Journal of Spanish Cultural Studies最新文献

{"title":"D is for democracy: Barrio Sésamo and adapting identity in the Spanish transition to democracy","authors":"David A. Justice","doi":"10.1080/14636204.2023.2211795","DOIUrl":"https://doi.org/10.1080/14636204.2023.2211795","url":null,"abstract":"ABSTRACT In 1977, Televisión Española (TVE) and the US non-profit organization Children’s Television Workshop (CTW) agreed to a coproduction of a Spanish version of Sesame Street, which would eventually be called Barrio Sésamo. I draw on memoranda issued by CTW and TVE during the production process to examine the negotiations between the coproducers over the program’s contents. These reveal differences of opinion between the American and Spanish partners over what was suitable for young viewers. They also reveal the problems produced by the US partner’s insistence that 50% of the material be CTW-generated, which hampered the Spanish partner’s wish to adapt the program to the Spanish context of the time. These ideological conflicts led to the show’s termination after one season. However, Barrio Sésamo would return later in the 1980s, the era now most associated with the show. The educational conception of the program held by both coproducers allows us to see their disagreements as a case of contested pedagogies in which differing national values were at stake. The article will consider whether the Spanish version of Sesame Street can be seen as an exercise in US soft power.","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"267 - 280"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48459950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lídia Jorge’s allegories of democracy","authors":"A. P. Ferreira","doi":"10.1080/14636204.2023.2211792","DOIUrl":"https://doi.org/10.1080/14636204.2023.2211792","url":null,"abstract":"ABSTRACT This article focuses on Lídia Jorge’s first two novels, O dia dos prodígios (The Day of Prodigies) and O cais das merendas (Picnic Quay), as anti-realist allegories that challenge the consensus vision of a free and equal “people”, encouraged by propaganda, celebrating the Portuguese Revolution of 25 April 1974. Following Jacques Rancière’s philosophical insights on literariness and democracy, each of the novels is analyzed in relation to an equivocal, misunderstood process of democratization that continues to exclude and ignore “the part of those who do not count” in the theoretical equality of all citizens in a given regime. Specifically, the analysis sheds light on what Prime Minister Maria de Lourdes Pintasilgo once called “the small revolutions” of anonymous common people who, rather than submit to an equality that shuts them out, perform theatrical, political acts of disagreement calling attention to themselves as human subjects of social injustices or wrongs. Specific attention is given to the geo-cultural location and the economic configuration of the communities fictionalized in each novel, dramatizing different stages of the so-called transition to democracy. Jorge’s complex texts provoke us to “see” history otherwise, according to the experience of a “people” confined to a coastal fringe of land who are undergoing a violent but unavoidable transformation from a rural subsistence economy to a capitalist market economy dependent on foreign investments and a liberal multi-party democracy.","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"239 - 252"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47087072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Affective geographies: Cervantes, emotion, and the literary Mediterranean","authors":"Carmela V. Mattza","doi":"10.1080/14636204.2023.2207954","DOIUrl":"https://doi.org/10.1080/14636204.2023.2207954","url":null,"abstract":"","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"303 - 304"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45559547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"«La verdad ignorada»: homoerotismo masculino y literatura en España (1890–1936)","authors":"Jeffrey S. Zamostny","doi":"10.1080/14636204.2023.2207996","DOIUrl":"https://doi.org/10.1080/14636204.2023.2207996","url":null,"abstract":"","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"309 - 311"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48445251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From the margin to the centre: the making of the Portuguese Popular Music canon","authors":"Luís Trindade","doi":"10.1080/14636204.2023.2213759","DOIUrl":"https://doi.org/10.1080/14636204.2023.2213759","url":null,"abstract":"ABSTRACT This article reconstructs the cultural and political negotiations established within the canon of Portuguese Popular Music from the early 1970s to the early 1980s. In little more than a decade, singer-songwriters such as José Afonso, José Mário Branco and Sérgio Godinho went from marginalized figures under the dictatorship – forced to endure censorship, exile and political persecution – to central figures of the new cultural canon under democracy. The music of these artists was appropriated by many sectors of Portuguese society during the 1974–1975 Revolution and performed a true political role as the period’s soundtrack. Such political credentials were part of these musicians’ post-revolutionary legitimacy. However, as radical politics waned towards the end of the 1970s and the market gradually imposed its rules on the arts, political content, as a criterion for musical success, was replaced by aesthetic quality, cultural capital and cultural authenticity. This was how the canon of Portuguese Popular Music was consolidated around figures such as Afonso, Branco and Godinho rather than as symbols of anti-fascism, their music was increasingly celebrated as the true expression of Portuguese culture. In these circumstances, by paving the way from resistance and militancy to democracy, popular music played a decisive role in the re-imagining of post-revolutionary national identity.","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"203 - 217"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43777913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visual arts and institutions in post-revolutionary Portugal: artistic interventions and the creation of a new museum of modern art","authors":"Leonor de Oliveira","doi":"10.1080/14636204.2023.2211797","DOIUrl":"https://doi.org/10.1080/14636204.2023.2211797","url":null,"abstract":"ABSTRACT This article explores the field of visual arts and artistic experimentation as important elements of civic agency in the Portuguese revolutionary process. It argues that Portuguese visual artists, who had been exploring new media and forms of expression since the late 1960s, anticipated and championed the Portuguese revolution as a democratic project. In doing so, they also proposed new forms of civic action, which intersected artistic practice with political engagement. I will specifically address the mobilization of the artistic and cultural community in Oporto for the creation of a “living” museum of modern art in this city. This project caused a rupture with the institutional apparatus of the dictatorship and effectively promoted a debate about cultural democratization and decentralization. This article conceives visual arts and action as a force for a more plural and progressive regime. It explores collective interventions in the public and institutional space; the configuration of democratic participation in the transformation of former dictatorial structures; and the envisioning of continuing change in order to consolidate democracy. The article thus advances a critical redefinition of the relationship between artistic practice and political mobilization and contributes to the dynamic dialogue between creativity and democratization in Portugal.","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"219 - 237"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47456859","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shedding the old skin: cultural production in the Iberian transitions to democracy","authors":"G. Quaggio, Igor Contreras Zubillaga","doi":"10.1080/14636204.2023.2210862","DOIUrl":"https://doi.org/10.1080/14636204.2023.2210862","url":null,"abstract":"In 1981 a long queue of adults, children and senior citizens flooded the Paseo del Prado in Madrid, waiting to see Picasso’s monumental anti-war painting Guernica in person. The painting had finally made its way to Madrid from its more than forty-year exile in New York. According to Javier Tusell, historian and General Director of Fine Arts of the UCD (Union of the Democratic Center) government’s Ministry of Culture at the time, the large painting represented “a talisman reminding us of the dangers of past civil discord... in this way it could be said that the arrival of Guernica signifies an end point in the Spanish transition to democracy” (1981). Picasso’s painting turned into a collective talisman of the Transition, the eye-catching visual symbol of a new and allegedly peaceful Spain that had returned to democracy after a long military dictatorship. Yet, Spanish government institutions exhibited the avant-garde painting in a way that separated the painting from the crowds of observers, placing it behind a bulletproof glass screen to prevent potential damage to the artwork. The way the Spanish public engaged with this artwork evinced the complicated mix of top-down measures inherited from the Franco regime and bottom-up pressure from popular mobilizations (Quaggio 2014, 199–264). Only a few years before, during a popular festival in Lisbon in June 1974, forty-eight artists painted a collective “antifascist” mural in the central district of Belém to celebrate the Carnation Revolution of that year, which overthrew the authoritarian Estado Novo regime overnight and paved the way for Portugal’s own process of democratization. Also in Lisbon in May 1974, members of the Democratic Movement of Plastic Artists went to the Palácio Foz and turned the removal of a statue of the dictator António de Oliveira Salazar and the bust of the Estado Novo’s writer António Ferro into a public performance, covering the monuments with black cloths and affixing a communiqué, which stated that the initiative was “at the same time a symbolic destruction and an act of artistic creation in a gesture of revolutionary freedom. Fascist art harms your vision” (Serapiglia 2022, 322; Pratas Cruzeiro 2022, 313). From the beginning of Portugal’s Carnation Revolution, its main actors interpreted artistic activity as a playful performance against symbols, policies and structures associated with the Estado Novo. According to these actors, this activity should be essentially collective and able to disseminate ideologized messages of civic participation and social democracy in the public arena (Dionísio 1993).","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"191 - 201"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47451669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Después del acontecimiento: el retorno de lo político en la literatura española tras el 15-M","authors":"Eduardo Matos-Martín","doi":"10.1080/14636204.2023.2207944","DOIUrl":"https://doi.org/10.1080/14636204.2023.2207944","url":null,"abstract":"","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"317 - 320"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46148339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Spanish quinqui film: delinquency, sound, sensation","authors":"Jorge Pérez","doi":"10.1080/14636204.2023.2172899","DOIUrl":"https://doi.org/10.1080/14636204.2023.2172899","url":null,"abstract":"","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"181 - 183"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41900368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Untitled (atomic) form 2","authors":"Alex Saum-Pascual","doi":"10.1080/14636204.2023.2187169","DOIUrl":"https://doi.org/10.1080/14636204.2023.2187169","url":null,"abstract":"NOTA DE LA AUTORA Todo el mundo sabe que las cosas tardan en llegar a California. Por eso, algunas veces, en vez de esperar a que algo llegue, aquí terminamos inventándonoslo. Un buen ejemplo de esto ocurrió en el mes de enero del 2020, cuando, ajena a la pandemia que asolaba Europa y Asia, yo comenzaba una residencia de poesía en el Arts Research Center de Berkeley con la promesa de diseñar una serie de poemas digitales interactivos con los que examinar la intersección entre el lenguaje corporativo y el corporal. Construidos a partir de plataformas conocidas, como las encuestas de Google Forms, Survey Monkey, Qualtrics o Zoom, estos poemas reutilizarían el tipo de lenguaje que asociamos con estas tecnologías de recolección de datos para tratar de domesticarlo y, a la par, interrumpir o alterar su proceso de recolección lo suficiente para volverlo inútil para esas mismas plataformas en las que se generaría. Mi intención era, por un lado, explorar la artificialidad de sus lenguajes y, por otro, apuntar a cómo estas plataformas construían y modificaban nuestra realidad física por medio de un proceso de exposición de las variadas infraestructuras digitales que intervienen cada vez que rellenamos una encuesta online o hacemos una videollamada. Sin embargo, aunque tarde, todo llega –incluso a California. Y unos meses después, la pandemia global de la COVID-19 tocó a nuestra puerta obligándonos a encerrarnos en casa para, simultáneamente, abrirle la ventana a una nueva red digital que nos conectaría con otras ventanas virtuales distribuidas por todo el planeta. El confinamiento digital al que, por otra parte, estábamos ya tan habituadas que nos era casi imperceptible, y la relación que nuestros cuerpos ahora mantenían con el lenguaje digital se volvieron, casi de la noche a la mañana, dolorosamente evidentes. Así, me di cuenta de que los poemas digitales en los que yo había estado trabajando para subvertir los objetivos utilitarios de estas tecnologías permitían, también casi instantáneamente, una renovada conciencia acerca de sus capacidades para coleccionar datos en el entorno doméstico y personal de nuestras cuarentenas: conectándonos a cambio de convertirnos en datos que contabilizar. “Untitled (atomic) form 2” es una expresión analógica de las mismas ideas. En vez de crear un poema digital interactivo, esta vez se trata de un poema visual escrito y dibujado a mano siguiendo las convenciones de una encuesta de Google. En vez de lanzarlo como una proyección hacia el futuro sobre la mediación digital en tecnologías de la comunicación, sirve como reflexión de la dimensión material de todo lo que está ya conectado, incluyendo actores humanos y no humanos. Inspirado en el nuevo materialismo cuántico de Karen Barad, que rechaza cualquier posibilidad de exterioridad del ser humano frente al mundo para situarnos siempre de manera relacional en un interior que lo (y nos) coconstituye, y la perspectiva fenomenológica de Sarah Ahmed que habla de la relativida","PeriodicalId":44289,"journal":{"name":"Journal of Spanish Cultural Studies","volume":"24 1","pages":"113 - 120"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41515352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}