Juan Carlos Castillo: La sintaxias de las relaciones de contenedor-contenido.
Luis A. Gómez: Asomos de la narrative en la Égloga III de Garcilaso.
Nelson R. Orringer:Absurd Un-forgetting in García Lorca's 'La viuda de la luna'.
Eduardo Guízar-Álvarez: El marimacho en Camino de perfección de Pío Baroja y El viaje a París de Margarita Nelken.
Denise DiPuccio: Sensory Perceptions of the Conquest in Crespo Paniagua's ¡Cuidado . . . que viene España!.
Brent J. Carbajal: Controlled Chaos: Military Dictatorship in Osvaldo Soriano's Cuarteles de invierno.
Michael Colvin: José Donoso's Mitigated Creative Acts: The Role of the Literary Agent and the Consumer in the Cosmopolitan Post-"boom" Novel.
Juli A. Kroll: The Post-Rational Femme-Vamp of Carmen Boullosa's Isabel.
Aldona Bialowas Pobutsky: Carnivalizing Communist Cuba: Sex and Excess in Zoé Valdés's Te di la vida entera.
Kathryn Quinn-Sánchez: Latina Feminists in the Ivory Tower: Theorizing and Contesting Space.
Yosálida C. Rivero-Moreno: Almodóvar y el melodrama de Hollywood: Historia de una pasión by Jesús Rodríguez
Óscar Martín: Sueño y ensueños en la Literatura Castellana Medieval y del Siglo XVI by Julián Acebrón Ruiz
Juan Carlos Castillo, University of Northern Iowa
La sintaxis de las relaciones de contenedor-contenido
The study describes the use of the prononominal address by the middle class in Bucaramanga, the largest and most important city of northeastern Colombia . The analysis of the corpus obtained from the speech of 70 participants included a correlation between the use of the variable with the social factors of gender and age. Results show that tú does not carry the common meaning of familiarity and solidarity of other Hispanic dialects, and speakers of all age groups favor usted in most situations. Su merced, a pronoun which has disappeared from Hispanic varieties, is often used by speakers to denote respect and tenderness.
Luis A. Gómez, La Salle University.
Asomos de la narrativa en la Égloga III de Garcilaso
Este estudio subraya los elementos estructurales, temáticos, narratológicos, preceptivos y anti-preceptivos que son guiados por Garcilaso para establecer a la Égloga III como un innovador intento narrativo. En su propósito de novelar dentro de la estructura poética, el poeta utiliza la tradición clásica del "tejido o tapiz," al igual que la tradición popular-oral de las sergas. Ambas tradiciones van a prestar apoyo visual a las cuatro narraciones que la Égloga III contiene. Es una estrategia narrativa que utiliza el tapiz como referente visual de lo narrado y que se encuentra respaldada por la modalidad narrativa en tercera persona, así confirmando la presencia del narrador. La presencia del tapiz añade a la creación de una múltiple temporalización. Se crean entonces varios tiempos y espacios: el de las historias en los tapices; el de las ninfas que los tejen; el espacio del poeta que narra y, finalmente, el lugar donde estos elementos operan. En resumen, a un nivel proto-novelístico, Garcilaso compone una narración en la Égloga III que muestra conciencia de varios elementos narratológicos esenciales y que dan apoyo a su intento de novelar.
Nelson R. Orringer, University of Connecticut.
Absurd Un-Forgetting in García Lorca's 'La viuda de la luna'
García Lorca often plays at being remembered by posterity, savoring all the pleasures without risk of being criticized. The poet may not forget his effort, yet can prevent others from remembering it by keeping works unpublished in his lifetime. In this analysis of the posthumous ballad “La viuda de la luna,” I show how such non-forgetting provides a key to esthetic enjoyment here as well as in better-remembered subsequent works like Romancero gitano. A phenomenology of delightful fictitiousness comes to light in Lorca’s esthetics, as does the unrecognized impact of Oscar Wilde’s Salomé on his poetry.
Eduardo Guízar-Álvarez, Michigan State University.
El marimacho en Camino de perfección de Pío Baroja y El viaje a París de Margarita Nelken
Este ensayo estudia la representación del personaje marimacho en dos obras narrativas finiseculares de España, la novela Camino de Perfección de Pío Baroja y la novela corta El viaje a París de Margarita Nelken. Ambos textos tienen el propósito de buscar las asociaciones existentes entre las nociones culturales sobre la sexualidad y las clasificaciones del cuerpo en términos de género. La burla y la exageración sobre la masculinidad extrema de los movimientos del cuerpo del personaje marimacho tienden a señalar la marginación del personaje y, por lo tanto, descalificar la presencia homosexual. Pero como toda aporía (y esta lo es), la misma mención del personaje marimacho en la literatura anuncia la existencia de presencias desestabilizadotas de las categorías normalizadoras de género en la sociedad en la que se produce el texto.
Denise DiPuccio, The University of North Carolina at Wilmington.
Sensory Perceptions of the Conquest in Crespo Paniagua’s ¡Cuidado . . . que viene España!
¡Cuidado. . . que viene España! (1969) by Bolivian playwright, Renato Crespo Paniagua, deals with the Conquest of the Incan civilization. Several elements, however, set ¡Cuidado . . .! apart from other Spanish American plays that focus on the subjugation of American indigenous civilizations to Western European norms. The humorous tone of the play, the stage absence of the Spanish conquerors, and the metalinguistic commentary employed by the characters as they try to interpret the tumultuous events in which they participate grant ¡Cuidado . . .! a unique place in Conquest dramaturgy. Moreover, the metalinguistic elements of the play forge a bond between the characters and the spectators, two groups who share the desire to give meaning to the single-most interpreted event in the history of Latin America.
Brent J. Carbajal, Western Washington University.
Controlled Chaos: Military Dictatorship in Osvaldo Soriano’s Cuarteles de invierno
In this paper the author examines the thematic motif of chaos in Argentinean novelist Osvaldo Soriano’s Cuarteles de invierno . As a discursive element in the novel, chaos is seen in varied contexts such as hierarchical disjointedness, bacchanalian excess, and intentional manipulation of normally structured cultural events. Through his figurative portrayal of 1970’s Argentina and the “Proceso,” Soriano creates a symbolic narrative that constitutes an allegorical rendering of tactics employed by governing forces to reinforce their powers and manipulate the populace. The novel, in turn, then represents a subversion of institutional power and a chronicle of popular opposition to the regime.
Michael Colvin, Simmons College.
José Donoso’s Mitigated Creative Acts: The Role of the Literary Agent and the Consumer in the Cosmopolitan Post-“boom” Novel .
This article proposes that José Donoso frames his novella, Taratuta (1990) within its references to his novel, El jardín de al lado (1981) and his essay, Historia personal del “boom” (1972), in order to establish a dialogue between the three texts by way of deviation from the standard of the latter. Donoso guarantees recognition of the familiar repertoire of Taratuta by alluding to El jardín and Historia personal, with the objective of reexamining the nature of the author’s creative acts that exist in tandem with the goals of the publicity agent, who serves the reader/ consumer of the literature.
Juli A. Kroll, University of North Dakota.
The Post-Rational Femme-Vamp of Carmen Boullosa’s Isabel
Contemporary Mexican author Carmen Boullosa’s work in poetry, theater and narrative thematizes feminist and postcolonial issues through an evolution of increasingly complex, transgressive or social “misfit” female characters. Her 1993 novella “Isabel” links the author’s “feminist” work and her later socio-historical criticism, as its titular female vampire transgresses boundaries between desire and consumption before crossing geopolitical spheres, occupying large North American cities as she spreads an AIDS-like plague and contemplates what appears to be the death of the Cartesian subject.
Aldona Bialowas Pobutsky, Oakland University.
Carnivalizing Communist Cuba: Sex and Excess in Zoé Valdés’s Te di la vida entera.
This essay approaches the abundant corporeality of Zoé Valdés’s novel Te di la vida entera (1996) as a feminist antidote to the masculinist discourse of Cuban officialdom. The author’s grotesque depiction of various female bodies is read through Mikhail Bakhtin’s theories of the carnivalesque. I argue that Valdés’s bodily hyperbole is two-fold: she highlights the erotic physicality of pre-revolutionary Havana to underscore a harmonious exuberance, and carnivalizes it to denounce how the Communist regime debased this lushness into scatology. Ultimately, her sexualized female bodies possess regenerative powers, thus giving a matriarchal perspective to Cuba’s socio-political status quo.
Kathryn Quinn-Sánchez, Georgian Court University.
Latina Feminists in the Ivory Tower: Theorizing and Contesting Space
In this article, I apply Henri Lefebvre’s theory of Space to Telling to Live: Latina Feminist Testimonios. The latter work, written by a group of academics that represent a myriad of Latina identities and diasporas, when read in conjunction with Lefebvre’s, sheds light on the pervasive oppression (Space) with which the Latina academics struggle against in their attempts to define themselves. Through Lefebvre’s theory of Space, it is possible to view the relationship between The Latina Feminist Group and Space as hegemonic. The LFG outwardly defies the oppressive nature of Space and responds with a new counter-space based on their life histories/testimonios.
The Production of Space presents a theory about how Space functions mainly to oppress those considered less than ideal in order to control the possibility of true social change. Lefebvre believes that Space is so successful in its oppression because, although Space dominates every aspect of our lives, most of us are not consciously aware that in its many forms, it is a source of abuse and control (or the opposite of freedom).Within this theoretical framework of Space, it becomes apparent that the Latin Feminist Group’s work attempts to thwart the reproduction of this Space through their commitment to valuing themselves and each other.
In this article I discuss how the Latina Feminist Group’s testimonios serve to counter Space and its ability to reproduce itself. With the objective of subverting Space and its signifiers—patriarchy, capitalism and imperialism—the Latina Feminists have created a new way to produce theory (as a representation of space). Quite literally, through the use of testimonios, which required “creating comadreo, the Latin American/Latina tradition of kinship, reciprocity, and commitment” (15), these academics have redefined theory. In light of testimonio as theory, I will discuss the possible ramifications for Space and its purpose: oppressing those citizens considered less valuable.