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

Drawing from the pictographic traditions and interspecies relations of the Kiowa as well as from N. Scott Momaday’s own theories of language, vision, and the creative imagination, this article aims to broaden our understanding of the ­­­memoir The Way to Rainy Mountain as a verbal/visual collaboration between Kiowa painter Alfred Momaday and his son, N. Scott. The stories and images rendered in the book strongly establish the Kiowa in relation to a particular cultural landscape, to visual/oral forms of memory, and to the animals and more-than-human beings that endow them with meaning. To further understand these two sets of relations, the sacred interdependence between images/words and human/more-than-human beings in the Kiowa tradition, I first situate the revision of history, place, and ceremony carried out by the Momadays within a tribal-specific intellectual framework. To that end, I consider the visual modes and practices that were traditionally engaged by the Kiowa and which are reinserted by the Momadays in their text as a form of anti-colonial resurgence. Such strategies contributed to decolonizing textual spaces and tribal representation in the late 1960s through their blurring of Western disciplines and through the spiritual interconnection of human, more-than-humans and place at a time when Native American religions were banned. Words and images in The Way to Rainy Mountain are preeminently relational and place-based; they engage with the land and the multiple beings that dwell on it at material and spiritual levels that cannot be set apart. Shaped by traditional Kiowa epistemology and social practice, Rainy Mountain’s illustrations depict more-than-human beings and interspecies relations which, understood as both material and sacred experience, lead to creative vision and cultural resurgence in this groundbreaking text.

Neo-Victorian fiction has been concerned with historically oppressed and traumatised characters from the 1990s onwards (Llewellyn 2008). More recently, neo-Victorianism on screen has shifted its attention to the figure of the perpetrator and their unresolved guilt, as in the TV series Penny Dreadful (Logan 2014-2016) or Taboo (Knight, Hardy and Hardy 2017-present). However, perpetrator trauma is an under-theorised field in the humanities (Morag 2018), neo-Victorian studies included. This article analyses Taboo as a neo-Victorian postcolonial text that explores the trauma of its protagonist James Delaney, an imperial perpetrator who transported and sold African slaves in the Middle Passage for the East India Company. Although the series is not set in the Victorian period, neo-Victorianism is here understood as fiction expanding beyond the historical boundaries of the Victorian era and that presents the long nineteenth century as synonymous with the empire (Ho 2012: 4). Thus, I argue that postcolonial texts like Taboo should be considered neo-Victorian since they are set in the nineteenth century to respond to and contest (neo-)imperial practices. However, neo-Victorian postcolonialism offers ambivalent representations of the British Empire, as it simultaneously critiques and reproduces its ideologies (Ho 2012; Primorac 2018). This article examines the ways in which Taboo follows this contradictory pattern, since it seemingly denounces the imperial atrocity of the slave trade through Delaney’s perpetrator trauma, while simultaneously perpetuating it through his future colonizing trip to the Americas. Hence, Delaney is portrayed as an anti-hero in the series, given that he is both the enemy and the very product of the British Empire.

As Julie Bates claims, “the most exciting new writing in Ireland is happening in the field of nonfiction” (2020: 228-229) and, more particularly, in the form of the essay. Sinéad Gleeson uses the confessional mode in her essay collection Constellations: Reflections from Life (2019) to recount her experiences of two deadly illnesses and to challenge ideas that readers might have about themselves or the world. She contemplates her body and life as an Irishwoman in her roles as daughter and patient, and in a variety of social and familial roles. Gleeson also explores the female body in pain, in sexuality, and in the struggle for recovery and change both in the Irish context and universally. This courageous example of essayism crosses many borders: the geographical and social, theory and practice, and thinking and creating. Border Poetics De-limited, edited by Johan Schimanski and Stephen Wolfe (2007), examines the role of art and culture in constructing and tracing borders, focusing on narratives and other symbolic forms, and on the important subjective dimension which cultural forms mediate in the public sphere. This article explores how and to what effect the devices proposed by the authors of this collection can be used to relate Gleeson’s essayism to several concepts of border crossing, such as how the border crosser and border-crossing narrative work from a feminist perspective.

The aim of this study is to suggest a new assessment of Katherine Anne Porter’s semi-autobiographical account of her near-death experience with the 1918 flu, Pale Horse, Pale Rider (1939), considered by many as the paradigmatic American narrative of that pandemic. Following the trend set by most critics of Porter, this article explores the intersections of memory and fiction in the novella, but shifting attention to our present-day response, assessed as a critical tool that provides renewed insight into the mysteries of Porter’s late-modernist text. Revisited in a context in which cultural memories of the 1918 influenza have been awakened by our own traumatic experience with COVID-19, this article seeks to probe the uncertainties in Porter’s aestheticized trauma narrative. The aim is to investigate the hypothesis that our contemporary reading of Pale Horse, Pale Rider illuminates the modernist obscurities in the text and, in consequence, raises the possibility of transcending the limitations of language and myth exhibited in the text, providing new meanings through connection and remembrance.

Don DeLillo is an author who pays special attention to language, time, and space when constructing characters’ identity as well as their milieu. Considering this aspect of his fiction, the present article looks at how cinematic adaptations of his novels translate time, space, and the use of language onto the screen. Two of DeLillo’s novels have been adapted so far: Cosmopolis (DeLillo 2003) by David Cronenberg in a 2012 movie of the same name, and The Body Artist (DeLillo 2001) by Benoît Jacquot under the title À Jamais (2016). In light of the importance that the aforementioned elements play in the author’s works, this article delves into how they are represented in the two adaptations and analyzes the role that they play in the movies compared to the novels.

This paper examines informal learning practices of Spanish university EFL learners of different proficiency levels with authentic videos in English and the reasons for engaging in this activity. For this purpose, one hundred and fifty-six students of mixed proficiency levels completed a questionnaire. The general percentages revealed that the majority of them are exposed to authentic videos with very high or considerably high frequency, they normally undertake this activity alone using their computers, laptops or mobile phones, and they tend to watch authentic videos with captions/subtitles either in English or in Spanish. The Internet and streaming services were identified as the two most commonly used sources. Furthermore, many of the respondents enjoy this activity and find it particularly useful for developing their listening skills and lexis. A statistical analysis of the results revealed a clear impact of the proficiency level on the frequency of exposure, the use of subtitles/captions, the sources and reasons for doing this informal activity. 

This article analyses Tendai Huchu’s novel The Maestro, The Magistrate & The Mathematician (2015) in the light of cosmopolitan theory, drawing from Ulrich Beck’s conceptualisation of the cosmopolitan society and Vince Marotta’s notion of the figure of the cosmopolitan stranger. Urban space theory and Henri Lefebvre’s Rhythmanalysis is also discussed. This work focuses on the main characters in the novel in order to question the validity of some of the characteristics attributed to the cosmopolitan stranger, principally their ability to transcend standpoint epistemologies. It addresses the characters’ common struggle to re-evaluate their identity in the new neoliberal capitalist context of Edinburgh in which they find themselves, as well as their search for belonging in the new community and the creation of a new home. The article also explores the potential of walking the city as a mechanism to reconcile identity conflicts and respond to the anxiety that the city generates —connecting internal time, memories and the body with external time and space— and contrasts it with the experience of running. It is contended that the novel resists the imposition of a definite meaning, portraying the cosmopolitan strangers as nuanced individuals, while also exploring the possibility of failure of the cosmopolitan stranger.

This study aims to reassess William Frederick Deacon (1799-1845) and his work Warreniana (1824) by demonstrating that although it is a work of textual parody, its apparent triviality conceals a sophisticated exercise in literary criticism, constituting a valuable contemporary commentary on Romanticism. The collection presents a witty and sophisticated exercise in criticism of the literature and style of its period, being composed of texts attributed to a selection of Romantic authors supposedly promoting a very trivial product: Warren’s blacking (shoe polish). Deacon thus acts as another Romantic critic, albeit a more original and unconventional one. Due to space constraints, this paper will focus only on the parody of the poetic style of British romantic authors. The parody of their journal style will be analysed in another article.

This paper discusses a case of constructional contamination (Pijpops and Van de Velde 2016; Pijpops et al. 2018), a phenomenon which describes the relation between two or more constructions such that usage frequencies of one construction influence the patterns of variation in another (Hilpert and Flach 2022). Specifically, I investigate the influence of structures of the type she gave a nod of intelligence or she nodded with satisfaction on the variation in the object slot of the so-called English Reaction Object Construction (ROC; Levin 1993), as in she nodded intelligence and she nodded satisfaction. Using the British Sentimental Novel Corpus (Ruano San Segundo and Bouso 2019) and the method of distinctive collexeme analysis (Gries and Stefanowitsch 2004; Hilpert 2006, 2014), it is argued that early and frequent structures superficially similar to the ROC, like those just mentioned, partly explain the lexical diversity found in the object slot of the nineteenth-century ROC (Bouso 2020b). The results thus corroborate findings on the pervasiveness of constructional contamination in English syntax, confirm the claim put forward in Bouso (2021) that the ROC can be treated as an example of a multiple source construction, and provide evidence of the large-scale transitivisation process experienced by the English language since Old English times.

In this article, it is my intention to analyse two theoretical notions related to space, namely Pierre Nora’s idea of the site of memory and Gaston Bachelard’s thoughts on space and the house, as applied to Evelyn Waugh’s Brideshead Revisited (1945). I base my analysis on the symbolic value of the English country house with regard to the interwar English aristocracy and upper classes as depicted in this novel; that is, as a site of memory. I consider the point of view of three characters: Charles Ryder, the novel’s first-person narrator, Lord Sebastian Flyte, Ryder’s intimate friend, and Lord Marchmain, Sebastian’s father, who triggers the novel’s sudden and unexpected ending through his deathbed conversion to Roman Catholicism, his family’s creed. My conclusion links the decline of aristocratic and Christian ideals with the disappearance of communities of memory and their traditions after the Second World War.