Current Issue Article Abstracts
Volume 86, Number 4, Autumn
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You can also find Hispanic Review's previous issue abstracts here.
A central feature of the narrative authority El Inca Garcilaso de la Vega constructs for himself in the Comentarios reales is his linguistic knowledge. As a native speaker of Quechua, Garcilaso is able to act as an interpreter—that is, a lengua—between the Andean and Spanish traditions to which he is heir. This article analyzes the forging of this authority in the first two works published by Garcilaso: his translation of the Dialoghi d'amore by Leone Ebreo (1590) and his history of the expedition led by Hernando de Soto to La Florida (1605). Although they pertain to very distinct genres, both of these works consider the nature and capacities of lenguas (the tongue, the interpreter), especially in relation to the eye. While in both philosophical and historiographical terms, the eye is the privileged organ, Garcilaso subtly refines this corporeal hierarchy and begins to shape the authoritative tongue that will become crucial in his later works.
In the graphic novel Las meninas (2014), Santiago García and Javier Olivares—writer and artist, respectively—tell, in words and images, the story of an enigmatic painting and painter. Moreover, García and Olivares build a paper museum inspired by Baroque logic: the painting within a painting; the exhibition of objects that question appearance; the promotion of an epistemological reflection of reality; and the presentation of a space of dialogue with a wide network of connections: combinations of shapes, colors, lights, and shadows. The graphic novel—a genre that became popular at the end of the 20th century—blends perfectly with the Baroque period, characterized by syncretism (the convergence of different genres), eclecticism (multiple theories, styles, or ideas), and decorazione assoluta.
Emboldened by their success in the Spanish Civil War (1936–1939), Nationalist ideologues sought to revitalize the stagnant Spanish theater and promote values associated with the newly formed authoritarian regime. The memory and restaging of seventeenth-century comedias became a crucial part of this project that focused particularly on Lope de Vega's Fuente Ovejuna, a history play that dramatizes a village's fifteenth-century rebellion against a tyrannical overlord. The definitive performance of Fuente Ovejuna during the early years of Franco's dictatorship, a production directed by Cayetano Luca de Tena at the Teatro Español in 1944, represented the culmination of the right's struggle to regenerate the theater. By adopting a fascist aesthetic and reinforcing the regime's political legitimacy through history, Luca de Tena's production captured its contemporary moment and signaled a possible solution to the theatrical crisis, one that blended historiography, aesthetics, and politics.
Focusing on melodramatic elements and female relationships in Asunción Izquierdo Albiñana's 1938 novel, this study argues that the agonistic excesses in the work foster consideration of and encourage struggle over conceptions of gender roles, matrimony, and agency. The title protagonist, Andréϊda, challenges a strict binary gender division through her dramatically portrayed mechanistic self-construction and in the way questions of desire relate to the control of that construction. Further, through both a brief, trenchant epilogue and a complementary plot arc that involves sensationalist portrayals of heterosexual relationships, the novel disrupts the narrative framing of marriage and imagines a more egalitarian arrangement. Finally, the homosocial relations between the female characters themselves also contribute to a conception of agency that seeps beyond the heroic individual to proffer a more diffuse, modest, and quotidian activism to achieve change. Theoretical work by Peter Brooks, Jesús MartínBarbero, Laura Podalsky, and Sharon Marcus informs this analysis.
Durante la Guerra Civil española, los sublevados convirtieron el cuerpo de las mujeres republicanas en un espacio de represión. Uno de los castigos que mejor simboliza el carácter sexuado de esta violencia fue el de raparles la cabeza y obligarlas luego a pasear por el espacio público. La humillación a la que se vieron sometidas se acentuaba con las fotografías que los represores tomaban y difundían después de trasquilarlas, a modo de trofeos de guerra. Sin embargo, estas imágenes han sido resignificadas en las películas de ficción Pelonas (Ramón de Fontecha y Laly Zambrano, 2003) y De tu ventana a la mía (Paula Ortiz, 2011), y en los documentales Gerrako garrak Oñatin (colectivo Gogoratu Guran Taldea, 2011) y Guillena 1937 (Mariano Agudo, 2013). El artículo se propone dilucidar los modos con los que estos filmes logran, mediante distintas estrategias narrativas y desde una clara perspectiva de género, vindicar, dar voz y dignificar a unas mujeres que en otro tiempo fueron brutalmente deshumanizadas.
pp. 525 - 527
pp. 529 - 531