Working Papers in Romance Languages

http://repository.upenn.edu/wproml

List of Papers (Total 18)

Depurar la poesía de la poesía misma: poesía, política y muerte en Estrella distante de Roberto Bolaño

En 1918, Casímir Malévich pintó el controvertido Cuadrado blanco sobre fondo blanco. Según Alain Badiou, esta obra es "el origen de un protocolo de pensamiento sustractivo que difiere del protocolo de la destrucción" (El siglo 79), por lo que sería errado interpretarla como el símbolo de la 'destrucción

Erasing the Invisible Cities: Italo Calvino and the Violence of Representation

The unabashed "literariness" of Italo Calvino's Invisible Cities makes it an easy target for critics who claim that "wholly literary" worlds cannot be moral ones. Alessia Ricciardi believes that Calvino's late career represents an abandonment of his earlier sense of duty as an intellectual: "Sadly," she explains "Calvino the mature postmodernist became exactly what he feared as a...

When Last Words Become First Words: Transgressive Literacies and the Birth of Romance Textuality

Last words, the theme for this series of articles that comes out of last spring's graduate conference of the same name, are somewhat disconcerting for a philologist. Philology's traditional obsession has usually been with first words - those first and originary scribblings which initialize a culture's, and a nation's, textual history. Last words from a linguistic-philological...

On Joy, Death, and Writing: From Autobiography to Autothanatography in Clarice Lispector's Works

How does one state in words the impossibility of writing? How does one translate an author who has depicted herself as silent in the very text? The Brazilian writer Clarice Lispector dares to do so. From Agua viva, one of her first novels, to Un soplo de vida, her posthumous work, Lispector enters into an egotistic self-referential movement. She dares to speak from her work, from...

Memories in Orbit: Loss in Sergio Chejfec’s Los planetas

The protagonist of Sergio Chejfec's 1999 novel Los Planetas (known only by the initial S.), claims to have made the decision to become a writer only because of the disappearance of his friend from adolescence (known by the initial M.) who he declares was much more apt than he at telling stories. The stories, says S., "took on ample and diffuse subjects … that came to him from who...

The story never ends: Rachid Mimouni’s Le Printemps n’en sera que plus beau and the production of counter-discourse in Algerian state-sponsored literature

In the process of post-colonial nation-building, the State often attempts to impose its own discourse as the sole source of national identity in order to homogenize the nation. In his influential work Imagined Communities: Reflections on the Origin and Spread of Nationalism, Benedict Anderson notes the discrepancy between 'official

La Huella Psicológica del Franquismo en el Cine Español de los Noventa

El cine español ha sufrido durante las últimas décadas cambios generacionales que se han dejado notar en el producto final de muchos directores. Estos directores a los que aludo son un grupo bastante nutrido al cual haré referencia más adelante que han trabajado en la elaboración de un cine que, tras unos años de búsqueda direccional marcados por el fin de la dictadura y el...

When Last Words Become First Words: Transgressive Literacies and the Birth of Romance Textuality

Last words, the theme for this series of articles that comes out of last spring's graduate conference of the same name, are somewhat disconcerting for a philologist. Philology's traditional obsession has usually been with first words - those first and originary scribblings which initialize a culture's, and a nation's, textual history. Last words from a linguistic-philological...

La italicidad como quiasma clásico en De sobremesa de José Asunción Silva

El epígrafe con el que comienza este acercamiento a De sobremesa contiene varios motivos empleados por José Asunción Silva en su narración póstuma. Además de la mención al fallecimiento de un poeta inglés cuya inclinación por los clásicos y honda sensibilidad comparte con Silva, destaca la contaminación de diversos tejidos narrativos y la inclusión de un universo grecolatino...

La italicidad como quiasma clásico en De sobremesa de José Asunción Silva

El epígrafe con el que comienza este acercamiento a De sobremesa contiene varios motivos empleados por José Asunción Silva en su narración póstuma. Además de la mención al fallecimiento de un poeta inglés cuya inclinación por los clásicos y honda sensibilidad comparte con Silva, destaca la contaminación de diversos tejidos narrativos y la inclusión de un universo grecolatino...