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This article focuses on selected Latin American female rap artists (Anita Tijoux, Rebeca Lane, and the duo Krudas Cubensi), and the way they perform feminism, autobiography and testimony through their lyrics and performances. The analysis concentrates on the synergies between the texts themselves, the official music videos shared on YouTube and the background music. It aims to demonstrate that only such a synergistic approach to rap allows a profound understanding of its particularities and its contributions to feminist discourses and spaces for feminist testimony in the current rise of both right-wing politics and feminist movements on the continent.
This article is dedicated to the analysis of the body, which is staged as sick and painful. El último cuerpo de Úrsula by Peruvian author Patricia de Souza is characterized by the connection between body, pain perception and eroticism. Illness and paralysis play a fundamental role in the narrative because they cause the recomposition of the ego, which leads the protagonist, Úrsula Res, to perceive and reflect the fragmentation of her identity and the increasing distance from her body. Through approaches to pain and disability, the expressiveness of the narrativized eroticism of this text, based on an obedient relationship to the body, is revealed.
This article explores the construction of Catalan masculinity and Catalan identity in literature on the Spanish-Moroccan War of 1859/60. During the war, an immense amount of patriotic literature in Catalan language was published in Catalonia, in which the authors glorified the deeds of the Catalan general Joan Prim i Prats and of the Catalan volunteers who fought in the war. The article aims to illustrate, on the basis of the analysis of poems, theatre plays, patriotic songs, reports and chronicles written by Catalan authors, the importance of the First Spanish-Moroccan War for the development of Catalan identity. It attempts as well to demonstrate that the authors used the literature about the war to diffuse a specific Catalan ideal of masculinity and to stylize General Prim and the volunteers into national heroes, who embodied the strength of the Catalan cultural nation, since the Catalan community needed new idols after a long time of political and cultural decline caused by the centralist policies of the Spanish state. The Catalan ideal of masculinity was utilized to differentiate the Catalans from the other Spaniards whose masculinity was considered to be in decadence by the other European nations.
This contribution deals with the phonetic heterogeneity of spoken Spanish in Andalusia in the sector of public auditory media, specifically in the program ¡Anda Levanta! of Canal Fiesta Radio. First, we take into consideration Article 10 of the Statute of the Autonomy of Andalusia, which enhances the protection, promotion, study, and prestige of the Andalusian modalities and its respective variety (cf. Parlamento de Andalucía 2007: 13). Second, we refer to the Libro de Estilo, a mandatory guide for presenters of public audiovisual media in Andalusia since 2014. The results of the qualitative analysis indicate divergences between the presenters and their audience with regard to their use of phonetic characteristics typical of the Andalusian varieties: where the presenters tend to avoid the salient aspects of the varieties, the audience employs a range of phonetic characteristics typical for Andalusian varieties, including some of the characteristics that are considered less prestigious.
The normative use of past tenses is supposed to be a big challenge for learners of Spanish. Although they might understand the grammatical chapter in theory, adequate past tense use in spontaneous oral production is not guaranteed. Morphological errors, overgeneralizations of tenses and interferences with other languages characterize the interlanguage of the learners. Based on two corpuses, we analyse how the past tense use differs between secondary school students from Austria and Romance polyglots. Qualitative and quantitative analyses show that polyglot speakers surpass the secondary school students in some areas such as the distinction of verbal aspect. However, the students tend less to use the perfecto compuesto in an inadequate way in narration.
In the wake of the general tendency towards slow cinema which has been evolving in Mexican cinema, cinematographic devices have gained importance not only with regard to the construction of a persuasive narrative but also in terms of the aesthetic constitution of the movie itself. Not only is this observation evident in the absence of camera movements but also in the semiotic depth of mise en scène resulting from this circumstance. Natalia Almada’s movie Todo lo demás (2016) provides an impressive example of both the repercussions of this technique in the representation of loneliness as well as the suggestive power of the scenographical composition. Hence, the ensuing analysis of those scenes referring to water is to elucidate the semiotics of mise en scène and its influence on the representation of the main character and the repetitive routine constricting her freedom.