. En todas estas instancias se aprecia una lectura que difiere de su original, la idea de transformación y la presencia de artistas con la habilidad de metamorfosear la materia. Este trabajo analiza los dos encuentros últimos que Tomás Rodaja encara antes de marcharse a la corte por orden de un noble cuando una morisca lo envenena con un membrillo y se imagina todo constituido de vidrio: la infidelidad de una esposa, y el castigo paterno a un hijo. El estudio de estos dos sucesos revela una exégesis mitológica: el mito que cuenta la infidelidad de la esposa de Vulcano: Venus y Marte, y la leyenda de la confirmación de paternidad de Faetón. La investigación de este dueto de historias ovidianas conecta","PeriodicalId":42940,"journal":{"name":"ROMANCE NOTES","volume":"63 1","pages":"171 - 181"},"PeriodicalIF":0.0,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47335535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Una nodriza esclava reescribe la historia: Un análisis epistemológico de Changó, el gran putas (1983) de Manuel Zapata Olivella 一个奴隶护士改写历史:曼纽尔·萨帕塔·奥利维拉的chango, el gran putas(1983)的认识论分析

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ROMANCE NOTES Pub Date : 2023-08-15 DOI: 10.1353/rmc.2023.a904322

Hannah Nohe

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