HISPANIC REVIEW最新文献

{"title":"Retratos de ciudad en el costumbrismo latinoamericano: espacio urbano, tradición, modernidad y progreso","authors":"Gabriela Escobar Rodríguez","doi":"10.1353/hir.2021.0023","DOIUrl":"https://doi.org/10.1353/hir.2021.0023","url":null,"abstract":"RESUMEN:Los cuadros de costumbres están íntimamente ligados al tránsito de Latinoamérica a la modernidad; en ellos se negocia constantemente el significado de lo nacional, lo tradicional, lo civilizado, lo bárbaro y lo moderno. Los escritores costumbristas tuvieron diferentes aproximaciones a estos conceptos; sin embargo, la mayoría compartió un elemento fundamental al cual los estudios costumbristas no han dado la debida importancia: el protagonismo literario de la ciudad. Y es que hablar de modernidad en Latinoamérica implica un diálogo con el espacio predilecto donde se concretó y concentró la modernización de las jóvenes repúblicas.Este estudio analiza, a través de la imagen de ciudad presentada en una selección de cuadros de costumbres escritos por Juan Manuel Cagigal, Ramón Rojas y Cañas, Daniel Mendoza, Manuel Atanasio Fuentes, José María Vergara y Vergara y Nicanor Bolet Peraza, la ambivalencia en la valoración del espacio urbano como símbolo de la modernización, su evolución y los cambios que conceptos como civilización, barbarie y progreso sufrieron a lo largo del siglo XIX.Abstract:Cuadros de costumbres are intimately linked to the transition of Latin America to modernity. In them, the meaning of nation, tradition, civilization, barbarism, and modernity is constantly negotiated. Writers of cuadros de costumbres had different approaches to the previously mentioned concepts; however, the majority shared a fundamental element to which the studies of costumbrismo have paid little attention: the literary protagonism of the city. This topic is relevant because in order to speak of modernity in Latin America, it is necessary to dialogue with the city, the favored space where the modernization of the young republics was carried out. This study analyzes, through the image of the city presented in a selection of cuadros de costumbres written by Juan Manuel Cagigal, Ramón Rojas y Cañas, Daniel Mendoza, Manuel Atanasio Fuentes, José María Vergara y Vergara, and Nicanor Bolet Peraza, the ambivalence in the perception of the urban space as the standardbearer of modernization, its evolution, and the changes that concepts like civilization, barbarism, and progress experienced throughout the 19th century.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41881114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cultural Politics of the Emotions Portrayed in Sara Mesa’s Short Fiction","authors":"Marta Pérez-Carbonell","doi":"10.1353/hir.2021.0021","DOIUrl":"https://doi.org/10.1353/hir.2021.0021","url":null,"abstract":"ABSTRACT:This article proposes a close reading of Sara Mesa’s short fiction, Mala letra (2016), through the lens of affect theory. It follows the underpinnings that form the core of The Cultural Politics of Emotion by Sara Ahmed (2004), where she dedicates one chapter to each emotion. The analysis in this article focuses on Ahmed’s discussion of pain, hate, fear, and disgust in order to frame Mesa’s fiction, which will allow us to shed light on the intricacies of Mesa’s depictions of these emotions in five selected short stories. Through this theoretical framework and a close textual analysis, this article will examine the revelatory nature of emotions, as well as the social and political structures that contain them.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42885594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Imágenes del Madrid de la posguerra: barrios en ruinas y escasez de vivienda en los chistes de Mingote","authors":"Reyes Vila-Belda","doi":"10.1353/hir.2021.0022","DOIUrl":"https://doi.org/10.1353/hir.2021.0022","url":null,"abstract":"RESUMEN:Al acabar la Guerra Civil, Madrid era una ciudad en ruinas. Francisco Franco prometió solucionar el problema acuciante de la vivienda e impulsó su rehabilitación como parte de su política imperial de la “Nueva España”. Creía que la arquitectura y el urbanismo debían expresar su triunfo y servir a su retórica propagandística. Pero la autarquía paralizó esos proyectos y durante años los madrileños sobrevivieron entre cascotes. Las ruinas eran memorias del trauma de la contienda, además de una realidad silenciada por la censura. Antonio Mingote publicó en los años cincuenta muchos chistes sobre los problemas de urbanismo en el diario ABC. Sus viñetas circunnavegaron la censura y construyeron un contradiscurso que contrastaba la ficción del discurso oficial de la victoria con la realidad urbana. Mingote resignificó el triunfalismo y los mitos imperiales de Franco, a la vez que despertó en los lectores una visión crítica.Abstract:At the end of the Civil War, Madrid was practically in ruins. Franco promised to end the acute housing shortage and took control of urban reconstruction and new architectural development as part of his imperial “New Spain” plan. He understood architecture and urbanism as expressions of his political triumph, further serving his propagandistic rhetoric. His autarchy, however, effectively paralyzed these projects, and for many years to come, madrileños survived amidst the rubble. Ruins were a constant reminder of the traumatic war and a reality proscribed by repressive state censorship. During the fifties, Antonio Mingote defied the censorial impositions and published many cartoons on urbanism in ABC, a national newspaper. His cartoons created a counternarrative that contrasted the official fictional discourse of the victors with the grim reality of madrileños’ daily life. Mingote resignified Franco’s triumphalism and imperial myths, while awakening his readers’ critical consciousness.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45433771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Las cartas del Nigromante a Guillermo Prieto y sus versiones apócrifas en los Episodios nacionales mexicanos de Victoriano Salado Álvarez","authors":"Andreas Kurz","doi":"10.1353/hir.2021.0019","DOIUrl":"https://doi.org/10.1353/hir.2021.0019","url":null,"abstract":"Abstract:Este artículo afirma que las “Cartas nigrománticas” incluidas en la novela de Victoriano Salado Álvarez no son idénticas a las cartas que el Nigromante mandó entre 1863 y 1865 a Guillermo Prieto. Salado insertó los textos apócrifos en sus Episodios nacionales mexicanos a manera de una ficción fundacional. Trató de justificar el régimen de Porfirio Díaz en el que cumplía roles políticos importantes mediante la manipulación del pasado y la reconstrucción y reconfiguración de personajes como Ignacio Ramírez y Benito Juárez. La última parte del artículo es a la vez un recordatorio y una autocrítica. La falta de cuidado filológico y la eficacia de las técnicas de las ficciones fundacionales tuvo como resultado que ciertas investigaciones (incluyendo la de quien suscribe este texto) internalizaran la narrativa saladiana y, de esta manera, analizaran las ideas contestatarias de Ramírez como estabilizadoras para la ideología y cultura del Porfiriato.Abstract:This article states that the “Cartas Nigrománticas” included in the novel written by Victoriano Salado Álvarez are not the letters that the Nigromante sent between 1863 and 1865 to Guillermo Prieto. Salado included the apocryphal texts in Episodios nacionales mexicanos as a type of foundational fiction. He tried to justify the dictatorial regime of Porfirio Díaz (where he played an important political role) by manipulating the past and reconstructing historical figures such as Ignacio Ramírez and Benito Juárez. The last part of the article serves as a reminder and a critique. The lack of philological awareness and the efficiency of the techniques of foundational fictions seduced academic investigation (including my own) to internalize Salado's narrative and, in doing so, to analyze Ramírez's potentially rebellious ideas as establishing and justifying Mexican Porfirian ideology and culture.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45736398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"De reliquias fantasmagóricas: la fábula de Ángelo y Klaus o Tras el cristal (1986) como emblema de trauma","authors":"Carmen Moreno-Díaz","doi":"10.1353/hir.2021.0011","DOIUrl":"https://doi.org/10.1353/hir.2021.0011","url":null,"abstract":"Abstract:Este artículo explora Tras el cristal (1986) de Agustí Villaronga centrándose en el pulmón de acero, el cuaderno de Klaus y fotografía como reliquias cuya liminalidad configura un pasado traumático espectral que acecha a Ángelo. Como vestigios de un pasado mal enterrado, estos artefactos condenan a Ángelo a revivir los abusos sufridos, progresivamente quitándole su voz y convirtiéndolo en su propio agresor. Ángelo lleva a cabo asesinatos rituales y miméticos para entender y exorcizar su propio trauma. El asesinato de Klaus ilustra la superposición y confusión de tiempos y voces, así como la propagación de la violencia perpetuada ahora en Rena. El final de la obra se suspende y congela en una bola de cristal, una nueva reliquia y enigma que descifrar, el epítome de un emblema de trauma que ha presentado la fábula de Klaus y Ángelo en una dinámica de poder tan universal como la de víctima y verdugo.Abstract:This article explores Agustí Villaronga's Tras el cristal (1986)by focusing on the iron lung, Klaus's notebook, and photography as relics whose liminality configures a traumatic spectral past that haunts Angelo. As traces of a past ineffectively buried, these artifacts condemn Angelo to relive the abuses he suffered, progressively dispossessing him of his voice and turning him into his own abuser. As a result, Angelo performs ritualistic, mimetic murders as a means of understanding and exorcising his own trauma. Klaus's murder illustrates the superposition and confusion of times and voices, as well as the propagation of violence perpetuated now on Rena. The end of the movie is suspended and frozen in a crystal ball, a new relic and enigma to decipher, the epitome of an emblem of trauma that has presented the fable of Klaus and Angelo in the universal power dynamic of victim and abuser.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48945908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Posverdad como \"superhistoria\" de la Guerra Civil Española en El monarca de las sombras, de Javier Cercas","authors":"S. Mesa","doi":"10.1353/hir.2021.0014","DOIUrl":"https://doi.org/10.1353/hir.2021.0014","url":null,"abstract":"Abstract:En El monarca de las sombras Javier Cercas examina la vida de su tío abuelo Manuel Mena, que muere en la batalla del Ebro en 1938 durante la Guerra Civil Española. En esta novela, Cercas yuxtapone su voluntad literaria y su vocación historicista para investigar las razones que llevaron a Mena a incorporarse a la Falange y a enrolarse en el ejército franquista, dando así su vida por los ideales de los rebeldes. Teniendo en cuenta la imposibilidad de las historiografías moderna y posmoderna para elaborar discursos narrativos que representen objetivamente la realidad, este trabajo estudia esta novela como un ejercicio de \"metamnesia\", una memoria de una memoria, del que surge una reconstrucción posverdadera de la Guerra Civil en forma de narración hipermoderna, una \"superhistoria\" que rebasa los límites de la historia como gran-narrativa moderna y como simulacro relativista posmoderno.Abstract:In Lord of All Dead Javier Cercas examines the life of his great-uncle Manuel Mena, who died in the Battle of the Ebro in 1938 during the Spanish Civil War. In this novel Cercas juxtaposes his literary will and his historicist vocation in order to investigate the reasons that led Mena to join the Falange and enlist in the Francoist army, thus giving his life for the ideals of the rebels. Taking into account the impossibility of modern and postmodern historiographies to elaborate narrative discourses that objectively represent reality, this work studies this novel as an exercise in \"metamnesia\", a memory of a memory, from which a post-truth reconstruction of the Civil War emerges in the form of a hypermodern narration, a \"superhistory\" that goes beyond the limits of history as a modern grand narrative and as a postmodern relativist simulacrum.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46626756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Orphans of Orpheus: Music Lost and Regained in Spanish Golden Age Poetry","authors":"Lorena Uribe Bracho","doi":"10.1353/hir.2021.0013","DOIUrl":"https://doi.org/10.1353/hir.2021.0013","url":null,"abstract":"Abstract:Early modern Spanish lyric's connections with music are manifold, and imagery of instruments and singing voices is virtually everywhere in the texts, often playing a part in the articulation of affect and providing a vocabulary for poets to reflect about their own verbal powers. And yet, as I argue in this article, the story of Golden Age lyric begins with tension and conflict at the center of the music–poetry relation. There is, I contend, a discrepancy between the Orphean tropes that equate writing verse with playing music, and the relative autonomy that poetry and music were developing in Renaissance Spain. In this context, I draw attention to a nostalgia that cuts across the texts: the sense that poets have only inherited one half of Orpheus's torrential and effective mixture of media, poetry, and song. To make these points, I draw from a collection of printed and manuscript sources from 1500 to 1700, by poets canonical and obscure.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45695298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Despertarse de Europa: arte, literatura, euroescepticismo by Luis Martín-Estudillo (review)","authors":"Marta Manrique-Gómez","doi":"10.1353/hir.2021.0017","DOIUrl":"https://doi.org/10.1353/hir.2021.0017","url":null,"abstract":"","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44930735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Immaculate Conceptions: The Power of the Religious Imagination in Early Modern Spain by Rosilie Hernández (review)","authors":"Laura Keyt","doi":"10.1353/hir.2021.0016","DOIUrl":"https://doi.org/10.1353/hir.2021.0016","url":null,"abstract":"obrera. Tal como destaca Cortés, la desorientación y el aislamiento causados por el exilio tiene puntos de contacto con la situación de la clase trabajadora en los años 30. El objetivo del libro es explorar la presencia del exilio en la obra de Benguerel, lo que se consigue mediante un análisis detallado de múltiples ejemplos. El análisis textual es revelador y aporta datos de interés, pero quizá habría sido también pertinente examinar los vínculos afectivos y familiares establecidos en Chile por el autor. Asimismo, se podría haber analizado con mayor profundidad el contexto de su retorno, en los años 50, la manera en que cambió su percepción de Cataluña y Barcelona después de casi dos décadas de exilio y cómo este cambio quedó reflejado en su obra. Con el fin de ofrecer una visión más completa del novelista, también hubiera valido la pena tratar brevemente la recepción de su obra que, a finales de los años 60, empezó a ser tachada de burguesa y católica por críticos de inspiración marxista como Joan Fuster. A pesar de estos huecos, ya estudiados en otras monografías, La huella del exilio en la narrativa de Xavier Benguerel ofrece un tratamiento pormenorizado de varios textos clave del autor, particularmente Memòries 1905–1940 y Memòria d’un exili. Xile 1940–1952. Mediante el análisis textual de varias obras de Benguerel, el libro demuestra, en definitiva, que como el mismo escritor afirmó en varias ocasiones, un exilio como el que sufrió su generación no puede terminar nunca.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47616528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"¿A quién se dirige Diario de Djelfa, de Max Aub? Un análisis del destinatario lírico","authors":"G. Ramírez","doi":"10.1353/hir.2021.0010","DOIUrl":"https://doi.org/10.1353/hir.2021.0010","url":null,"abstract":"Abstract:Diario de Djelfa, de Max Aub, está articulado en dos ejes. Por una parte, como propone la mayoría de los estudios, la lectura puede enfocarse en el sujeto que enuncia estos poemas para representar, con mayor o menor verosimilitud (con mayor o menor fidelidad a la memoria de los vencidos), su experiencia (y su presencia) en el campo de concentración. Por otra parte, es posible reconducir la lectura hacia un segundo eje menos considerado: no el sujeto emisor de los poemas, sino el receptor. ¿A quién se dirige Diario de Djelfa? La dificultad de responder a esta pregunta desvela una complejidad que permite descubrir el carácter multiforme del receptor (que, de hecho, repetidamente aparece como un destinatario imposible) y, por extensión, reinterpretar el alcance del carácter testimonial del poemario mismo. Para profundizar en este enfoque, este artículo parte de los tres tipos de destinatario lírico identificados por Jonathan Culler.Abstract:Diario de Djelfa, by Max Aub, is structured along two axes. On the one hand, as proposed by most studies, its interpretation can be focused on the subject who enunciates these poems to represent, in a more or less plausible fashion (with greater or lesser fidelity to the memories of the vanquished), his experience (and his presence) in the concentration camp. On the other, it is possible to redirect its interpretation towards a less considered second axis: not the addresser of the poems, but the addressee. Who is Diario de Djelfa addressed to? The difficulty of answering this question unveils a complexity which allows us to discover the multiform nature of the addressee (who, indeed, repeatedly turns up as an impossible recipient), and, by extension, to reinterpret the extent of the testimonial nature of the book itself. In order to deepen this approach, this article draws on Jonathan Culler's three types of lyric address.","PeriodicalId":44625,"journal":{"name":"HISPANIC REVIEW","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hir.2021.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47651698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}