Lenguaje político y giro panhispánico en el primer manifiesto del movimiento Poesía ante la incertidumbre

2021 ◽  
Vol 66 (4) ◽  
pp. 199-210
Author(s):  
Marisa Martínez Pérsico ◽  
Keyword(s):  
Vantage Point ◽  
Point Of View ◽  
First Century ◽  
Literary Analysis ◽  
Transatlantic Studies ◽  
Hispanic American ◽  
Spanish Poetry ◽  
Political Language ◽  
Transatlantic Literature ◽  
Theoretical Support

Political Language and Reflections on the Concept of Canon from a Transatlantic Perspective in the First Manifesto of the Movement POESÍA ANTE LA INCERTIDUMBRE. In this article I intend to examine the strengths of Panhispanic or Transatlantic Studies, which represent an appropriate line of research into and analysis of the current circumstances of literature written in Spanish, from a vantage point capable of observing the plurality of changes in the Hispanic-American poetics of twenty-first century works. First of all, I define what is traditionally understood as a literary canon and outline the theoretical support on which I rely to argue my point of view. Secondly, I add the notes of the critics who propose a Transatlantic literary analysis, that is, the ideas of Panhispanism, as a way of analyzing current poetic productions, which I exemplify with the Poetry Facing Uncertainty movement. Keywords: canon, Hispanic American – Transatlantic literature, Panhispanic studies, Spanish poetry, Poetry Facing Uncertainty

NEO-VICTORIAN STUDIES

2012 ◽  
Vol 40 (1) ◽  
pp. 339-346 ◽  
Author(s):  
Margaret D. Stetz
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Victorian Novel ◽  
Vantage Point ◽  
Point Of View ◽  
First Century ◽  
The Novel ◽  
Literary Genres ◽  
Victorian Studies ◽  
Remarkable Effect

Long ago, Margery Williams'sThe Velveteen Rabbit(1922) taught us that toys become real when they are loved. Literary genres, however, become real when they are parodied. The neo-Victorian novel, therefore, must now be real, for its features have become so familiar and readily distinguishable that John Crace has been able to have naughty fun at their expense inBrideshead Abbreviated: The Digested Read of the Twentieth Century(2010), where John Fowles'sThe French Lieutenant's Woman(1969) stands as representative of the type. Crace's treatment of Fowles's first-person narrator results in a remarkable effect: the ironic commentary upon the nineteenth century from a twentieth-century vantage point that runs throughout the novel gets subjected, in turn, to ironic commentary from a twenty-first-century point-of-view:

The Meaning of Pax

2017 ◽  
Author(s):  
Hannah Cornwell
Keyword(s):  
Interpersonal Relations ◽  
Prose Poetry ◽  
First Century ◽  
Political Language ◽  
Religious Dimensions ◽  
The Republic ◽  
Historical Writings ◽  
Relationship Of

This chapter examines the semantic range of the concept of pax, considering its place in the Roman imaginary alongside ‘associated concepts’ (particularly concordia, otium, bellum, and victoria). The traditional Republican meaning and uses of the term pax are examined in a variety of contexts (contemporary prose, poetry, historical writings, numismatics, and religious dimensions) in order to establish more precisely the conceptualization and meaning of pax within the conventional political language of the Republic. Whilst pax was used to describe a usually unequal relationship of power with either the gods or other civic entities, as well as interpersonal relations, it did not conventionally have a strong political presence in Roman thought prior to the first century BC.

scholarly journals Shakespeare for Revolution: From Canon to Activism in V for Vendetta and Sons of Anarchy

2020 ◽  
pp. 85
Author(s):  
Maria Consuelo Forés Rossell
Keyword(s):  
Popular Culture ◽  
Cultural Capital ◽  
Culturally Diverse ◽  
Social Inequalities ◽  
Point Of View ◽  
First Century ◽  
Cultural Activism ◽  
Political Struggles ◽  
Political Weapon ◽  
V For Vendetta

Shakespeare’s works have long been a place of cultural and political struggles, and continues to be so. Twenty-first century non-canonical fiction is appropriating Shakespeare for activist purposes. The present article will analyze this phenomenon, applying the concept of cultural capital, the theories of cultural materialism, intertextuality, and appropriation in relation to popular culture, in order to study how Shakespeare’s plays are being appropriated from more radically progressive positions, and resituated in alternative contexts. Among the plethora of Shakespearean adaptations of the last decades, non-canonical appropriations in particular offer brand new interpretations of previously assumed ideas about Shakespeare’s works, popularizing the playwright in unprecedented ambits and culturally diverse social spaces, while giving voice to the marginalized. Thus, through entertainment, non-canonical fiction products such as V for Vendetta and Sons of Anarchy recycle the Shakespearean legacy from a critical point of view, while using it as a political weapon for cultural activism, helping to make people aware of social inequalities and to inspire them to adopt a critical stance towards them, as free and equal citizens.

Reflecting the Nation: Costa Rican Cinema in the Twenty-First Century

2019 ◽  
pp. 113-180
Author(s):  
Liz Harvey-Kattou
Keyword(s):  
Costa Rica ◽  
Youth Culture ◽  
Costa Rican ◽  
Point Of View ◽  
First Century ◽  
San Jose ◽  
The Uncanny ◽  
Marginalised Groups ◽  
Twenty First Century ◽  
The City

This chapter argues that cinema has been the primary creative vehicle to reflect on national – tico – identity in Costa Rica in the twenty-first century, and it begins with an overview of the industry. Considering the ways in which film is uniquely positioned to challenge social norms through the creation of affective narratives and through the visibility it can offer to otherwise marginalised groups, this chapter analyses four films by key directors. Beginning with an exploration of Esteban Ramírez’s Gestación, it considers youth culture, gender, and class as non-normative spaces in the city of San José. Similarly, Jurgen Ureña’s Abrázame como antes is then discussed from the point of view of its ground-breaking portrayal of trans women in the capital. Two films shot at the geographic margins of the nation are then discussed, with the uncanny coastline the focus of Paz Fábrega’s Agua fría de mar and the marginalized Afro-Costa Rican province of Limón the focus of Patricia Velásquez’s Dos aguas.

scholarly journals A Useful, Delightful, and Good Reading: How Maria and Antonia Ponti Conceived a Library for Women

Collections ◽  
2018 ◽  
Vol 14 (3) ◽  
pp. 299-313
Author(s):  
Elisabetta Zonca
Keyword(s):  
Social Life ◽  
Public Libraries ◽  
Moral Values ◽  
Point Of View ◽  
Right Wing ◽  
Theoretical Support ◽  
The Status ◽  
Good Reading ◽  
Condition Of Women ◽  
Status Of Women

In the second half of 19th century, newborn Italy was invaded by innovative ideas supported by democratic, liberal, and socialist intellectuals who wanted to renew social life, economy, and moral values by spreading their ideas both in politics and in everyday life. Right-wing reaction used the same methods of communication and persuasion: the publication of journals and books and their promotion in reading cabinets and public libraries. Maria and Antonia Ponti, two upper-middle-class sisters who married into aristocracy, used their influence and resources to advance the status of women in society. They founded associations and libraries (in Ravenna, Imola, and Bergamo) with the theoretical support of a network of Italian intellectuals, including Cor-rado Ricci, Vilfredo Pareto, and Maffeo Pantaleoni. The philanthropic actions of the sisters, who combined their Catholic and conservative point of view with the improvement of the condition of women, have handed down a remarkable legacy in the form of books and a collection of laces.

DEATH BECOMES HER: ON THE PROGRESSIVE POTENTIAL OF VICTORIAN MOURNING

2013 ◽  
Vol 41 (4) ◽  
pp. 595-620
Author(s):  
Rebecca N. Mitchell
Keyword(s):  
Nineteenth Century ◽  
Social History ◽  
First Century ◽  
Literary Analysis ◽  
Fashion History ◽  
Sexual Liberation ◽  
Queen Victoria ◽  
Golden Jubilee ◽  
Progressive Potential ◽  
Black Rectangle

On the occasion of her Golden Jubilee, Queen Victoria was depicted in a woodcut by William Nicholson that was to become extremely popular (Figure 1). So stout that her proportions approach those of a cube, the Queen is dressed from top to toe in her usual black mourning attire, the white of her gloved hands punctuating the otherwise nearly solid black rectangle of her body. Less than thirty years later, another simple image of a woman in black would prove to be equally iconic: the lithe, narrow column of Chanel's black dress (Figure 2). Comparing the dresses depicted in the two images – the first a visual reminder of the desexualized stolidity of Victorian fidelity, the second image an example of women's burgeoning social and sexual liberation – might lead one to conclude that the only thing they have in common is the color black. And yet, twentieth- and twenty-first-century fashion historians suggest that Victorian mourning is the direct antecedent of the sexier fashions that followed. Jill Fields writes, for example, that “the move to vamp black became possible because the growing presence of black outerwear for women in the nineteenth century due to extensive mourning rituals merged with the growing sensibility that dressing in black was fashionable” (144). Valerie Mendes is more direct: “Traditional mourning attire blazed a trail for the march of fashionable black and the little black dress” (9). These are provocative claims given that most scholarly accounts of Victorian mourning attire – whether from the perspective of literary analysis, fashion history or theory, or social history or theory – offer no indication that such progressive possibilities were inherent in widows’ weeds. Instead, those accounts focus almost exclusively on chasteness and piety, qualities required of the sorrowful widow, as the only message communicated by her attire: “Widows’ mourning clothes announced the ongoing bonds of fidelity, dependence, and grieving that were expected to tie women to their dead husbands for at least a year” (Bradbury 289). The disparity in the two accounts raises the question: how could staid, cumbersome black Victorian mourning attire lead to dresses understood to embrace sexuality and mobility?

Peaceful Nuclear Tests, Eco-friendly Reactors, and the Vantage Point of Tamasha

2017 ◽  
Vol 8 (2) ◽  
pp. 204-223
Author(s):  
Fathima Nizaruddin
Keyword(s):  
South Asian ◽  
State Violence ◽  
Vantage Point ◽  
Point Of View ◽  
The South ◽  
State Institutions ◽  
Nuclear Tests ◽  
Asian Context ◽  
Epistemological Violence

The article analyzes the role of the documentary form in building pronuclear narratives around the Indian nuclear project. It situates the nuclear films made by two state institutions, Films Division of India (Films Division) and Vigyan Prasar, as part of a network of expert statements, documentary assertions, and state violence that bring into being a pronuclear reality. Through the insights gained from my practice-based enquiry, which led to the production and circulation of a film titled Nuclear Hallucinations, I argue that the certainty of the pronouncements of such documentaries can be unsettled by approaching them as a tamasha. I rely on the multiple connotations of the word tamasha in the South Asian context and its ability to turn solemn assertions into a matter of entertainment or a joke. This vantage point of tamasha vis-à-vis the Indian nuclear project builds upon the strategies of antinuclear documentaries that resist the epistemological violence of pronuclear assertions. In this article, I explore the role of comic modes and irony in forming sites of tamasha to create trouble within the narratives that position nonviolent antinuclear protestors as “antinational” elements. The article also expands on how the point of view of tamasha can engender new solidarities, which can resist the violence of the Indian nuclear project by forming new configurations of possibilities.

Attunement and Perspectival Truth

2018 ◽  
Author(s):  
Rick Anthony Furtak
Keyword(s):  
Selective Attention ◽  
Emotional Responses ◽  
Vantage Point ◽  
Point Of View ◽  
Distinct Form ◽  
The World

Once we have rejected the notion of a subject-independent objectivity, we lack any basis for assuming that our emotional responses project value onto a neutral world. Love’s vision must give us unique, unequalled access to the sort of truth that it reveals. Each person’s emotional point of view, his or her attunement to the world, makes possible a distinct form of knowledge, revealing a particular truth. Our moods, temperaments, and idiosyncratic affective outlooks must fit into this book’s account of emotions as felt recognitions of significance. Each attunement involves selective attention and focus—not distortion. An observer who is not attuned in any way would not notice anything. Each person’s affective vantage point illustrates the perspectival character of existence. Because our affective outlook is a condition of apprehending axiological reality, becoming appreciative of another person’s attunement enables us to know other sides of the truth and other significant truths.

scholarly journals The Humanities as Contradiction: Against the New Enclosures

Humanities ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 70
Author(s):  
Christopher Breu
Keyword(s):  
Economic Crisis ◽  
Knowledge Production ◽  
Symbolic Capital ◽  
Point Of View ◽  
First Century ◽  
Dialectical Tension ◽  
Level Of Knowledge ◽  
The Subject ◽  
Twenty First Century

This essay begins by surveying our current moment in the humanities, diagnosing the language of crisis that frames much of the discourse about them. It argues that the crisis is a manufactured economic one not a symbolic one. The problems with many recent proposals—such as the new aestheticism, surface reading, and postcritique—is that they attempt to solve an economic crisis on the level of symbolic capital. They try to save the humanities by redisciplining them and making them mirror various forms amateur inquiry. I describe these approaches as the new enclosures, attempts at returning the humanities to disciplinarity with the hopes that administrative and neoliberal forces will find what we do more palatable. Instead of attempting to appease such forces by being pliant and apolitical, we need a new workerist militancy (daring to be “bad workers” from the point of view of neoliberal managerial rhetorics) to combat the economic crisis produced by neoliberalism. Meanwhile, on the level of knowledge production, the humanities need to resist the demand to shrink the scope of their inquiry to the disciplinary. The humanities, at their best, have been interdisciplinary. They have foregrounded both the subject of the human and all the complex forces that shape, limit, and exist in relationship and contradiction with the human. The essay concludes by arguing that the humanities, to resist neoliberal symbolic logics, need to embrace both a critical humanism, and the crucial challenges to this humanism that go by the name of antihumanism and posthumanism. It is only by putting these three discourses in negative dialectical tension with each other that we can begin to imagine a reinvigorated humanities that can address the challenges of the twenty-first century.

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