2024-03-28T08:49:04Zhttps://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
00925njm 22002777a 4500
dc
San Román, Gustavo
author
2003
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.
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
Juan Carlos Onetti
El astillero
Latin American Literature
Uruguay
20th Century
El final de El astillero
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
00925njm 22002777a 4500
dc
Bentley, Bernard Pierre Emile
author
2012-11-21
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.
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
Laura Mañà
Magical realism
Death
Jorge Manrique
Homo viator
Road films
PN1993 Motion Pictures
“The ‘Ars vivendi’ of Laura Mañà’s Morir en San Hilario/To Die in San Hilario (2005)”
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
00925njm 22002777a 4500
dc
Partzsch, Henriette Anna Margarete
author
2012-09
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.
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
Nineteenth-century Spanish women writers
Racism
Class
Gender
Press
Ladies’ abolitionist society
Rogelia Léon
Faustina Sáez de Melgar
Abolitionism
PQ Romance literatures
Violets and abolition : The discourse on slavery in Faustina Saez de Melgar's magazine La Violeta (1862-1866)