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Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930S
Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Ariel Mae Lambe All rights reserved ABSTRACT Cuban Antifascism and the Spanish Civil War: Transnational Activism, Networks, and Solidarity in the 1930s Ariel Mae Lambe This dissertation shows that during the Spanish Civil War (1936–1939) diverse Cubans organized to support the Spanish Second Republic, overcoming differences to coalesce around a movement they defined as antifascism. Hundreds of Cuban volunteers—more than from any other Latin American country—traveled to Spain to fight for the Republic in both the International Brigades and the regular Republican forces, to provide medical care, and to serve in other support roles; children, women, and men back home worked together to raise substantial monetary and material aid for Spanish children during the war; and longstanding groups on the island including black associations, Freemasons, anarchists, and the Communist Party leveraged organizational and publishing resources to raise awareness, garner support, fund, and otherwise assist the cause. The dissertation studies Cuban antifascist individuals, campaigns, organizations, and networks operating transnationally to help the Spanish Republic, contextualizing these efforts in Cuba’s internal struggles of the 1930s. It argues that both transnational solidarity and domestic concerns defined Cuban antifascism. First, Cubans confronting crises of democracy at home and in Spain believed fascism threatened them directly. Citing examples in Ethiopia, China, Europe, and Latin America, Cuban antifascists—like many others—feared a worldwide menace posed by fascism’s spread. -
The Specter of Franco
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2014 The Specter of Franco Alexandra L. Jones University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the History Commons Recommended Citation Jones, Alexandra L., "The Specter of Franco" (2014). Honors Theses. 27. https://egrove.olemiss.edu/hon_thesis/27 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SPECTER OF FRANCO ©2014 Alexandra Leigh Jones A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements for completion of the Bachelor of Arts degree in International Studies Croft Institute for International Studies Sally McDonnell Barksdale Honors College The University of Mississippi University, Mississippi May 2014 Approved by Advisor: Dr. Manuel Sosa-Ramirez Reader: Dr. William Schenck Reader: Professor Melissa Graves ABSTRACT Human rights violations that occurred almost seventy years ago are still a social issue in Spain today. This project analyzed five post- Franco films that dealt with the issue of the Spanish Civil War or Franco regime to determine if they were a counter to official political discourse on the subject. In addition to analyzing the films themselves, research was also done on a variety of official discourse pertaining to the recovery of memory in Spain. Upon examination it became clear that the overarching discourse in Spain is a refusal to address the issues of the past. -
NOSTALGIA Y RESISTENCIA CULTURAL EN LA OBRA DE JUAN MARSÉ by Lourdes Gabikagojeaskoa ——————————————
Nostalgia y Resistencia Cultural en la Obra de Juan Marse Item Type text; Electronic Dissertation Authors Gabikagojeaskoa, Lourdes Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 19:38:39 Link to Item http://hdl.handle.net/10150/195830 NOSTALGIA Y RESISTENCIA CULTURAL EN LA OBRA DE JUAN MARSÉ by Lourdes Gabikagojeaskoa —————————————— Copyright © Lourdes Gabikagojeaskoa 2005 A Dissertation Submitted to the Faculty of the DEPARTMENT OF SPANISH AND PORTUGUESE In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College The University of Arizona 2005 4 AGRADECIMIENTOS Quiero agradecer la dirección del profesor Joan Gilabert quien me ha ayudado y me ha apoyado durante tantos años y además de su amistad y buenos consejos siempre me ha alentado para seguir adelante. Al igual que la participación y ayuda de los profesores Malcolm A. Compitello y Amy Williamsen. También quiero agradecer a Miguel Rodríguez Mondoñedo por la paciencia que ha tenido en ayudarme con las revisiones y los consejos que me ha dado. Al igual que a Mark Bryant por su ayuda con la parte técnica. Agradezco a mis amigas y amigos, Susan Sotelo, Julia Domínguez, Nuria Morgado, Giancarla di Laura, Delia Greth, María Diem, Sergio Martínez, Cristian Aquino, Ana Romo, Alexis Osorio, Ana Perches, Ana Maria Carvalho y Guto, Erika Franco y Bardo Padilla. -
La Música De José Nieto Para La 'Trilogía Histórica' De Vicente Aranda
CUADERNOS DE MÚSICA IBEROAMERICANA. V ol. 21 enero-junio 2011, 125-148 ISSN : 1136-5536 ALEJANDRO GONZÁLEZ VILLALIBRE Universidad de Oviedo La música de José Nieto para la ‘Trilogía Histórica’ de Vicente Aranda Las especiales características de la música escrita para el cine hacen que, desde su concepción, el compositor se vea obligado a emplear una gran cantidad de estilos y recursos estilísticos que se adapten a la producción en la que se va a inscribir la partitura. La ambientación histórica, el géne - ro cinematográfico o el tono general de la película condicionan desde el principio una banda sono - ra. En este artículo proponemos el estudio de tres de los últimos trabajos de José Nieto en colabo - ración con Vicente Aranda ( Juana la Loca , Carmen , y Tirant lo Blanc ) buscando sus características diferenciadoras, pero también las unitarias, las marcas de estilo que vertebran la carrera del compo - sitor madrileño. De la misma forma, buscaremos la intención del autor a la hora de aportar su músi - ca, así como las funciones que ésta cumple dentro de la película. Palabras claves: José Nieto, Música de Cine, Carmen , Juana la Loca , Tirant lo Blanc , Vicente Aranda. The special characteristics of film music mean that, from its very conception, composers are required to employ a large number of styles and stylistic resources in order to adapt their scores to the a particular production. The historical setting, cinematographic genre or the general tone of the film condition a soundtrack from the outset. This article examines three of José Nieto’s latest soundtracks for films by Vicente Aranda (Juana la Loca, Carmen, and Tirant lo Blanc) , identifying both the characteristics that distinguish them, as well as those they have in common, the traits forming the backbone of the Madrilenian composer’s career. -
El Tema Del Doble
FACULTAT DE CIENCIES DE LA COMUNICACIÓ DEPARTAMENT DE COMUNICACIÓ AUDIO-VISUAL I PUBLICITAT UNIVERSITAT AUTONOMA DE BARCELONA EL TEMA DEL DOBLE EN EL CINE, COMO MANIFESTACION DEL IMAGINARIO AUDIOVISUAL EN EL SUJETO MODERNO TESIS DOCTORAL STELLA MARIS POGGIAN BARCELONA, 2002 INDICE PRIMERA PARTE 7 EN BUSCA DEL PARAÍSO PERDIDO 7 1.1. INTRODUCCION 11 1.2. FORMULACION DEL PROBLEMA 15 1.3. METODOLOGIA DEL TRABAJO 17 1.4. MARCO TEORICO 21 1.4.1. FUENTES EN LA PSICOLOGIA 24 1.4.1.1. NOSOTROS EN EL ESPEJO 29 1.4.1.2. El INDIVIDUO Y SUS DOBLES 31 1.4.1.2. APROXIMACION AL CONCEPTO DE SOMBRA EN JUNG Y RANK 35 1.4.2. FUENTES PICTORICAS Y FOTOGRAFICAS 39 1.4.2.1. El AUTORRETRATO 40 1.4.2.2. “El SUEÑO DE LA RAZON PRODUCE MONSTRUOS” 43 1.4.2.3. LA FOTOGRAFIA 51 1.4.2.4. EL RETRATO FOTOGRAFICO 53 1.4.3. FUENTES LITERARIAS 54 1.4.3.1 EL BESO INMORTAL 58 1.4.3.2. “El EXTRAÑO CASO DEL DOCTOR JEKYLL Y MR. HYDE” 62 1.4.3.4. OTROS REFERENTES: DE HOFFMAN A BORGES 68 1.4.3.5. OTRA VEZ, LOS ESPEJOS 72 1.4.4.FUENTES CULTURALES Y FILOSOFICAS 74 1.4.4.1.LA MIRADA ALTERNATIVA DE ROMAN GUBERN 74 1.4.4.2. EL DOBLE DE FRANCO 77 1.4.4.3. LAS APARIENCIAS SIEMPRE ENGAÑAN 81 1.4.4.4.EDGAR MORIN, EL HOMBRE IMAGINARIO 82 1.4.4.5.EL TEMA DEL DOBLE EN LA FILOSOFIA 85 SEGUNDA PARTE 93 EL IMAGINARIO DEL SUJETO MODERNO 93 2.1. -
Libertarian Voices the Origins of Anarchism in Puerto Rico Jorell Meléndez Badillo
Voces Libertarias Los orígenes del anarquismo en Puerto Rico Jorell Meléndez Badillo Libertarian Voices The origins of anarchism in Puerto Rico Jorell Meléndez Badillo Enclosed are English translations to the following sections, for August 16th: Introduction Chapter I: Intellectual and historiographic debates regarding anarchism Section III: Puerto Rico in the context of anarchist historiography Section IV: Puerto Rican historiography and anarchism Chapter IV: Anarchism in Puerto Rico Section I: The Written Press Section II: Discourses, Concepts, and Ideas Section III: Political and Economic Discourses Section IV: Social Ills Our next reading group, on August 30th, will focus on: Chapter V: From Theory to Practice Section I: The Tobacconists Section II: Propagation of the ideal Section III: May Day in Puerto Rico Section IV: The influence of Francisco Ferrer and Guardia Section V: The State strikes back Section VI: The Internationalist Stance INTRODUCTION In the middle of a discourse on a topic that I find very interesting— that of anarchism in Puerto Rico— a professor asked me in front of all of my friends: And you think anarchists existed in Puerto Rico? His scrutinizing look made clear to me his objective: He was trying to dissuade me from engaging with the topic through interpellation and mockery. It was, therefore, an enormous pleasure to find, in the text of the work Arecibo Histórico (Historical Arecibo) by José Limón de Arce, mention of a newspaper that, according to the author, had anarchist tendencies. As soon as I accessed said newspaper, I came across some words that would encourage this investigation: “I am (don’t be afraid) an anarchist. -
Basak Dissertation
Representing Censored Pasts: State-Violence in Twentieth Century Turkish and Spanish Literature by Başak Çandar A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2014 Doctoral Committee: Professor Kader Konuk, Co-Chair, Universität Duisburg-Essen Professor Cristina Moreiras-Menor, Co-Chair Associate Professor Gottfried J. Hagen Professor Anton Shammas ii To the extraordinary memory of my grandmother, Saffet “Safko” Çandar, who taught me my words. iii Acknowledgements This dissertation began in earnest in 2007 in Barcelona, after one of the most spectacular summers of my life. We had assumed that it would take much shorter and that it would end in Turkey. We were amiss, but I would still like to begin by thanking the memory of that uphill walk, which began this journey. Throughout the past six years, my committee has been an invaluable source of support and wisdom and I thank them for all their help and kindness. Kader was the reason I came to the University of Michigan, and her brilliant scholarship, her ability to alert me to the most unexpected connections and her friendship have helped me immensely and meant more to me than I can describe here. Despite her busy schedule as the Chair of the Romance Languages Department, Cristina has taken the time to comment on my work and listen to my ideas. I cannot thank her enough for her encouragement and support, without which I would have never ventured into Spanish literature. The classes I have taken with Gottfried and our conversations have been incredibly informative for me. -
David Archibald
The Spanish Civil War in Cinema David Archibald University of Glasgow Departments of Theatre, Film and Television and Hispanic9 Studies Doctoral Thesis C) [David Archibald] [February 2005] Abstract in I In this thesis I present a case study of the Spanish civil war cinema. examine how this period has been represented in cinema through time, in different countries and in various cinematic forms. I reject the postmodern prognosis that the past is a chaotic mass, made senseof through the subjective narrativisation choices of historians working in the present. On the contrary, I argue that there are referential limits on what histories can be legitimately written about the past. I argue that there are different, often contradictory, representations of the Spanish civil war in cinema which indicates a diversity of uses for the past. But there are also referential limits on what can be legitimately represented cinematically. I argue that the civil war setting will continue to be one which filmmakers turn to as the battle for the future of Spain is partially played out in the cinematically recreated battles of the past. Table of Contents Acknowledgments Introduction Chapter One: History and the Spanish Civil War 8 Chapter Two: History on Film: The Spanish Civil War 44 Chapter Three: For Whom the Bell Tolls: Hollywood 71 and the Spanish Civil War Chapter Four: Re-cycling the Past: Patterns of History in Vacas 105 Chapter Five: No Laughing Matter? Comedy and 131 The Spanish Civil War Chapter Six: Ghosts from the Past: El espinazo del Diablo 165 Chapter Seven: Cinematic Politics: Revolution Revisited in 191 Land and Freedom and Libertarias Chapter Eight: The Search for Truth in 221 Soldados de Salamina Conclusion 240 Filmography 244 Bibliography 249 2 Acknowledgments I would like to thank my supervisors, Mike Gonzalez and Dimitris Eleftheriotis. -
Redalyc.De Un Afortunado GAG. Cine Y Filosofía En Libertarias De Vicente
Opción ISSN: 1012-1587 [email protected] Universidad del Zulia Venezuela Vega Baeza, Rita De un afortunado GAG. Cine y filosofía en Libertarias de Vicente Aranda Opción, vol. 31, núm. 6, 2015, pp. 875-887 Universidad del Zulia Maracaibo, Venezuela Disponible en: http://www.redalyc.org/articulo.oa?id=31045571051 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Opción, Año 31, No. Especial 6 (2015): 875 - 887 ISSN 1012-1587 De un afortunado GAG. Cine y filosofía en Libertarias de Vicente Aranda Rita Vega Baeza Universidad Autónoma de Zacatecas, México. [email protected] Resumen El objetivo es mostrar que el cineasta Vicente Aranda en la película Libertarias (1996) re significa mediante las imágenes tan plurales como crudas, una parte de la Guerra Civil española (1936-1939) desde una res- ponsabilidad cívica, una melancolía estética, y a momentos un desenfa- do conciliatorio. Aborda cuestiones políticas y religiosas entre republi- canos, anarquistas y fascistas. Temas que nosotros analizaremos desde una metodología hermenéutica y desde autores como Habermas, Ratzin- ger, Vattimo y Rorty, principalmente. Concluyendo que el papel de las mujeres libertarias del filme coincide con el concepto de “pensamiento débil” de Vattimo, incluyendo el gag que los humaniza en la guerra. Palabras clave: Cine, filosofía, religión, hermenéutica, “Pensamiento débil”. One Lucky GAG. Cinema and Philosophy in the Film Libertarian Women by Vicente Aranda Abstract The aim is to show that the director Vicente Aranda in the ‘Liberta- rian women’ Movie (1996) plural meaning through images as raw as a part of the Spanish Civil War (1936-1939) from a civic responsibility, an aesthetic melancholy, and at times hearted conciliatory. -
Redeeming Realism: Alternate Historicities in Spanish Literature and Film
REDEEMING REALISM: ALTERNATE HISTORICITIES IN SPANISH LITERATURE AND FILM by Diógenes Costa Currás A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in The University of Michigan 2014 Doctoral Committee: Professor Cristina Moreiras-Menor, Chair Assistant Professor Eric Calderwood Associate Professor Giorgio Bertellini Professor Juli A. Highfill To Ela, my wife, and my son, Cem, for being there and helping me through. ii Acknowledgements I could not have gotten this far, or even embarked on this journey, without the friendship and support of many people. First, I would like to thank the members of my doctoral committee. Their trust and support throughout the writing process has eased the struggle with the blank page. Thank you, Cristina Moreiras-Menor, for being such an exceptional adviser and mentor and being always there—through time and space, nudging me in the right direction, going above and beyond the expected. I can simply not express in words my gratitude for inspiring me to be the scholar I am. Giorgio Bertellini, thank you for the openness and collegiality with which you embarked onto this project, to help me wade the murky waters of Neorealism in Spain, and to hearten my fondness for the archive. Thanks also to Juli Highfill for the sharpness of her feedback, and her relentless tachado, removing from my writing the unnecessary, and to Eric Calderwood, for his keen contributions, and his valuable insights into my writings. I have been very fortunate to share the last few years with my friends and colleagues at the University of Michigan, who have become part of my life, and my extended family in the US. -
Libertarias</Em>
Destabilizing Gender and Genre: Queering the Body in Libertarias and Land and Freedom Author(s): Kathryn A. Everly Source: Journal of Gender and Sexuality Studies / Revista de Estudios de Género y Sexualidades , 2021, Vol. 47, No. 1, El género ilimitado: Márgenes, rupturas y transgresiones en el cine luso-hispánico (2021), pp. 135-154 Published by: Michigan State University Press Stable URL: https://www.jstor.org/stable/10.14321/jgendsexustud.47.1.0135 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Michigan State University Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of Gender and Sexuality Studies / Revista de Estudios de Género y Sexualidades This content downloaded from 128.230.44.92 on Wed, 02 Jun 2021 15:40:09 UTC All use subject to https://about.jstor.org/terms Artículo | Article Destabilizing Gender and Genre: Queering the Body in Libertarias and Land and Freedom Kathryn A. Everly Syracuse University Abstract Libertarias (1996) and Land and Freedom (1995) explore the complex situation of women militia during the Spanish Civil War. A queer reading of the female body in these films highlights wartime female masculinity (Halberstam) and female solidarity. In renegotiating worn expectations of sexuality and gender, the films question and ultimately redefine the wartime docudrama genre. -
Masculinities in Conflict: Representations of the Other in Narrative During the Spanish Civil War
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Modern Languages and Literatures, Department Spanish Language and Literature of 6-2010 Masculinities in Conflict: Representations of the Other in Narrative during the Spanish Civil War Iker González-Allende University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/modlangspanish Part of the Modern Languages Commons González-Allende, Iker, "Masculinities in Conflict: Representations of the Other in Narrative during the Spanish Civil War" (2010). Spanish Language and Literature. 46. https://digitalcommons.unl.edu/modlangspanish/46 This Article is brought to you for free and open access by the Modern Languages and Literatures, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Spanish Language and Literature by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Hispanic Research Journal 11:3 (June, 2010), pp. 193–209; doi: 10.1179/174582010X12659827458988 Copyright © 2010 Queen Mary, University of London. Used by permission. http://www.ingentaconnect.com/content/maney/hrj Masculinities in Conflict: Representations of the Other in Narrative during the Spanish Civil War Iker González-Allende University of Nebraska–Lincoln, USA Abstract In this article, I analyze the representation of the Other in three texts that were published during the Spanish Civil War: El infierno azul (1938?), by Republican Isidro R. Mendieta, and two closely related works by Falangist Jacinto Miquelarena: Cómo fui ejecutado en Madrid (1937) and El otro mundo: La vida en las embajadas de Madrid (1938). Although these texts adhere to different political ideologies and are stylistically very divergent, they are similar in their constant criticisms of the enemy.