Portal de Revistas Científicas de la Universidad de Alcalá
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Desokupar el cuerpo: las voces de las autoras en el cómic español
No full textReseña del libro Desokupar el cuerpo: las voces de las autoras en el cómic español (2024) de Ed. Marmotilla
"You Need Me to Save You": The Fall of Superman and the Death of the American Dream
No full textThe most iconic superhero to grace comic book shelves and the silver screen, Superman has long been held as an American icon. Created in 1938, Superman became a symbol of hope, justice, and a pioneer of the American way. In a world on the verge of war, Superman became an ideal to strive for, and always fought for good. However, in the decades that followed, new iterations of Superman began to gain popularity across all forms of media, and these iterations were not always as virtuous. New versions of a ‘Superman’ figure are often created in times of political and social anxiety, with the ‘Superman’ becoming a conduit to express fears and frustrations over a multitude of issues including threats of war, extreme capitalism and consumer culture, and even existential dread. This article prioritises three iterations of superman: Jerry Siegel and Joe Shuster’s original Man of Steel, Alan Moore’s Dr Manhattan (Watchmen), and Garth Ennis’ Homelander (The Boys). Through these, alongside the examination of ideas put forward by James Truslow Adams, Richard Hofstadter and others, this article identifies that Superman and his successors are indicators of public faith in American ideals, and that the current trend shows that this faith is dwindling
The S Does Not Stand for "Shame": The Joint Making of a Queer Supergirl
No full textOne of the major changes that mark twenty-first-century superhero depictions is the introduction of inclusive standards—whether race, ethnicity, or sexual orientation—in new or existing reinterpreted characters. Accordingly, the CW network series Supergirl (2015-2021), chronicling the adventures of Superman’s cousin, became famous for powerfully challenging the comic-universe canon of the titular heroine’s sexuality, albeit despite the intentions of its producers. When, during Season 2, the show cast Katie McGrath as Lena Luthor, the good sister of Superman’s arch-nemesis, Lex Luthor, the actress’s strong lesbian appeal colored the friendship intended between her character and Kara Danvers/Supergirl (played by Melissa Benoist), so that their bond was immediately coded by viewers—even non-LGBTIQ+ ones—as deeply romantic. While, however, fans clamored that “there is no heterosexual explanation” for the two women’s relationship and demanded that it—and Supergirl’s bisexuality—be acknowledged as canon in the CW and the DC comics universes, the writers/producers of the show gaslighted such expectations to the end by pairing Lena or Kara with male partners and insisting on their being just “friends,” earning the show the title of “the biggest queerbait in television history.” This paper, therefore, reads “SuperCorp” both as a sign of the times regarding popular culture attitudes for queer superheroes, and a significant occasion of what Henry Jenkins has termed the “textual poaching” ethics of twenty-first century media fandom, with consumer creations actually impacting back upon the production process itself
“LOL, let’s just put that all together!”: Socially Engaged Humor in the Poetry of Tommy Pico
No full textGiven its serious object, socially engaged poetry is seldom associated with laid-back humor. In his four-book long epic series, queer Indigenous poet Tommy Pico (Kumeyaay) challenges this approach to violence and oppression by addressing individual and social maladies across time and space, from loneliness in the era of self-exposure to egregious homophobia, to eating disorders, to cultural erasure. While many scholars acknowledge Pico’s biting wits, there is a tendency to understand this humor as secondary to the seriousness of his themes. Conversely, I propose conceiving of it as the pillar of Pico’s potential as a socially engaged author. Vine DeLoria (Standing Rock Sioux) has claimed that “One of the best ways to understand a people is to know what makes them laugh.” While moral superiority tends to undergird most political humor, Pico strategically deploys a blend of self-deprecating comedy based on a suspicion of binaries that aims at dismantling all forms of reified stereotypes. By placing himself in the first line of humorous critiques, Pico avoids any form of glorification and invites readers to join in the self-deconstructing process. This attitude aligns with Diné scholar Ho’hesta Mo’e’hahne’s suggestion that twenty-first century queer Indigenous authors seek “alternative modes of relationality and connection across space and time.” Indeed, in contrast with what occurs in more somber approaches to such urgent themes, there is in Pico’s will to deconstruct himself and create something new from the ruins of settler colonialism a necessary belief in the possibility of change
An Identity Problem: Judith Butler’s Gender Trouble (1990) in HBO’s Euphoria (2019)
No full textThe purpose of this project is to analyse different gender formulations and their manifestation within the fictional narrative of HBO TV show Euphoria (2019). This analysis will be done following the constructivist perspective offered by Judith Butler upon the performativity of gender configuration in her 1990 work Gender Trouble: Feminism and the Subversion of Identity. Butler’s claims with regards to the outer and performative existence of gender, rather than it being part of the individual’s interior nature, will be central to the development of this paper, along with her statement as to how gender identity is consolidated according to society’s unilateral imposition of a strict patriarchal model that can and must be followed or otherwise subverted. Taking as a point of reference these two possibilities, characters of Euphoria such as Nate Jacobs and Cal Jacobs will serve as examples of the ways in which individuals in society may accept the patriarchal imposition and suffer from it, specially taking into account the analysis that Butler provides upon previous feminist writers such as Beauvoir, Wittig and Irigaray, and psychoanalysts like Lacan and Freud. As a counterpoint to this, her discussion of Foucault’s Herculine upon the subversion of gender identity within society will be considered so as to explain Jules Vaughn’ troubling entrance in western binarism and her willingly failing into conforming to the patriarchal law in terms of attitude, behaviour and physical appearance
Parodies of Imperial Discourse in Sixth-Century AD Greek Epigrams: A Case Study
No full textSixth-century Greek book epigrams can offer insights into debates and ideas present in their historical context, also into the shaping of a Christian polity. Through a case study of two epigrams, this article explores how these pointed and playful compositions parody and subvert imperial discourse thanks to intertextual allusions to Justinian’s legislation, chiefly his Novellae. The first epigram (AP XI.238) is an example of criticism on administrative decisions, namely the appointment of an official, probably John the Cappadocian, by the emperor. The second epigram (AP V.302) shows farther-reaching criticism on Justinian’s legal and moral reforms regarding marriage and sexual behaviour; it emphasises that sexual gratification is not possible anymore in the society reshaped by the emperor.El epigrama libresco griego del siglo sexto puede contribuir al entendimiento de debates presentes en su contexto histórico, incluyendo la formación de una sociedad cristiana. Este artículo ofrece un estudio de caso sobre cómo estas composiciones juguetonas y mordaces parodian el discurso imperial gracias a alusiones textuales a la legislación de Justiniano, especialmente a sus Novellae. El primer epigrama (AP. XI.238) es un ejemplo de crítica a decisiones administrativas, aquí el nombramiento de un funcionario, probablemente Juan de Capadocia, por parte del emperador. El segundo (AP V.302) muestra una crítica más profunda de las reformas legales y morales de Justiniano con respecto al matrimonio y el comportamiento sexual; enfatiza que la gratificación sexual ha quedado excluida de la sociedad remodelada por el emperador
Mark Edwards - Dimitrios Pallis - Georgios Steiris (eds.), The Oxford Handbook of Dionysius the Areopagite, Oxford, Oxford University Press 2022, 792 pp. [ISBN 0198810792].
No full textReseñ
Miriam Urbano Ruiz (ed.), Conventus Granatensis: contribuciones de investigadores noveles Ganimedes a la Filología Clásica, Rhemata, 2024, 204 pp. [ISBN: 978-84-125078-9-8].
No full textReseña
El proceso interdictivo sexual (la cópula) desde la metáfora conceptual en La Lozana Andaluza
No full textTaboo is originally a cultural phenomenon, embedded in a specific society, structured in the conceptual system and enunciated in the discourse. Consequently, it requires an interdisciplinary methodology. In this context, the Theory of Conceptual Metaphor has played a key role. It has provided theoretical consistency to the areas of knowledge (source domains) that nurture euphemisms and dysphemism. It has also been successful in identifying the features (correspondences) that the sender resorts to, hiding some and highlighting others, show his intention. Nonetheless, its lack of potential to overcome the conceptual level and delve into the act of communication itself has led to the development of theoretical alternatives that assume the need for a new dimension in which the ideology of the sender can be explored. This is, precisely, the aim of the Deliberate Metaphor Theory.El tabú es primigeniamente un fenómeno cultural, incardinado en una sociedad concreta, vertebrado en el sistema conceptual y enunciado en el discurso. Requiere, en consecuencia, una metodología interdisciplinar En este contexto, la Teoría de la Metáfora Conceptual ha resultado clave. Ha proporcionado consistencia teórica a las áreas de conocimiento (dominios fuente) que nutren eufemismos y disfemismos. Ha hecho lo propio con la identificación de los rasgos (correspondencias) a los que el emisor recurre para, ocultando unos y destacando otros, mostrar su intención. Su falta de capacidad para superar el nivel conceptual y adentrarse en el propio acto de comunicación se ha suplido con teorías que asumen la necesidad de una nueva dimensión en la que explorar el ideario de su emisor: Teoría de la Metáfora Deliberada
Vivir sobre la raya. México triplemente fronterizo en Tu cabello es la frontera de J. Jesús Esquivel
No full textThe mexican journalist J. Jesús Esquivel creates with Tu cabello es la frontera (2019) an atmospheric novel, at times ethnographic, that allows us to reflect on the flow of existence in a border territory: Ciudad Juarez. The main narrative value of the work is not found in its concrete plot, that is, in the life story of each character, but rather, being a tale of customs, a social radiography, the characters are able to be typologically representative of a reality still inhospitable and dominated by exclusion, that which has narratively given rise to the emergence of subgenres such as border literature. In this way, the reading of the novel, at least as an approach, serves to understand the meanings in dispute and the environmental conditions that link the daily activities of the people of Juarez and the perception of Ciudad Juarez itself on both sides of the border. Beyond the discriminatory dichotomy that has classically been transferred to the collective imaginary between this territory and "El Chuco", the author shows those two other border lines that are determinant in the identity configuration of the people of Juarez: the one that divides the north from the rest of Mexico and the one that diffusely separates legality from illegality, giving rise, in turn, to an alternative "paralegal" order of specific regulation. Thus, from the forbidden to the legal, from the licit to the illicit, from the proper to the foreign, Mexico presents itself as a triple border subject.El periodista mexicano J. Jesús Esquivel crea con Tu cabello es la frontera (2019) una novela atmosférica, por momentos etnográfica, que nos permite reflexionar sobre el discurrir de la existencia en un territorio de frontera: Ciudad Juárez. El principal valor narrativo de la obra no se encuentra en su trama concreta, es decir, en la historia de vida de cada personaje, sino que, al tratarse de un relato de costumbres, de una radiografía social, los personajes son capaces de ser representativos tipológicamente de una realidad todavía inhóspita y dominada por la exclusión, aquella que ha dado narrativamente lugar al surgimiento de subgéneros como la literatura de frontera. De esta forma, la lectura de la novela, al menos como acercamiento, sirve para la comprensión de los significados en disputa y de las condiciones ambientales que vinculan el quehacer diario de los juarenses y la propia percepción de Ciudad Juárez a uno y otro lado de la frontera. Más allá de la dicotomía discriminatoria que clásicamente se ha trasladado al imaginario colectivo entre este territorio y “El Chuco”, el autor muestra esas otras dos líneas fronterizas determinantes en la configuración identitaria de los juarenses: la que divide el norte del resto de México y la que difusamente separa la legalidad de la ilegalidad, dando origen, a su vez, a un orden alternativo “paralegal” de regulación específica. Así, desde lo prohibido a lo legal, desde lo lícito a lo ilícito, desde lo propio a lo extraño, México se nos presenta como un sujeto triplemente fronterizo.