Project MUSE®: Romance Notes - Latest Articles
https://muse.jhu.edu/journal/588
Project MUSE®: Latest articles in Romance Notes.daily12026-05-18T00:00:00-05:00text/htmlen-USVol. 47 (2006) through current issueLatest Articles: Romance NotesTWOProject MUSE®Romance Notes2165-75990035-7995Latest articles in Romance Notes. Feed provided by Project MUSE®Fluid Geographies: Deterritorializing Nation and Self in Carolina Coronado’s “Un paseo”
https://muse.jhu.edu/article/987684
<p></p>
Writing in provincial Badajoz on the first days of 1846, Carolina Coronado (1820–1911) exasperatedly complained: “¡Un año más!... Un año, . . . / y aún no ha mudado mi horizonte triste / y de tan ancha tierra como existe / no he descubierto un palmo todavía” (“Un año más” 676). The Extremenian poet exhibited in this and other early compositions a strong desire to travel—an intense yearning for new horizons—for the most part unfulfilled in her teenage years due to family and personal circumstances. In those early days of 1846, she wondered if—and perhaps even wished that—it would fade with time; but thus far the desire to travel only grew stronger—like a wildfire—with every passing year: “¡Un año más! ¡Un año, . . .
... <a href="https://muse.jhu.edu/article/987690">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/588/image/coversmallFluid Geographies: Deterritorializing Nation and Self in Carolina Coronado’s “Un paseo”2026-04-08text/htmlen-USFluid Geographies: Deterritorializing Nation and Self in Carolina Coronado’s “Un paseo”2026-04-082026TWOProject MUSE®569922026-05-18T00:00:00-05:002026-04-08A Letter from Purgatory in the Age of Liberation Theology and a Critical Utopian Journey: “Correspondenza cul purgatieri” by Romansh Author Ursicin G. G. Derungs
https://muse.jhu.edu/article/987685
<p></p>
Whereas many European writers have visited the Catholic afterlife topographies of heaven and hell following Dante’s footsteps, the instances of literary visions of purgatory have always been rare. This increases the interest of a modern work set in that venue by contemporary Swiss author Ursicin G. G. Derungs (1935–2024), writing in the Sursilvan variety of Romansh. Its title, “Correspondenza cul purgatieri,” already states its genre. It is an exchange of letters with a denizen of purgatory describing the latter’s experiences and spiritual development there. Since this afterlife vision has strong utopian features, it might be of some use to discuss first how utopian and afterlife kinds of fiction can be related. We
... <a href="https://muse.jhu.edu/article/987690">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/588/image/coversmallA Letter from Purgatory in the Age of Liberation Theology and a Critical Utopian Journey: “Correspondenza cul purgatieri” by Romansh Author Ursicin G. G. Derungs2026-04-08text/htmlen-USA Letter from Purgatory in the Age of Liberation Theology and a Critical Utopian Journey: “Correspondenza cul purgatieri” by Romansh Author Ursicin G. G. Derungs2026-04-082026TWOProject MUSE®458942026-05-18T00:00:00-05:002026-04-08“Martillos, turbinas, ladridos, chubascos”: migración y sonido en la poesía de Violeta Parra
https://muse.jhu.edu/article/987686
<p></p>
La artista, música y poeta chilena Violeta Parra (1917–1967) transitó múltiples espacios culturales y geográficos a lo largo de su vida. Desde su infancia en el sur de Chile, la temprana reubicación en Santiago y luego sus diversos viajes en la vida adulta, la migración define su experiencia vital. Esta migración no es solo un desplazamiento territorial, sino la puesta en contacto de estratos socioculturales que, si bien convivían temporalmente, estaban atravesados por tensiones y diferencias: me refiero a la cultura campesina y a la cultura urbana moderna. En este trabajo analizaré las textualizaciones de dicha tensión a partir del estudio de la representación del sonido en la obra poética de Parra, pensando la
... <a href="https://muse.jhu.edu/article/987690">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/588/image/coversmall“Martillos, turbinas, ladridos, chubascos”: migración y sonido en la poesía de Violeta Parra2026-04-08text/htmlen-US“Martillos, turbinas, ladridos, chubascos”: migración y sonido en la poesía de Violeta Parra2026-04-082026TWOProject MUSE®463602026-05-18T00:00:00-05:002026-04-08All my queer elders: Panóias. Gestures toward an autoethnography
https://muse.jhu.edu/article/987687
<p></p>
“Em panóias incomoda a presençainquietante do sagrado. o rumor dasreminiscências do lugar vemda rama dos pinheirais”1. “I have to leave early in the morning, the gods and goddesses haven’t been worshipped for the past 17 centuries, they must be needy right now.” This is the joke I texted my partner last night. I am about to leave my mother’s house to make a solo pilgrimage to a sanctuary built around the second century of the common era. The site is known as Santuário de Panóias, and sits on top of a small hill, part of the mountain ranges of Marão, a few miles outside of Vila Real, a city in the interior of Portugal with a dense history mostly associated with late Middle Ages and the Renaissance. While this is
... <a href="https://muse.jhu.edu/article/987690">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/588/image/coversmallAll my queer elders: Panóias. Gestures toward an autoethnography2026-04-08text/htmlen-USAll my queer elders: Panóias. Gestures toward an autoethnography2026-04-082026TWOProject MUSE®335052026-05-18T00:00:00-05:002026-04-08Extrair um resto de humanidade destes fragmentos: História, Rememoração e Resistência na poesia de Manuel Resende
https://muse.jhu.edu/article/987688
<p></p>
Em Abril de 2018, Manuel Resende, até então mais reconhecido como tradutor do que como poeta, viu publicada a sua obra poética num volume que reunia Natureza Morta com Desodorizante (1983), Em Qualquer Lugar (1997) e O Mundo Clamoroso, Ainda (2004), os seus três livros de poesia editados ao longo de vinte anos, aos quais se acrescentaram ainda alguns poemas inéditos e dispersos.A forte presença da História evidenciou-se, desde logo, como elemento central desta poética. Osvaldo M. Silvestre, editor de O Mundo Clamoroso, Ainda, sublinha no posfácio a Poesia Reunida que “[s]e algo define a poesia de Manuel Resende, é a forma como não evita as solicitações da História, que tende, aliás, a grafar com maiúscula, num
... <a href="https://muse.jhu.edu/article/987690">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/588/image/coversmallExtrair um resto de humanidade destes fragmentos: História, Rememoração e Resistência na poesia de Manuel Resende2026-04-08text/htmlen-USExtrair um resto de humanidade destes fragmentos: História, Rememoração e Resistência na poesia de Manuel Resende2026-04-082026TWOProject MUSE®560062026-05-18T00:00:00-05:002026-04-08Authorship and authorial agency in “Anatomía de un cuento” by Fernanda Trías
https://muse.jhu.edu/article/987689
<p></p>
“Ni basta ser mujer, pero tampoco basta ser hombre en la tarea de construcciones solventes literarias. Lo importante son las estéticas, el asombro.”Young Uruguayan author Fernanda Trías published her collection of short stories No soñarás flores [You Will Not Dream Flowers] after works such as La ciudad invencible (2014) and La azotea (2001), novellas where the author explores themes such as gendered violence and migration through the female Latin-American lenses. These novellas were followed by huge successes as Mugre rosa [Pink Slime] (2020) and El monte de las furias [The Hill of Wrath] (2025). Her first works present a strong influence of topics anchored in cartographies as well as migration and female agency.
... <a href="https://muse.jhu.edu/article/987690">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/588/image/coversmallAuthorship and authorial agency in “Anatomía de un cuento” by Fernanda Trías2026-04-08text/htmlen-USAuthorship and authorial agency in “Anatomía de un cuento” by Fernanda Trías2026-04-082026TWOProject MUSE®505722026-05-18T00:00:00-05:002026-04-08In Spain We Call It Soledad: Común
https://muse.jhu.edu/article/987690
<p></p>
On March 8th, 2025, approaching the Plaza de España in Madrid, near the end of the march commemorating International Women’s Day, the loudspeakers at the front of the march played music that inspired those within earshot to dance, sing, and celebrate together. Despite the rain that threatened to dampen our spirits, the collective energy was palpable. A song by Spanish singer Rigoberta Bandini came on the loudspeakers, Bandini being a full-fledged pop sensation in Spain after coming onto the indie, power-pop, dancetronica scene during the COVID-19 pandemic.1 When her song “Perra” began, the energy swelled and the crowd sang this feminist anthem as loud as they could. Bandini’s body of work has received a great deal
... <a href="https://muse.jhu.edu/article/987690">Read More</a>
Project MUSE®https://muse.jhu.edu/2026-05-18T00:00:00-05:00https://muse.jhu.edu/journal/588/image/coversmallIn Spain We Call It Soledad: Común2026-04-08text/htmlen-USIn Spain We Call It Soledad: Común2026-04-082026TWOProject MUSE®311732026-05-18T00:00:00-05:002026-04-08