Current Issue Article Abstracts
Volume 88, Number 2, Spring 2020
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La Galatea (1585) by Miguel de Cervantes, as a libro de pastores that alternates the tale of fictional shepherds with the lyric verse they sincerely utter, is a book about lyric. As such, it explores a problem in lyric theory that is also touched upon in the novella "El curioso impertinente": the tension between lyric as fiction, or the mimesis of affect, and lyric as sincere outpouring, or the earnest communication of affect. In a subplot of La Galatea, the courtier Silerio disguises himself as a truhán or poet-for-hire as an allegory of an emerging kind of poet in the late sixteenth century, and in that capacity ends up praising the woman he secretly loves. This article reads La Galatea in light of key texts in lyric theory from Minturno and Torelli in the sixteenth century, to Hamburger and Smith in the twentieth, to Luján Atienza and Culler in the twenty-first.
Historia antigua de México (1780-1781) by Francisco Javier Clavigero represents a unique effort to systematize the pre-Columbian history of the Mexica, and to showcase their cultural achievements. This article argues that Clavigero intertwined in his historical narrative a concern about the education of natives in the viceroyalty of New Spain. In line with the pedagogical commitment of the Jesuits and the enlightened ideas of his time, he conceived education as the only means that would better allow Mexican natives to negotiate their positions within the structures of the Spanish colonial regime. Clavigero turned to pre-Columbian models to show that the Mexica had achieved the political and social welfare of their people through a solid system of domestic and public instruction. For the author, one could find examples worthy of imitation in the ancient history of Mexico.
Fernando Pessoa placed the brief and unfinished work of his master heteronym, Alberto Caeiro, at the center of his literary, philosophical and poetological oeuvre. Therefore, the edition and hermeneutics of Caeiro's texts are of fundamental importance to any interpretation of Pessoa's literary work as a whole. Thus, the five commented, and more or less critical editions that have been published during the last 25 years, require a critical evaluation. This study will focus primarily on the critical edition of Ivo Castro that was published in 2015, but it will also draw comparisons with the remaining four. It will be argued that all editions present incoherences with regard to their methodologies, and that they do not correspond in a satisfying manner to the challenges involved in the heteronymical process of Pessoa's creative practice. Consequently, a different method of reading and editing beyond the linear and orthotypographical genetic-critical traditions will be proposed. It will be argued that the unfinished character of Caeiro's text represents a paradigm of non-linear poetic language and poetics, which can be made extensible to the literary context of all heteronyms.
El vientre de la bestia: Crueldad, tiranía y tormento en la emblemática de los hermanos Covarrubias
José Manuel Pereiro Otero
Besides their emblematic texture, Emblemas morales (1589, 1591 and 1604), and Emblemata moralia (1601), by Juan de Horozco Covarrubias (c. 1545–1610), as well as Emblemas morales (1610), by Sebastián de Covarrubias Orozco (1539–1613), share a similar concern. Namely, certain emblems reveal an associative chain that links together the concepts of cruelty, tyranny and torture, a sequence that stresses the juxtaposition of the scope of the political to that of the juridical in any cruel act. In an implicit dialogue with political treatises like De rege et regis institutione (1599) by Juan de Mariana (1536–1624), and supported by both Greco-Latin and contemporary referents, these collections identify a particular problematic that characterizes the nexus between the 16th and 17th centuries, while participating in a transhistorical discourse that differentiates human beings from animals.
La Sagrada Familia de Max Aub: Campo cerrado, novela arquitectónica
Francisco León Rivero
Campo cerrado has been traditionally considered a realist and ethically engaged novel. This consideration may seem appropriate in light of the term galería ('gallery') with which it is characterized in the prologue and in the final pages. The term, nevertheless, allows us to open our reading of the text to a new interpretation that focuses on the architectural dimension of the work. In this essay, I first contextualize the architectural component within the urban experience (the city of Barcelona), and then approach a specific building whose presence turns out to be outstanding from an urbanistic and textual perspective: the basilica of the Sagrada Familia. Given its location in the urban landscape and the experience it evokes in the observer and main character (Rafael), the analysis of the building leads to conclusions that are applicable to the novel as a whole and contradict its initial characterization as a "gallery." Indeed, as I will demonstrate, Campo cerrado has a spatial structure buttressed by a discursive framework that is essential to a full understanding of the novel's message.
Beyond Human: Vital Materialisms in the Andean Avant-Gardes by Tara Daly (review)