Spanish, Portuguese and Latin American Studies - Journal articleshttps://hdl.handle.net/10468/49102024-03-29T05:54:15Z2024-03-29T05:54:15Z161Assessing the neoliberal Künstlerroman. 'Creative' self-realisation and the art world in Michael Cunningham's by NightfallGarrido Castellano, Carloshttps://hdl.handle.net/10468/103672023-04-04T12:54:45Z2020-06-14T00:00:00Zdc.title: Assessing the neoliberal Künstlerroman. 'Creative' self-realisation and the art world in Michael Cunningham's by Nightfall
dc.contributor.author: Garrido Castellano, Carlos
dc.description.abstract: 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.
2020-06-14T00:00:00ZBodies of evidence, resistance and protest: Embodying the Spanish Civil War on the contemporary Spanish stageBuffery, Helenahttps://hdl.handle.net/10468/144522023-05-11T02:02:08Z2017-01-01T00:00:00Zdc.title: Bodies of evidence, resistance and protest: Embodying the Spanish Civil War on the contemporary Spanish stage
dc.contributor.author: Buffery, Helena
dc.description.abstract: 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.
2017-01-01T00:00:00ZBottom-up creativity and insurgent citizenship in “Afro Lisboa”: Racial difference and cultural commodification in PortugalGarrido Castellano, CarlosRaposo, Otáviohttps://hdl.handle.net/10468/142592023-04-04T12:54:47Z2020-08-13T00:00:00Zdc.title: Bottom-up creativity and insurgent citizenship in “Afro Lisboa”: Racial difference and cultural commodification in Portugal
dc.contributor.author: Garrido Castellano, Carlos; Raposo, Otávio
dc.description.abstract: 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.
2020-08-13T00:00:00ZCreating a ‘third space’ through narration in Mercedes Valdivieso’s Maldita yo entre las mujeresBroderick, Céirehttps://hdl.handle.net/10468/84122023-04-04T12:54:50Z2019-01-01T00:00:00Zdc.title: Creating a ‘third space’ through narration in Mercedes Valdivieso’s Maldita yo entre las mujeres
dc.contributor.author: Broderick, Céire
dc.description.abstract: 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.; En este artículo se aplica la teoría de Homi K. Bhabha, el Tercer Espacio (2004), a una análisis de las estructuras narrativas de Mercedes Valdivieso en Maldita yo entre las mujeres (1991). Al considerar la representación de géneros y etnicidades en esta novela histórica ambientada en el siglo XVII, se afirma que la narrativa fragmentada, cíclica y onírica de Valdivieso refleja las formas complejas de las identidades ilustradas en la novela. Estas identidades contradicen las definiciones que promueve la sociedad europea patriarcal del período histórico; están incompletas y siempre en continua evolución. Se declara que en su reconstrucción de la figura infame histórica, Catalina de los Ríos y Lisperguer, Valdivieso crea un ‘tercer espacio’ a través de esas técnicas narrativas, y, al hacerlo, permite la construcción de unas identidades heterogéneas y matizadas.
2019-01-01T00:00:00ZEmma Wolukau-Wanambwa: Disposable memories in UgandaGarrido Castellano, Carloshttps://hdl.handle.net/10468/108412023-04-04T12:54:43Z2020-11-01T00:00:00Zdc.title: Emma Wolukau-Wanambwa: Disposable memories in Uganda
dc.contributor.author: Garrido Castellano, Carlos
dc.description.abstract: 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.
2020-11-01T00:00:00ZIn process: The Catalan independence movement in on-stage translationBuffery, Helenahttps://hdl.handle.net/10468/156482024-03-27T08:25:25Z2019-09-21T00:00:00Zdc.title: In process: The Catalan independence movement in on-stage translation
dc.contributor.author: Buffery, Helena
dc.description.abstract: This article focuses on aesthetic responses to what has come to be called “El Procés”, tracing different ways in which the recent evolution of nationalist politics in Catalonia has been represented on contemporary Catalan stages (including the Teatre Lliure, the Teatre Nacional de Catalunya, the Biblioteca de Catalunya and the Teatre Romea) through works by dramatists such as Sergi Belbel, Victoria Szpunberg, Narcís Comadira and Marc Rosich, and directors such as Lluís Pasqual, Xavier Albertí, Joan Yago and Oriol Broggi. After reflection on the limitations of dramatic forms for mediating the complexity of debates and positionings, alongside the ambivalent deployment and treatment of the theatrical in relation to the Catalan Independence movement, I go on to analyse different ways in which the sociopolitical trajectory of the pro-independence movement has been represented or re-framed on stage, ranging from attempts by Catalan dramatists to provide a space for negotiation of the velocity and impact of socio-cultural change, the use of on-stage translations from other, international contexts to mediate and reflect critically upon the local case for and against secession, to ephemeral experiments with documentary theatre in order to explore alternative ways of performing the relationship between the personal and the political. Placed in counterpoint with the overarching politics of framing and translation generated in the build-up to 1 October 2017 and its aftermath, these stagings emerge as dynamic environments of memory for past and more recent cultural trauma narratives.
2019-09-21T00:00:00ZInsurgent bodies in cultural responses to reproductive justice in Chile and IrelandBroderick, Céirehttps://hdl.handle.net/10468/138502023-04-04T12:54:39Z2022-10-12T00:00:00Zdc.title: Insurgent bodies in cultural responses to reproductive justice in Chile and Ireland
dc.contributor.author: Broderick, Céire
dc.description.abstract: 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.
2022-10-12T00:00:00ZInto the Woods: Translation and the transnational transmission of trauma on minority language stagesBuffery, Helenahttps://hdl.handle.net/10468/156462024-03-27T08:19:35Z2022-02-25T00:00:00Zdc.title: Into the Woods: Translation and the transnational transmission of trauma on minority language stages
dc.contributor.author: Buffery, Helena
dc.description.abstract: This article approaches contemporary Catalan theatre as a translation zone, in which subjective limits are negotiated and identities (dis)articulated in the process. Focusing on works directed by Calixto Bieito and Oriol Broggi, who, despite their many differences, are known for engaging with interlingual and intercultural translation in the creative process, often beckoning overt reflection on the relationship between languages, environment and identity, the article excavates what three particular plays, Forests (2012), Incendis (2012) and Boscos (2017), all based on translations from more hegemonic languages, reveal about the place of minority languages on the global stage and about looking at the world from a minority-language perspective. In so doing, the article seeks to go beyond the more optimistic and celebratory readings of previous work on Catalonia-in-translation and to attend to the ways in which the asymmetries faced by minority languages in multilingual settings result in, or are experienced as loss, violence and/or trauma. Via diverse processes of translation, languages such as Catalan provide sensitive lenses for the transmission of narratives of transnational trauma, as a direct result of the daily negotiations of place, relatedness and resilience that they demand for survival. The title of the article, “Into the woods,” is intended to be read both literally and figuratively, in recognition of the increasing attention to eco-critical and environmental concerns in contemporary Catalan theatre and of the ways in which renewed attention to ecological survival often goes hand in hand with a commitment to language ecology. On a more figurative level, the article follows the cues provided by the metaphorical wordplay about woods and trees in the reception of Bieito’s Forests and Broggi’s Boscos in order to address the question of what the fact of different languages enables and prevents us from seeing—and what we can learn from making the effort to look at the world multilingually from the perspective of a minority language speaker.
2022-02-25T00:00:00ZJoan Maragall in English: Afterlives, "sur-vival" and retranslationBuffery, Helenahttps://hdl.handle.net/10468/156412024-03-27T08:20:48Z2023-12-01T00:00:00Zdc.title: Joan Maragall in English: Afterlives, "sur-vival" and retranslation
dc.contributor.author: Buffery, Helena
dc.description.abstract: This article traces and analyses Joan Maragall's poetic legacy in English via a consideration of the ways in which his works have been translated and retranslated (with certain poems, such as the "Cant espiritual" and "La vaca cega" having merited multiple versions) over the past hundred years. Through a chronological survey of translations from the 1920s up to the most recent anthologies by Michael Odon (Count Arnau & Other Poems, 2017) and Ronald Puppo (One Day of Life is Life, 2020), I set out to uncover the version of Maragall that was able to travel in each period, as well as establishing and elucidating the particular interpretations of his work found in each of the nineteen different translators, reading each of the different versions as events in translation history. This is followed by closer theoretical analysis from the perspective of recent debates in retranslation history, drawing in particular on deconstructive readings of Walter Benjamin's "Task of the Translator" that posit the need to go beyond narratives of teleological progress to consider the relationship between the original and subsequent translations in terms of afterlives, sur-vival, differance and textuality. The article ends by placing translations of "L'oda infinita", El Comte Arnau and the "Cant Espiritual" in dialogue as retranslation constellations that provide multiple insights into the Maragallian text.
Aquest article ressegueix i analitza el llegat poètic de Joan Maragall en llengua anglesa mitjançant consideració de la manera en què la seva obra ha estat traduïda i retraduïda (perquè d’alguns poemes, com el «Cant espiritual» i «La vaca cega», existeixen múltiples versions) al llarg del darrer segle. Començant amb una revisió cronològica de les traduccions produïdes entre els 1920s i les antologies més recents de Michael Odon (Count Arnau & Other Poems, 2017) i Ronald Puppo (One Day of Life is Life, 2020), s’intenta esbrinar la versió del poeta català que va conseguir mobilitzar-se en cada període, a més d’establir i elucidar les interpretacions particulars que en fan els 19 traductors tractats. En aquesta primera part, cada una de les versions és llegida com a esdeveniment singular en la història de la traducció. La segona part de l’article se centra en l’anàlisi dels textos des de la perspectiva de la retraducció, entrant en diàleg amb aproximacions recents que parteixen de lectures deconstructives del famós article de Walter Benjamin, «La tasca del traductor», per proposar la necessitat d’anar més enllà dels relats historiogràfics de progrés teleològic per llegir la relació entre original i traduccions subsegüents en termes de vides pòstumes (afterlives en anglès), sobre-vivència, diferència i textualitat. Centrant-nos en les diferents versions angleses de «L’oda infinita», El Comte Arnau i el «Cant espiritual», en proposem una lectura que les posa en relació, com a constel·lacions de re-traducció que ens ofereixen una multiplicitat de perspectives sobre el corpus maragallià.
2023-12-01T00:00:00ZMelchor Cano and the spirituality of St. Ignatius Loyola: The Censura y parecer contra el Insituto de los Padres JesuitasO'Reilly, Terencehttps://hdl.handle.net/10468/48752023-04-04T12:54:53Z2017-01-01T00:00:00Zdc.title: Melchor Cano and the spirituality of St. Ignatius Loyola: The Censura y parecer contra el Insituto de los Padres Jesuitas
dc.contributor.author: O'Reilly, Terence
dc.description.abstract: 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.
2017-01-01T00:00:00Z