2024-03-28T20:04:24Zhttps://research-repository.st-andrews.ac.uk/oai/requestoai:research-repository.st-andrews.ac.uk:10023/6722019-04-01T09:04:17Zcom_10023_114com_10023_29col_10023_115
San Román, Gustavo
39-44
2009-04-21T15:19:24Z
2009-04-21T15:19:24Z
2003
Fragmentos: revista de lingua e literatura estrangieras, Universidade Federal de Sant Catarina 20: 39-44 2003
0103-1783
StAndrews.ResExp.Output.OutputID.7396
http://www.periodicos.ufsc.br/index.php/fragmentos/article/view/6510/6013
http://hdl.handle.net/10023/672
The novel El astillero (Buenos Aires 1961), by Juan Carlos Onetti, provides two alternative endings, which have inspired a number of interpretations. The present article provides a reading based on the tension in the novel between the two poles of reality and illusion which intermittently draw the protagonist, Larsen. The reading takes into account the plot of El astillero itself, and also moves beyond this particular novel into other texts in Onetti's Santa Maria cycle where Larsen figures. It is proposed that the ambiguous ending projects a never-ending pendular movement between the poles mentioned, and suggests that Larsen (and Onetti) are unwilling to give up on illusion as a way out of the constraints of reality.
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Juan Carlos Onetti
El astillero
Latin American Literature
Uruguay
20th Century
P
PQ
Onetti, Juan Carlos,|d1909-1994.
El final de El astillero
Journal article
School : Modern Languages
Department : Spanish
Published
Peer reviewed
oai:research-repository.st-andrews.ac.uk:10023/35402023-04-18T09:42:55Zcom_10023_114com_10023_29com_10023_879com_10023_878col_10023_115col_10023_880
Bentley, Bernard Pierre Emile
University of St Andrews. Spanish
2013-05-21T08:31:02Z
2013-05-21T08:31:02Z
2012-11-21
Bentley , B P E 2012 , ' “The ‘Ars vivendi’ of Laura Mañà’s Morir en San Hilario/To Die in San Hilario (2005)” ' , Studies in European Cinema , vol. 9 , no. 1 , pp. 7-22 . https://doi.org/10.1386/seci.9.1.7_1
1741-1548
PURE: 5162200
PURE UUID: b6f950d0-ce54-4903-96db-b98ccbfd41ad
Scopus: 84871646235
http://hdl.handle.net/10023/3540
https://doi.org/10.1386/seci.9.1.7_1
Over the past decade Spanish-Language Cinema has established itself beside Spanish and Latin American Cinema, and Morir en San Hilario is a good example of these new flexible collaborations rather than a strict transnational co-production. Billed as a comedy, the film could also be described as a variation on the road film, a circular journey to Utopia, a Spanish village/pueblo film, and a twenty-first-century ‘Ars moriendi’ developing the topos of ‘Homo viator’. This is not a frequent combination to be found on cinema screens and Laura Mañà’s gamble was to integrate these ingredients and create a fable to reflect on life and death. She does this through comedy, exaggerations, parody and a narrative style identified as magic realism. Her originality, however, overlaps with the lasting legacy of the fifteenth-century Castilian soldier-poet, Jorge Manrique (c.1440-1479) and his ‘Stanzas written upon the death of his father’, a landmark of Spanish Literature.
Postprint
Peer reviewed
15
eng
Studies in European Cinema
© 2012 Intellect Ltd. This is an author version of this work which may vary slightly from the published version. To see the final definitive version of this paper please visit the publisher’s website.
Laura Mañà
Magical realism
Death
Jorge Manrique
Homo viator
Road films
PN1993 Motion Pictures
PN1993
“The ‘Ars vivendi’ of Laura Mañà’s Morir en San Hilario/To Die in San Hilario (2005)”
Journal article
oai:research-repository.st-andrews.ac.uk:10023/35072023-04-18T09:44:14Zcom_10023_114com_10023_29com_10023_879com_10023_878col_10023_115col_10023_880
Partzsch, Henriette Anna Margarete
University of St Andrews. Spanish
2013-05-03T10:01:01Z
2013-05-03T10:01:01Z
2012-09
Partzsch , H A M 2012 , ' Violets and abolition : The discourse on slavery in Faustina Saez de Melgar's magazine La Violeta (1862-1866) ' , Bulletin of Spanish Studies , vol. 89 , no. 6 , pp. 859-875 . https://doi.org/10.1080/14753820.2012.712322
1475-3820
PURE: 15786277
PURE UUID: bc58fe51-a8f7-4213-b719-bb2f46e12508
Scopus: 84866086841
http://hdl.handle.net/10023/3507
https://doi.org/10.1080/14753820.2012.712322
Although the commitment of several nineteenth-century Spanish women writers to abolitionism is a well-established fact, not much is known about the concrete forms their engagement took in a society in which the bourgeois ideology of woman as the angel in the house played a prominent role. The close study of the weekly magazine La Violeta (1862-66), directed by Faustina Sáez de Melgar, shows how the active and public support for this international cause was linked to the development of a model of compassionate intervention by women, most notably formulated by the magazine's regular contributor Rogelia León in response to the very mixed reviews of the foundational meeting of a ladies' abolitionist society. The press coverage of this event clearly demonstrates how political conflict is cast in terms of gender and class and used to threaten middle-class women who step into the political sphere. The analysis of the discourse on slavery reveals an equal importance of both categories in La Violeta, together with the patronising and casual racism of its authors.
Publisher PDF
Peer reviewed
eng
Bulletin of Spanish Studies
Copyright (c) 2012 Taylor and Francis Group, LLC. This is an Open Access article. For full terms and conditions of use, see: http://www.tandfonline.com/page/terms-and-conditions esp. Part II. Intellectual property and access and license types, § 11. (c) Open Access Content
Nineteenth-century Spanish women writers
Racism
Class
Gender
Press
Ladies’ abolitionist society
Rogelia Léon
Faustina Sáez de Melgar
Abolitionism
PQ Romance literatures
PQ
Violets and abolition : The discourse on slavery in Faustina Saez de Melgar's magazine La Violeta (1862-1866)
Journal article