Portal de Revistas Científicas de la Universidad de Alcalá
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Introducción. Genealogías feministas y autoficción historietística en América latina (siglo XX y XXI)
No full textntroduction to the dossier Feminist Genealogies and Autofictional Comics inLatin America (20th and 21st Century)Introducción al dosier Genealogías feministas y autoficción historietística en América latina (siglo XX y XXI)
Bloodletting: Seductive Monstrosity and the Interplay between Waking and Dreaming in Bloodborne
No full textFromSoftware, a Japanese game developer, displays perhaps their most gothic inspired creation in Bloodborne (2015). Hidetaka Miyazaki, the director of the game, though drawing from several other key authors in the field, primarily pays homage to themes and concepts present in H. P. Lovecraft’s relatively niche oeuvre. The American gothic tradition thematically underscores various significant characteristics of the game, not only through the pervasive use of Lovecraftian imagery, but by incorporating the sense that the land itself is cursed, with hidden secrets and occult histories residing just below the surface. The gameplay mechanics in a FromSoftware title are intimately ligated to the lore, world building, ambiance, and the narrative structure—a structure known for being relatively loose and nonlinear. In Bloodborne, the player-character controls an avatar referred to as a “hunter” during their sojourn in the oneiric, perverse world called Yharnam. The various inhabits of Yharnam range from beastly in nature to unfathomable to the human mind, though they share the commonality of once being human prior to receiving blood ministration. This blood came from Eldritch Great Ones and was once hailed as a panacea before the terrifying side effects manifested. This article explores the gothic connection between seduction, monstrosity, and the dynamics of waking and dreaming in FromSoftware's Bloodborne.
The Twenty-First-Century Avengers: Exploration of War, Globalization, and Identity Politics
No full textThe economic and cultural impact of the four films forming the saga of The Avengers from 2012 to 2019 stands for the impressive accumulation of superhero fiction in the 21st century, with a remarkable resituation of the topic of war conflict into the popular imagination quite affected by the traumatic beginning of the era in the New York scenario on 9/11. This article intends to analyze the different plot elements in The Avengers (2012), The Avengers. Age of Ultron (2015), The Avengers. Infinity War (2018), and The Avengers. Endgame (2019) to find clues to explain how the Marvel Cinematic Universe accomplishes a complex exploration of the nature of war, and how the films offer new ways of deconstructing simplistic Manichean polarization between good vs. evil. With this objective in mind, the study pays attention to how this deconstruction also needs to concentrate on the decomposition of stereotypes related to identity politics
The Chivalric Romance in the Age of its Neoliberal Reproducibility: The Orlando Furioso Transcodified in Marvel’s Iron Man Saga
No full textThis article interprets Marvel’s Iron Man saga, including the Avengers’ chapters, as a particularly interesting instance of the latest stage of American exceptionalism, here understood as imbricated in the neoliberal society. This reading is built upon the hypothesis that the Avengers’ adventures may be viewed as a twenty-first century development of the chivalric romance and of the knights’ quests, both in narrative and ideological terms. A key facet of this interpretation lies in the realization that technological reproducibility is a crucial aspect both of neoliberalism and of the Marvel’s saga, the latter being the articulation of the traditional chivalric genre according to the contemporary neoliberal principles. Against this background, the article presents the Iron Man movies in continuity with the literary tradition established by Ludovico Ariosto’s Orlando Furioso.
The Dollhouse and Mobility of the Southern Gothic Legacy in Sharp Objects
No full textThe text explores several issues connected to the relationship between the gothic house and its miniature double, a dollhouse, on the example of a Southern Gothic TV series Sharp Objects, an HBO production from 2018. It addresses their similar position as gendered spaces (the house being a profoundly feminine business, the dollhouse a field for girls to practice femininity), their gothicization (both host traumas and secrets of the past), and the work they perform in the perpetuation of their Gothic legacy. The foregrounding of mobility and agency in the treatment of the gothic dollhouse helps to question and reread one of the basic building blocks of Southern Gothic fiction: its reliance on the sense of place. In this view, the dollhouse operates as an interface between the world outside and inside and thus dissolves the boundaries set by the master house. It is not just its mirror image, propelling a mise-en-abîme project of perpetual proliferation, but, when properly noticed, provides a tool for the healing of past wounds and traumas via their contemporary embodiments, and sets new directions for the social relevance of Southern Gothic fiction
Rosa Maria Piccione (ed.), Greeks, Books and Libraries in Renaissance Venice, Berlin-Boston, De Gruyter 2021, 441 pp. [ISBN 9783110575200].
No full textReseña de Greeks, Books and Libraries in Renaissance Venice, Berlin-Boston, De Gruyter 2021, 441 pp. [ISBN 9783110575200]
Afrodite e il Mare nella Tabula Mundi di Giovanni di Gaza
No full textThis article focuses on a passage of John of Gaza’s Tabula Mundi, i.e. the one regarding Aphrodite and the Sea (vv. 454-466), which raises an exegetical problem. Generally, scholars tend to assume that they are the same figure. On the contrary, I argue that they are two different figures, making reference to the cultural context of the poem, especially to its philosophical background. Indeed, in a Neoplatonic perspective the goddess can be interpreted as the Soul that triumphs over the matter, i.e. the sea, since they are both represented shining bright and staring at the sunlight, i.e. the Intellect. This interpretation is confirmed by references to Aphrodite in Neoplatonic authors as well as in John’s Anacreontics and in the authors of the so-called “school of Gaza”, strongly influenced by Neoplatonism. Therefore, John wants to emphasize the triumph of the light and, ultimately, of the One/God, through the mystical vision of a late antique intellectual, in a definitely syncretistic context.Questo articolo è incentrato su un passo della Tabula Mundi di Giovanni di Gaza, ossia quello riguardante Afrodite e il Mare (vv. 454-466), che pone un problema esegetico. Generalmente la critica tende a pensare che si tratti della stessa figura. Al contrario, sostengo che si tratti di due figure differenti, facendo riferimento al contesto culturale in cui si colloca il poema, in particolare al suo sfondo filosofico: in una prospettiva neoplatonica, infatti, la dea può essere interpretata come l’Anima che trionfa sulla materia (il mare), in quanto sia Afrodite sia il Mare sono rappresentati brillanti e nell’atto di contemplare la luce del sole (l’Intelletto). Questa interpretazione è confermata da riferimenti ad Afrodite in autori neoplatonici, ma anche nelle Anacreontee di Giovanni e nelle opere degli autori della cosiddetta “scuola di Gaza”, fortemente influenzati dal Neoplatonismo. Dunque, Giovanni intende enfatizzare il trionfo della luce e, in definitiva, dell’Uno/Dio, attraverso la visione mistica di un intellettuale tardoantico, in un contesto decisamente sincretistico.Questo articolo è incentrato su un passo della Tabula Mundi di Giovanni di Gaza, ossia quello riguardante Afrodite e il Mare (vv. 454-466), che pone un problema esegetico. Generalmente la critica tende a pensare che si tratti della stessa figura. Al contrario, sostengo che si tratti di due figure differenti, facendo riferimento al contesto culturale in cui si colloca il poema, in particolare al suo sfondo filosofico: in una prospettiva neoplatonica, infatti, la dea può essere interpretata come l’Anima che trionfa sulla materia (il mare), in quanto sia Afrodite sia il Mare sono rappresentati brillanti e nell’atto di contemplare la luce del sole (l’Intelletto). Questa interpretazione è confermata da riferimenti ad Afrodite in autori neoplatonici, ma anche nelle Anacreontee di Giovanni e nelle opere degli autori della cosiddetta “scuola di Gaza”, fortemente influenzati dal Neoplatonismo. Dunque, Giovanni intende enfatizzare il trionfo della luce e, in definitiva, dell’Uno/Dio, attraverso la visione mistica di un intellettuale tardoantico, in un contesto decisamente sincretistico
