DESVÍOS DE LO REAL. El cine de no ficción (Spanish Edition)

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Thirdly, the eldest daughter was to marry first. Being the eldest daughter of the family, Gertrudis has to marry before her sisters. After the wedding celebration, an empty frame in the film signifies the passage of twenty years of marriage. The temporal ellipsis may suggest that Gertrudis has lived an ordinary and predictable life. As long as marital partners fulfilled their duties, even if they cared little for each other, they generally remained together.

Women were supposed to maintain a clean home, cook adequate meals, and raise the children, whether or not they worked for wages; men would provide most of the income and abstain from beating their wives. They would have sexual relations and accord each other a minimum of respect. Infringing these boundaries was ground for ending a marriage. McGee Deutsch , Becoming a primary school teacher, on the other hand, signified three things: Considering all this, it can be argued that the Cohens incarnate the assimilation policy that the discourse of argentinidad advocated in the early twentieth century.

Gertrudis, for her part, is the alma mater of a seemingly well-functioning family: She has also been able to marry Jewishness and argentinidad in her daily life. Her cuisine manifests her Ashkenazi Jewish roots, especially when she serves gefilte fish for her family and their French guest, photographer Jean Baptiste, and her self-sacrificing mother role is in accordance with the role of Argentine rural women at the beginning of the twentieth century.

In general terms, as is the case with Gertrudis, women had very limited freedom in Argentina at the time. Accordingly, her world is confined to the domestic sphere which, in the diegesis of the film, she never transcends. Despite her total devotion to her family, Gertrudis does not form part of the intra-diegetic gaze of the film characters. This is conspicuous at meal times when the family enjoy their meals without Gertrudis. On these occasions Menis highlights that it is father and children who form the nuclear family by juxtaposing Gertrudis in the kitchen and the rest of the family in the dining-room, and if she steps into the dining-room, nobody looks at her.

As when she was a child, Gertrudis is also excluded from the family she herself has raised. However, the arrival of Jean Baptiste, a French photographer touring Argentina, becomes the turning point of the tale. His gaze incorporates her into his universe to such an extent that she runs away with him when he leaves the farm.

The last shot of Gertrudis is depicted as a metonymy that invokes her departure. Sitting down with her back turned away from the domestic space but facing instead the garden door, Gertrudis is prompted to transcend the boundary of the colony. In the case of Gertrudis, the break is implied in the dirty crockery and the empty and half-empty bottles towards which she is turning her back, an image that can be read as an act of insubordination. Like Miriam, Gertrudis has also understood that in order to overturn the hierarchy of the patriarchal society in which she lives, she needs to break the prevailing rules.

Therefore she embraces the transcultural character of Argentine society which started to dominate the discourse of argentinidad in the s. To conclude, the study of cinematic Jewish women has been little explored due to the under-representation of the Jewish woman in cinema. However, putting her at the centre of a study can yield new insights into cultural phenomena such as argentinidad. Both films praise the integration of the Jewish community into its host society by means of farming the land where Jews and criollos work together, the attendance at public primary school where Jews learn about Argentine history and literature and mingle with peers from diverse ethnic backgrounds, and the 25 th May celebration during which Jews and criollos mix.

Nevertheless, shifting the focus to the newly-arrived Jewish woman or the marginalised Jewish woman, both living in rural communities at the turn of the last century, gives a different picture. Miriam and Gertrudis are subservient to their parents and husbands respectively and live in strict compliance with the cultural norms of the colony, which means, for instance, accepting arranged marriages.

These women, who are on the margins of an on-the-margins group, have to break with their identity groups in order to integrate into their host society. The ideology of both films holds that the seemingly natural and idyllic homogenous life of the colony can be questioned and overturned. In doing so, both Miriam and Gertrudis resist the authority of parents and husbands and thus challenge the patriarchal community that has relegated them to the fringes of society.

Their escape from the Jewish colonies supports the underlying ideology of the films: Furthermore, this ideology is consonant with the assimilation policy preached by cultural nationalists, who envisioned the new Argentine race as a crisol de razas. Ultimately, their agency mirrors the proactive roles which Jewish females have had in building their host nation, and thereby, argentinidad. The new Jew in film: Exploring Jewishness and Judaism in contemporary cinema. London and New York: Books and bombs in Buenos Aires: Borges, Gerchunoff, and Argentine-Jewish writing Hanover: University Press of New England.

Confronting the "Dirty War" in Argentine cinema, Memory and gender in historical representations. Cultural nationalism and romantic concepts of nationhood in early twentieth-century Argentina. Journal of Latin American Studies Tres discursos sobre la argentinidad. Mala noche y parir hembra. My views on philanthropy. The North American Review A history of cinema in Latin America.

A short history of the Argentinians. Crossing borders, claiming a nation: A history of Argentine Jewish women, Argentine Jews or Jewish Argentines?

Volume 4 "Spanish issue" () | University College Cork

Essays on ethnicity, identity and diaspora. Alberdi and his influence on immigration policy in the Argentine constitution of Consent and descent in American culture. Latin American Literary Review 6: Contra esto y aquello. The Jews of Argentina: The Jewish Publication Society of America. Some social and economic aspects of a venture in resettlement. American Journal of Economics and Sociology Religious-oriented social institutions amid east European ghetto culture. Mansilla makes a clear distinction between the terms gaucho and paisano. The former lives a nomadic lifestyle, is a gambler and breaks the law; the latter has a fixed residence, holds a job and complies with the law.

En ella el autor estadounidense manifiesta el gran orgullo que siente sobre lo que acaba de escribir:. I have been so ill—have had the cholera, or spasms quiet sic as bad, and can now hardly hold the pen The very instant you get this, come to me. The joy of seeing you will almost compensate for our sorrows. We can but die together. It is no use to reason with me now; I must die.

For your sake it would be sweet to live, but we muse sic die together. You have been all in all to me, darling, ever beloved mother, and dearest, truest friend. I was never really insane, except on occasions where my heart was touched I have been taken to prison once since I came here for spreeing drunk; but then I was not. It was about Virginia. La dedicatoria es muy llamativa e interesante, dado que va a ponernos en la pista de lo que Poe va a tratar en este libro: El libro comienza con un prefacio firmado por Poe.

An Essay on the Material and Spiritual Universe , a partir del cual se inicia el libro. Su propuesta la resume en la siguiente frase: El pensamiento lleva al raciocinio y este lleva a la duda sobre algo que realmente es imposible de demostrar. Muchos otros autores anteriores y sobre todo posteriores, se han visto en esta misma vicisitud: El primero no puede explicar al segundo, dado que no tiene respuestas racionales para todo; del mismo modo que el segundo, el espiritual, necesita del primero para su existencia.

Esta naturalidad y libertad es algo que atrajo enormemente a nuestros literatos. He knew Poe's work as early as , when he mentioned him in his letters Todas ellas salpicadas por la vida y por la muerte de sus personajes y el intentar darle sentido a sus vidas. Todos ellos buscaron ese punto de equilibrio entre lo material y lo espiritual por medio de su obra. En el caso de Antonio Machado, la influencia que Edgar Allan Poe tuvo en el poeta sevillano se ve reflejada tanto en su escritura, como en su forma de pensar.

Inquietud, angustia, temores, resignaciones, esperanza, impaciencia que el poeta canta, son signos del tiempo, y al par, revelaciones del ser en la conciencia humana. Existence—self-existence—existence from all Time and to all Eternity—seems, up to the epoch of Manhood, a normal and unquestionable condition: Doubt, Surprise and Incomprehensibility arrive at the same moment. These things we struggle to comprehend and cannot: En , vi, insisto. No podemos vivir anclados en el pasado como los puritanos estadounidenses; el poeta necesita avanzar y moverse en consonancia con el universo y la naturaleza.

Unamuno se debate entre dos mundos: El epitafio a Juan de Mairena es muy revelador. Accessed December 3, Astin, John , Journal of the Caxton Club of Chicago 6 5. Accessed December 20, Accessed March 27, Accessed June 25, Accessed June 3, La voluntad de vivir y sobrevivir en Miguel de Unamuno. Nueva Estafeta 1, pp. Selection, introduction y notes Arturo del Villar.

Los Libros de Fausto. Hispania 28 2 , pp. American Association of Teachers of Spanish and Portuguese. Accessed January 4, Accessed November 4, The Hudson Review 2 3 , pp. The Hudson Review, Inc. Accessed April 18, Englekirk, John E, Edgar Allan Poe in Hispanic literature. Ferguson, John De Lancey, American Literature in Spain. Accessed November 1, Flores Moreno, Cristina, Accessed April 9, Franz, Thomas R, University of Pennsylvania Press.

Accessed February 3, I Have Found It! A brief history of time: Hobson Quinn, Arthur and Rosenheim, Shawn.

The Johns Hopkins University Press. La realidad invisible , Preliminary study and selection Aurora de Albornoz. Diario de un poeta reciencasado Accessed June 2, Accessed September 22, The Letters of Edgar Allan Poe. Edited by John Ward Ostrom. Harvard University Press, Library of America, Edited by Thomas Ollive Mabbott. University of Illinois Press. Accessed December 11, Electronic journal of theory of literature and comparative literature, , 1, Accessed February 2, College English , Vol. National Council of Teachers of English.

University Press of Virginia, p. Accessed April 26, Accessed February 8, Acceso 3 de febrero, Acceso 31 de enero, To the few who love me and whom I love — to those who feel rather than to those who think — to the dreamers and those who put faith in dreams as in the only realities — I offer this Book of Truths, not in its character of Truth-Teller, but for the Beauty that abounds in its Truth; constituting it true. To these I present the composition as an Art-Product alone: What I here propound is true: A second problem likely originates from presenting philosophical, metaphysical and astronomical concepts without Poe's possession of an academic degree to support them, including a methodology not always rigorous, and sometimes intuitive.

These factors contributed to the refusal of the scientific community, fully opposed to the concept of an evolutive Universe, during his time and later. Acceso 2 de febrero, The Hudson Review , Vol. Acceso 18 de abril, Acceso 13 de febrero 13, Acceso 9 de abril, Acceso 26 de abril, Acceso 4 de noviembre, Acceso 8 de febrero, Irish dramatic works have a history of becoming successful exports.

A significant number of plays emanating from Ireland have been incorporated to the Galician theatrical system since the early 20 th century. To a great extent, the origin of this interest can be attributed to the poeticised connection between Ireland and Galicia established in the Rexurdimento and its later utilisation by the nationalist movement.

Even though this continues to affect the reception of Irish cultural products, other factors must be considered when scrutinising more recent incorporations. Arguably, few national identities are as internationally recognisable as the Irish, due to an array of cultural references that populate the collective imaginary, both within and beyond its geographical borders. Long before the Celtic Tiger catapulted the country to the international foreground in a way that transcended the purely economic, Ireland could count cultural products as some of its most visible exports, amongst them, numerous Irish dramatic works.

In Spain, we find a considerable number of plays by Irish authors entering the system from the early 20th century onwards, not only being translated into Spanish but also into Catalan, Basque and Galician. The focal point of my research is how the representation of Irish identity on the Galician stage has been—and currently is—affected by the multiplicity of factors at play in the theatre adaptation process.

I will utilise both textual and extratextual sources in order to carry out an analysis of the incorporation process in line with Descriptive Translation Studies. However, while this approach is adequate when identifying and describing the operational norms which determine the final product, it does not do full justice to the multilayered nature of dramatic phenomena nor to the different dialogical levels present in theatre translation.

In particular, the range of agents and mediators involved in the process of transposing a play for the stage, and who influence the decision-making process, demands close attention to their positioning in the political and sociocultural context. Although Descriptive Translation Studies scholars and approaches are not insensitive to the cultural aspects of translation, these do not constitute its main preoccupation. Accordingly, my analysis is enriched by drawing on culturalist and comparative approaches, such as those proposed by Bassnett and Venuti. In that time, the London-born playwright had gained recognition, not only through his dramatic works but also as a script writer, with the award-winning films Six Shooter and In Bruges All productions in Galician language are automatically nominated and there is nothing preventing members from voting for shows that they have not attended nor indeed for the only show they have seen in a given category.

More relevant to the matter, translations and adaptations will almost invariably be judged without knowledge of the original text. Therefore, as with most awards, their significance as a measure of quality or impact is relative, to say the least. As a minorised language, Galician does not enjoy the same status as Spanish in the area of cultural manifestations, despite apparently favourable legal and institutional structures. The relatively high number of Irish plays—and particularly Irish-themed plays—produced in the Galician theatre system can be linked to an ongoing interest in Irish culture initiated during the Rexurdimento, the 19 th century literary movement which had the rehabilitation of Galician language and cultural identity at its core.

This mythical common origin went on to be utilised by the nationalist movement during the 20th century, in an attempt to legitimise claims for recognition and increased autonomy from the central government in Madrid by drawing a parallel with the Irish political situation. The translation was accompanied by poems and pseudo-anthropological articles on Ireland, as well as several references to Terence McSwiney, the late Lord Mayor of Cork, who had recently died on hunger strike.

It is a text that ultimately exemplifies the extent of this mystified identification with Irish culture in the Galician system; an identification that, I will show, continues to affect the incorporation of cultural products from Ireland. In his work Theatre and Globalizaton. Irish Drama in the Celtic Tiger Era, PatrickLonergan discusses in detail how the reception of Irish theatre is affected by globalisation, a concept that has in recent times become increasingly relevant when examining the creation and reception of cultural products, especially those destined to travel beyond their source context.

Dramatic works are thereby presented as products and, indeed, Lonergan takes into consideration some of the commercial aspects of the productions he examines. If we consider a brand as constituted by a collection of recognisable features, the term is not only applicable but particularly relevant in cases where the export of a dramatic work requires a process of adaptation.

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At a time when cultural manifestations cross borders more often than ever due to the increased accessibility brought about by the multiple media at our disposal, such distinctions would nevertheless indicate a source system in which the issue of national identity is a recurrent subject of discussion. Indeed, in the Irish cultural context, attempts to define the essential features of Irishness are commonplace. This is not a description for outsiders but an account destined to encourage reflection and internal discussion on the aspects that have affected the makeup of Irish society in recent times.


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A modern day Synge or an English chancer? The Irishness of the people is part of the joke. You can see in a writer like Beckett, who was Irish, that when he depicts the depleted human condition, he does it without reference to ethnicity. The inhabitants of the stage Leenane that he recreates are loaded with markers of Irishness, albeit rather conventional ones.

Indeed, as far as the Galician context is concerned, the Irish origin of the plays has not only been decisive for their incorporation but has also been repeatedly utilised in the marketing of the productions. Perhaps for that very reason, debate over whether Martin McDonagh deserves a place in the Irish canon does not attract much attention; neither does his use of ethnicity in ways that for many of his detractors treads a fine line between the grotesque and the downright racist. Although the problematic delimitation of the term is well-documented MacCarthy , the majority of the audience are likely to remain unaware of its colonial overtones and accept the simplified image of Irish identity that is laid before them.

The main image chosen to represent the play on promotional cards and posters is a skull made up of shamrocks in two contrasting shades of green. The original title in English appears on posters and programmes in virtually the same size as the title in Galician, drawing attention to the fact that audiences will be confronted with a translated play.

This shift in the title anticipates the underlying mystery present throughout the play—did Mick Dowd kill his wife with a blow to the head? According to Patrick Lonergan, this is crucial in making the plays exportable:. While McDonagh certainly shows an inclination towards reliance on audience interpretation for completeness, this is by no means unique to his works. Perhaps, the aspect that truly sets him apart is the way in which he manipulates our expectations, whether of the characters or of the plot itself, to the point that spectators often find themselves questioning their earlier assumptions.

In any case, he eludes demanding from the audience absolute condemnation or forgiveness for the people of Leenane, however questionable their actions may be. In the broad field of translation studies, it is now generally accepted that the translation of dramatic works for performance entails specific difficulties, not least because of the layers of readings that overlap in the journey from source text to target text. The translation scholar Susan Bassnett has demonstrated over the decades a distinct preoccupation with theatre translation, an area which she considers has been by and large neglected both in prescriptive and descriptive approaches.

For a translation to have an impact upon the target system, there has to be a gap in the system which reflects a particular need, and the skills of the translator have to be such that the end product is more than merely acceptable. Bassnett and Lefevere , Although Bassnett is referring to poetry on this occasion, her words can be fittingly applied to the translation of dramatic works.

For a production to be viable, it needs to appeal to audiences or, to put it in economic terms, there needs to be a market for it. Likewise, viability relies to a great extent on the knowledge the translator has of the specific requirements of translation for the stage and her awareness of performability. Therefore, the impact of a dramatic translation in the target system can be also measured against these two axes—the gap and the craft.

While this can provide a starting point,[2] we must not forget that the translator is not the only contributor to the performance text and the input of director, actors or even audiences can be equally relevant. Therefore, the awareness of a gap is ultimately produced by an encounter, or even a series of encounters, involving all the participants in the process.

Yeats and his contemporaries. This perception permeated the translation, performance and production choices and, in turn, the reception of the play. In costumbrista plays, the rural setting is often a backdrop—nearly another prop—for events dealing with universals of the human condition, a sort of locus amoenus that does not deeply affect nor is it affected by the characters.

In contrast, McDonagh dissociates himself from the costumbrista agenda through realistic conventions with a touch of the dark humour to which TV and film-educated audiences nowadays seem to respond so well, and also by tying the people of Leenane indissolubly to their surroundings, starting with the geographical references in the titles, ranging from the most specific The Beauty Queen of Leenane , to the most general The Lonesome West , passing through Connemara.

This begs the question whether theatre companies or audiences would show the same degree of recognition, or even tolerance, towards similar portrayals of rural life that had originated in Galicia. The acceptability of realism in the Galician system is increased by the fact that the plays in question are translations from a more established source culture that is in many ways deemed more prestigious.

Therefore, this example of realism can enjoy a higher level of acceptability as a form incorporated from a prestigious source culture than it would had it emanated from the Galician target system itself. The status occupied by these translated texts in the target system is symptomatic of the status occupied by translation in the Galician dramatic canon. The place occupied by the sui generis realism cultivated by McDonagh in the Galician context and the acceptability enjoyed by Un cranio furado reflect the central role played by translation in this particular target system.

At present, translation is considered in the Galician context as a very legitimate source of creative material for theatre practitioners. However, this was not always the case and the debate around the issue of translation was still very intense in the s. This controversy derived from the sociolinguistic situation, namely the minorised status of the Galician language and the divergent approaches to broadening its contexts of use.

For the critics of translation, only original creations in Galician could contribute to the establishment of a Galician dramatic canon. However, this may be down to the specific characteristics of A Skull in Connemara , ratherthan a general reflection of attitudes towards translation in the Galician system. However, as they developed their various arguments, it became increasingly clear that it is not an aspect that can be overlooked.

Nevertheless, they revert to that powerful Galicia-Ireland connection: The way in which the Leenane Trilogy has been marketed as Irish drama in the Galician context is particularly noticeable in the case of A Skull in Connemara. The visual language is unequivocally evocative of the Irish brand. By producing the illusion of transparency, a fluent translation masquerades as true semantic equivalence when it in fact inscribes the foreign text with a partial interpretation, partial to English language values, reducing if not simply excluding the very difference that translation is called on to convey.

Yet, the concepts of domesticating and foreignizing translation can only be applied to cultural manifestations in minorised languages such as Galician with some nuances. However, the aim is not to conceal the translation process as such, since the translational aspect plays a crucial role in the acceptability of the sub-genre of this piece as explained above.

As opposed to creating the illusion that a play belongs to the target culture by erasing any trace of otherness, the preservation of foreign cultural references challenges the audience to confront aspects of a different cultural reality that they are probably not familiar with.

Conversely, theatre-goers are also presented with additional references to the source culture easily recognisable to them. These are not necessarily characteristic of an Irish country kitchen but they fulfil their purpose because, in the eyes of the target audience, they are clearly evocative of Ireland. When queried about his stance in relation to realistic representation and characterisation, director Quico Cadaval shows a very pragmatic attitude towards recreation at the service of a vision:.

The problem in theatre is a problem of convention: He is immediately identifiable as police, on account of his uniform and his gun. As well as raising questions with regards to the issue of authorship and fidelity, London illustrates the long-lasting effects of the transformation of cultural references on the reception of translated dramatic works. In the translation of drama for the stage, the concept of performability replaces the idea of readability and this imposes a series of specific demands to be met by the translator.

As per present day conventions, the translator of the performance text should remain invisible. In realistic theatrical modes, the invisibility of the actors is also desirable, since they must give way to the characters, while ensuring a convincing delivery of their lines. This combination of fluidity and fluency required of the performance text hinders any attempt at the foreignizing strategies advocated by Lawrence Venuti. His ideas resonate with Hans J.

In fact, lexical alternatives are often favoured on the basis of feedback from performers obtained during the rehearsal process. If there is interest, he then proceeds to work on a performance text which is by no means a definitive version but rather a malleable material for the director and the performers.

There is no doubt that his experience as an actor informs his approach to translating a dramatic text, as does the fact that he is not a translator by trade. In his own words: When he reads a play, he does so from the perspective of a performer, with its advantages and limitations.

Desvios de lo real/ Diversions of The Real Thing : El Cine De No Ficcion

Whilst he has the benefit of an awareness of what works on stage and benefits from the opportunity to closely collaborate with the performers, his methodology relies to a great extent on an intuitive identification of phraseology and context-specific elements. While the use of Irish symbols in the adaptation of A Skull in Connemara can be linked to the above-mentioned mythical connection with the Irish nation within the Galician context, these stereotypes are also commonplace at a global level as markers of the Irish brand.

Although different in many ways from the early 20 th century identification utilised by the incipient nationalist movement in Galicia, there is a common strategic aim in the utilisation of visual elements, as well as in the manner in which the play is framed. Several production choices suggest that the success of the play relies on convincing the audience of the proximity of Ireland, an idea that is expressed in the following terms on the hand programs distributed at performances: The implication is that the source text contained an irreverent essence that the target culture lacks and desires, a trait that can only be taken by force.

Whereas the Irish may see a caricatured representation of Ireland through a compendium of stereotypical features, non-Irish audiences will just identify Ireland and Galician audiences may also recognise themselves.

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I interpret the distillation of Irish identity present in Un cranio furado not so much as an attempt to open the eyes of the Galician public to a different culture but as an introspective view into how Galicians perceive their own ethnicity, their own national identity. Un cranio furado , hand programme. On the incorporation of Un cranio furado 3 September. The Theatre and Films of martin McDonagh. Irish Drama in the Celtic Tiger Era.

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