Artículos (Filología Inglesa (Literatura Inglesa y Norteamericana))

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

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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.
Performative Subjecthoods: Lesbian Representationsin Split Britches’Belle Reprieve
(Universidad de Sevilla, 2021) Benítez Olivar, Inmaculada; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
Emerging postmodern theories of gender and sexuality frame the terms in which society has understood these concepts in an evolutionary way throughout history.The last century has witnessed the radical changes carried out mainly by feminist and LGTB movements. On the other hand, thetheater, a subversive space where it is possible to experiment with different forms of subjecthood and communication, has been the laboratory in which it has been attempted to give a plastic form to these new currents of thought. In this sense, the work of Split Britches is remarkable for the innovative ways of bringing the abject to the political forefront. From the lesbian body to drag representation, Belle Reprieve(1991) is developed under the queerpremiseto dismantle heteropatriarchal hegemony and the binary gender system.
Parker, Eleanor. 2022. Winters in the World: A Journey through the Anglo-Saxon Year. London: Reaktion Books. Pp. 240. ISBN 9781789146721 [Reseña]
(Sociedad Española de Lengua y Literatura Inglesa Medieval (SELIM), 2023) Muñoz Rodríguez, María del Carmen; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
Spain’s Francoist Broadway: American musicals in Madrid, 1955-1975
(Universidad de Alicante, 2022) Espejo Romero, Ramón; Filología Inglesa (Literatura Inglesa y Norteamericana)
This article traces the itinerary followed by the earliest Broadway musicals to be imported to Madrid in the 1950s and 1960s. Such innovative format dazzled critics and audiences, carving out a niche of enthusiastic followers that would grow larger over time. The handful of works borrowed in this period will receive attention, especially insofar as their reception is concerned. The final phase of the Francoist dictatorship brought an increased visibility to the form, as heated controversy surrounded the eventual importation and prohibition of titles such as Hair and Jesus Christ Superstar. In the case of the former, shows purporting to bring to Spaniards what the authorities had banned will be briefly discussed. The latter will receive closer attention. Both these plays will serve as privileged viewing platforms whence the tensions inherent to a moribund regime and its outdated cultural policies will become obvious.
Beyond Literature: Toni Morrison’s Musical and Visual Legacy For Black Women Artists
(Universidad de Alicante, Instituto de Investigación de Estudios de Género, 2022) Cobo Piñero, Rocío; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
The aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.
EMI and the Teaching of Cultural Studies in Higher Education: A Study Case
(Universitat Jaume I, 2021) Gómez Calderón, María José; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
This paper examines students’ perspectives on the challenges raised by their first encounter with EMI pedagogy in higher education. The research was conducted with a group of beginner students with no previous experience in monolingual instruction in English. The case studied is based on two English Cultural Studies subject courses of the English Studies Program at a Spanish university and taught in a learning environment of total linguistic immersion. By activating their metacognitive and metalinguistic awareness, students were encouraged to take ownership of the stages of their learning process and assess it critically. Set at the intersection of EFL, ESP, and EAP, the specificities of these courses comprising linguistic and non-linguistic contents shed light on the teaching procedures employed in English Departments training programs, whose goals are to turn undergraduates into expert linguists and philologists and maximise their communicative proficiency in academic English
Caryl Phillips’s The Lost Child (2015): Re-imagining Emily Brontë’s “unquiet slumbers”
(Taylor & Francis, 2020) Sánchez-Palencia Carazo, Carolina; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
This article revisits Emily Brontë’s legacy in Caryl Phillips’s postcolonial adaptation of Wuthering Heights. His 2015 novel The Lost Child is a modern tale of migration and unbelonging offering an intertextual dialogue with Brontë’s masterpiece by re-imagining Heathcliff’s prehistory and connecting his outcastness with the multicultural realities of post-Windrush Britain. Through his conjuring- up of Brontë’s “unquiet slumbers”, Phillips both addresses the melancholic subjectivities of the Victorian text and pre-text and relates them to those of the modern text. In its analysis the article draws on the postcolonial expansion of the notion of melancholia as theorized by Paul Gilroy, Anne A. Cheng, and Craig A. Smith. It eventually explores how the novel’s emphasis on orphanhood and lostness is counteracted by Phillips’s appeal to literary “maternity”, since, against other patrilineal models of (af)filiation, it is mainly through female precursors that he confronts an intricate literary inheritance.
Feminist/queer/diasporic temporality in Bernardine Evaristo’s Girl, Woman, Other (2019)
(Sage, 2019) Sánchez-Palencia Carazo, Carolina; Universidad de Sevilla. Departamento Filología Inglesa
Claiming that individuals and communities get their choices, rhythms and practices biopolitically choreographed by temporal mechanisms that dictate which human experiences are included or excluded, Elizabeth Freeman states that those ‘whose activities do not show up on the official time line, whose own time lines do not synchronize with it, are variously and often simultaneously black, female, queer’ (2005). The narrative subject of Bernardine Evaristo’s Girl, Woman, Other (2019) is black, female and (mostly) queer in her design of a polyphonic text featuring twelve black women moving through the world in different decades and occupying a temporal dimension that deviates from the linear and teleological modes. I draw on Edelman (2004); Freeman (2010) and Ahmed (2010, 2017) to analyse Evaristo’s novel as a text informed by feminist queer temporality and thus explore these characters’ resistance to chrononormative assumptions like ‘the straight time of domesticated gender, capital accumulation, and national coherence’ (Ramberg, 2016). In this light, I address her cast of ‘time abjects’ –lesbians, transgender women, feminist killjoys and menopausal females—as characterized ‘chronotopically’ as their racialized and gendered subjectivities coalesce temporally and spatially seeing their pasts and futures interact in a typically transpositional, queer and diasporic continuum. By invoking Freeman’s notion of ‘erotohistoriography’ (2010) as a distinctive mode of queer time that not only recognizes non-linear chronopolitics, but decidedly prioritizes bodies and pleasures in self-representation, I contend that Evaristo depicts bodies as likewise performing this encounter between past and present in hybrid, carnal and trans-temporal terms. I conclude that in her joining temporality and corporeality, memory and desire, she suggests alternative ways of representing contemporary black British womanhood
The Sirens of Titan : el universo post-modernista de Kurt Vonnegut
(Universidad de Alcalá de Henares. Servicio de Publicaciones, 1994) Lerate de Castro, Jesús Antonio; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
A close reading of The Sirens of Titan reveals that this early novel by Kurt Vonnegut, far from being a mere science fiction tale —as it has often been labelled— is a first-rate literary work in which the author displays a great variety of metafictional devices. The metaphysical quest for meaning in life is paralleled by a tortous, roundabout physical journey where the ordered, controlled and harmonius universe— textually made coherent by its galactical slructure and mythical allusions— is challenged dialogically by a world of chaos which is sown with the absurd, with unexpected lexical yuxtaposition, indeterminations and de-mythologizing parodies. This paper aims to explore this post-modernist natura of the novel.
Leafyspeafing. Lpf!
(Universidad de Alicante. Departamento de Filología Inglesa, 1992) Carnero González, José; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
If the "Anna Livia Plurabelle" chapter was said to be "the greatest prose ever written by a man," one would hold that the last ten pages of FW are the most beautiful of the work. This kind of coda right after Anna Livia's final letter to her "Dear majesty" is at the same time the calm and serene conclusion(/beginning) of a process in endless evolution, and the vigorous invitation to restart everything again. In FW IV three parts can be clearly distinguished and two voices of groups of voices which take us to "Howth Castle and Environs.
El teatro en la calle
(Universidad de La Laguna, 2001) Portillo García, Rafael; Universidad de Sevilla. Departamento de Filología Inglesa (Literatura Inglesa y Norteamericana)
El presente trabajo se ocupa del desarrollo del teatro europeo en la Edad Media tras un intervalo de supuesta extinción que no puede aseverarse por completo dada la falta de pruebas. El resurgimiento del teatro en la iglesia está atestiguado por los manuscritos que contienen fragmentos para ser escenificados y por las crónicas. Del interior de la iglesia el teatro saldrá a la calle aglutinado con las procesiones. Más tarde, su creciente importancia y aceptación le darán cierta independencia y aunque mantenga los temas religiosos encontrará espacios para la actualidad y lo cómico. Finalmente, el teatro logrará una simbiosis con la calle haciendo del entorno y la arquitectura urbana su principal escenografía.

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