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EN
The Day of the Dead is a Mexican feast based on syncretism of Mezoamerican death rituals and Roman Catholic feasts of All Saints’ and All Souls’ Days. This paper researches the infl uence and role of this feast in relation to the construction and negotiation of Mexican national identity, which is related to the concept of lo mexicano. The concept of lo mexicano is a product of nationalist efforts to create an image of Mexican nation and the essence of Mexican identity, which has been the object of various historical and political debates for a long time. It is also closely associated with the idea of death as a central symbol and specifi c feature of Mexican culture. Therefore, the Day of the Dead seems to be an important feast in sense of the image of what does it mean to be a Mexican. This image of the feast is more over supported by present Mexican nationalists by a nationalist state apparatus.
EN
American feminist theories have long energised Polish scholarly work, and many Polish academics have drawn on the research of renowned American writers such as Judith Butler. Polish translations of numerous American authors may well have increased readership, which would otherwise be confined to English-speaking intellectuals. Wydawnictwo Krytyki Politycznej, a left-leaning publishing house, offers a wide selection of crucial works by American feminists and sells those books at affordable prices, making certain texts by Butler, Carol Gilligan, and Katha Pollitt widely accessible. Most works published in Polish have been authored by white women with some attempts to be more racially inclusive (the works of Gayatri Chakravorty Spivak and bell hooks, for example, can also be found in translation). Chicana writers, on the other hand, are not part of Krytyka Polityczna’s canon. This paper aims to address this oversight, arguing for the benefits of drawing on Chicanas’ research in the analysis of various social, political, and cultural phenomena in Poland. It also takes a close look at several relevant terms/concepts proposed by Gloria Anzaldúa, Ana Castillo, and Chela Sandoval, as well as the ways in which these could be applied in the Polish context.
ES
Tanto El caldero de oro (1981) como La orilla oscura (1985) tratan de unas curiosas relaciones especulares entre España e Hispanoamérica −entre españoles e hispanoamericanos−, tema recurrente e importante en la narrativa de José María Merino a partir de su particular descubrimiento de América. En el presente artículo nos proponemos estudiar los diferentes aspectos de esta estrecha relación, analizando la confluencia de las tradiciones de las dos orillas – en lo que se refiere al mestizaje y a los referentes literarios−, así como el motivo del doble vinculado a los problemas de identidad que experimentan los protagonistas. En el planteamiento de Merino observamos tanto algunos rasgos propios de la literatura fantástica como, también, una propuesta innovadora frente a la tradición de este género.
EN
Merino’s novels El caldero de oro (1981) and La orilla oscura (1985) present the “mirror” relations between Spain and Spanish America, between the Spanish and the Spanish Americans, a recurring and important theme in José María Merino’s narrative since his personal discovery of America. This article aims to study the various aspects of that close relationship, taking into account the convergence of literary traditions as well as the doppelganger motif linked to the crisis of identity that the protagonists suffer. The author argues that Merino’s novels are a perfect blend of typical features of fantasy literature and some new artistic devices.
PL
W powieści El caldero de oro (1981) i La orilla oscura (1985) przedstawiono szczególne, „lustrzane” relacje między Hiszpanią a Hispanoameryką, między Hiszpanami a Hispanoamerykanami. Od czasu, kiedy Merino doświadczył swojego osobistego odkrycia Ameryki, temat ten zajmuje istotne miejsce w jego twórczości. W artykule dokonano przeglądu różnych aspektów wspomnianych „lustrzanych relacji”, uwzględniając związki krwi, wspólne elementy tradycji literackiej oraz motyw Doppelgänger związany z poczuciem tożsamości. Postawiono tezę, że Merino, wykorzystując środki i motywy typowe dla fantastyki, proponuje zarazem rozwiązania nowatorskie względem tradycji tego gatunku.
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