Current Issue Article Abstracts

Volume 89, Number 2, Spring 2021 

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ARTICLES

 

¿A quién se dirige Diario de Djelfa, de Max Aub? Un análisis del destinatario lírico
Goretti Ramírez

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.


De reliquias fantasmagóricas: la fábula de Ángelo y Klaus o Tras el cristal (1986) como emblema de trauma
Carmen Moreno-Díaz

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.


Duelo, escritura de la vida y memoria en Canción de tumba (2011) de Julián Herbert
Iván Pérez Daniel

El artículo analiza la manera en que Canción de tumba (2011) de Julián Herbert articula el proceso de duelo por la muerte de su madre con el pasado político y el presente de violencia en el México de la así llamada "Guerra contra las drogas" ejecutada a partir del gobierno del Presidente Calderón (2006-2012). Con base en una lectura detallada y cercana de la novela, el estudio se centra en las representaciones del tiempo y el espacio. Como la mayor parte de la novela ocurre en espacios transicioneales o "no-lugares", según la noción de Marc Augé, se argumenta que el proceso de duelo es imposible producto de las masacres ocurridas en el contexto de esos años, y también por la alienación que sufre el narrador debido a la debilitada noción de comunidad. A partir de los planteamientos de Robert Pogue Harrison sobre los lugares y representaciones de la muerte y los ritos mortuorios, se argumenta que la novela ensaya una reconstrucción de la idea de comunidad a partir de la memoria colectiva acompañada de una puntual revisión crítica del pasado político en México.


Orphans of Orpheus: Music Lost and Regained in Spanish Golden Age Poetry
Lorena Uribe Bracho

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.


Posverdad como "superhistoria" de la Guerra Civil Española en El monarca de las sombras, de Javier Cercas
Sergio Restrepo Mesa

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.


REVIEWS

La huella del exilio en la narrativa de Xavier Benguerel (Francia 1939, Chile 1940–1952) by Carles Cortés Orts (review)
Jordi Cornellà Detrell


Immaculate Conceptions: The Power of the Religious Imagination in Early Modern Spain by Rosilie Hernández (review)
Laura Keyt


Despertarse de Europa: arte, literatura, euroescepticismo by Luis Martín-Estudillo (review)
Marta Manrique-Gómez