Current Issue Article Abstracts
Volume 89, Number 4, Autumn 2021
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In addition to comprising an admonition against ingratitude (the traditional interpretation), Exemplum XI of the Libro del Conde Lucanor reveals a key ideological distinction in the book. It reveals a pronounced tension between the emerging world of lay intellectuals, the science of the so-called “Long Thirteenth Century,” and the Church, just when the conflict between them was being contested in universities and studia generalia throughout Christendom. When read in this larger cultural context, the exemplum discloses an awareness of the power of knowledge, and the struggle for its vigilance and ethical control, a theme disputed well beyond the death of Thomas Aquinas (1274), for whom knowledge should be regulated by a moral philosophy—a code of ethics or a deontology—that orders and disciplines the passions. In this fashion, Exemplum XI captures a decisive moment in the ethical socialization and secularization of knowledge, just as knowledge is recognized as a formidable instrument for good and evil.
Ser una y muchas: mujeres nómadas en Gavieras de Aurora Luque
Josefa Álvarez Valadés
In this paper we intend to study some of the female figures to which the poet Aurora Luque gives voice or with whom her poetic voice dialogues in her most recent collection of poems, Gavieras. Luque vindicates through them the power of writing to “translate” the world into verses where metapoetry reaches a starring role and in which the claim to freedom and “urgent enjoyment” is not forgotten in the face of the fragility of existence. And it will do so by evoking the figure of unique women of yesterday and today that converge, in turn, in the author herself. For its study we will draw on the theory of nomadic subjects by Rosi Braidotti.
This article focuses on the portrayal of soldiers in seven short stories by Clarín published between 1892 and 1896 as a narrative strategy to treat different uses of the term patria in the context of colonial struggle and territorial loss. These short stories break with the recurrent image of the idealized soldier to reveal the demagogical and doctrinaire sense of patriotería while contrasting it with the emotional and spiritual sense of patria. I argue that in his representation of the soldier, Clarín deploys social class components to forge a sense of fraternal solidarity among oppressed people to reach a higher identification with the Other. By establishing connections between the loss of the colonies and the eviction of the soldiers from their family homes in the metropole, the author problematizes the national allegory of the family.
“La Cuba Secreta” (1948) has been a germinal text for the study of exiled Spanish writer María Zambrano’s work on national, poetic, and subjective identity formation. In this essay, I focus specifically on the apego (attachment) she feels for Cuba in order to explore how affective relations, for Zambrano, could potentially avoid the violent hierarchies imposed by Enlightenment values. I analyze the sites where apego signals an intersubjective immersion as a mode of radically anti-Enlightenment relationality. However, while the sticky relation between Zambrano and the island might avoid Rationalism’s destructive subject–object boundaries, it is also tethered to the destruction of subjectivity occasioned by the island’s racial and colonial traumas. Ultimately, I suggest that Zambrano’s apego is a compelling example of relations for the field of Transatlantic Studies that wishes to avoid the hierarchies of modernity while still bringing to the surface the traumas and violence of racism and colonialism.
Before Pilar Miro’s famous filmic adaptation of The Dog in the Manger, Lope de Vega’s masterpiece had been successfully brought to the small screen in Soviet Russia. The Leningrad director Yan Frid’s 1977 musical comedy Sobaka na Sene (The Dog on the Hay), while almost unknown in the West, is considered a classic of Soviet cinema. This article explores the reasons behind the extraordinary popularity of this television film in relation to the Russian Lopean performance canon, as well as to the specific sociocultural conditions of the Stagnation era. I argue that, by prioritizing the issue of gender relations over the conflict of honor, Sobaka na sene managed to inscribe new cultural meanings in the story of the Countess of Belflor and her secretary and, therefore, to bring Lope’s play closer to the Soviet viewers of the late 1970s.
In 1927, the Spanish magazine La Gaceta Literaria published the well-known editorial entitled “Madrid, meridiano intelectual de Hispanoamérica,” which defended the need for Madrid to be the intellectual point of reference for Latin America. This same position, with a deep ideological charge, was also present at the base of another, lesser known but also very important, debate, the one promoted in the Iberian Peninsula with Portugal and Catalonia, territories which this publication directed by Ernesto Giménez Caballero approached with the interest of adding them to the cause of a centralist cultural policy with an inevitable seat in Madrid. Through the approach to Catalonia, by means of a supposed strategy of defense of the peninsular plurality, an orchestrated campaign was actually mounted based on the unbreakable unity of Spain, whose culture would be presented—although with equally negative results—to Portugal and Latin America, as a real possibility for opposing French international hegemony.
Dematerialization: Art and Design in Latin America by Karen Benezra (review)