Scholarly Works - Spanish and Portuguese
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Item Open Access Accepted version Peer-reviewed Dissenting Voices? Controlling Children’s Comics under Franco(Berghahn, 2018-03-01) McGlade, REThe installation of the Franco dictatorship sparked an inadvertent boom in the production of comics. While many cartoonists hailing from Barcelona’s rich satirical tradition went into exile or clandestine publication, still more turned to the children’s comics market that had become firmly rooted in the Catalan capital since the 1920s. Until the 1950s, comics remained relatively free from censorial intervention, and the development of characters such as La Familia Ulises, Carpanta and Doña Urraca offered cartoonists an outlet for covert critique. However, in 1952, the Junta Asesora de la Prensa Infantil was established to police children’s publications for ‘inappropriate’ content, marking a turning point in the history of Spain’s comics genre. This article discusses the implications of this specific legislation for editors, artists and their comic strip characters, focusing on the publications Pulgarcito, TBO and DDT.Item Open Access Accepted version Peer-reviewed Bernardo Atxaga: La escritura en dos cuadernosEpps, B; Epps, Bradley [0000-0001-7780-024X]En “De Euzkadi a Euskadi”, un breve ensayo incluido al final de la traducción castellana de su novela Gizona bere bakardadean, El hombre solo (1993), Bernardo Atxaga declara que, al igual que “muchos otros escritores, [acostumbra] a trabajar con dos cuadernos sobre la mesa” (s.n. [449]). En uno de los cuadernos anota “aquello que tiene que ver con el texto que [está] escribiendo”; en el otro apunta “lo que [le] pasa por la cabeza y no viene al caso: una línea para un poema; una nota breve para un futuro artículo; la copia de una cita” (s.n. [449]). La escritura en dos cuadernos, uno principal y otro secundario, uno intencionado y otro accidental, podría ilustrar, al menos en parte, una serie de tensiones que recorren la obra de Atxaga en su imposible totalidad. Dicha totalidad es imposible no sólo porque la escritura de Atxaga sigue en curso sino también—y tal vez sobre todo—porque se nutre de trozos y trizas de la vida de los demás y de la suya propia que evitan e incluso socavan posturas totalizantes y terminantes que tienden a apuntalarse, con demasiada frecuencia, en la coacción y la brutalidad. Junto con la tensión entre las partes y el todo, se encuentran en la obra de Atxaga otras tensiones propias de la época actual, entre las cuales cabe destacar la de lo local y lo global, lo propio y lo foráneo, y, si se quiere, lo íntimo y lo éxtimo. Todas estas tensiones, y otras, se dan cita en la traducción, la cual constituye una de la marcas principales de la escritura de Atxaga. En primera instancia, la traducción tiene lugar, por así decirlo, entre el euskara y el castellano pero también entre estos y otros idiomas, la mayoría más allá del Estado Español y de la península ibérica.Item Open Access Accepted version Peer-reviewed Unravelling compulsory happiness in exile: Cristina Peri Rossi’s The Ship of Fools(SAGE Publications, 2018-06-19) Tanna, NatashaA number of feminist critics of Latin American women writers in exile have suggested that women in exile may flourish as they are freed from the traditional gender restrictions imposed on them in their home countries. In this article I reexamine the association of exile with liberation through analysing Cristina Peri Rossi’s 1984 novel La nave de los locos (The Ship of Fools) in the light of the tension between Rosi Braidotti’s Deleuzian affirmation of feminism as a ‘joyful nomadic force’ (1994: 8) and Sara Ahmed’s critique of compulsory happiness (2010). Peri Rossi juxtaposes the prescriptive worldview of the captivating medieval ‘Tapestry of the Creation’ in the Cathedral of Girona in Catalonia, which depicts the Biblical story of Genesis, and the diasporic and unpredictable wanderings of the protagonist Ecks on his journey to feminist enlightenment. I argue that while the novel seems to champion nomadic subjectivity, it also highlights the deceptive charm of imperative positive affect that may function as a disciplinary force, compelling subjects to follow a conventional path in life, and invalidating those who ‘stray’ from it. My reading of the novel calls for a nuanced approach to exile and diaspora that takes into account wider questions of the privilege and ease of movement – or, indeed, settling – enjoyed by or denied to various subjects.Item Open Access Accepted version Peer-reviewed On the Shores of Politics: Popular Republicanism and the Magdalena River in Candelario Obeso's Cantos populares de mi tierra(Wiley, 2018-09) O'BRYEN, RORYThis article explores discourses surrounding the modernisation of the state and the formation of national literature in nineteenth‐century Colombia, examining the racism at the heart of both, particularly in their representation of Afro‐Colombian inhabitants of the lower Magdalena River. Then, drawing on recent accounts of plebeian politicisation, and in a reading of selected poems from Candelario Obeso's Cantos populares de mi tierra (1877), it argues that beyond functioning as the medium through which criollos interpellated subalterns as alienated subjects, republican ideology also served as the grounds upon which Afro‐Colombians contested exclusion and negotiated forms of political inclusion.Item Open Access Published version Peer-reviewed Desgarraduras del cuerpo y degolladuras de la voz: Emotividad, género y poder en El mismo mar de todos los veranos de Esther Tusquets(InterAlia, 2017-08-24) Epps, B; Epps, Bradley [0000-0001-7780-024X]El mismo mar de todos los veranos de Esther Tusquets narra la tormentosa relación erótica y emocional de una mujer de la alta burguesía catalana, casada y desencantada, que ejerce de profesora de literatura, con una joven estudiante latinoamericana, apasionada e ilusionada, llamada Clara. Celebrada dentro y fuera de España por la osadía con la que representa el deseo lésbico y el placer femenino, la novela de Tusquets —publicada en 1978, el año de la ratificación de la Constitución democrática y de la despenalización de la homosexualidad, unos tres años después de la muerte de Franco — constituía a la vez una tónica y un revulsivo para un público lector acostumbrado a la ñoñería del discurso sexual, o más bien antisexual, del régimen dictatorial.Item Open Access Accepted version Peer-reviewed Reading beyond Cognitive Meaning: Affective Strategies in Novels of the Spanish "Memory Boom"(Liverpool University Press, 2017-09) Davis, SThe twenty-first century ‘memory boom’ in Spain has resulted in a plethora of narratives in which the Civil War and the early years of Franco’s dictatorship feature prominently. Studies of these works have addressed representations of memory and trauma, recognizing how the authors reanimate the past and narrate stories of conflict and loss to a readership distanced from the historical events. This essay explores four texts, identifying the strategies that have shaped their circulation in e current affective economy. Analysis pays particular attention to text, but also explores the image as formative in the reading experienceItem Restricted Accepted version Peer-reviewed L’extensió i l’escissió de la mirada colonialista: La ironia a les ‘impressions viatgeres’ d’Aurora Bertrana(Edizioni dell'Orso) Epps, B; Epps, Bradley [0000-0001-7780-024X]Paradisos oceànics (1930) and El Marroc sensual i fanàtic (1936), Aurora Bertrana’s two most important texts, are marked by an irony that is characteristic of Western colonialist –and anti-colonialist– production. This irony, at once situational and narratological, thrives on an intricate interplay of positions and persons in which the extension of the colonialist and orientalist ‘gaze’–its zeal to know, penetrate and occupy an other space– is split, multiply, by an array of complications, contradictions, complicities and crises of conscience. The ‘impressions’ that inform the two ‘exotic’ travel books by Aurora Bertrana, so distant from the Catalan countryside extolled by her father Prudenci, evince an intricate –and ironic– tension between, on the one hand, the ideals of equality, liberty and fraternity of European humanism and, on the other, the realities of domination, control and distinction of European colonialism.Item Open Access Accepted version Peer-reviewed The Unbearable Lightness of Bones: Memory, Emotion, and Pedagogy in Patricio Guzmán’s Chile, La Memoria Obstinada and Nostalgia De La Luz(Informa UK Limited, 2017) Epps, B; Epps, Bradley [0000-0001-7780-024X]Focusing on two documentary films by Patricio Guzmán, $\textit{Chile, Obstinate Memory}$ (1997) and, especially, $\textit{Nostalgia of the Light}$ (2010), this paper examines some of the relations between neoliberal violence (during and after the Pinochet dictatorship), memory, knowledge and emotionality, both historical and personal. It does so by reading and reviewing the actions, narratives and experiences of a group of astronomers, archaeologists and geologists who work in the Atacama desert of northern Chile and a group of women who search for the remains of their loved ones, victims of political violence, in the same desert within the shifting contexts of cinematic spectatorship. Attentive to the possibilities and pitfalls of empathic identifications and connections, it also considers the ethical and political implications of the interplay of cinema (Guzmán), photography (Paula Allen) and poetry, sky writing and "land art" (Raúl Zurita).Item Restricted Accepted version Peer-reviewed Modernity, gender and the spectre of coloniality in the "Moroccan Texts" of Carmen de Burgos and Aurora Bertrana(Hispanic Studies Journals & Academic Presses, 2016) Epps, B; Epps, Bradley [0000-0001-7780-024X]This article examines two works by Carmen de Burgos and Aurora Bertrana situated in Morocco—En la guerra, from 1909, and El Marroc sensual i fanatic from 1936—in the light of three interrelated questions: gender, nationality and coloniality, the first two admirably studied by Roberta Johnson. It contends that the progressive feminist endeavours of both writers find themselves problematized by their ambivalent postures vis-à-vis a country considered to be at once close and distant and, more generally, that the study of questions of gender and nationality finds itself "shadowed" by questions of race and ethnicity. It also argues that while it is no doubt true that modernity and modernism in Spain can scarcely be understood without considering the innovative fervour that Ruben Dario encountered in Catalonia, colonialism, as Enrique Dussel and others rightly contend, plays an absolutely fundamental role in the configuration of both. Este articulo examina sendas obras de Carmen de Burgos y Aurora Bertrana situadas en Marruecos -En la guerra de 1909 y El Marroc sensual i fanatic de 1936-a la luz de très cuestiones interrelacionadas: el gènero, la nacionalidad y la colonialidad, las dos primeras examinadas admirablemente por Roberta Johnson. Postula que la labor progresista y feminista de las dos escritoras se encuentra problematizada por su postura ambivalente respecto a un pais considerado a la vez "cercano" y "ajeno" y, de modo mas general, que el estudio de cuestiones de género y nacionalidad se encuentra "sombreado" por cuestiones de raza y etnicidad. También argumenta que si bien es verdad que la modernidad y el modernismo en España difïcilmente se comprenden sin tornar en cuenta el fervor innovador que Rubén Dario encontrara en Cataluna, el colonialismo desempena, de acuerdo con Enrique Dussel y otros, un papel absolutamente fundamental en la configuration de ambos.Item Open Access Published version Peer-reviewed Recasting the typology of multiple <i>wh</i>-fronting: Evidence from Pontic Greek(Open Library of the Humanities, 2016) Michelioudakis, Dimitris; Sitaridou, Ioanna; Sitaridou, Ioanna [0000-0003-4883-0436]In this paper we revisit and revise the typology of multiple questions and multiple wh-fronting (MWF) in the light of data from Romeyka, a Greek variety spoken in Pontus, Turkey, and from another Pontic Greek variety spoken in northern Greece. Both varieties provide evidence for wh-fronting as focus movement, their most striking feature being the availability of single-pair interpretations in spite of strict Superiority. It turns out that the parametric system deriving the space of variation in multiple wh-fronting must be extended to accommodate the facts presented here, which seem to instantiate a further type of MWF (with a corresponding type of non-MWF languages), not predicted by the existing typology. At the same time, put in a cross-linguistic perspective, the Romeyka facts may help us uncover independent restrictions on the possibilities that this parametric system makes available. We propose that the availability of peripheral positions and their activation in the left or low periphery may be a point of parametric variation. Furthermore, still complying with Bošković’s (2007) theory of Attract-1/all, certain Focus heads can be Attract-1, thus deriving the compatibility of Superiority with single pair readings. Finally, we present some speculations about a potential correlation between word order/head directionality in the clausal domain and the kind of information structure-related head (e.g. Topic vs. Focus) that can take on an Attract-1 feature.Item Open Access Paratextual subversion: Herrera and his poetry in the anotaciones(Informa UK Limited, 2015-06) Lennon, PJ; Lennon, Paul [0000-0002-7025-9961]The year 1580 saw the publication of the Anotaciones a las obras de Garcilaso de la Vega by the critic and poet Fernando de Herrera (c. 1534–97). This study develops previous scholarship on the paratextual strategies employed by Herrera, especially with regard to the inclusion of his own poetry within the Anotaciones. Two Garcilasian sonnets, ‘D’aquella vista pura i ecelente’ (VIII) and ‘Si para refrenar este desseo’ (XII), in conjunction with Herrera’s poetic responses, lie at the heart of this investigation, representing two respectively dominant cultural currents of the period: Neoplatonism and Classical mythography. It will be shown how Herrera exploits Counter-Reformation attitudes towards secularity and mythography to engage in a critique that goes deeper than the attacks previously noted by Navarrete’s 1991 study. Indeed, Herrera’s lyric occupies a central role in a complete re-evaluation of Garcilasian lyric that not only moves to subvert the supremacy of the Toledan but also the hegemonic rule of intellectuals from Castile. Herrera presents himself as a learned Andalusian model for Neoplatonic poetics and as the model for imitation for Spanish letters in the wake of the Counter-Reformation. En 1580 el poeta y crítico Fernando de Herrera (c. 1534–97) publicó sus Anotaciones a las obras de Garcilaso de la Vega. Este artículo desarrolla estudios anteriores sobre esta obra en relación con las estrategias paratextuales empleadas por Herrera, sobre todo por lo que respecta a la inclusión de su propia poesía en el texto de las Anotaciones. Este trabajo se centra en dos sonetos de Garcilaso, ‘D’aquella vista pura i ecelente’ (VIII) y ‘Si para refrenar este deseo’ (XII), en conjunción con otros tantos textos poéticos de Herrera, teniendo en cuenta sus deudas con dos corrientes culturales contemporáneas: el neoplatonismo y la mitología clásica. Las actitudes hacia el amor neoplatónico y la mitología fueron explotadas por Herrera de una manera más profunda de lo que se suele creer. En efecto, la poesía de Herrera ocupa un papel central en la reevaluación completa de Garcilaso que no sólo subvierte la posición del poeta en el canon literario sino también la hegemonía de los intelectuales de Castilla. Herrera se presenta como un andaluz sabio y defensor de la poesía neoplatónica y como el modelo de referencia para la imitación poética en la nueva era que se abre con la Contrarreforma.Item Open Access Accepted version Peer-reviewed Sources, Syncretism, and Significance in Calderón’s El divino Orfeo (c. 1634)(Project MUSE, 2016) Lennon, Paul Joseph; Lennon, Paul [0000-0002-7025-9961]Calderón de la Barca’s El divino Orfeo (c.1634), first published by Pablo Cabañas in 1948, makes use of a mytho-allegorical narrative to tell the story of the creation, fall, and redemption of humankind. This study offers fresh insights into Calderón’s handling of the mythological sources used in the creation of his Christian allegorical play beyond the eponymous Orpheus and Eurydice. Specifically, I focus upon Calderón’s interaction with four additional mythological episodes: creation from Book 1 of Ovid’s Metamorphoses, Orpheus in the Garden of the Hesperides, the abduction of Proserpina, and the entry of Aeneas and the Sibyl of Cumae into the Underworld in Book 6 of Virgil’s Aeneid. These myths are shown to form part of a syncretic a lo divino allegorical drama that recognises the importance of select pagan texts as valuable contributors to our comprehension of key issues in Christianity, such as the immortal soul, the culpability of humankind for Original Sin, and Christ’s dual nature as mortal and divine. Within this syncretic narrative, I explore Calderón’s use of symbols common to both traditions as a means to engineer challenging new perspectives from which an educated courtly audience could explore the mysteries at the heart of this religious drama.Item Open Access 'Las partes donde Amor el cetro tiene': Uncanonical Love in Francisco de Aldana's 'Medoro y Angélica'(Informa UK Limited, 2015-04-21) Lennon, PJ; Lennon, Paul [0000-0002-7025-9961]Francisco de Aldana has been called a ‘forgotten poet’ of Spain's Golden Age perhaps owing to poems, such as ‘Medoro y Angélica’, which continue to challenge attempts at definition and categorization. These difficulties could be attributed to the tension between the poem's inherent sensuality juxtaposed against the legacies of Petrarch and Neoplatonism that are also clearly present. This article examines Aldana's focus on Angélica: his reshaping of common descriptive tropes to produce a hybrid text that seemingly acts as a means to pass off material perhaps considered too risqué by the reader, while it introduces the idea of a successful and loving physical relationship between the lovers. This is made possible by the use of techniques that engender distance between the reader and any perceived erotic content, such as linguistic play and theatricality. The result is the presentation of a hybridized uncanonical vision of love by Aldana that sits in opposition to the ideals of contemporary love lyric.Item Open Access Stillborn Texts and Barren Imaginaries in Leopoldo Alas’s Su único hijo (1891)(Project MUSE, 2014-12) Cameron, BryanThis article centers on the paternal and creative crises that afflict the protagonist of Leopoldo Alas’s second novel Su único hijo (1891). Scrutinizing Clarín’s literary and ideological output from the era, I argue that the novel’s obsession with procreation and production articulates concerns for the state of Spanish narrative in the last two decades of the nineteenth century. For Bonifacio Reyes, the failure to compose a literary masterwork portends the paternal illegibility that dominates the novel’s final moments as Emma Valcárcel’s son is left with two possible fathers instead of one. For Alas, who spent the latter half of the 1880s sifting through the wreckage of romanticism, realism, and naturalism in an effort to craft a hybrid aesthetic form that could serve as an avatar for a new wave of Spanish novelists (and solidify the success of La Regenta , 1884-85), Su único hijo evinces an attempt to revive national narrative in the final decades of the nineteenth century. Ultimately, if the son (as text) represents a symbolic asset for the expectant father/author, both in terms of socio-economic capital and the consolidation of familial lineage, the ironic promise made by the novel’s title ensures a world in which all signs of paternity and authority are effectively destabilized.Item Open Access Spain in crisis: 15-M and the culture of indignation(Informa UK Limited, 2014-04-03) Cameron, BryanItem Open Access “Como pella a las dueñas, tomelo quien podiere”: anacronismo y representación en las adaptaciones cinemáticas del Libro de buen amor dirigidas por Tomás Aznar y Jaime Bayarri(Ayuntamiento de Alcalá la Real/Instituto Cervantes, 2015) Drayson, EAItem Open Access Reinventing the Legend of King Roderick: Gertrudis Gómez de Avellaneda’sEgilona(Informa UK Limited, 2014-11) Drayson, ElizabethThis article explores the little-known play Egilona penned in 1845 by the talented Cuban writer Gertrudis Gómez de Avellaneda, renowned for her poetry, novels and letters yet virtually unrecognized as a playwright. The play's source of inspiration is the legend of King Roderick and La Cava, in which the last Visigothic king of Spain's passion for the beautiful daughter of Count Julian, his governor in Ceuta, was deemed to have precipitated the Muslim invasion of Spain in 711. Gómez de Avellaneda joins three other women writers from different eras, Mary Pix, María Rosa Gálvez and Dana Broccoli, who all found literary inspiration in the Hispanic king's dramatic love affair. Yet the great originality of Avellaneda's drama lies in her innovative creation of the tragic figure of Egilona, the wronged wife of King Roderick, never before depicted as a protagonist in the reception of the legend. Its dramatic plot uncovers the complex issues of racial and religious marginalization which also characterize Avellaneda's prose works, as the depiction of her heroine boldly challenges issues of patriarchy and politics as pressing in the mid nineteenth-century as they were in the early middle ages.