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Cather MY ANTONIA Presidente ALBERTO LÁZARO LAFUENTE Universidad De Alcalá 2018.NEXUS 01 edita: Antonio Ballesteros 1818-2018, mary Shelley FRANKENSTEIN .. emily bronte Wuthering Heights, 1818 1933-2017 jim milroy 1920-2017 randolph nobel prize 2017 quirk kazuo willa 1918 ishiguro cather MY ANTONIA Presidente ALBERTO LÁZARO LAFUENTE Universidad de Alcalá Secretario ANTONIO BALLESTEROS GONZÁLEZ 2018.NEXUS 01 UNED Vocal 1a CRISTINA ALSINA RÍSQUEZ Copyright De los textos, sus autores. Universitat de Barcelona Editor ANTONIO BALLESTEROS GONZÁLEZ Vocal 2a ROSARIO ARIAS DOBLAS Universidad de Málaga Graphic TONI CAMPS design useixantaquatre.com Tesorera CRISTINA SUÁREZ GÓMEZ Universitat de les Illes Balears ISSN 1697-4646 http://www.aedean.org nexus 2018-01 ÍNDICE TRIBUTES BEATRIZ GONZÁLEZ MORENO Universidad de Castilla-La Mancha 7 Mary Shelley Frankenstein, or the Modern Prometheus de Mary Shelley. Entonces y ahora (1818-2018). MARÍA VALERO REDONDO Universidad de Córdoba 12 Emily Bronte Wuthering Heights A Fresh Critical Overview. AITOR IBARROLA ARMENDÁRIZ Universidad de Deusto, Bilbao Willa Cather 16 ´ [Our] Antonia by Willa Cather: One Hundred Years in the Making. JOSÉ ANTONIO HERNÁNDEZ MORALES UNED 23 Kazuo Ishiguro A Celebration of Kazuo Ishiguro’s Literary Works: An Insight into Nostalgia and Postcolonialism. JUAN CAMILO CONDE SILVESTRE Universidad de Murcia 35 James Milroy ¨´ ´ MARTA CARRETERO Universidad Complutense de Madrid 42 Randolph Quirk In Memoriam Randolph Quirk (12 July 1920 - 20 December 2017) 3 nexus 2018-01 ÍNDICE BOOK REVIEWS PAULA BARBA GUERRERO Universidad de Salamanca Memory Frictions in Contemporary 45 Literature ´ ´ ´ ´ MARTA CARRETERO Universidad Complutense de Madrid English Grammar: A University Course 48 Angela Downing REMEDIOS PERNI Universidad de Alicante National Identities and Imperfections 52 in Contemporary Irish Literature. Unbecoming Irishness Luz Mar Gonzalez-Arias,´ ed. ROCÍO RIESTRA CAMACHO Universidad de Oviedo Corporalidad, Temporalidad, 55 Afectividad: Perspectivas filosofico-´ antropologicas´ ´ ´ ´ MARÍA CECILIA MARCHETTO SANTORUN Universidad de Santiago de Compostela Superhero Comics 58 Chris Gavaler 4 nexus 2018-01 ÍNDICE BOOK REVIEWS HÉCTOR FUENTES SOTO Universidad de La Laguna After American Studies: Rethinking 61 the Legacies of Transnational Exceptionalism. Jeffrey Herlihy-Mera MARÍA GRAU PEREJOAN Universitat de Barcelona Harbors, Flows, and Migrations: The 64 USA in/and the World Vicenzo Bavaro, Gianna Fusco, Serena Fusco & Donatella Izzo, eds. MIGUEL ÁNGEL JORDÁN Universitat de València Reading Austen in America 66 Juliette Wells VIOLETA MARTÍNEZ ALCAÑIZ Universidad de Autónoma de Madrid Victorianomania. Reimagining, 68 Refashioning, and Rewriting Victorian Literature and Culture S. Falchi, G. Perletti & M. I. Romero Ruiz, eds. INTERVIEWS KAGAN KAYA Cumhuriyet University, Turkey At the Edge of Terror: An Interview 71 with Robin Soas on Talking to Terrorists 5 nexus 2018-01 ÍNDICE INTERVIEWS MERCEDES PÉREZ AGUSTÍN Universidad Internacional de La Rioja Conversacion´ que mantuve con Evan 81 Pritchard en relacion´ con los cuentos del pueblo Micmac y sus costumbres Junio 2010, Ministerio de Asuntos Indios en Ottawa, Canada´ CONFERENCE REPORT CONFERENCE SONIA LUQUE MALDONADO Y JUAN-JOSÉ MARTÍN- GONZÁLEZ Universidad de Málaga I International Seminar on (Neo-) 86 Victorian Studies in Spain: VINS Network 6 nexus 2018-01 TRIBUTE BEATRIZ GONZÁLEZ MORENO Universidad de Castilla-La Mancha Frankenstein, or the Modern Prometheus de Mary Shelley. Entonces y ahora (1818-2018) 7 nexus 2018-01 “Frankenstein continues to drag on its spectral existence” 1 ublicada anónimamente, Frankenstein, or the de todo decoro. Pero esa crítica sería, precisamente, uno Modern Prometheus veía la luz el 1 de enero de de los puntos fuertes de la obra. Frankenstein irrumpía 1818; desde entonces hasta ahora no ha dejado en el género gótico para transformarlo. Ann Radcliffe, P de editarse o de adaptarse, y eso que los comien- al diferenciar entre el horror y el terror en su conocido zos fueron difíciles. El manuscrito fue rechazado ensayo publicado póstumamente “On the Supernatural en 1817 tanto por el editor de Lord Byron, John Murray, in Poetry” (1826), había sentado las bases en torno al de- como por el de P. B. Shelley, Charles Ollier. Finalmente, bate sobre el gótico masculino y el femenino: “Terror and sería una editorial menor la que asumió el riesgo: Lack- Horror are so far opposite, that the first expands the soul ington, Hughes, Harding, Mavor & Jones. Las críticas and awakens the faculties to a high degree of life; the oth- que recibió fueron igualmente encontradas. Algunas, er contracts, freezes and nearly annihilates them” (149). como la de La Belle Assemblée, describieron la obra como Así, mientras el terror venía a definir novelas góticas “a very bold fiction… likely to be very popular” (139- como las escritas por Radcliffe, el horror caracterizaba un 140); otras, como la de John Wilson Croker, estuvieron gótico masculino cuyo máximo exponente era Matthew menos atinadas: Lewis. La obra de Mary Shelley, sin embargo, suponía una trasgresión de dichas etiquetas y confería al gótico femenino una nueva dimensión, algo que la crítica fem- inista señalaría cuando en 1976 Ellen Moers acuñaba el What a tissue of horrible and disgusting absurdity this work término “Female Gothic” en su Literary Women y mani- presents. — It is piously dedicated to Mr. Godwin, and is festaba que “Frankenstein brought a new sophistication to written in the spirit of his school. The dreams of insanity are literary terror” (Moers 91). Terror y horror se entremez- embodied in the strong and striking language of the insane clan en Frankenstein para ofrecer al público escenas que […] Our taste and our judgment alike revolt at this kind elevan, sólo para después proceder a la aniquilación. No of writing, and the greater the ability with which it may be es lo sobrenatural explicado al estilo de Radcliffe, es algo executed the worse it is -- it inculcates no lesson of conduct, nuevo: lo sobrenatural explicado mediante la ciencia. manners, or morality; it cannot mend, and will not even En este sentido, Frankenstein marcaba un antes y un amuse its readers, unless their taste have been deplorably después en la literatura gótica, pero también afianzaba vitiated -- it fatigues the feelings without interesting the el desarrollo de otro género, la ciencia ficción. Señalaría understanding (382). Brian Aldiss en 1973: “We look at the dream world of the Gothic novel, from which science fiction springs; we identify the author whose work marks her out as the first Si hay una reseña poco acertada y carente de visión de science fiction writer” (Aldiss 8). Pero todo esto, la acla- futuro, es esta. El tiempo ha demostrado que Frankenstein mación de la crítica, tardaría en llegar. no sólo es una lección moral, sino también una obra que admite una gran riqueza de enfoques; una obra polimor- En cuanto al éxito se refiere, los orígenes deFrankenstein fa, adaptada en incontables ocasiones y que no ha dejado fueron más bien verdes. Me explico. Como suele ser ha- de entretener al público desde que fuera publicada. The bitual, el público no se familiarizaría con Frankenstein British Critic no se quedó atrás y arremetió no sólo con- a través del texto escrito por Mary Shelley, sino en gran tra la obra en sí, tachándola de grotesca e inmoral, sino medida mediante la adaptación teatral de Richard Brin- que además señalaba lo mucho que desmerecía a la propia sley Peake, Presumption; or, The Fate of Frankenstein. La autora; el hecho de que el autor fuera una mujer suponía obra se estrenó en el Lyceum Theatre de Londres el 28 de “an aggravation of that which is the prevailing fault of julio de 1823 y tuvo una acogida triunfal. El monstruo, the novel; but if our authoress can forget the gentleness interpretado por un tal T. P. Cooke, llegaría a identificarse of her sex, it is no reason why we should; and we shall con la criatura misma de forma similar a como lo haría therefore dismiss the novel without further comment” Karloff: “yellow and green greasepaint on his face, black (438). Teniendo en cuenta la estética dominante en la lips, unkempt hair, exposed blue legs” (Lavalley 249). El época para las mujeres, según la cual “la mujer tiene un Frankenstein de Peake, esa criatura verduzca, arraigó de sentimiento innato más intenso para todo lo que es bel- tal forma en la cultura popular que Punch señaló que lo, lindo y adornado” (Kant 66), Mary Shelley se había Cooke “was also the original Monster in Frankenstein — apropiado de una forma de escribir masculina, carente and a very original monster, too, who made a furore 1 London Literary Gazette, 11 de septiembre de 1823: 590. 8 nexus 2018-01 in Paris, and gave a colour to gloves. Vert de monstre” etc.; elementos todos ellos con los que el público está fa- (181). Frankenstein/ Cooke se había convertido en lo que miliarizado, seguramente más que con la novela. Es más: hoy llamaríamos un “influencer”. Basta teclear en inter- de nuevo hace su aparición el verde. Por cuestiones de net Frankenstein para ver lo mucho que abunda el verde. luz y cámaras, Jack Pierce decidió que pintaran la cara de Karloff de un tono azul-verdoso, un color que garan- El éxito “popular” de Frankenstein favoreció una segun- tizaba el tipo de gris adecuado para la pantalla en blanco da edición publicada en dos volúmenes en 1823 por G. y negro (Hitchcock 152). Frankenstein pasaba a formar y W. B. Whittaker; en esta ocasión, Mary Shelley apa- parte del imaginario colectivo. Un monstruo había naci- recía como autora. Y, como ella misma reconocía, “On do: “It’s alive, it’s alive!”; y andaba suelto. the strength of the drama my father had published for my benefit a new edition of F.” (259). Este mismo hecho Y, sin embargo, como sucediera con la obra teatral de impulsaría una tercera edición revisada y publicada en Peake, este Frankenstein no era el Frankenstein de Mary 1831 en el nº 9 de la serie “Standard Novels” de Hen- Shelley.
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