Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This work aims to address the interpretation that the Chinese director Ma Zhenghong made in 2008, in Beijing, of the work of the Mexican author Sabina Berman Molière, a text that raises the conflictive relationship between the two masks of theater, comedy and tragedy, embodied in the figures of two playwrights of the French classical theatre, Molière, who gives the play its title, and Racine, the greatest exponent of the tragic style in 17th century France. My purpose is to establish a reflection on the view that a Chinese theatrical creator has of a Western theme, which, however, is usually seen as universal and, in parallel, to study the particular model of its staging, as well as its possible impact on the Pekinese theatrical context of the time.

Tourism has become one of the main sectors in promoting the economic development of localities and job creation. Given the magnitude and projection of tourism activity, it represents a high risk for the geographic space where it is developed and sustainability in the sector is an increasingly perceptible global challenge. In this sense, the academic community has paid special interest in recent years to research associated with sustainability in tourism. The present study seeks to describe the state of the construct based on the analysis of bibliometric indicators of productivity, dispersion and visibility or impact, as well as a visualization of the networks of authorial and institutional collaboration and a temporal analysis of the lines of research or fundamental thematic axes. The main results show a progressive increase in the number of research studies, a high dispersion of scientific production, as well as a collaborative network dominated almost entirely by the most notable authors. The research allows us to characterize the state of the art of the construct and provides researchers with important bibliometric information to guide future studies.

PhD Thesis review

The socio-cultural situation of Chinese women is a constantly changing reality. Neither Confucian social values ​​(xiao 孝: filial piety; wulun 五轮: the five fundamental relationships; hexie 和谐: social harmony) nor policy changes which claimed to ‘liberate’ women (marriage laws of 1950; 1980; 2001) can satisfy the growing number of Chinese women who choose the disadvantaged social position of ‘spinster’ (sheng nü 剩女). Contemporary Chinese writer Xue Xinran 薛 欣然 (1958--) explores the evolution of tan lian’ai 谈恋爱 (courtship and romantic relationships) in China in her latest non-fiction work. The Promise (2019) narrates six courting stories from the woman’s point of view, over four generations, within the same 20th-century Chinese family. We analyse the work based on the investigations of Botton Beja (1995; 2017), Fincher (2015), Hershatter (2007), Murti (2019) and To (2013), among others, reaching the conclusion that certain traditional Confucian gender roles attributed to Chinese women (such as san cong si de 三从四德, the ‘Three Obediences and Four Virtues’) maintain their unfavoured position in society.

Being a woman has traditionally meant pigeonholing in certain roles and spheres that have been determined from the outside by a patriarchal hegemonic system that has tried to keep women away from the public, cultural, and intellectual life and, therefore, from decision-making. This has led women to both subalternity and personal and social silencing: women had to stay at home and fulfill secondary roles always subordinate to those of men: housekeeper, wife and mother. Motherhood has therefore become not merely an option that, obviously, only women can carry out if they desire to, but it has been imposed on them, considering that a woman who is not a mother is not a woman at all (as Rich states about women who do not desire to be mothers: “Perhaps one is a monster –an anti-woman– something driven and without recourse to the normal and appealing consolations of love, motherhood, joy in others…” (Rich, 1986, 22). In her work Of Woman Born: Motherhood as Experience and Institution, published in 1976, American writer Adrienne Rich presents for the first time a study on motherhood in which it does not appear as an idealized experience, but in which the political aspects of motherhood are broken down instead. It offers an interesting distinction between the experience of motherhood and the institution of motherhood, and invites us to reflect on the oppression that being mothers in the way that the system dictates that they should be entails for women. This article has the aim of analyzing the main issues that this non fiction work contributes to feminist studies, analyzing the different impositions that are made on women through motherhood from a feminist perspective.  

The dystopian texts "Ninfe sbranate" by Francesca Cavallero (2020) and "Il catalogo delle vergini" by Nicoletta Vallorani (2017) portray worlds permeated by the objectification of women. Inside these worlds, a monstrous male network takes advantage of the cisheteropatriarchal system to cover their crimes: trafficking of women, sexual violence and femicide. However, in both stories these female victims, defined as the 'others', are no longer silenced, but manage – from a space between life and death – to take over part of the narrative. In this way, they are able to tell their story and denounce their abusers. By using Susan Lanser's (1992) 'communal voice', we will analyse the space created to give voice to this repressed collective. Its use interferes with the main narrative and creates a place from which to claim one's right to justice. The purpose of this contribution is thus to highlight the importance of narratology when reading texts from the feminist perspective, and to demonstrate this through the spaces created by the narrative voices present in both texts.

¿Pueden las historias que conocemos desde la infancia adaptarse a los nuevos tiempos? ¿Es posible la reinterpretación de arquetipos? Tradicionalmente, la literatura juvenil se ha apartado del radar de los estudios críticos, en parte por prejuicios que conducen a subestimar sus obras. Sin embargo, no podemos negar que constituye una influencia importante en nuestra construcción como seres humanos, con una nómina extensa de autoras y autores de talento. En este trabajo nos centraremos en Laura Gallego, quien ha demostrado ser una de las grandes autoras de la literatura juvenil fantástica en España. En Donde los árboles cantan propone una reinterpretación de las novelas de caballerías. Resulta especialmente interesante la evolución de su protagonista, Viana. A través de una lectura crítica, podemos apreciar su transformación de doncella en apuros sometida en una sociedad patriarcal a la heroína de su propia historia. Una evolución que refleja que es posible actualizar los arquetipos de los cuentos tradicionales tomados del trabajo de Propp (1985) a la luz de la reivindicación de la lucha feminista por la igualdad.

This project introduces the work of the Mexican-American author Rigoberto González into the Spanish literary panorama and focuses on his short story collection Men without Bliss. For an exhaustive analysis of his work, the starting point will be the analytical tool established by Tomás Albaladejo (2011) and his definition of "ectopic literature" which provides tools to study migratory processes through literary works. As presented in other studies dealing with this theoretical background, we would emphasize the relationship between gender and migration. A detailed reading of Men without Bliss aim to confirm the traces of ectopic literature in his short-story collection. The examination of migration in González’s short-stories, and particularly the way(s) men experience processes of displacement are the main objectives of this work. By exploring this short-story collection, we focus on the concept of intersectionality and identify how González depicts “traditional masculinity” and patriarchy as source for unhappiness.

The novel Orlando (1928), by Virginia Woolf, shows the presence of transvestism or cross-dressing as a constant, a fact that highlights the questioning of the normative in relation to female and male corporeality, according to exclusively biological parameters, in which the genitals are epicenter of the classification. From a diachronic perspective, the vision of transvestism, mainly through androgyny, has shown how the dominant culture and thought has considered it to be a characteristic associated with divinity or the teratological, and is regulated by medical-legal committees in favor of a biological evolution in accordance with the dominant hetero-normativity. Through an analysis of the novel the objective is to show gender issues that are practically a century ahead of the debate on gender and current identity. From a contemporary perspective, it is evident that through cross-dressing, the author proposes alternatives to the biological binary, questioning the morphology and behavior of socially imposed gender –a position in line with Foucault's biopolitics–, and opens the possibility to liquid ownership of gender constructed through physical appearance and behavior. The latter, moreover, is another pillar for gender analysis in Orlando through the concept of neo-androgyny, it serves to question androgyny as innate [or] learned gendered.

This article analyzes the Golden Age playwrights´s discourse in the Novohispanic theater from the perspective of their position regarding sexuality. Among the twenty-one theater writers who, due to temporal and spatial limitations, make up the cast of the Spanish theater of the Golden Age´s playwrights, we find interestins and transgressive visions on this matter thar contravene the norms and use of the time. Feliciana Enríquez de Guzmán, Leonor de la Cueva, Juana Inés de la Cruz, María de Zayas and Ana Caro Mallén are some of these names. The work starts with an initial methodological framework that includes an overview of the female production of the golden theater, to later focus on the assessment of the significance of the creations of these playwrights in their context. From this starting point, the analysis of his productions wil be reached from the perspective of sexuality, including as oststanding elements, the phenomenom of male and female transvertism present is several of these works.