In the Mondays with Merce video series, Nancy Dalva curates interviews with Merce Cunningham and his community filmed in the two years before his death. In editing the interviews for presentation, ...Dalva creates a "Mercist" archive-a collection of materials that mirrors Cunningham's own artistic priorities of process, multi-vocality, and audience agency. Exploring how the series creates this Mercist perspective, I show that Dalva's choices, and Cunningham's, create a legacy that remains radically human, even as it draws new audiences to Cunningham's life and work.
La pratica dello straniamento conserva un’imprescindibile funzione politica. È possibile legare tale formula narrativa ai percorsi indagativi propri della Thing Theory: in tal modo la prospettiva ...garantita dalla materia può far luce sulle coordinate ideologiche proprie della logica capitalistica, attraverso una rilettura della merce in chiave dissidente secondo il suggerimento offerto da Francesco Orlando in merito alla sua teoria freudiana. Questo contributo mira perciò a documentare il connubio tra l’intuizione di Šklovskij, la Thing Theory e la proposta di Orlando attraverso una lettura ravvicinata di "Solid Object", racconto di Virginia Woolf.
Criticism can be decisive in the consolidation and transcendence of an author, as well as in the visibility of genealogies of non-hegemonic writings. It can also activate mechanisms of interpellation ...by bringing the texts closer to current concerns. This article focuses on how ecocriticism updates the discourse about a heritage writer, Mercè Rodoreda. It explains how the study of nature in this author has evolved and also reports on the rise of this trend in Catalan criticism in the last decade, while observing the risks, as the dependence on North American theorizations.
La crítica puede ser determinante en la consolidación y la trascendencia de un autor, así como en la visibilización de genealogías de escrituras no hegemónicas. También puede activar mecanismos de interpelación acercando los textos al público, haciéndolos dialogar con inquietudes vigentes. Este artículo se fija en cómo las lecturas ecocríticas actualizan el discurso de una escritora patrimonial, Mercè Rodoreda; da cuenta de cómo ha evolucionado el estudio de la naturaleza en esta autora y también informa del auge de esta tendencia en la crítica catalana de la última década, a la vez que observa los riesgos de la dependencia a las teorizaciones norteamericanas.
CONFRONTING WITH HER FATHER’S LEGACY: SEVERAL CONSIDERATIONS ON “AQUELLA PART DE MI QUE ADORAVA UN FEIXISTA...”, BY MARIA-MERCÈ MARÇAL, AND “RO¬MANCE DE LA PLATA”, BY CHRISTINA ROSENVINGE The aim of ...this article is to analyse two texts belonging to confessional lyric: on the one hand, the song “Romance de la plata” from the album Un hombre rubio (2018) by Christina Rosenvinge, also collected as a poem in Debut (2019); on the other, an untitled poem by Maria-Mercè Marçal, whose first verse is “Aquella part de mi que adorava un feixista…,” present in the “Daddy” section of Desglaç (1989). I will focus on the motif of the father’s death and, in relation to this, on the claim to address past facts when it is too late to do so in person, having been the father fictionally projected as an authoritarian person and even a sympathizer of Francoism. Both texts demonstrate the ability of lyrical subjects – incarnated generically – to get involved in dialogue and negotiate both separations and connections with the Other, which in this case is the father figure. This involvement allows them to understand certain parental aspects without being subordinated to the authority or the seduction that they may have felt in earlier times. Thus, the sense of fictionalized female identity consists of a more diffuse idea of the limits of the self, assumed in relational and intersubjective terms. Finally, in “Romance de la plata” and its paratexts, Rosenvinge makes her own image prevail, while in “Aquella part de mi que adorava un feixista…” Marçal represents the deceased father through a plurality of images, escaping from his domain when he turns the lyrical subject and himself into children.
Despite her fame and cultural prominence as a Spanish dancer, Antonia Mercé La Argentina did not appear in major film projects, like many of her peers. In this article, we examine the recent ...discovery of footage of Mercé and contextualize these preserved fragments within the development of Western cinema and the presence of the Spanish imaginary in the film industry of the time. These visual sources reveal how Mercé negotiated between art and technology, stage and screen, economy and aesthetics in establishing her cultural position and resisting particular constructions of Spanishness.
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