Spanishness in the Spanish Novel and Cinema of the 20th – 21st Century docx

Spanishness in the Spanish Novel and Cinema of the 20th – 21st Century Spanishness in the Spanish Novel and Cinema of the 20th – 21st Century Edited by Cristina Sánchez-Conejero C AMBRIDGE SCHOLARS PUBLISHING Spanishness in the Spanish Novel and Cinema of the 20th – 21st Century, edited by Cristina Sánchez- Conejero This book first published 2007 by Cambridge Scholars Publishing 15 Angerton Gardens, Newcastle, NE5 2JA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2007 by Cristina Sánchez-Conejero and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN 1-84718-346-8; ISBN 13: 9781847183460 TABLE OF CONTENTS Introduction 1 From Iberianness to Spanishness: Being Spanish in 20th-21st Century Spain Cristina Sánchez-Conejero, University of North Texas, U.S.A. P ART I: FROM MEMORIES OF THE CIVIL WAR TO PROPOSALS OF AN ALTERNATIVE SPANISHNESS Chapter One 11 Spanishness and Identity Formation From the Civil War to the Present: Exploring the Residue of Time David K. Herzberger, University of California, Riverside, USA Chapter Two 21 Deleuze and the Barcelona School: Time in Vicente Aranda’s Fata Morgana (1965) David Vilaseca, Royal Holloway College, University of London, UK Chapter Three 33 Nostalgia, Myth, and Science in Rivas’s El lápiz del carpintero Lucy D. Harney, Texas State University – San Marcos, USA Chapter Four 43 Memory, Identity and Self-discovery in Manuel Rico’s Los días de Eisenhower Agustín Martínez-Samos, Texas A&M International University, USA TABLE OF CONTENTS vi PART II: SELLING SPANISHNESS: FROM FRANCOIST “SPAIN IS DIFFERENT” TO ALMÓDOVAR Chapter Five 55 Tourism, Structural Underdevelopment, and Anthropological Distancing in Juan Goytisolo’s Essays, Travelogues, and Fiction 1959-1967 Eugenia Afinoguénova, Marquette University, USA Chapter Six 67 Exclusion and Marginalization of Dissidence in the Novels of the Spanish Guerrilla M. Cinta Ramblado-Minero, University of Limerick, Ireland Chapter Seven 79 Family Therapy and Spanish Difference/Deviance in Almodóvar’s Taconas lejanos Anne E. Hardcastle, Wake Forest University, USA P ART III: FRANCOLESS SPAIN: TOWARDS A NON-FRANCOIST DEFINITION OF SPANISH CULTURE Chapter Eight 95 The Spanish Bildung of Deza/Marías by Wheeler/Russell in Tu rostro mañana I: Fiebre y lanza Stephen Miller, Texas A&M University, USA Chapter Nine 107 Cultural Specificity and Trans-National Address in The New Generation of Spanish Film Authors: The Case of Alejandro Amenábar Rosanna Maule, Concordia University, Canada Chapter Ten 121 Violent Nation: Histories and Stories of Spanishness Andrés Zamora, Vanderbilt University, USA SPANISHNESS IN THE SPANISH NOVEL AND CINEMA OF THE 20 TH -21 ST CENTURY . vii PART IV: RE-RECORDING SPANISHNESS: NATIONHOOD AND NATIONALISMS IN CONTEMPORARY SPAIN Chapter Eleven 133 Sound Ideas or Unsound Practices? Listening for “Spanishness” in Peninsular Film Patricia Hart, Purdue University, USA Chapter Twelve 147 “This festering wound”: Negotiating Spanishness in Galician Cultural Discourse Kirsty Hooper, University of Liverpool, UK Chapter Thirteen 157 Out of Order: “Spanishness” as Process in El espíritu de la colmena Robert J. Miles, University of Hull, UK Chapter Fourteen 169 From Illiterate Andalusian Xarnega to Proper Bourgeois Lady: The Failure of Forced Acculturation in Montserrat Roig’s La ópera cotidiana Maureen Tobin Stanley, University of Minnesota Duluth, USA P ART V: WOMEN, GENDER AND SPANISHNESS Chapter Fifteen 181 Identifications, Abjects, and Objects: Myths of Gender and Nation in the Early 20 th Century Spanish Novel Alison Sinclair, University of Cambridge, UK Chapter Sixteen 191 Hooking for Spanishness: Immigration and Prostitution in León de Aranoa’s Princesas Cristina Sánchez-Conejero, University of North Texas, USA Chapter Seventeen 203 Pal White’s Redemption: Gender and Spanishness in Manuel Mur Oti’s Una Chica de Chicago Jorge Marí, North Carolina State University, USA TABLE OF CONTENTS viii PART VI: DEFINING SPANISHNESS IN THE GLOBAL ERA Chapter Eighteen 215 Straitened Circumstances: Spanishness, Psychogeography, and the Borderline Personality Ryan Prout, Cardiff University, UK Chapter Nineteen 227 Eating Spanishness: Food, Globalization and Cultural Identity in Cruz and Corbacho’s Tapas Cristina Sánchez-Conejero, University of North Texas, USA Chapter Twenty 237 Solas (Zambrano, 1999): Andalousian, European, Spanish? Sally Faulkner, University of Exeter, UK Contributors 247 Index 253 INTRODUCTION FROM IBERIANNESS TO SPANISHNESS: B EING SPANISH IN 20 TH -21 ST CENTURY SPAIN C RISTINA SÁNCHEZ-CONEJERO UNIVERSITY OF NORTH TEXAS, USA What does it mean to be “Spanish”? This seems like a simple question, but if one were to ask this question of several different people, one would almost certainly receive several different responses. These responses would likely range from a narrow definition to a wide-ranging concept which may include terms such as Spanish, Spanish-American, Latino, Latin-American, Hispanic, Hispanic-American, and Iberian. Indeed, these are terms that are clearly related, and are easily and often confused. While “Spanish” refers mainly to 1) the Spanish language spoken by approximately 400,000,000 people the world over, 2) a citizen of Spain and 3) all things related to Spain, in practice this demarcation can be decidedly fuzzy, with other terms being closely related to this concept. “Hispanic” comes from “Hispania”, the Latin name the Romans gave to the Iberian Peninsula, which itself had been given the name “Iberia” by the Greeks. After the fall of the Roman Empire, the Visigoths took over the peninsula in the V th century AD, forming an independent kingdom that lasted until the VIII th century AD and changing the name of Hispania to Spania in the process. Thus, each of these terms originally applied to the entire peninsular area encompassing modern-day Spain, Portugal, Andorra, and Gibraltar, making every inhabitant of the region all of Iberian, Hispanic, and Spanish. Of course, such a geographically-based blanket inclusiveness does not satisfy our modern political maps; a citizen of Portugal, while certainly Iberian (though not necessarily in the original, indigenous sense), would probably not be considered Hispanic and certainly never Spanish. In fact the very term “Iberian” is now somewhat ironic as there is hardly any cultural dialog between Spain and Portugal despite their geographic unity and common membership in the European Union since 1986. Similarly, although both the terms Hispania and Spania INTRODUCTION: FROM IBERIANNESS TO SPANISHNESS 2 have Latin origins, residents of the Iberian Peninsula would never be considered Latino—an identity reserved for residents of Hispanic-settled American colonies. In truth, the Iberian Peninsula has never been comprised of a single ethnic or even political identity under any name: during Greek times Iberia was thought to be composed of at least forty-eight distinct peoples, Roman Hispania was divided at various times into anywhere from two to nine provinces, and for the majority of time spent under Visigoth rule portions of Spania were controlled by competing Germanic tribes (even the period of unification which followed existed in name only). Such ethnic and political division continued through Moorish rule and the Middle Ages, and carries into today, despite such remarkable unifying attempts as those of the Catholic King and Queen in the XVIth century or Francisco Franco’s dictatorship in the XXth century. The Iberian Peninsula thus represents a long and complex mix of cultural traditions, influences, and identities. With such a convoluted history of competing terminology combined with centuries of ethnic, political, and migratory considerations, it is no surprise that a confused application of terms has arisen today. The word “Iberian” is clearly associated with the geographic feature of the Iberian Peninsula, and is therefore of little ambiguity, but also of little common use. The term Hispanic should, in theory, apply similarly to anybody descended from this same peninsular region, but in practice is frequently used in a casual and exclusivist sense to refer only to those of Hispanic descent in the Americas, and certainly never to the Portuguese. This ambiguity is ironically reinforced by frequent use of the additional term “Hispanic-American” which, although intended to clarify the group being referenced, ironically serves to further confuse the meaning of the contrasting term “Hispanic” when used alone while also creating an ambiguity of its own: does Hispanic-American refer to all the inhabitants of the Hispanic American countries of South America, Central America, and the Caribbean, or more narrowly to individuals from only those American countries which have Spanish as their main and official language, or exclusively to those individuals of this heritage who are now citizens of the United States? This ambiguity may be further enhanced when people of Hispanic-American descent move beyond the borders of the Americas entirely, including into the original territory of Hispania, where fellow residents may or may not also be considered Hispanics. The term “Spanish” presents a similar semantic challenge: although most clear when used to describe the citizens of Spain, it also represents a language and heritage, and is therefore commonly applied to any [...]... from the Greek isle of Rhodes in the 1940s, and African immigrants making their way to the southern shore of Spain during the 1990s On the other hand, the stories told about these people also depend on the social and political context of the present for their meaning Nothing is naturally SPANISHNESS IN THE SPANISH NOVEL AND CINEMA OF THE 20TH- 21ST CENTURY 19 revealed here as a universal truth; there... 20th- 21st Century is an exploration of the general concept of Spanishness as all things related to Spain, specifically as the multiple meanings of Spanishness and the different ways of being Spanish are depicted in 20th- 21st century literary and cinematic fiction of Spain This book also represents a call for a re-evaluation of what being Spanish means not just in post-Franco Spain but also in the. .. space and time is here dislodged, while the break of the traditional links of cause and affect leads to a new breed of signs wherein the “power of the false” and the principle of “indiscernibility” become predominant (Deleuze 2000: 145) The most compelling challenges to the cinema of the action-image and the “sensory-motor schema”, according to Deleuze, occur mainly in four waves: in the cinema of Yasushiro... Hooper’s The New Spaniards, 443 SPANISHNESS IN THE SPANISH NOVEL AND CINEMA OF THE 20TH- 21ST CENTURY 5 notably including Arabic, Romanian, Portuguese, and distinct dialects of Spanish Linguistic assimilation into the broader linguistic landscape and tradition varies among different immigrant groups For example, while most Moroccans show a high interest in learning Spanish in order to better assimilate in. . .SPANISHNESS IN THE SPANISH NOVEL AND CINEMA OF THE 20TH- 21ST CENTURY 3 individual who is a native speaker of Spanish or is of Spanish descent— including Hispanic-Americans As a consequence, the term “SpanishAmerican” may apply to all Hispanic-Americans, or to those nationals of Spain (ie, Spaniards) living in the Americas, or solely to those Spaniards living specifically in the United States... 29) The second type of cinema in Deleuze’s paradigm, on the other hand, is characterised by a kind of “postmodern” mentality (Rodowick 75) In it, the faltering belief in totality, either from the point of view of the grand “organic” narratives or as it relates to the subject as (the myth of) a coherent and autonomous agency, leads to the disintegration of the actionimage (75-76) The old alignment of. .. from the past Of course, tradition implies continuity, but it also urges a chain of interpretations and reinterpretations through which we receive and put into practice the beliefs and convictions that come from another time For the Franco regime, however, something quite different obtains Tradition 7 Ricoeur, Time and Narrative, 3: 208 SPANISHNESS IN THE SPANISH NOVEL AND CINEMA OF THE 20TH- 21ST CENTURY. .. Ozu, in the emergence of Italian Neo- 22 CHAPTER TWO: DELEUZE AND THE BARCELONA SCHOOL realism in the late 1940s, in the French New Wave of the 1950s, and in the New German cinema of the 1960s (1992: 121; 2000: 212-214) Spanish film is conspicuously absent from Deleuze’s account Its progressive character vis-à-vis the popular cinema of the Franco dictatorship notwithstanding, the Nuevo Cine Español of. .. of cultures within Spain It is in this sense that Tusell adopts the term “nación de naciones” (226-27) for present day Spain to replace the Franco “Estado español” or the post-Franco “nation-state”, which implies a political, geographical and cultural unification This, of course, brings us back to the original question: What is Spanishness, then? Spanishness in the Spanish Novel and Cinema of the 20th- 21st. .. the founding sense of Spanishness under Franco, and it is the task of historians primarily to reveal the pertinent meanings of the past, not to interpret them During the Franco regime dissident constructions and revelations were largely restrained or wholly suppressed in favor of what Spanish historian Florentino Pérez Embid termed “el sentido permanente de la historia” of Spain.8 In other words, there . Spanishness in the Spanish Novel and Cinema of the 20th – 21st Century Spanishness in the Spanish Novel and Cinema of the 20th – 21st Century. What is Spanishness, then? Spanishness in the Spanish Novel and Cinema of the 20 th -21 st Century is an exploration of the general concept of Spanishness