Portal de Revistas Científicas de la Universidad de Alcalá
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Palimpsesto radiactivo: la crítica nuclear en Ustedes brillan en lo oscuro de Liliana Colanzi
No full textThree short stories from the book Ustedes brillan en lo oscuro by Liliana Colanzi (the short story that has the same book’s name and “Atomito”), allows an approach from the Nuclear Criticism’s perspective, referring to: “the applicability of the human potentiality for nuclear self-destruction to the study of human cultural myths, structures, and artefacts” (Scheick, 1990). The three stories are interconnected by the narrative in a temporal intention that merges with the neo-indigenist worldview. The main character transforms into a “mutant”, however, Colanzi's perspective goes further, creating a correlation of literary genres: from science fiction (SF) to fantasy.
Tres cuentos del libro Ustedes brillan en lo oscuro de Liliana Colanzi —el cuento homónimo, “La cueva” y “Atomito”— permiten un acercamiento desde la perspectiva del Nuclear Criticism, referido a: “the applicability of the human potentiality for nuclear self-destruction to the study of human cultural myths, structures, and artefacts” (Scheick, 1990). Los tres cuentos se interconectan por la narración en un juego temporal que se funde con la cosmovisión neoindigenista. La protagonista se transforma en “mutante”, sin embargo, la perspectiva de Colanzi va más allá y crea un juego de géneros literarios: desde la ciencia ficción (CF en adelante) hacia la fantasía
Apocalipsis zombi: el grito sofocado de nuestros mayores, reflejo de un modelo de sociedad agotado.
No full textThe numerous crises that have been disrupting the world, especially since the beginning of the 21st century, has had echoes in science fiction. It is no coincidence that since then the figure of the zombie has proliferated in literature and cinema throughout the world. As well as pointing to our global shortcomings, it is also an ideal way to explore the alienation of minorities. In their three respective stories -here analysed-, Pedro Escudero Zumel, Juan de Dios Garduño and Fabien Clavel each give prominence to the elderly, a weak minority excluded from the ageist and productivist model of society. The mistreatment suffered by the elderly and the corresponding loss of values are highlighted in the figure of the capitalist zombie. Another approach is the exclusion experienced by the elderly and zombies, a first comparison that can be defined as social zombification. It is important to emphasise how these unusual heroes are strongly attached to life; this is particularly visible in the confrontation between social zombies and modern zombies. An air of melancholy tainted with paternalism emanates from the whole. The second comparison enlarges the consideration upon the concept of ending and brings together two types of destiny: individual fates and the imminence of a dying civilisation. The heroes are wrapped up in their own sad and lonely revolt. They would rather accompany the twilight of the world instead of saving it. We are faced with an irremediable fatalism with no room for a post-apocalyptic adaptation. The heroes are violently removed from their isolation and witness the decline of civilisation and their own death, leaving the cruel question hanging in the air: what was the point of it all?El desfile imparable de crisis desde inicios del siglo XXI encuentra eco en la ciencia ficción. No es casualidad que desde entonces la figura del zombi haya proliferado en la ficción literaria y cinematográfica mundial. Además de apuntar nuestros defectos globales, también resulta idóneo para explorar la alienación de las minorías. Las tres propuestas atrevidas de Pedro Escudero Zumel, Juan de Dios Garduño y Fabien Clavel que analizamos otorgan el protagonismo a los mayores, minoría débil excluida del modelo de sociedad edadista y productivista. El (mal)trato padecido por los mayores y la correspondiente pérdida de valores resaltan en la figura del zombi capitalista. Otro enfoque es la exclusión experimentada por ancianos y zombis, primera comparación pudiendo definirse como zombificación social. Destaca la obstinación de esos héroes insólitos en su apego a la vida en un enfrentamiento entre zombis sociales y zombis modernos. De ello se desprende una melancolía paternalista. La segunda comparación amplía la reflexión en torno al concepto de fin, aunando los destinos individuales de los héroes y los de una civilización moribunda. Los primeros, envueltos en su propia revuelta triste y solitaria, acompañan solidariamente el crepúsculo del mundo, en vez de salvarlo. Estamos ante un fatalismo irremediable sin cabida para una adaptación postapocalíptica. Los héroes son arrancados de su aislamiento para asistir al declive de la civilización y a su propia muerte, quedando en el aire la cruel pregunta: ¿qué sentido ha tenido todo esto
Early Black Nationalism and Its Moral Demands
No full textThis article explores the rich universe of nationalist discourse among Black writers of the Jacksonian era, a spectrum that ran from emigration to assimilation, and which included nuanced ideas in between. In the 1820s and 1830s, public intellectuals like John B. Russwurm, Samuel Cornish, David Walker, Hosea Easton, and Maria Stewart worked to create a framework for creating a “nation within a nation” and at the same time a global community that transcended the political borders drawn by Whites. This article scrutinizes in particular the moral demands of this nationalist project. Movement leaders promoted stringent codes of conduct, focusing on personal disciplines as well as on one’s duties to the community at large. What emerges from examining this early fixation on civic virtue are some general insights on the project of self-emancipation and identity formation, particularly in the face of racial bigotry and economic precarity
LA UTILIZACIÓN DE LA SEMIÓTICA DE CHARLES S. PEIRCE EN LA COMPOSICIÓN MUSICAL
No full textThis paper explains how Charles S. Peirce’s semiotics can be used in musical composition. The central premise guiding this study, based on Peirce’s writings, is that the introduction of ideas into what we hear enables us to connect the sounds we perceive, making them intelligible. Therefore, understanding what these ideas are and how they operate in music can become a valuable tool for musical composition. First, this paper presents some musical and non-musical examples to clarify how the introduction of ideas into the listening process connects sounds and makes them intelligible. Next, the core elements of Peirce’s semiotics are explained to outline the three general types of ideas that, within the musical realm, we introduce into what we hear. Finally, this paper examines, with examples, some potential applications of these ideas in musical composition.Este ensayo explica cómo puede ser utilizada la semiótica de Charles S. Peirce en la composición musical. La premisa central que orienta este estudio, con origen en los escritos de Peirce, es que la introducción de ideas en aquello que se escucha es lo que posibilita conectar los sonidos que escuchamos y hacerlos inteligibles. Por lo tanto, conocer cuáles son estas ideas y cómo operan en música puede convertirse en una relevante herramienta para la composición musical. Primero, este ensayo presenta algunos ejemplos musicales y otros ajenos a la música para aclarar cómo la introducción de ideas en el proceso de escucha conecta los sonidos y logra que nos resulten inteligibles. A continuación, son explicados los elementos centrales de la semiótica de Peirce con la finalidad de exponer cuáles son los tres tipos generales de ideas que, dentro del contexto musical, introducimos en aquello que se escucha. Finalmente, este ensayo examina, aportando ejemplos, algunas posibilidades a través de las cuales pueden emplearse tales ideas en la composición musical
Las Migraciones de Gloria Gervitz: del sujeto migrante y la identidad híbrida al plurilingüismo y la metamorfosis de la escritura
No full textGloria Gervitz (1943-2022), Mexican poet, conceives her poem Migrations as the work of a life, pending constant updates and revisions. The progressive transformation of the poem is reflected in the metamorphosis of the identity of the poetic self, which is in constant self-discovery as a hybrid and transcultural subject. The duality that structures the poem between an “I” present in Mexico and a Jewish, migrant “you”, located in the past, reflects a fragmentary nature of identity, which will be formally translated into a linguistic hybridism between Spanish, Yiddish and English. The poem is articulated, as well as a mosaic of roots and heritage, from which it attempts to build an identity that has been denied by a feeling of uprooting and dislocation to which its ancestors were condemned after the Holocaust and World War II. Thus, in poetic discourse Gloria Gervitz finds a possibility to embrace and explore the hybridity and heterogeneity that constitute her as a subaltern subject. This article aims to explore, on the one hand, how forms of geographical migration at a historical level translate into hybridity in language and poetic form. On the other hand, it seeks to identify the process of identity construction that Gervitz carries out through the writing of intimacy and the reconstruction of memory and memory.Gloria Gervitz (1943-2022), poeta mexicana, concibe su poema Migraciones como la obra de una vida, pendiente de actualizaciones y revisiones constantes. La transformación progresiva del poema se refleja en la metamorfosis de la identidad del yo poético, que se encuentra en un constante autodescubrimiento como sujeto híbrido y transcultural. La dualidad que estructura el poema entre un “yo” presente en México y un “tú” judío, migrante, situado en el pasado, refleja una fragmentariedad de la identidad, que se traducirá formalmente en un hibridismo lingüístico entre el español, el yiddish y el inglés. El poema se articula, así como un mosaico de raíces y herencias, a partir del cual pretende construir una identidad que le ha sido negada por un sentimiento de desarraigo y dislocación al que fueron condenadas sus antepasadas a partir del Holocausto y la II Guerra Mundial. Así, en el discurso poético encuentra Gloria Gervitz una posibilidad de acoger y explorar el hibridismo y la heterogeneidad que la constituyen como sujeto subalterno. En este artículo, se pretende explorar, por un lado, cómo las formas de migración geográfica a nivel histórico se traducen en un hibridismo en la lengua y la forma poética. Por otro lado, se busca identificar el proceso de construcción identitaria que realiza Gervitz a través de la escritura de la intimidad y la reconstrucción del recuerdo y la memoria
"Carto(corpo)grafías. Nuevo reparto de las voces en la narrativa de autoras latinoamericanas del siglo XXI", de Fernanda Bustamante Escalona, Lorena Amaro Castro (eds.)
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“Pateras, moros e ilegales”: percepción social de los jóvenes andaluces sobre la inmigración a través del análisis de su léxico
No full textThis research forms part of the PULSO Andaluz Project, “Observación del Pulso Social en Andalucía a través del Análisis Léxico” (UMA20-FEDERJA-013), which aims to investigate the perception of Andalusian youth on some controversial issues, such as immigration. Our initial hypothesis is that there will be more words with negative connotations towards the immigrant group, due to the influence of anti-immigrant discourses transmitted by the media. To do this, we will detect the lexical units that are shared by a sample of 600 students from different educational levels in the towns of Cádiz and Málaga. For data collection, lexical availability questionnaires were used, and then analysed by means of the DispoCen tool, to calculate their lexical availability and levels of lexical centrality. The results show that examples of derogatory language are inferior than those lexical items that emphasise how immigrants are affected by social discrimination.Este trabajo parte de los resultados obtenidos por el proyecto “Pulso Andaluz” (UMA20-FEDERJA-013), cuyo objetivo era indagar sobre la percepción de los estudiantes andaluces acerca de temas polémicos de la sociedad actual. Para ello, se contó con una muestra de 600 estudiantes de Cádiz y Málaga durante el curso académico 2021-22, a quienes se les administraron cuestionarios de disponibilidad léxica, posteriormente analizados con la herramienta DispoCen para calcular los niveles de centralidad léxica. Se trata, en este caso, de efectuar un análisis más pormenorizado de los datos cuantitativos aportados por Ávila Muñoz y Segura Lores (2024) en el estímulo ‘inmigración’ y compararlos con los descritos por The Migration Observatory (Oxford University 2013). Si bien la hipótesis inicial era que su léxico manifestaría una imagen negativa de la inmigración, los resultados indican que, salvo negro e ilegal, no existen más ejemplos de lenguaje peyorativo en los niveles de mayor centralidad léxica
Queer Antiheroism of DC Comics’ Secret Six
No full textFollowing the increase of LGBTQ+ characters and growing demands for authentic diversity in the superhero genre, the concern for queer representation in superhero comics scholarship has risen in the past few years, which is undoubtedly a significant advancement. One character that frequently appears in discussions of queer representation is Marvel’s Northstar, who is the first major superhero to have come out as gay in 1992. Similarly, Batwoman with her much-acclaimed solo series in DC, and the very popular superhero team Young Avengers from Marvel, where most of the members are sexual minorities, have also gained attention.While these characters and series have been rightfully highlighted by scholars, there is one series (and team) that barely appears in past or present superhero scholarship despite its remarkable and distinct depiction of queerness: DC Comics’ Secret Six (2006-2007; 2008-2011). This paper thus sheds light on the Secret Six, their antiheroism, and their unique queerness. I argue that the fact that the Secret Six are antiheroes, rather than superheroes, who are traditionally expected to maintain the status quo even in terms of gender display, or supervillains, who are traditionally Othered in extreme ways for their “gender transgression,” is what allows the Secret Six a freedom to operate in queer ways neither party does nor can. Through their narratives, they repeatedly challenge heteronormative ideals, openly disrupting gender norms that have been essentially upheld by superheroism, and confront the privileges superheroes have been given in their societies