Variations on Feminine Portraits in Venezuelan Prose Fiction

El objetivo de este ensayo es estudiar la plasmación verbo-visual del discurso misógino finisecular enfocando la circulación de tipos de representaciones por diferentes campos del arte de entresiglos y tomando en cuenta la historicidad de dichas representaciones para proponer lo que Eric Mechoulan llama una “arqueología de los a priori” en el caso de los retratos femeninos finiseculares. Representadas, reproducidas en retratos pictóricos y literarios, las mujeres se coleccionan en galerías, según un proceso de museificación, que hacen de ellas objetos estéticos e ídolos deshumanizados, vaciados de su pluralidad, petrificados en una individualidad absoluta e irreal. Este trabajo explora una galería de tipos de retratos sacados de la narrativa venezolana modernista por una parte y por otra de la pintura de entresiglos (venezolana y europea).This paper analyses the pictorial and literary forms of the mysoginistic fin-de-siècle discourse and focuses on the circulation of some representations through different fields of turn-of-the-century art. It takes into consideration the historicity of such representations in order to propose what Eric Mechoulan calls an "a priori archeology" in the case of fin-de-siècle women’s portraits. Depicted, reproduced in pictorial and literary portraits, women are collected in galleries, following a museumification process, which turns them into aesthetic objects and dehumanized idols, stripped from their plurality, petrified in an absolute and unreal individuality. This article explores a portraits gallery taken from modernist Venezuelan fiction in one hand and in the other from turn-of-the-century art (Venezuelan and European)

Nadine Ly, profesora: recuerdos de una alumna desde las aulas de la Universidad Bordeaux Montaigne

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Le cycle de Drake

Cet article se propose d’étudier un corpus relativement méconnu de l’épopée savante hispanique et hispano-américaine qui se constitue au tournant du XVIIe siècle : le cycle de Drake. L’analyse porte sur les connexions intertextuelles de ces poèmes, la dimension épique, narrative et morale du personnage de Francis Drake, les enjeux du thème et de son traitement dans le genre épique sur fond de polémique entre armes et lettres.This article studies a quite unknown corpus of epic poems, composed in Spanish America and Spain at the turn of the 17th century: the Drake cycle. This paper will analyse the poems inter-textual connections, the epic, narrative and moral dimensions of Francis Drake’s character, then the importance of such a topic treated in the genre of epic poetry on a background of polemic between arms and letters.Este artículo se propone estudiar un corpus relativamente desconocido de la épica culta hispánica e hispanoamericana elaborado en el cambio de siglo del XVI al XVII : el ciclo de Drake. Se examinarán las conexiones intertextuales de los poemas, las dimensiones épica, narrativa y moral del personaje de Drake, el alcance de este tema y de su tratamiento en la épica con el debate entre armas y letras como tela de fondo

Maroons and Privateers: from Colonial Reality to Historical Epic Poems

This essay pretends to demonstrate how two epic poems, Lope de Vega’s Dragontea (1598) and Miramontes’ Armas antárticas (completed around 1609), compete in a verse dual about the collaboration between English privateers and the Panama Maroons and its dangers at the turn of the 16Th century. Despite offering different approaches on this matter, considering the place of enunciation and the direct or indirect knowledge of this colonial reality, both literary works include Maroons in the Christian European history and its continuity in colonial America. Therefore, the introduction in epic literature of the Maroons as a pressure group in the colonial space has per objective to present them as a new heroic obstacle that the power of the Spanish arms (Miramontes) or of the dominant’s speech (Lope and Miramontes) achieves to vanquish and integrate

Indigenous women in Spanish American Historic Epic Poetry

Epic poetry has always been considered a masculine genre. The eruption of a group identity, masculine, white, aristocratic and christian, is the result of the representation and the exclusion of the Other, fictitious and singular, but in fact composed of a variety of ethnic groups, origins, sex, genders, religions and different degrees between fiction and historicity. Indeed, in the historical epic poetry which narrated the Conquest, except for the conquistadors listed at length and the indigenous kings and caciques, only few characters are distinguished by a historical individualisation. The Other, Amerindian and female, makes a shy entrance into history, into singularity, into the (historical and christian) truth. It is the case of interpreters: Malinche and India Catalina, only historical native women that appear as part of the narrative plot as well as in the conquest enterprise in the poems of Lasso de la Vega (Cortés valeroso y Mexicana, Mexicana), of Juan de Castellanos (Elegías de varones ilustres de Indias) and of Saavedra Guzmán (El peregrino indiano)

Sátira vs. épica: la respuesta de "La victoria naval peruntina" al "Arauco domado" de Pedro de Oña

This article studies the relationship between an anonymous epic satirical poem, La victoria naval peruntina, attributed to Mateo Rosas de Oquendo, and the heroic poem Arauco domado by Pedro de Oña. It contextualizes the historical substance of both poems in the beginning of the maritime war against privateers in the Pacific Ocean. Then focusing on the intertextual and controversial connexions the satire established with Oña’s poem. This analysis leads to consider the dialogue between satire and epic poetry, thanks to Pascal Debailly’s works, and to examine how the privateer character offers narrative and moral potentialities in order to criticize viceregal elites. The satirical anger reveals the complexity and heterogeneity of the colonial discourse using the privateers raids as a polemical question.Este artículo se interesa por las relaciones entre un poema épico-satírico anónimo, La victoria naval peruntina, atribuido sin embargo a Mateo Rosas de Oquendo, y el poema heroico Arauco domado, de Pedro de Oña. Contextualiza primero el argumento histórico de los poemas en la época de la incipiente guerra marítima contra los corsarios ingleses en el Pacífico antes de analizar cómo la sátira contrapuntea intertextualmente con el poema de Oña. El trabajo plantea a continuación una reflexión sobre las relaciones entre la sátira y la épica, a partir de los trabajos de Pascal Debailly, para examinar qué potencialidades narrativas y morales ofrece la figura del corsario a la crítica de las élites virreinales. La vehemencia satírica demuestra la complejidad y la heterogeneidad del discurso colonial a partir del polémico tema de las incursiones de los corsarios

Presentation: The new Latin American novel without limits

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Cimarrones y corsarios: de la realidad colonial a la épica histórica

International audienceThis essay pretends to demonstrate how two epic poems, Lope de Vega's Dragontea (1598) and Miramontes' Armas antárticas (completed around 1609), compete in a verse dual about the collaboration between English privateers and the Panama Maroons and its dangers at the turn of the 16Th century. Despite offering different approaches on this matter, considering the place of enunciation and the direct or indirect knowledge of this colonial reality, both literary works include Maroons in the Christian European history and its continuity in colonial America. Therefore, the introduction in epic literature of the Maroons as a pressure group in the colonial space has per objective to present them as a new heroic obstacle that the power of the Spanish arms (Miramontes) or of the dominant’s speech(Lope and Miramontes) achieves to vanquish and integrate.Resumen. Este ensayo pretende mostrar cómo dos poemas épicos, La Dragon-tea de Lope de Vega (1598) y Armas antárticas de Miramontes (terminado hacia 1609), contrapuntean sobre el tema de la colaboración entre los corsarios ingleses y los cimarrones de Panamá y sus peligros a finales del s. XVI. A pesar de ofrecer tratamientos distintos de esta materia, en función del lugar de enunciación y del conocimiento directo o indirecto de esta realidad colonial, ambas obras incorporan a los cimarrones en el relato cristiano europeo y su continuación colonial america-na. Por ende, la introducción en la literatura épica de los negros como grupo de pre-sión-los cimarrones-en el mundo colonial tiene el objetivo de presentarlos como un nuevo obstáculo heroico que la fuerza de las armas españolas (Miramontes) o del discurso del dominador (Lope y Miramontes) logra vencer e integrar

Avant-Propos

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