Anuario de Letras Modernas

11-29

Authors: Julieta Flores Jurado

This paper draws a comparison between two contemporary readings of the mythical character Eurydice: the poem “Eurydice”, from Carol Ann Duffy’s The World’s Wife, and the film Portrait of a Lady on Fire, directed by Céline Sciamma. Far from merely narrating the myth from a female point of view, the works by Duffy and Sciamma involve a rethinking of the story’s current resonances—particularly, the need for women to represent themselves under their own terms both in literature and film. To support this argument, both works center on the gaze and the creation of images as acts of power. By giving voice to those who have frequently been silenced, Duffy and Sciamma argue that representations that do not consider the creative contribution of women who pose will ultimately fail. Besides looking at the links and contrasts between Duffy’s poetry and Sciamma’s film, this paper follows Sciamma’s understanding of filmmaking as collab-oration, her rejection of the figure of the muse, and her desire to narrate a love story based on consent and equality. To conclude, I argue that Duffy’s later poems, specifically the love sonnets from her collection Rapture, continue this endeavor of enabling the representation of love between equals in the lyric.

44-60

Authors: Karen Elizabeth Flores Bonilla

The article aims to analyze the narrative strategies present in Alejo Carpentier’s The Harp and the Shadow (El arpa y la sombra,1979) that comprise what current literary theory has identified as the Latin American ‘new historical novel’. First, a brief description of the traditional historical novel and its context of appearance during the European romanticism of the 19th century is provided, based on Georg Lukács’s (1966) contributions, to differentiate its model from that of the subsequent production in this genre. The following is a general characterization of the historical novel written in Latin America from the last decades of the 20th century, to recognize the historical-social circumstances that led to its renewal and the features that determine it, together with the proposals of Menton (1993) and Aínsa (1991) on the fundamental role of Carpentier in its constitution. Finally, the study of each indicated feature—conscious distortion of histor-ical events, the fictionalization of significant historical figures, use of the first person in the narration, dialogism, and polyphony—is carried out to demonstrate the belonging of The Harp and the Shadow to this recent type of texts.

74-86

Authors: Emoé De la Parra

Is it possible that a movement so corrosive and evanescent as the one contrived by Beckett could have become a canon? What does it mean? Is it something to be desired? If it is a canon, what sort of fidelity does it entreat? To which paradigm or value does it owe its strength? What constitutes its betrayal and from what perspective can it be considered as such? And as a necessary inference, to what extent can or should the translation of a dramatic text into a stagingbecome a betrayal? The possibility that the transmutation to stage language of a text could or should be considered a betrayal of its original source has, in Beckett’s work, a particular interest due to the great tension that this topic has brought about both in the theoretical and in the dramatic aspects because of the exaggerated zeal of the holders of its legal rights. Through the careful analysis of Beckett’s stylistic uniqueness and his philosophical thesis, I ponder about the legitimacy of said zeal, and I question its relevance using the example of a particular staging of the short story “First Love”. This paper tries to show the distortions that take place when following an aesthetic canon unrestrictedly. It is also a thorough description of some of the processes required in a staging.

104-107

Authors: Rául Ariza Barile

TURNER, Marion. (2019). Chaucer: A European Life. Princeton: Princeton University Press.