Los Raros. La escritura excluida en México

2020 ◽  
Author(s):  
Estela Castillo Hernández ◽  
Ángel José Fernández ◽  
Alfredo Pavón ◽  
Luz América Viveros Anaya ◽  
Raquel Velasco ◽  
...  
Keyword(s):  
Eighteenth Century ◽  
Literary Criticism ◽  
Mexican Literature ◽  
Intellectual Biography ◽  
Academic Effort ◽  
The Gaze ◽  
Literary Research ◽  
San Luis ◽  
Cultural Processes ◽  
Literary Histories

More than a decade ago, the Literary Studies Program of El Colegio de San Luis and the Institute of Linguistic and Literary Research of the Universidad Veracruzana joined forces to undertake the study, rescue and dissemination of writers, works, and literary phenomena that could be called "rare", due to the lack of knowledge or neglect that both academia and literary critics have had towards them. The 14 articles in this book are the result of a genuine interest in settling this debt with the literary tradition in Mexico. In these pages, a group of specialists from prestigious higher education institutions, approach from a philological, literary criticism, historiography, cultural studies or intellectual biography perspective, to the analysis of singular texts, either for their style, or for the peculiar treatment of their themes, or simply because in their time they were ahead of generic determinations, aesthetic trends or group editorial processes, covering a broad period from the late eighteenth century to the twilight of the twentieth. As a whole, the gaze of these 14 study proposals focuses on the writing excluded from the Mexican canon, in search of the exceptional detail, the seed of that which opposes the norm, or the subjectivities that stand out as an anomaly in the great cultural processes that our country has experienced. Observed in their particularity, the works that integrate this corpus reveal themselves as a sort of refutation to the impositions of the literary histories of the preceding centuries, by recognizing that also those who advanced along falsely marginalized itineraries were involved in negotiations, transgressions, influences and important variants in the field of tradition. Prior to this academic effort, there was no specific bibliography in the academy on many of the topics, authors or perspectives discussed here, which makes Rare. The excluded writing in Mexico a rigorous compendium, as well as a guide to search for the other names that made up the ranks of Mexican literature.

Inverting the Gaze from California

2018 ◽  
pp. 153-158
Author(s):  
Gloria Elizabeth Chacón
Keyword(s):  
Oral Literature ◽  
The Gaze ◽  
Spanish Speaking ◽  
San Luis

The epilogue contemplates writing this book from Luiseño land, specifically focusing on a park created in Oceanside, California, the ancestral lands of the San Luis Rey Band of Indians. The epilogue highlights the endurance of oral literature as well as writing throughout indigenous territory. It meditates on Mesoamerican literature as a new sign of Latin America’s transition from officially Spanish-speaking and mestizo to recognizing and affirming its multilingual and intercultural distinction.

Carving Cameras: Antonioni’s Lo Sguardo di Michelangelo

2021 ◽  
pp. 23-37
Author(s):  
Steven Jacobs
Keyword(s):  
Eighteenth Century ◽  
Old Testament ◽  
Three Dimensional ◽  
Tactile Perception ◽  
Short Film ◽  
Two Dimensional ◽  
The Gaze

Dealing with Michelangelo’s famous 1513 statue of Moses, Antonioni’s 2004 short film Lo Sguardo di Michelangelo (literally The Gaze of Michelangelo) is an impressive meditation on the encounter between film and sculpture. By means of the dynamic, immaterial, two-dimensional, and volatile images of the film medium, Lo Sguardo evokes the static, material, three-dimensional, and durable forms of sculpture. Antonioni not only confronts the heroic and muscular statue of the Old Testament prophet with his own old and weakened body, he also juxtaposes visual and tactile perception: the gaze (the director’s eyes and glasses are explicitly framed) is paired with tactility as Antonioni’s hands are touching the marble surfaces. Rearticulating some of the discussions and concepts central to sculptural theory since the eighteenth century, Lo Sguardo di Michelangelo also demonstrates that the medium of film not only represents, reproduces, or duplicates artworks but that it also reconfigures, re-imagines, and remediates them.

‘Little Snarling Lapdogs’

2019 ◽  
pp. 456-472
Author(s):  
Melinda Alliker Rabb
Keyword(s):  
Eighteenth Century ◽  
Class Struggle ◽  
Domestic Sphere ◽  
Economic Competition ◽  
Public Figures ◽  
Apparent Shift ◽  
Literary Histories ◽  
At Home

The domestic sphere increases as a subject for satire in the latter half of the eighteenth century. Literary histories assert satire’s decline after 1750 when creative energy shifts towards home, family, nature, individual subjectivity, and private feelings. But the apparent shift towards representations of domesticity does not simply displace but rather offers new opportunities to satire which insinuates itself into modes of writing almost as soon as they are formed and changes the shape they ultimately assume. In contrast to earlier satires on public figures, from royalty and ministers to prostitutes and Grub Street hacks, domestic satire often focuses on families and households, and on the precarious lives of dependants, servants, spinsters, illegitimate offspring, and other persons of socially ambiguous standing. Satire in an age of rising colonialism, economic competition, class struggle, and industrialization, must look beyond court and coffee-house into the parlour where satire has made itself at home.

The Discussion of Taste, from 1750 To 1770, and the New Trends in Literary Criticism

PMLA ◽  
1934 ◽  
Vol 49 (2) ◽  
pp. 577-592 ◽  
Author(s):  
Edward Niles Hooker
Keyword(s):  
Eighteenth Century ◽  
Literary Criticism ◽  
Theory And Practice ◽  
The Subject ◽  
Standard Of Taste ◽  
The Aesthetic

The attempts to define and to arrive at a standard of taste lie at the heart of the aesthetic inquiries that were being carried on in eighteenth-century England. That such inquiries, by examining certain fundamental assumptions of traditional æsthetics, exerted an influence on the theory and practice of literary criticism, is a commonplace. But why and how this influence was felt has not been explained. Its importance can be gauged by the fact that within a period of twenty years several of the ablest minds in England and Scotland, including Burke, Hume, Hogarth, Reynolds, Kames, and Gerard—most of them interested in literary criticism—were focussed upon the problem of taste. It was not a coincidence that in the years from 1750 to 1770, when the search for a standard of taste was at its height, the old assumptions of literary criticism were crumbling and the new “romantic” principles were being set forth, sometimes timidly and sometimes boldly, by the Wartons, Young, Hurd, Kames, and many others. The relation between these two phenomena is the subject of this study.

scholarly journals El castillo de San Luis (Estepona Málaga): Origen y evolución de una fortificación abaluartada. Siglos XVI-XXI

X ◽  
2020 ◽  
Author(s):  
Ildefonso Navarro Luengo ◽  
Adrián Suárez Bedmar ◽  
Pedro Martín Parrado
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Sixteenth Century ◽  
Western Coast ◽  
Origin And Evolution ◽  
San Luis ◽  
Lisbon Earthquake ◽  
French And English ◽  
Excavation Work

The castle of San Luis (Estepona Málaga): Origin and evolution of a bastion fort. Sixteenth to twenty-first centuriesThe results of the investigation prior to the excavation work in the Castle of San Luis, in Estepona (Málaga, Spain) are presented. It is a coastal fortress built in the last quarter of the sixteenth century, in the context of the reorganisation of the defense of the western coast of Malaga after the Moorish rebellion of 1568. After analysing the available literature, we propose that it was designed by the Engineer Juan Ambrosio Malgrá, Maestro Mayor de obras del Reino de Granada. The Castle of San Luis is devised as an add-on construction on the southern front of the walls of Islamic origin, dominating the natural anchorage of the Rada beach. Its most prominent elements are three bastions, two of them with casemates, and a large main square. However, various defects in the design and execution of the works, added to the insufficient provision of artillery and garrison, affected the effectiveness of the fortification throughout its history. In the middle of the eighteenth century, part of the Castle of San Luis is restructured as a cannons’ battery. Following the damage caused by the Lisbon Earthquake, in 1755, and by the French and English blastings in 1812, during the second half of the nineteenth century much of the castle disappears, leaving only the cannons’ battery, which is incorporated as a courtyard in height as an add-on to a house built at the end of the nineteenth century. At present, after several decades of abandonment, excavation works have been undertaken on the remains of the battery, after which the site will be prepared to be used as a museum.

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