DOCSLIB.ORG

The Politics of Sensations: Body and Texture in Contemporary Cinema and Literature (Argentina – Cuba – Ireland)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Politics of Sensations: Body and Texture in Contemporary Cinema and Literature (Argentina – Cuba – Ireland) Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 The olitP ics of Sensations: Body and Texture in Contemporary Cinema and Literature (Argentina - Cuba - Ireland) Guillermo Abel Severiche Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Comparative Literature Commons Recommended Citation Severiche, Guillermo Abel, "The oP litics of Sensations: Body and Texture in Contemporary Cinema and Literature (Argentina - Cuba - Ireland)" (2016). LSU Doctoral Dissertations. 1550. https://digitalcommons.lsu.edu/gradschool_dissertations/1550 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE POLITICS OF SENSATIONS: BODY AND TEXTURE IN CONTEMPORARY CINEMA AND LITERATURE (ARGENTINA – CUBA – IRELAND) A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Interdisciplinary Program in Comparative Literature by Guillermo Abel Severiche Profesorado, Universidad Nacional de Cuyo, 2009 Licenciatura, Universidad Nacional de Cuyo, 2010 M.A., Louisiana State University, 2014 May 2016 Esta tesis doctoral está dedicada a mis padres, mis hermanos y mi hermana, quienes han colaborado conmigo a la distancia con afecto, curiosidad, empuje y sobre todo, respeto por la labor que llevo a cabo. Y también a Mason, quien ha sido la base emocional que ha dirigido todo este proyecto. ii ACKNOWLEDGMENTS First and foremost, I would like to thank my parents, who have always believed in me. They have supported my decision to come to the U.S. and study. I am aware of how difficult this has been for them. Without them, this project would have never been finished. I also want to thank my brothers and sister, who have encouraged me to pursue my dreams and supported me with affection, jokes, and constant consideration – even though I live thousands of kilometers away from them. I am extremely thankful for Dr. Adelaide Russo’s relentless efforts to fight for the Comparative Literature program and its students, to create a network of scholars, to support exciting research and readings, and to encourage me to reach new goals. I also want to express my gratitude to Dr. Laura Martins, whose class in Spring 2012 inspired me and made me dedicate my work to the study of the body and politics. Also, I want to thank Dr. Solimar Otero, whose constant support and vibrant classes have definitely influenced my path as scholar and professor. I want to thank Dr. McGee and Dr. Chirumbolo, who have played an important role in my theoretical development. Finally, I want to thank my group of friends who have made Louisiana and LSU my home in these years: Mariana, Liliana, Maritza, Omer, Stephanie, Omar, Andrey, Caitlin, Lee Ann, Agnés, Amy, Telba, and Ben. I especially want to thank to Mason, whose emotional support, patience, and constant encouragement always renew my passion for literature, cinema, and the profession that I have chosen. iii TABLE OF CONTENTS ACKNOWLEDGMENTS……………………………………………………………........ iii TABLE OF FIGURES….………………………………………………………………….. vi ABSTRACT ……………………………………………………………………………... viii INTRODUCTION. ………………………………………………………………………….1 The Politics of Texture: Theoretical Framework ….…………………………………...5 How to Feel/Think Texture: Methodological Challenges ………………..…………...12 Texture in Tension: Theoretical Challenges and Limitations ………………………....19 Argentina, Cuba, Ireland, and the Transition to the Twenty-First Century …………...24 Forms of Corporeality: Structure, Chapters, and Selected Works ….……..…..............32 CHAPTER 1: THE DISEASED (SOCIAL) BODY. ILLNESS, RUINS, AND THE DECAYING CORPOREAL DIMENSION OF POLITICAL AND ECONOMIC STRUCTURES ……….……................................................. 35 The Political Embodiment of AIDS: Between Individual and Social Bodies in Colm Tóibín’s The Story of the Night and The Blackwater Lightship …………. 40 The Camera’s Sickness: Ruins and Corporeality in Santiago Loza and Iván Fund’s film Los labios …..…………………………………………………................... 53 Through the Wall of Words: The Ruinous Cuban Body in Fernando Pérez’s La pared de las palabras …………………………………………………….… 64 The Voice of the Sick Body ………………………………………………..……….. 77 CHAPTER 2: BREAKING DOWN BOUNDARIES. (HOMO)EROTICISM AND SEXUAL DESIRE AS POLITICAL ARMAMENT. …………………..... 79 Queer Desire and National Discourse: Peter Sheridan’s Borstal Boy ……….......... 84 The Writer, the Anus, and the New Homosexual: Reinaldo Arenas’ Antes que Anochezca ………………………………………………………………….……… 94 Displaying Desiring (Homo)Erotic Bodies: Marco Berger’s Plan B ……….......... .108 The Politics of Queer Desire and the Aroused Body ……………………………..... 118 CHAPTER 3: THE BODY IN PAIN, THE BODY AS WEAPON. STATE APPARATUSES AND THE REPRESENTATION OF PAIN AND TORTURE. …….………………………………………………………... 122 Eroticizing Torture and the Repressive State Apparatus: Néstor Perlongher’s “El infome Grossman” ……………………………………………………….. 127 The Point of View and the Body of Torture: Paula Markovitch’s film El premio………………………………………………………………….…... 144 Sexuality, Abuse, Laundries and Ireland’s “Architecture of Indictment”: Peter Mullan’s film The Magdalene Sisters ……………………………….….. 155 Pain, Religious Discourse, and Slavery: Tomás Gutiérrez Alea’s film La última cena ………………………………………………………………... 169 The Body in Pain, the Sentient Weapon …………………………………………… 181 iv CHAPTER 4: EXPERIENCING FILM, EXPERIENCING THE OTHER. BODILY SENSES AND THE INSTITUTIONAL MODE OF REPRESENTATION. ………………………………………….…………184 Corporeal Shots Are a Question of Morality …………………...…...………………189 The Threat of the Unseen: Lucrecia Martel’s La Ciénaga ………..…………….......196 The Embodied Vision in Debora Warner’s The Last September ……….…………...203 Experiencing the Other: Carlos Quintela’s La piscina ………………………….......210 The Corporeal Shot …………………........................................................................218 CONCLUSION …………………………………………………………….…………….220 BIBLIOGRAPHY ………………………………………..................................................228 VITA ………………………………………………………………….………….............247 v TABLE OF FIGURES Figure 1: Protesters demanding for government’s officials resignation. ……………........... 1 Figure 2: Protesters demanding a stop of growing rates of suicides among LGBT teenagers. ………………………………………………………………………… 2 Figure 3: “Judith Scott in 1999”. Photo by Leon Borensztein. …………………………….. 6 Figures 4 and 5: Inhabiting the ruins in the film Los labios.................................................. 56 Figure 6: Demolishing the hospital. ……………………………………………………….. 57 Figures 7 and 8: Interviewing local people in San Cristóbal …..…………………………...61 Figures 9 and 10: The camera is sick. ……………………………………..……………......62 Figures 11 and 12: Physical sensations in the film. ………………………………..……….68 Figures 13, 14, and 15: Feeling/Touching Ale’s painting. ……………………………….... 70 Figures 16 and 17: Living in the ruins. …………………………………………………….72 Figures 18 and 19: Havana Ruins while reading the letter. ………………………….…......73 Figures 20 and 21: Charlie and Behan’s first and second kiss. ……………………………..93 Figures 22 and 23: Buildings of Buenos Aires; building oneself. ……………………..….113 Figure 24: The Berger Shot. ………………………………………………………………116 Figures 25, 26, and 27: The soldier visiting the school, seen from the children’s perspective. ……………………………………………………...149 Figure 28: The wound feels inside. ………………………………………………………..152 Figure 29: The teacher’s “torture.” ……..............................................................................153 Figure 30: Cecilia cries at the end of the film. …..……………………………...................154 Figures 31 and 32: Physical abuse. ……………………………………………………….161 Figures 33 and 34: Making Bernadette a docile “Catholic girl.” ………………….….......162 Figures 35 and 36: Humiliation and sexual abuse. ……………………………………..…163 Figures 37 and 38: Sexual abuse and the Eucharist in parallel. ………………………..…..164 vi Figures 39 and 40: The film and the original photography of the Corpus Christi in Dublin (1960). ……………………………………………………. 168 Figures 41 and 42: Violence and the religious institution. ……………………………….. 177 Figure 43: The suicidal woman in Kapò …………………………………………………. 191 Figure 44: Water “invading” the frame. …………………………………………………. 198 Figure 45: The barking dogs/The African rat. …………………………………………… 200 Figure 46: The barking dog at the other side of the wall. ………………………………... 201 Figures 47, 48, and 49: Lois spying on others. …………………………………………… 205 Figure 50: Lois being looked at by the telescope/camera. ………………………………... 206 Figures 51 and 52: Objects blocking/distorting optical visuality. …………………………208 Figure 53: Artificial shadows…………………………………………………………….. 208 Figure 54: The camera spins. …………………………………………………………….. 210 Figure 55: Dani, his mom, and the sky. …………………………………………………... 214 Figure 56: Eating, drinking, and laughing. …………………….. ……………………….. 216 vii ABSTRACT In my dissertation, I argue that the human body and physical sensations are not only objects or metaphors that appear in cultural artifacts, but also means of political representation. There are cultural artifacts with a corporeal dimension in which human bodily sensations and
Load more

Recommended publications
  • The Argentine 1960S
    The Argentine 1960s David William Foster It was the time of the Beatles, of high school studies, of “flower power,” of social ist revolution, of a new French movie house, of poetry, of Sartre and Fanon, of Simone de Beauvoir, of Salinger and Kerouac, of Marx and Lenin. It was all of that together. It was also the time of the Cuban Revolution, which opened our hearts, and it was the time of a country, Argentina, which took the first steps to ward vio lence that was to define our future (Fingueret 20-21). El cine es una institución que se ha modificado tanto que ya perdió su carácter de “región moral”. Las salas de cine hasta los primeros años de la década del sesen- ta eran lugares de reunión social donde la gente iba a estar como en un centro de reunión social, un club o un café del que se era habitué....Las antiguas salas tenían personalidad propia y algunas cum plían otras funciones que aquellas para las que habían sido creadas; en tiempo de represión sexual, eran frecuen- tadas por parejas heterosexuales que se besaban y mas- turbaban. Los homosexuales tenían su espaci en cier- tas salas llamadas “populares” no frecuentadas por familias, y en mu chos casos sus espectadores eran varones solos. “Hacer el ajedrez” se decia en el argot de los habitués, en esos cines, a cambiarse cons - tantemente de butaca en busca de la compañía ade- cuada (Sebreli 344).1 In Argentina, it was the best of times, and it was the worst of times.
    [Show full text]
  • Filmkatalog IAI Stand Februar 2015 Alph.Indd
    KATALOG DER FILMSAMMLUNG Erwerbungen 2006 - 2014 CATÁLOGO DE LA COLECCIÓN DE CINE Adquisiciones 2006 - 2014 Inhalt Argentinien............................................................................. 4 Bolivien....................................................................................18 Brasilien...................................................................................18 Chile.........................................................................................31 Costa Rica................................................................................36 Cuba.........................................................................................36 Ecuador....................................................................................43 Guatemala...............................................................................46 Haiti.........................................................................................46 Kolumbien...............................................................................47 Mexiko.....................................................................................50 Nicaragua.................................................................................61 Peru.........................................................................................61 Spanien....................................................................................62 Uruguay...................................................................................63 Venezuela................................................................................69
    [Show full text]
  • Benito Lynch: the New Interpreter of the Pampa
    WNW-O LYNCH: THE NEW iNT-ERPRETER OF THE -PAMPA~-.. Thesis for the Dogma a? M. A. M‘ICHEGoAN STATE UNIVERSITY Richard Dwight Pawers E964 THIS” LIBRARY Michigan State University BENITO LYNCH: THE NEW INTERPRETER OF THE PAMPA I By Richard Dwight Powers A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Foreign Languages Spanish 196“ -.. _ o.» .J wordemphd a J. HZUMPLm ;.Hm h mowmeo \( U) Ss.h C w “out.” 06 )movxmh I. O\Ci‘hOEW/IIW any \l/ L 3H éomo . .... J ._ --K|-’ .16...» “ I to).‘1 .. OSPCDE HUDSUmapV wo+c_e 6 m ? UOQQ®.:U mopfiw- p. mahfiwa P. ’I'J‘I II)...- .'<I.ll\‘-U.IIJI ‘ 4f! LP...» . ... C(C .rrlur. C HEEL?» .3) .Q o:rL.C EEC... I O O O O .... .1 V1!..l)|_1.J.\. ..IA than. ......(CFHC a. O O O O 0 0 ””8 ....n1 EH} 9;“ .(O (.-.... 8 3) Z.) x. .. _ .L .21 «4 rk( n5 1w_.r4. v mOCeflyirLr. In.) 1‘. .1....4_.J ..Zfl. [Pk ....-(r/ a -.(.C.. ...,L 00.,1 ‘J. A. 11.74-47 .a. 1H] 0 .1 .K. F ...... U. .. frkrr LLL. L fl) mo...‘ ..JJ..‘I.... v1 . .DFrP_I...(-fi I. .q .d‘C'ol JuJ.‘ J ‘IOOI‘. .14.. r . Lark r. .U. ..(?! (‘ H. .k [ml F LIH mpwuusaonb on7_o .wo -.a-r-m as o:.nqu “VFW Lo MCQEmHm d .H . 20H-u.momem .1 hmwraxm INTRODUCTION many epithets have been placed after the name of Benito Lynch.
    [Show full text]
  • Romancing the Masses: Puig, Perón and Argentine Intellectuals at the Fin De Siècle
    Romancing the Masses: Puig, Perón and Argentine Intellectuals at the Fin de Siècle Dr. Silvia Tandeciarz DePaul University Prepared for delivery at the 1997 meeting of the Latin American Studies Association, Continental Plaza Hotel, Guadalajara, Mexico, April 17-19, 1997. 2 I’d like to begin by situating my intervention here in two contexts: that of my work as a cultural critic in the American Academy and that of my work on Peronism. My comments emerge from questions I have been asking myself regarding the meaning and place of intellectual work, questions that have been overdetermined by polemics central to both, Peronist discourse and the relatively new field of Cultural Studies. My immersion in Cultural Studies has pressed me to ask what it means to be an intellectual in what we might call the age of postmodernism; what are the new challenges that face us, given the new ways in which culture is disseminated, given the new technologies we have to contend with, given the literary permutations they’ve inspired in traditional genres and the transformations of the publishing world, etc.? What is our role? Are we still, in some way, gatekeepers, determining, as Daniel James has written, “notions of social and cultural legitimacy--what Pierre Bourdieu has defined as ‘cultural and symbolic’ capital”?1 Are we secretly activists trying to convert students into militant subversives? What kinds of culture will we promote? What will we teach in “culture and civilization” classes and to what ends? What does it mean to form part of institutions that
    [Show full text]
  • Jurado Ópera Prima
    INFORMACIÓN 1. Punto de Información SOIFF. HOTELES ESPACIOS DEL CERTAMEN Módulo Tómate un corto. 23. Parador de Turismo de Soria. Plaza Herradores Parque del Castillo, Fortún López, s/n. INFORMACIÓN 2. Centro Cívico Bécquer: Sede 24. Hotel Alda Ciudad de Soria. oficial y oficina de producción. Zaragoza, s/n PRÁCTICA Infantes de Lara, 1. Tel. 975 233 069 25. Art Spa Soria. Navas de Tolosa, 23 OFICINA DE INFORMACIÓN en MÓDULO TÓMATE UN CORTO -Ext.2 26. Hotel Leonor. Mirón, s/n. (Plaza Herradores) del 17 al 30 de noviembre. 27. Hotel Apolonia. Puertas de Pro, 5 HORARIO: De 12.00 a 14.00 y de 17.00 a 21.00 horas. SEDES 28. Hotel Castilla. Claustrilla, 5 3. Palacio de la Audiencia. Plaza 29. Hostal Alvi. Alberca, 2 VENTA DE ENTRADAS Mayor, 9 30. Hostal Centro. Plaza Mariano · Para las sesiones en el Palacio de la Audiencia en taquilla una 4. Cines Mercado. Plaza Bernardo Granados, 2 hora antes del inicio de cada sesión. Robles 31. Hostal Solar de Tejada. · Para las sesiones en Cines Mercado en taquilla una hora antes 5. Espacio Alameda. Parque Alameda Claustrilla, 1 del inicio de cada sesión. de Cervantes [La Dehesa] 32. Hostal Viena. García Solier, 1 · Para resto de sesiones y actividades en Oficina de Información 6. Casino Amistad Numancia. 33. Hostal Vitorina. Paseo Florida, 35 del Festival (Plaza Herradores en Módulo Tómate un corto), Collado, 23 hasta dos horas antes del inicio de cada sesión y en la taquilla 7. Conservatorio de Música a la entrada de cada espacio. Oreste Camarca.
    [Show full text]
  • Argentine Literature As Part of the Latin-American: Debates, Characteristics and Dialogues
    INTERLITTERARIA 2020, 25/2: 359–366 359 Argentine Literature as Part of the Latin-American: Debates, Characteristics and Dialogues Argentine Literature as Part of the Latin-American: Debates, Characteristics and Dialogues LUCÍA CAMINADA ROSSETTI Abstract. The article will suggest that the texts and ways of reaching some materials and perspectives in Argentina, remains at a national level. It is important to notice that in order to read criticism and theory regarding Latin American literature, Spanish from Río de la Plata separates at some point the fields. In that regard, one of the greatest assets and achievements of Argentinian literary research concerns the relationship between politics and fiction. In connection with this it might be asked how we can think of Argentinian literature without linking it to the social discourse? How can we think of the comparative field of Latin-American and Argentinian literature as one academic area of studies? In our view, comparatism seems to be one of the loneliest areas of studies in terms of the fields of theory, fiction and criticism. We thus suggest that in Argentina, literary research and criticism in general are strictly concerned with only one option: the national culture. Thus, exclusively, western theoretical frames are chosen to read literature and comparative perspectives are mostly applied to European studies. That is why I insist on the fact that comparative literary research is not represented institutionally at all. Keywords: Latin America; Argentine literature; comparative literature; cultural studies Introduction How do we think of the comparative field of Latin-American and Argentinian literature as one and the same academic area of studies? In our view, comparative literature in Latin America seems to be one of the loneliest areas of study in terms of theory, fiction and criti-cism.
    [Show full text]
  • Cuban and Russian Film (1960-2000) Hillman, Anna
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Carnivals of Transition: Cuban and Russian Film (1960-2000) Hillman, Anna The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9733 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] 1 Carnivals of Transition: Cuban and Russian Film (1960-2000) Anna M. Hillman Submitted in accordance with the requirements for the Ph.D. degree. Queen Mary, University of London, School of Languages, Linguistics and Film. The candidate confirms that the thesis does not exceed the word limit prescribed by the University of London, and that work submitted is her own and that appropriate credit has been given to research done by others. 2 ABSTRACT This thesis focuses on ‘carnivals of transition’, as it examines cinematic representations in relation to socio-political and cultural reforms, including globalization, from 1960 to 2000, in Cuban and Russian films. The comparative approach adopted in this study analyses films with similar aesthetics, paying particular attention to the historical periods and the directors chosen, namely Leonid Gaidai, Tomás Gutiérrez Alea, El’dar Riazanov, Juan Carlos Tabío, Iurii Mamin, Daniel Díaz Torres and Fernando Pérez.
    [Show full text]
  • Lande Final Draft
    UC Irvine UC Irvine Electronic Theses and Dissertations Title Daring to Love: A History of Lesbian Intimacy in Buenos Aires, 1966–1988 Permalink https://escholarship.org/uc/item/350586xd Author Lande, Shoshanna Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Daring to Love: A History of Lesbian Intimacy in Buenos Aires, 1966–1988 DISSERTATION submitted in partiaL satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in History by Shoshanna Lande Dissertation Committee: Professor Heidi Tinsman, Chair Associate Professor RacheL O’Toole Professor Jennifer Terry 2020 © 2020 Shoshanna Lande DEDICATION To my father, who would have reaLLy enjoyed this journey for me. ii TABLE OF CONTENTS Page List of Abbreviations iv List of Images v AcknowLedgements vi Vita ix Abstract x Introduction 1 Chapter 1: The Secret Lives of Lesbians 23 Chapter 2: In the Basement and in the Bedroom 57 Chapter 3: TextuaL Intimacy: Creating the Lesbian Intimate Public 89 Chapter 4: After the Dictatorship: Lesbians Negotiate for their Existence 125 ConcLusion 159 Bibliography 163 iii LIST OF ABBREVIATIONS ALMA Asociación para la Liberación de la Mujer Argentina ATEM Asociación de Trabajo y Estudio sobre la Mujer CHA Comunidad HomosexuaL Argentina CONADEP Comisión NacionaL sobre la Desaparición de Personas ERP Ejército Revolucionario deL Pueblo FAP Fuerzas Armadas Peronistas FAR Fuerzas Armadas Revolucionarias FIP Frente de Izquierda Popular FLH Frente de Liberación HomosexuaL FLM Frente de Lucha por la Mujer GFG Grupo Federativo Gay MLF Movimiento de Liberación Feminista MOFEP Movimiento Feminista Popular PST Partido SociaLista de Los Trabajadores UFA Unión Feminista Argentina iv LIST OF IMAGES Page Image 3.1 ELena Napolitano 94 Image 4.1 Member of the Comunidad Homosexual Argentina 126 Image 4.2 Front cover of Codo a Codo 150 v ACKNOWLEDGEMENTS Like any endeavor, the success of this project was possible because many people heLped me aLong the way.
    [Show full text]
  • Representative Gaucho Poetry and Fiction of Argentina
    REPRESENTATIVE GAUCHO POETRY AND FICTION OF ARGENTINA APPROVED Major g£6f££sor Ml^afor Professor d 1V1.: • Director of ;he epartm %Foreig n Languages v^Ly Dean of the Graduate School / IDSPKBSSNTATIV2 GAUCHO ?OE'J?KX AMD FICTION OF AEGi^XINA THS3IS Presented to the Graduate Council of tr.3. North Texas Stnte 'J;iI\"or,slty in I-n Fulfillment: oi -the Heauirevents ?cr the .Degree of r f ^ t r«T ^ ^ a t> rnr* r tn, ^ 4 i \ ul i \ f„ jt By :i.ltar Gava, B, i: I>en tOi11 0" ax-i«? v *'• .L") f'j 2 -1, -," O 3LB OF COiOC.-^T* Chapter Pace I. THE GAUCHC ?RC!I A HISTORICAL ?SKSPEO?lVlS . .1 II. TJJS GAUGED IM J-OZZrCS. Mffi 7ICTI0N . 22 III. SAMTOS VHGA Br KILARIO ASCASUBI. c"i . IV. FAU3TG BX Sa'J&JJISIAO DSL CAHPO *K> V, CL G-AUCflO KART1N FIERRu riX JOSS HERNAJJDSZ. ... 49 VI, JUAJ IICHE IRA BY 3DMDO GUTIERREZ64 VII. SL CAZAMIZLi'TO D3ri L^CCHA BX ROBERTO J. PAXRQ. * » ?6 VIII, DOJi SEGCIOO SOi''BRA BX RICARDO G'JIRALDISS, . „ 8,5 IX. EL ROKAI-!OS DE Ul4 GAUCHC BX BSlilTO I^IICK. ...» $>9 X, CONCLUSION . , ....... 10* r tr OH tc-pv * * * , * i.J*^ /r, CI i:'~v*R X •IHS GAUCfcO FRCK A HISTORICAL PJHSPE'JS'.rjE In ordsr to pursue &r». intelligent study of the gaucho, as depicted ""la several literary contributions of Argentine literature, one should first view him from a historical, per- spective* U nfoi'tunately, too roanv of the works concerning the gauche reflect personal end biased opinions, rather than a trae account of his life* Sorse have portrayed the g a v.
    [Show full text]
  • Colm Tóibín Papers
    Leabharlann Náisiúnta na hÉireann National Library of Ireland Collection List No. 133 Colm Tóibín Papers (MS 44,463 – MS 44,507) (Accession No. 6393) Literary papers of Colm Tóibín including drafts, proofs, press cuttings, correspondence and ephemera relating to his work as a journalist, author and playwright. Also contains a small collection of papers relating to the literary works of his father, Michael Tóibín (1939-2006). Compiled by Lisa Cruise, Assistant Keeper II and Harriet Wheelock, Archival Studentship Holder 2008 CONTENTS INTRODUCTION............................................................................................................. 3 PUBLISHED WORKS OF COLM TÓIBÍN.................................................................. 5 I. FICTION........................................................................................................................ 7 I.i. The South................................................................................................................... 7 I.ii. The Heather Blazing................................................................................................. 8 I.iii. The Story of the Night............................................................................................ 10 I.iv. The Blackwater Lightship...................................................................................... 12 I.v. The Master.............................................................................................................. 14 I.vi. Other works ..........................................................................................................
    [Show full text]
  • Box-Oldies Por Amor
    nn BIEL BIENNE Nummer: Seite: Buntfarbe: Farbe: CyanGelbMagentaSchwarz Gratis in 103 598 Haushalte Distribué gratuitement dans107 000 regelmässige Leser DIE GRÖSSTE ZEITUNG DER 103 598 ménages 107 000 lecteurs fidèles LE PLUS GRAND JOURNAL REGION AUFLAGE: 103 598 DE LA RÉGION ERSCHEINT JEDEN TIRAGE: 103 598 MITTWOCH/DONNERSTAG PARAÎT CHAQUE MERCREDI/JEUDI IN ALLEN HAUSHALTEN BIELS UND DANS TOUS LES MÉNAGES GRENCHENS, DES SEELANDES UND DES DE LA RÉGION BIENNE-JURA BERNOIS- BERNER JURAS. SEELAND-GRANGES. HERAUSGEBER: CORTEPRESS BIEL ÉDITEUR: CORTEPRESS BIENNE 032 327 09 11 / FAX 032 327 09 12 032 327 09 11 / FAX 032 327 09 12 INSERATE: BURGGASSE 14 5. / 6. OKTOBER 2005 WOCHE 40 28. JAHRGANG / NUMMER 40 5 / 6 OCTOBRE 2005 SEMAINE 40 28e ANNÉE / NUMÉRO 40 ANNONCES: RUE DU BOURG 14 032 329 39 39 / FAX 032 329 39 38 032 329 39 39 / FAX 032 329 39 38 INTERNET: http://www.bielbienne.com KIOSKPREIS FR. 1.50 INTERNET: http://www.bielbienne.com Seit Jahren diskutiert und Seeufer: Weg ohne Zukunft? immer noch unsichtbar: der fehlende Seeuferweg entlang des Bielersees lässt die Serpent des rives Bevölkerung in der Innenstadt schmoren. Seite AKTUELL. Le chemin des rives dans la baie de Bienne est un serpent de mer: on en parle beaucoup, mais on ne voit rien venir. Le point avec le directeur des Travaux publics Hubert Box-Oldies Klopfenstein. Page ACTUEL. Die strammen (und harten?) En 1905, le Boxclub de Bienne Männer des Bieler Boxclubs voyait le jour. Il célèbre le cen- stehen im Gründungsjahr tenaire d’une histoire faites de 1905 artig in Reih und Glied succès et de défaites, sans und blicken möglichst düster perdre une once de combati- in die Kamera.
    [Show full text]
  • DISCUSSION QUESTIONS 1. Before She Goes to America, Eilis Believes
    DISCUSSION QUESTIONS 1. Before she goes to America, Eilis believes that, “While people from the town who lived in England missed Enniscorthy, no one who went to America missed home. Instead, they were happy there and proud” (pg 26). Why do you think the Irish had such a rosy view of America? How are Eilis’s expectations met upon her arrival? 2. As Eilis begins night classes in accounting, she notes the divisions between Italian and Jewish students, and the lack of English or other Irish students. At work, she must confront racial integration when Bartocci’s opens its doors for the first time to black customers. How does Eilis react to the divisions among Europeans immigrants from different countries, as well as those between white and black Americans? How are the traditional ethnic lines of Brooklyn beginning to break down in the 1950s? 3. When Eilis and Tony first meet, she seems more interested in him as an escape from her troublesome housemates than as a genuine romantic interest. Tony, however, is clear about his love for Eilis from the start. Why do you think Eilis is hesitant in her feelings? Is a relationship with such uneven attachment doomed from the start, or do you believe that one person can “learn” to love another over time? 4. Some characters in the novel are referred to as Miss or Mrs., while others are identified by their first name. Does this reflect their relationship with Eilis? Why would Colm Toibin make this stylistic choice? How would your perception of the characters in Brooklyn be different if Tobin had written the novel from the “first- person” perspective of Eilis? 5.
    [Show full text]