Spanish, Portuguese and Latin American Studies - Journal articles

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Assessing the neoliberal Künstlerroman. 'Creative' self-realisation and the art world in Michael Cunningham's by Nightfall
(Routledge - Taylor & Francis Group, 2020-06-14) Garrido Castellano, Carlos; Ministerio de Ciencia, Innovación y Universidades
This article identifies fertile ground to explore the relationship between literature and neoliberalism in recent novels concerned with the analysis of the contemporary art system. Its main objective has to do with acknowledging the impact of artistic systems of valorisation and regulation in processes of self-definition and self-fulfilment taking place in broader spheres of the social. Simultaneously, the article also engages with the conditions of possibility of alternative art worlds. The article recognises the Künstlerroman form as a particularly suitable platform to understand the subsumption of literary production under neoliberalism. At the same time, it also acknowledges the potential of that form to articulate critical positionings against neoliberal reason while envisaging alternative futures.
Bodies of evidence, resistance and protest: Embodying the Spanish Civil War on the contemporary Spanish stage
(Liverpool University Press, 2017) Buffery, Helena
This article explores ways in which the Spanish Civil War has been represented and performed on contemporary Spanish stages, focusing analysis on three productions: Àlex Rigola's 2015 adaptation of Incerta glòria by Joan Sales; Joan Ollé's 2014 adaptation of Mercè Rodoreda La plaza del Diamante; and Carme Portaceli's 2015 adaptation of Carmen Domingo's Només són dones/Solo son mujeres. I use one of the most emblematic plays to construct and explore a space for memory of the Spanish Civil War, José Sanchis Sinisterra's ¡Ay, Carmela! (1987), to investigate a shift in emphasis from the urge to create a space for memory to concern with how the often traumatic memories of the war and its aftermath are inscribed corporeally. I argue that in the context of contemporary discursive practice about the Spanish Civil War, the direction theatrical explorations are taking presents an opportunity for innovative reflection on the way we look at bodies in relation to events of collective violence and trauma, centring not only on the search for the bodies of the dead but also on ways in which living bodies continue to be marked by and transmit the impact of these events into the future.
Bottom-up creativity and insurgent citizenship in “Afro Lisboa”: Racial difference and cultural commodification in Portugal
(SAGE Publications, 2020-08-13) Garrido Castellano, Carlos; Raposo, Otávio
This article analyzes recent audio-visual creativity by young Afrodescendants emerging out of the outskirts of Lisbon. We argue that those cultural productions are challenging unproblematic identifications of the Portuguese capital as a multicultural city shaped by African communities. Responding to issues of racism, police violence, and urban marginalization, but also to celebratory views of Portuguese society as exempt of racial discrimination, the communities inhabiting the neighborhoods of Cova da Moura and Quinta do Mocho are employing creative means to develop a positive identification of afro-diasporic communities. Engaging those means, this article places bottom-up creativity side by side to the activity of Lisbon cultural institutions such as museums and contemporary art centers. It also addresses the relevance of visual and musical creativity to counter the stereotypes and images frequently used to categorize racialized subjects and communities in Portugal. Finally, it explores the strategies employed by the residents of the above mentioned neighborhoods to struggle against the process of cultural gentrification Lisbon is going through.
Creating a ‘third space’ through narration in Mercedes Valdivieso’s Maldita yo entre las mujeres
(Liverpool University Press, 2019) Broderick, Céire
This article applies Homi K. Bhabha’s theory of the Third Space (2004) to an analysis of the narrative structures employed by Mercedes Valdivieso in Maldita yo entre las mujeres (1991). Considering the representation of genders and ethnicities in this historical novel set in the seventeenth century, it argues that Valdivieso’s fragmented, cyclical and oneiric narrative reflects the complex forms of identities illustrated in the novel. These identities contradict the definitions promoted by the European patriarchal society of the time. They are incomplete and under constant negotiation. It is argued here that in the reconstruction of the infamous historical figure, Catalina de los Ríos y Lisperguer, Valdivieso creates a ‘third space’ through these narrative techniques, and in so doing, allows for heterogeneous, nuanced permutations of identities to be constructed.
Emma Wolukau-Wanambwa: Disposable memories in Uganda
(Duke University Press, 2020-11-01) Garrido Castellano, Carlos
This article explores the capacity of visual arts to deal with transnational, multidirectional processes of remembering and spatial redefinition. Through analyzing two sets of work by Emma Wolokau-Wanambwa that address the tradition of formal art training at Makerere University and the aftermaths of the Second World War in Africa, respectively, the article touches on issues of art education, the production of historical meaning, and the role of cultural institutions in Uganda. It also examines the complex entanglement between colonial legacies and postcolonial and neoliberal systems of value, revealing the value of artistic research to reveal subversive alternatives to those articulations.
Insurgent bodies in cultural responses to reproductive justice in Chile and Ireland
(John Wiley & Sons, Inc., 2022-10-12) Broderick, Céire
Transnational solidarity and comprehensive critiques of colonial legacies and patriarchal systems united the cultural responses created during the campaigns for reproductive justice in Ireland and Chile in 2018. This article considers the performance piece ‘Abortistas’ by the Yeguada Latinoamericana in Chile and the poem ‘Granuaile’ by Róisín Kelly in Ireland. Taking a decolonial feminist approach, this comparative study explores the interstices of art form and geopolitically distinct territories to examine how the creative practitioners' discursive construction of insurgent bodies aids critique of the lived experiences of women and pregnant people under the restrictive reproductive laws of both countries.
Melchor Cano and the spirituality of St. Ignatius Loyola: The Censura y parecer contra el Insituto de los Padres Jesuitas
(Brill Academic Publishers, 2017) O'Reilly, Terence
The leading critic in Spain of the early Society of Jesus and its founder was the Dominican theologian Melchor Cano, who believed that the spirituality of Ignatius and his companions was a form of illuminism. During the 1550s he set out his reasons for thinking this in his Censura y parecer contra el Insituto de los Padres Jesuitas, a document he intended to show to the pope. It survives in a number of manuscripts, one of them in the British Library in London. The present article traces the history of the text, which was long considered lost, and examines its portrayal of Ignatius, the Spiritual Exercises, and the Society. It concludes with a critical edition of the British Library manuscript.
Multiple exposures: moving bodies and choreographies of protest in contemporary Catalonia
(Simon Fraser University, 2018-11) Buffery, Helena
This article explores the significance of the moving body in contemporary Catalan culture, specifically by reading cross-disciplinary reframing of the dancer’s body in relation to the increasing deployment and visibility of choreographies of protest (Foster 2003) in urban social movements, demonstrations and public assemblies such as those galvanized by the pro-Independence movement. After careful consideration of the relationship between dance and genealogies of protest in Catalonia, the article will outline the different ways in which contemporary dance has interacted with contemporary Catalan theatre culture, before going on to focus more closely on disentangling the different aesthetic, political, and ethical rationale and effects of the recent mobilization of the dancer’s body beyond the spaces of the contemporary dance circuit. Reflecting on how the dancer’s body functions in three recent (2014–2017) shows witnessed in Barcelona—Àlex Rigola’s adaptation of Joan Sales’s novel Incerta Glòria (Uncertain Glory) at the Teatre Nacional de Catalunya, Carme Portaceli’s staging of the testimonies of women victims of Francoist violence during and after the Spanish Civil War, as recovered and reframed by feminist historian Carme Domingo, in Només són dones/Solo son mujeres (They’re only Women) at the Josep Maria de Sagarra theatre in Santa Coloma de Gramenet, and Sol Picó’s collaborative, processual work with women dancers and musicians of diverse cultural origins in WW–We Women at the Mercat de les Flors—I aim to articulate how they function as choreographies of protest: plotting the different modes of subjectivation enacted and their relationship to narratives of individual, social and cultural vulnerability, precarity and trauma in the contemporary Catalan space.
Of HIJOS and Niños - Revisiting postmemory in post-dictatorship Uruguay
(Indiana University Press, 2014-09) Levey, Cara
Focusing on the case of post-dictatorship Uruguay, this article reconsiders the term “postmemory,” coined by Marianne Hirsch to describe the transmission of memory from Holocaust survivors to their children about events that preceded their birth. It examines two groups: HIJOS, comprised of the offspring of the dictatorship’s victims, who were babies and young children during the dictatorship, and Niños en Cautiverio Político, whose members were imprisoned with their mothers as infants or born in captivity. Analysis of these contrasting organizations elucidates postmemory’s complexity, revealing the broad spectrum of experiences it encompasses and the role of external factors in the construction of memory.
Ryder Meets Bourriaud. Kazuo Ishiguro's The Unconsoled and the contradictions of "Creative Capitalism"
(Taylor & Francis, 2019-11-08) Garrido Castellano, Carlos
Kazuo Ishiguro’s The Unconsoled (1995) has been interpreted from multiple perspectives, with some critics highlighting the psychoanalytical and oneiric side of the novel while others focus on spatial and social elements. Engaging with all of these approaches, in this article I argue that Ishiguro’s fourth novel is eloquent of the main shifts in 1990s esthetics and cultural production. More specifically, in Ryder, the main character of The Unconsoled, it is possible to identify a relational artist who invests in dialogical exchange and social collaboration as creative strategies. From this perspective, I relate The Unconsoled to the emergence of relational esthetics and the so-called “social turn” in contemporary art. At the same time, however, I identify in The Unconsoled an interest in questioning the principles of contemporary collaborative artistic practices, defining consolation and social engagement as the complex yet unavoidable horizon of contemporary cultural production.
Situating memory(ies) and promoting public pedagogy in Al sur de la Alameda: diario de una toma
(Liverpool University Press, 2022-06-01) Broderick, Céire
Recently Chile has undergone significant socio-economic and geopolitical changes following efforts to forge sustainable pathways challenging disparities in power and wealth in the country. In 2006 secondary-school students launched the Penguin Revolution to protest inequalities in the educational system resulting from policies implemented during and after Pinochet's dictatorship (1973-1990) and to critique the cause of economic differences that allowed the wealthy to prosper and marginalized the poor. This article explores the contributions of the novel Al sur de la Alameda: diario de una toma (2014) to the memory-building exercise undertaken by the Penguin Revolution, situating it in the context of memory activism over the last thirty years. Furthermore, it examines the novelâ s promotion of public pedagogy in the context of its production, aligning it with the goals of the Penguin Revolution and argues that it is the polyphonic narrative and intermedial storytelling process that facilitate the novelâ s socio-historical contributions.

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