QUE HAY EN VOL 23, NO. 2
INDICE Y ABSTRACTOS

Ibon Izurieta, Colorado University at Denver, US
"A Historically-Conscious Reading of Unamuno’s Paz en la guerra:  The Clash of Two Economic Systems"

A historically conscious reading of Unamuno takes into account his precarious position between the centralizing nationalist movement of liberal Spain and the regionalist/separatist nationalist movements in out-lying regions like Catalonia and more pertinent to this study, the Basque Country.  With this perspective comes the revelation that Unamuno’s first novel Paz en la guerra is a portrayal of the clash between two economic systems, the capitalist mode of production replacing the mode of production of the Ancién Regime.

 

Ricardo Fernández, Colorado State University, US
“Mostrar y hurtar el cuerpo: el relato autobiográfico de infancia y juventud en Recuerdos y olvidos  de Jacinto Benavente”

“Mostrar y hurtar el cuerpo” studies the role of the strategy of showing and masking identity in Recuerdos y olvidos (1937-1938), the autobiography of childhood and adolescence of the Spanish playwriter Jacinto Benavente (1866-1954). This strategy is devised as a way of constructing identity in literature through a theatrical conception of life in which the self is rather the result of a controlled public performance offered in the text than the expected deployment of the intimacy. In this sense, Benavente challenges the conventions of a literary genre where the unmasking, the sincerity, should be its main purpouse.

 

César Valverde, Illinois Wesleyan University, US
"Pasado soterrado y masculinidad perdida en 'La muñeca reina' y 'Chac Mool'"

Carlos y Filiberto, protagonists of Carlos Fuentes’ short stories “La muñeca reina” and “Chac Mool” are the prototypical existential characters of Latin American literature from the 1950’s.  Much like the main character from Juan Carlos Onetti’s “Un sueño realizado,” they are solitary  and anguished men unable to act because of their constant questioning and reflecting.   They also strive to find an illusory and nostalgic past in a failed attempt to attain redemption, and their search is guided with Jungian psychological models: their repressed inner selfs, their animas, are never able to surface or create unified and fully realized individuals.

 

Laurietz Seda, University of Connecticut, US
"El imaginario como concepción liberadora en Chau Misterix de Mauricio Kartun"

Tomando en consideración el concepto del panóptico definido por Michel Foucault en su libro Vigilar y castigar, en este ensayo se exploran los diferentes sistemas de vigilancia y victimización que permean en la sociedad argentina durante los años de la dictadura militar para afirmar que la imaginación y la creatividad se convierten en el camino a la liberación y crean la fisura necesaria que presenta cierto tipo de resistencia ante el intento de control absoluto ejercido sobre el ser social.

 

David William Foster, Arizona State University, US
"Phoenix as Dystopia in Crerríe Moraga’s Hungry Woman"

Cherríe Moraga's play Hungry Woman is set in a near future in which ethnic rebellions first triumph and then are taken over by counter-revolutionary forces. The queers who were allies in the struggle of the rebellions are, along with other dissidents, forced into exile. This exile is represented in the play by the decaying city of Phoenix. This study examines how Moraga uses the figure of Phoenix to frame the plight of her lesbian protagonist.

 

Sandra Kingery, Lycoming College, US
"Writing Away the Distance: Letters Between Ana María Moix and Rosa Chacel"

Thesixty-seven letters that Ana María Moix and Rosa Chacel exchanged between 1965 and 1975 (published in De mar a mar. Epistolario) offer a fascinating window into the personal and professional lives of these two authors.  Chacel, the more experienced and established writer, became Moix’s de facto mentor, regaling her with nearly endless suggestions about writing (and a good deal of general advice about life as well).  The influence that Chacel had on Moix’s early texts is considered by analyzing some of the similarities between Moix’s first novel, Julia, and the first novel Chacel mailed to Moix, Memorias de Leticia Valle.

 

Joan M. Hoffman, Western Washington University, US
"'That much I learned from my mother': Shaping the Mother-Daughter Relationshipin Julia Alvarez's In the Name of Salomé"

In In the Name of Salomé (2000), Julia Alvarez creates the historo-fictional protagonist, Camila Henríquez Ureña, who undertakes a journey of personal discovery in which she resurrects the ghost of her mother, Salomé Ureña, the acclaimed Dominican poet. The author forgoes linear storytelling in favor of more graphically portraying the manner in which the daughter's life is shaped by the mother's. In an imaginative interplay of form and content, Alvarez reconstructs and rearranges the facts to create an intricately intertwined narrative puzzle that becomes the driving force of the novel.

 

Yosálida C. Rivero-Moreno, University of Arizona, US
"Neobarroco postmoderno en dos películas del cine español: Éxtasis y Abre los ojos"

La vigencia del tema de la vida como ilusión, presentada en la obra de Calderón de la Barca La vida es sueño, se retoma en estas dos películas españolas Éxtasis (1999), de Mariano Barroso, y Abre los ojos (1997), de Alejandro Amenábar. Se estudia las tres obras como productos de su contexto histórico social y cómo se traspolan características del período Barroco a la estética de dos obras producto del mundo postmoderno.

 

ABSTRACTS OF THE BOOKS REVIEW

Jesús Félix Pascual Molina, Universidad de Valladolid, España
John F. Moffit, The Arts in Spain. Thames and Hudson, London, 1999.

La presente reseña bibliográfica pretende ser un comentario crítico de la obra de Moffit, uno de los libros fundamentales a la hora de acercarse al arte español, tanto desde el punto de vista del que se inicia en la materia como para aquellos que sólo pretenden obtener un conocimiento general del panorama artístico. Al mismo tiempo que posee un carácter divulgativo, Moffit nos deleita con un estudio muy completo donde no faltan los detalles dignos de un connaiseur.

 

Francisco Sáez Raposo, Vanderbilt University, US
Frank P. Casa, García Lorenzo, Luciano y Vega García-Luengos. Diccionario de la comedia del Siglo de Oro. Madrid: Castalia, 2002.  


 

 


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