Artículos (Filología Inglesa (Literatura Inglesa y Norteamericana))

URI permanente para esta colecciónhttps://hdl.handle.net/11441/10728

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Transforming attitudes towards the Turk in Edward Ravenscroft's Mamamouchi, or The citizen turn'd gentleman (1672) and Moliere's Le bourgeois Gentilhomme (1668)
(Springer Nature, 2023-06-02) Caro Partridge, Eneas; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Ministerio de Ciencia e Innovación (MICIN). España; Universidad de Sevilla. HUM322: Estudios Medievales y Renacentistas Ingleses
When Edward Ravenscroft approached the polarising figure of the Turk in The citizen turn’d gentleman (1672), an adaptation of Molière’s Le bourgeois gentilhomme (1668), he inherited certain structures and motivations that stem out of very specific attitudes towards the Ottomans that were not easily transposed onto the English context. This did not stop him from penning one of the most successful plays of his time, but it also did not stop the critics from deeming his adaptation a cheap knockoff that hardly altered the original and was closer to a translation than to any exercise of real talent. His adaptation, however, builds on the expectations of his London audiences and the trends on narrative-building regarding East–West relations to cleverly alter the reception of the play rather than the execution thereof, resulting in a minimal style of adaptation that produced a profound outcome. This study explores Ravenscroft’s way of dealing with the very central figure of the Turk in The citizen turn’d gentleman and the relation to the original source material in order to prove that his decision was a conscious act, part of a much more complex adaptative procedure than he is given credit for.
Bertha Mason: representación del cuerpo femenino descontrolado en Jane Eyre de Charlotte Brontë
(Universidad de Sevilla, 2025) Caro Rodríguez, Inmaculada; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM201: James Joyce: Evolución Narrativa y Sus Repercusiones
La figura de Bertha Mason sirve como una poderosa encarnación del cuerpo femenino descontrolado y percibido como una amenaza en la sociedad victoriana en la novela Jane Eyre de Charlotte Brontë. A través de la caracterización de Bertha, Brontë explora las ansiedades de la época respecto a la independencia de las mujeres. Bertha es representada como lo exótico e incontrolable, reflejando preocupaciones sociales victorianas. Su locura aparente la convierten en un peligro que debe ser confinado, simbolizado por su encarcelamiento en el ático de Thornfield Hall. Este confinamiento físico es una metáfora de la represión social y psicológica impuesta sobre las mujeres. En contraste, la protagonista Jane Eyre representa el ideal victoriano de autodisciplina y control corporal. El trágico destino de Bertha, culminando en su posible suicidio y la destrucción de Thornfield, constituyen tanto una liberación ambigua como la eliminación de una amenaza. El análisis de estos personajes tiene como objetivo analizar la lucha por la emancipación femenina dentro de las normas restrictivas de su tiempo con la intención de dar a conocer las dinámicas de poder y control en la literatura victoriana, teniendo en cuenta la aproximación foucaultiana en términos de control social.
Arthur Miller, Panorama desde el puente, ed. y trad. de Ramón Espejo Romero, Madrid, Cátedra (Colección Letras Universales 456), 2012, 195 pp. [Reseña]
(Ediciones Clásicas, 2013) Chacón Carmona, Vicente; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM488: Estudios Norteamericanos
Singing Shepherds, discordant devils: music and song in Medieval pastoral plays
(Universidad de Lancaster, 2010) Chacón Carmona, Vicente; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM488: Estudios Norteamericanos
Teorías de género y lenguaje
(Ateneum-Szkoła Wyższa w Gdansku, 2016) Marín Conejo, Sergio; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. SEJ495: Pensamiento crítico, comunicación y derechos humanos
An approach to language through different gender theories is proposed: mainly from the history of women of Joan W. Scott Women, and the feminisms of difference, reworking post-structuralist ideas.
Evidence of the use of the Physiologus as a source in Aldhelm's enigmata
(Oxford University Press, 2021) Salvador Bello, Mercedes; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM322: Estudios Medievales y Renacentistas Ingleses
Among the 100 riddles of Aldhelm’s Enigmata, 36 deal with animals. Apart from Pliny’s Historia naturalis and Solinus’s Polyhistor, Aldhelm made use of the medieval encyclopaedic source par excellence, Isidore’s Book XII (De animalibus) from the Etymologiae, which has universally been acknowledged as the author’s major source for these riddles. However, the Physiologus was a further traditional zoological treatise from which Aldhelm could have drawn some information. Of the 36 zoological topics of Aldhelm’s Enigmata at least 13 of them are also treated in the Physiologus and so the portrayals of the animals offered in these riddles could have been inspired by this work. It has usually been assumed that most of these descriptions derive from Isidore’s Book XII but not much has been said about the possible connection of some of them to the Physiologus. The main aim of this essay is therefore to study the contents of a selected group of zoological riddles from Aldhelm’s collection and demonstrate that some of the clues observed in them suggest that, apart from Isidore’s Book XII, this author had a version of the Physiologus at his disposal for the composition of his Enigmata.
Educating King and Court: The Exeter Book and the Transmission of Poetic Anthologies in the (Post-)Alfredian Period
(Ediuno. Ediciones de la Universidad de Oviedo, 2024-07-29) Salvador Bello, Mercedes; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM322: Estudios medievales y renacentistas ingleses
Taking as a starting point Asser’s De gestis Alfredi regis (XXIII)—which mentions that Alfred was given a book containing English verse—this article sets out to consider the existence of vernacular poetic anthologies as early as this period. If Asser’s episode is true, the book in question must have been a collection of Old English poetry, of which the Exeter Book may have been a later reflex, since it has been argued that this codex contains an anthology (Muir 1994). The design of the manuscript could then be in line with that of the Anthologia Latina, the most important model of the early Middle Ages. This compendium originated in Africa in the sixth century and eventually found its way to various European countries, including England. It may thus have become the prototype for autochthonous poetic collections of the kind mentioned in Asser’s history. In this light, this paper is the first to seriously consider the hypothesis that the Exeter Book may have been compiled during King Alfred’s period, or perhaps not much later (Sisam 1953). In doing so, it envisages the use of vernacular anthologies as educational tools for both the king and the courtiers in early medieval England.
Woman Rules: A Ghost Restoration Comedy
(Oxford University Press, 2023-12) Mora, María José; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Ministerio de Ciencia e Innovación (MICIN). España; Universidad de Sevilla. HUM322: Estudios medievales y renacentistas ingleses
Ut Pictura Kynesis: Pictorial Art in Romeo and Juliet Film Adaptations
(Asociación Española de Estudios Anglo-Norteamericanos, 2024-12-23) Albarrán Gutiérrez, Álvaro; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM488: Estudios norteamericanos
The presence of pictorial art in the various film adaptations of William Shakespeare’s Romeo and Juliet has been traditionally expounded as part of an exercise in stylization and historical localization. Elaborating upon a comparative and revisionist approach, which draws on Douglas Lanier’s (2014) “rhizomatic” methodology, this paper reexamines the interaction between pictorial art and film rhetorics in the five major sound film adaptations of the play released, to date, for Western mainstream audiences. Exploring a representative selection of scenes evidences how the use of pictorial material in these productions aims to satisfy an aesthetic and historicist need while also serving a dialogic and discursive function. In so doing, this study demonstrates that Romeo and Juliet sound film adaptations have made use of pictorial art as a means to (re)negotiate the meaning of the literary text in response to their particular historical-social conditions and commercial interests. Ultimately, therefore, the analysis posits these productions as distinct ekphrastic media and proposes that they be reassessed as complex semiotic configurations, founded upon an exercise of textual, pictorial and kinetic transmediatization.
The diverse topography of Restoration comedy
(Pennsylvania State University Press, 2021) Mora, María José; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM322: Estudios medievales y renacentistas ingleses
The choice of setting is an important element in dramatic works, one that is often aligned with the definition of character or genre. Restoration comedy has traditionally been associated with London settings, particularly with the fashionable new areas of court and town, frequented by the higher classes: St James's Park, the Mulberry Garden, the Mall, or Covent Garden. Such an assumption, however, rests largely on a view of the comic production of Restoration England which used to foreground the work of a small group of canonical playwrights like Etherege, Wycherley, and Congreve. To revise this notion, the kind of quantitative analysis facilitated by the cataloguing work of the Restoration Comedy Project can prove very useful. This article discusses the difficulties faced in the process of determining the scene of the plays and builds on the data already collected for the period 1660–1682 to trace the topography of Restoration comedy. A review of this information yields a more diverse landscape than is usually taken for granted. Only half of the plays are set in London and barely half of those lay scenes in the genteel areas of the town. Moreover, an examination of the Covent Garden comedies shows that, after the Great Fire, this district is not represented as the exclusive preserve of the gentry, but as the home of a substantial number of citizen characters too.
El teatro norteamericano en La estafeta literaria (1957-1962)
(Editorial Csic, 2024-06-30) Espejo Romero, Ramón; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
El presente artículo analiza la cobertura del teatro norteamericano en La estafeta literaria entre los años 1957 y 1962, que, por una parte, se corresponden con una etapa bien definida en la evo-lución de esta publicación y por otro con los años de mayor apogeo del teatro estadounidense en la escena franquista. Un análisis cuantitativo de los artículos aparecidos sugiere una presencia no solo destacada sino deslindada en parte de estrenos, en línea con el perfil que se ha sugerido para La estafeta de revista cosmopolita dirigida a un lector culto. El análisis cualitativo, sin embargo, no permite confirmar tal hipótesis. Con algunos matices, lo publicado en la revista no difiere de lo que solían incluir otras publicaciones de la época y la autonomía en el análisis del fenómeno teatral deslindado de los estrenos se ha revelado ilusorio.
Generic Ascription and Didactic Practice in the Latin Riddle of the Exeter Book
(Universidad de las Palmas de Gran Canaria, 2018) Salvador Bello, Mercedes; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
Riddle 90 constitutes one of the most obscure texts included in the Exeter Book collection. Being fully written in Latin, this piece has so far frustrated a plausible explanation of its puzzling clues to the extent that no convincing answer has been found for it yet. The main aim of this essay however is not to put forward another solution for the long catalogue of proposals that has already been offered by scholars. Instead, I will here argue that the relative lack of viable solutions comes from the fact that this text issued from a reworking of a school beast poem, which was awkwardly adapted to the enigmatic format. A better understanding of this poem can thus be attained if its rhetorical components and imagery are read in the light of beast poetry deriving from classical fables used in the medieval period. This hypothesis can also help explain the overemphatic occurrence of textual elements that are typical of the enigmatic genre. This essay will therefore try to demonstrate that the contents of Riddle 90 are reminiscent of this literary tradition, which developed in the school context of the early medieval period.
Del "Din y el Don" al "Que y el Con": circunstancias y narratividad en la construcción de la heroína sentimental en la canción española.
(Asociación Cultural Trama y Fondo, 2019) Gómez Lara, Manuel José; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
The female voice in the first person as protagonist –many of which make the most famous corpus of the couplet or Spanish popular song– is articulated following some communicative profiles such as the lamentation (Tus ojos negros, 1940), the supplication (Dime que me quieres, 1941), the promise (Con un panolito blanco, 1941), the love declaration (Y sin embargo te quiero, 1948), or the curse (Arrieros somos, 1948). However, there is another less frequent formula in the anthology of the genre: the one which places the feminine voice in very specific narrative circumstances in order to articulate its sentimental authority. These circumstances can evoke at times historical or legendary situations, or simple fictions elaborated over situations of popular imaginary. It is through authentic expressive discoveries that these circumstances explain the future of the protagonists and their empowerment in the field of affections. The stylistic balance between lyricism and narration in the classical compositions of Quintero, Leon y Quiroga with women’s names and nicknames –Rocio (1933); Almudena (1941), Romance de la Otra (1943), La Zarzamora (1947)– diversifies in less known themes of the same masters, expanding in an unsuspected manner the sentimental map of the couplets’ heroines.
La pantera, el unicornio y la sirena: la evolución de tres motivos zoológicos a través de la literatura inglesa del período medieval temprano
(Universidad de La Laguna, 2023-09) Salvador Bello, Mercedes; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM322: ESTUDIOS MEDIEVALES Y RENACENTISTAS INGLESES
En este artículo se aportan los resultados de una investigación sobre la repercusión que han tenido un grupo de obras inglesas en la recepción del conocimiento de los animales exóticos y fantásticos en la literatura y cultura de la alta Edad Media europea. Para ello, se analizan una serie de descripciones de animales y seres míticos o imaginarios a través de una selección de textos: por un lado, el Fisiólogo en las versiones que se encuentran en el Exeter Book (Exeter, Cathedral Library, MS. 3501) y en el Cambridge, Corpus Christi College, MS 448; y por otro, los Enigmata de Aldelmo y el Liber monstrorum. De esta manera, se examina, por un lado, la idea del animal exótico con el caso de la pantera y, por otro, la representación de criaturas fabulosas tales como el unicornio o la sirena en el periodo medieval temprano.
“The Radio Said They Were Just Deportees”: From Border Necropolitics to Transformative Grief in Tim Z. Hernandez’s All They Will Call You (2017)
(MDPI, 2023) Sánchez-Palencia Carazo, Carolina; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
Just as necropower discriminates between those who can and those who cannot live, post-mortem circumstances are explicitly affected by an irrefutable gentrification of memory and grievability. Drawing on the political dimension of mourning and on the concept of slow death, this paper proposes a necropolitical reading of All They Will Call You (2017), where Tim Z. Hernandez revisits the 1948 plane crash that killed 28 Mexican deportees at Los Gatos (California) and the subsequent oblivion that prevented their memorialisation except for a mass grave containing their remains and a protest song (“Deportees”) composed by Woody Guthrie. My analysis focuses on Hernandez’s attempts at dismantling the tropes of criminality and expendability that Latino immigrants are associated with as a result of their racialised vulnerability, which are distinctively aggravated in border contexts. Excavating in the background stories of these deportees seems to me an ironic contestation to the failed forensic work that left them unnamed and unritualised for seven decades. And, at the same time, I contend that, in line with the work of many activists and artists in the US–Mexico border, Hernandez mobilises solidarity while transforming our perception of migrant bare lives into one of migrant agency.
“Reader, Take Notice”: Aphra Behn’s References and Self-Representation in the Epistle to the Reader in The Dutch Lover
(Asociación Española Estudios Anglo-Norteamericanos (Aedean), 2023) Echegaray Mitar, Victoria; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
While Aphra Behn’s early life remains a mystery, her time in London and her allegiances are very well-documented. The persona she crafted throughout her whole career, which interacted with her readers in her paratexts, has, however, never been fully considered. Investigating the allusions and comments she makes in her epistles and prefaces can help fill in the blanks of what is known about her as well as revisit older ideas. This study explores and identifies the references she made and the communicative strategies she used in her epistle to the reader printed with The Dutch Lover (1673) and what they mean in terms of the self she crafted as a woman writing and publishing in Restoration London.
Burning the heretic: conscientious revision in Henry Constable's "Falslie Doth Enuie of Youre Praises Blame"
(Taylor & Francis, 2012) Pérez Jáuregui, María Jesús; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM322: Estudios Medievales y Renacentistas Ingleses
The secular sonnets of the poet and courtier Henry Constable (1562–1613) circulated in several manuscripts in his own lifetime and were also printed in 1592 and 1594 under the title Diana . A significant number of these sonnets present textual variations in the sources preserved, as a result of the process of transmission and revision. The variants found in the extant copies of the sonnet “Falslie doth enuie of youre praises blame” are particularly remarkable. As it appears in the Marsh MS (1588), the poem, a love complaint, introduces the image of the burning of a heretic and is laden with anti-Catholic allusions. These disappear in the subsequent versions found in the Harington MS (1589), the Todd MS (early seventeenth century) and the two printed editions, which present a toned-down, more conventional text. This article analyses the process of revision of the sonnet in view of Sir John Harington's religious ambiguity and Constable's conversion to Catholicism.
Henry Constable's sonnets to Arbella Stuart
(Spanish and Portuguese Society for English Renaissance Studies, 2009) Pérez Jáuregui, María Jesús; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM322: Estudios Medievales y Renacentistas Ingleses
Although the Elizabethan poet and courtier Henry Constable is best known for his sonnet-sequence Diana (1592), he also wrote a series of sonnets addressed to noble personages that appear only in one manuscript (Victoria and Albert Museum, MS Dyce 44). Three of these lyrics are dedicated to Lady Arbella Stuart –cousin-german to James VI of Scotland–, who was considered a candidate to Elizabeth’s succession for a long time. Two of the sonnets were probably written on the occasion of Constable and Arbella’s meeting at court in 1588, and praise the thirteen-year old lady for her numerous virtues; the other one seems to have been written later on, as a conclusion to the whole book, implying that Constable at a certain moment presented it to Arbella in search for patronage and political protection. At a time when the succession seemed imminent, Constable’s allegiance to the Earl of Essex, who befriended Arbella and yet sent messages to James to assure him of his circle’s support, raises the question of the true motivation of these sonnets. This paper will analyze these particular works in the context of a political environment rife with courtly intrigue.
A Queen in a “Purple Robe”: Henry Constable’s Poetic Tribute to Mary, Queen of Scots
(The University of North Carolina Press, 2016) Pérez Jáuregui, María Jesús; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana); Universidad de Sevilla. HUM322: Estudios Medievales y Renacentistas Ingleses
The religious sonnets that the Elizabethan poet and courtier Henry Constable wrote in exile, which reveal strong post-Tridentine and continental influences, have been edited and assessed as they survive in a manuscript in the British Library (Harley MS 7553), thought to be the only witness. The rediscovery of another manuscript containing the Spiritual Sonnets, held at Berkeley Castle in Gloucestershire, throws light on the hitherto obscure history of their production and reception. It also adds four new sonnets to the canon of Constable’s poetry, three of which are addressed to Mary, Queen of Scots. This article looks at the rediscovered sonnets as pieces that fit in a larger martyrological narrative constructed around the figure of the executed queen; in addition, it brings to the fore Constable’s personal anxieties as an exiled Englishman who hoped to return home under the rule of a more tolerant king.
Corporeal Activism in Elizabeth Acevedo’s The Poet X: Towards a Self-Appropriation of US Afro-Latinas’ Bodies
(Universidad de Sevilla, 2021) Martín Martínez, Macarena; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
Scholars have typically studied Chicanas/Latinas in the US and African American women separately. However, this paper explores both the cultural appropriation of Afro-Latinas’ bodies in the US and the strategies they employed to reclaim their bodies and agencies through Elizabeth Acevedo’s novel,The Poet X.The protagonist’sbody is simultane ously and paradoxically hyper-sexualized by racist discourses,and called to chastity by the patriarchal Catholic doctrinepresiding overher Dominican community. Nevertheless,I argue thatthe protagonist makesher body a site of activism as shere-appropriates the agency over her body by moving from a self-imposed invisibility and silence in order to try to avoid the hyper-sexualization of her incipient curves, to a non-objectified visible position throughher sexual desire, self-representative embodied narrative, and performance of her slam poetry.

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