Bøger udgivet af University of North Carolina at Chapel Hill Depart

Feeling the Gaze explores the visual elements in eight contemporary Argentine and Chilean theater performances. Gail A. Bulman shows how staged images can awaken spectators' emotions to activate their intellect, provoking nuanced and deep contemplation of social, historical, and political themes. Ranging from simple props, costumes, body movements and spatial constructions to integrated media and digital images, the aesthetic components in these pieces engage to forge multifaceted storytelling, stimulate the public's relation to memory, and create affective bonds that help build individual and collective social consciousness. Recent innovations in Southern Cone theatre aesthetics have been shifting traditional performance/spectator relationships and animating ideological discussions. The various works presented here give readers a holistic understanding of the emerging prominence of visuality and affect as a vehicle for political advocacy in Latin American theatre and performance. The book asks us to consider the formation of new spectator-performance bonds as authors, directors, and theatre groups increasingly turn toward alternative settings for their work. Lingering visual memories of the performances, together with the feelings that the performative experience stirs up, provide spectators with an enduring focal point through which to reflect on and judge what is "beyond" the performed scenes. Staged live in the Southern Cone and internationally since 2014, these plays demonstrate the transgressive power of the visual to make spectators see, feel, and potentially act against injustices and violence.This study offers comprehensive critical discussions of Teatro Banda's O'Higgins: un hombre en pedazos; Teatro Nino Proletario's Fulgor; Mario, Luiggi y sus fantasmas's Manual de carrona; Agustin Leon Pruzzo's En la sombra de la cupula; Teatro la Maria's Los millonarios; Claudio Tolcachir's Proximo; Sergio Blanco's Tebas Land; and Lola Arias's Doble de Riesgo.

Following an introduction to the theory of autobiographical rhetoric, this study centers on the process of fictionalizing the self in Cabrera Infante's La Habana para un infante difunto and Vargas Llosa's La tia Julia y el escribidor. Rosemary Feal examines narrative devices that the self-conscious protagonists employ to translate life into text, and further demonstrates how they create mock autobiographies. The analysis of the autobiographical mode reaches beyond the texts in question, to encompass related forms of storytelling including the picaresque, cinema, soap operas, and erotica, and other works by the authors that are the book's focus.

Moderating Masculinity in Early Modern Culture proposes a definition of gender based on a ternary model in which moderation and masculinity are inextricably linked. Like the Aristotelian virtue of moderation, which requires the presence of excess and lack in order to exist, what Todd W. Reeser terms "moderate masculinity" requires two non-moderate others--one incarnating excess and one embodying lack--for its definition. This type of alterity takes a number of different forms--including women/effeminacy, the new world native, the nobility, the hermaphrodite, and the sodomite. The book begins with a reading of this brand of masculinity in Aristotle and then proceeds to textual analyses of canonical and non-canonical writers of the Renaissance, such as Rabelais, Montaigne, Erasmus, Lery, and Artus. These writers are placed in dialogue with key cultural sites where this unstable model operates--especially pedagogy, marriage, male-male friendship, travel narratives, politics, etymology, and rhetoric. With its interdisciplinary implications, Moderating Masculinity should be of interest to students and scholars in gender studies, Renaissance/early modern studies, and French studies.

Jesus Torrecilla explores the question of how societies considered to be marginal perceive their relationship with those that are hegemonic. Focusing on the works of Mariano Jose de Larra, Benito Perez Galdos, and Miguel de Unamuno, he argues that the inner tension created between the foreign models and the writers' own literary tradition explains two of the most important characteristics of Spanish literature: its belatedness with respect to European trends and, more generally, its traditionalism, which, says Torrecilla, is a reaction not against modernity as such but against modernity as a foreign influence. The double movement of imitation and appropriation generates an original hybrid literature that demonstrates the decisive importance of social identity in the configuration of literary works.

Dislocations of Desire provides the first sustained psychoanalytic reading of La Regenta by Leopoldo Alas. In this unique study, Alison Sinclair focuses on the representation and articulation of desire in the novel. She argues that instead of being seduced by the fiction, what is at stake is sexual desire leading to adultery--the characteristic fiction of the adultery novel. According to the critic, the reader must learn to look below the surface in order to see the ontological insecurities that this fiction veils and attempts to contain. In a reading that draws both on a broad spectrum of modern psychoanalytic theory and on an understanding of social, sexual, and medical norms of the period in which the novel was written, Sinclair proposes that the adultery story be understood as a coded resume of fantasied, dislocated, repudiated, and thwarted desire.

A detailed reading of Villiers de l'Isle-Adam's 1886 novel L'Eve future, this study explores the author's construction of the android woman from two angles: science and art. Marie Lathers shows that the novel is a satire of the era's belief that science would cure the ills of the modern world and redeem the femme fatale. She also exposes Villiers's prescient discussion of technologies that form hybrids of science and art. The only lengthy study of Villiers's novel in English, Lathers's book engages significant thinkers of nineteenth-century French aesthetic, medical, and scientific discourse. Contemporary cultural and feminist criticism, particularly that of Roland Barthes, Mary Ann Doane, and Judith Butler, forms the framework of her analysis.

This book examines Ronsard's participation in the heated paragone debate between poets and painters: the Renaissance contest for superiority in the ranking of the arts that emerged in counterpoint to the parity-centered, pseudo-Horatian principle of ut pictura poesis ("as is painting, so is poetry"). The book explores issues that, despite their importance throughout Ronsard's poetry and the writings of leading paragone theorists such as Leone Battista Alberti and Leonardo da Vinci, have remained largely unnoticed. In broadest terms, Roberto Campo investigates the poet's notions about the differences between poems and pictures. More precisely, it examines Ronsard's views on two fundamental preoccupations of the theoretical and practical discussions about the arts during the Renaissance: which mode of expression, word or image, can more accurately and meaningfully represent natural realities and abstract celestial truths; and thus, whose art, the poet's or the painter's, holds the highest station in the hierarchy of human creative endeavor?

This collection of twelve essays written in English and French honors Victor Henri Brombert, the eminent humanist, thinker, and scholar of nineteenth- and twentieth-century European letters. Though their subjects range broadly over the literature, music, and painting of France, Russia, Italy, and Germany, many of the essays share concerns, topics, or methods, thus creating illuminating parallels and contrasts as well as internal coherence. Contributors are Simone Balay‚ Peter Brooks, Caryl Emerson, Jean Gaudon, Gerard Genette, Stirling Haig, Georges May, Jacques Neefs, Gerald Prince, Jean-Pierre Richard, Carol Rigolot, and Albert Sonnenfeld.

In a time when few women in Europe were educated and even fewer spoke out against the status quo, Maria de Zayas (1590-?) published novellas filled with criticism about gender relations. Her best-selling Novelas amorosas (1637) and Desenganos amorosos (1647) explore the pleasures and, more frequently, the perils of sex and marriage. Condemned as lewd, Zayas's work was excised from the literary canon by nineteenth-century scholars. But with the feminist revolution of the 1970s came a renewed interest in her fiction. Zayas's contemporary appeal is easily explained: through graphic images of violence against women and poignant examples of women's exclusion from social justice, she speaks to important issues of our own times.Lisa Vollendorf illuminates this compelling author, using contemporary feminist theory to decipher the nuances of Zayas's complex ideologies. Revealing Zayas as a critical figure in European women's literary history, Vollendorf delineates the strategies and impulses behind early modern feminism.

Drawing upon contemporary theoretical debates surrounding performance, gender, and Latin American studies, The Leper in Blue examines representations of performance within dramatic texts. The book treats the work of playwrights such as Vincente Lenero, Sabina Berman, Mariela Romero, Griselda Gambaro, Maruxa Vilalta, and Rosario Castellanos, who depict the freedom of performance within a framework of compulsion. Individual chapters focus on the transformation of historical narratives, ritual game playing, the performance of gender, the staging of torture, and, finally, nonperformance--the representation of coercive performances that are at once demanded and denied. The plays examined not only raise important questions about the nature of performance but also shed light on many of the crucial sociopolitical issues of twentieth-century Latin America, among them economic instability, political repression, state violence, and dictatorship.