Juli Highfill | University of Michigan (original) (raw)

Papers by Juli Highfill

Romance quarterly, Apr 24, 2024

Anales de la literatura española contemporánea, ALEC, 2007

... 7 For an example of a historical ireatment of Ihe Gothic. ... Soho, where Mr Hyde lodges, or ... more ... 7 For an example of a historical ireatment of Ihe Gothic. ... Soho, where Mr Hyde lodges, or Wilde's opium dens in the docklands, frequented by Dorian Gray; indeed, the transition from one to theother is actually part of the narrative of Dracula, where the Count travels from ...

Revista de estudios hispánicos, 2012

frecuentemente sin representación literaria. “Para Futorasnky, no es la desterritorialidad lo que... more frecuentemente sin representación literaria. “Para Futorasnky, no es la desterritorialidad lo que define la experiencia de la sociedad moderna sino la transterritorialidad. Es decir, el transplante de un paisaje humano a otro . . . entre el ‘aquí’ y el ‘allí’ para transportar sobre todo las palabras apropiadas que le permitan sobrevivir en el espacio ajeno” (154). El otro poema que analiza es “Terraplén”, crónica referida a varios momentos catastróficos de la historia, ubicados en distintas ciudades de Asia, Sur América y Europa. Destaca Mercado la temática de la fragilidad de la condición humana, de cuyo dolor y angustia solo queda el dato de la crónica, el dado en el periodismo global que traspasa la construcción de este poema en prosa. El “Epílogo” es un resumen claramente trazado de la conversación expuesta en el libro, “un diálogo que anima sus propias reflexiones sobre la palabra, la experiencia vital y poética” (159), el “género del yo” que se desdobla en el otro, planteo que lleva de la estética a la ética. Cartografías del destierro de Sarli E. Mercado estudia y medita sobre poemas de autores argentinos, pero también refiere a temas y problemáticas de muchos escritores que por diversas razones viven en el exilio, luchando con “la experiencia contemporánea del desplazamiento . . . donde la misma relación con la lengua materna resulta afectada” (160). Celebro el estudio de Mercado que se enfoca en autores que siguen persistentemente una “búsqueda de un lenguaje (poético) que narre lo inexpresable de la experiencia del sujeto contemporáneo (habitante de la Modernidad)” (166). Sin duda, expande con sus análisis de recursos y procesos poéticos el alcance de la obra de estos autores en su estética híbrida y lúdica, estética que prefigura una ética, lo que armoniza aún más el “silencioso diálogo” que se da en las páginas de esta meditación.

Revista de estudios hispánicos, 2012

El capítulo siete presenta dos facetas del orientalismo en EEUU y en el Lejano Oriente. El primer... more El capítulo siete presenta dos facetas del orientalismo en EEUU y en el Lejano Oriente. El primer artículo esboza la forma en que un chicano, personaje de la novela The Silver Cloud Café se aproxima a los filipinos en EEUU y el segundo muestra la forma en que las revistas norteamericanas presentan a los americanos de descendencia asiática. El tercero analiza las instituciones culturales establecidas por las órdenes religiosas en las Filipinas en el siglo XVII y el cuarto examina cómo Japón se presenta a sí mismo y cómo es visto por los poderes tanto orientales como occidentales. Las últimas dos partes le ceden un espacio a la música y la filmografía. El primer estudio del capítulo ocho investiga la producción musical de Fred Ho y su mezcla de ritmos afro-asiáticos; el segundo presenta la occidentalización de la banda china “12 Girls Band”. Por último, en el capítulo nueve se estudia el orientalismo en Star Trek y en la película chilena Kiltro a la que aludí previamente. One World Periphery Reads the Other es un libro imprescindible porque ofrece una amplia gama de artículos que enriquecen el campo de los estudios orientalistas sobre todo porque ofrecen alternativas al mero fenómeno que Said juzga. En la actualidad, la globalización ha impulsado nuevas publicaciones que nos obligan a continuar estudiando el Oriente desde diversas perspectivas. Por ejemplo, se acaba de publicar Verde Shanghai (2011) de la mexicana Cristina Rivera Garza donde cuenta la insólita historia de una mujer que es, en realidad dos mujeres: Marina Espinosa, casada con un médico; y Xian, su alter ego. Y, en la obra de teatro Shanghai (también del 2011) del uruguayo Gabriel Peveroni, dos brokers occidentales viven una pesadilla en el mundo subterráneo de Shanghai. La pareja de jóvenes es llevada por la fuerza a un “no lugar”, a un experimento en el que sus identidades son hackeadas. ¿Es acaso el Oriente una nueva suerte de utopía vista desde la “periferia”?

Arizona Journal of Hispanic Cultural Studies, 2005

?/Portraits of Excess: Read ing Character in the Mod ern Spanish Novel (Society of Spanish and Sp... more ?/Portraits of Excess: Read ing Character in the Mod ern Spanish Novel (Society of Spanish and Spanish American Studies 1999) and is currently working on a book manuscript entitled "Hie Vitality of Things: The Spanish Avant-Garde in Commodity Culture, 1918 1936" where she explores the intersections of econom ics and literature. .. .hubo un momento en que la modernidad hablo por la boca de Gomez de la Serna. (OctavioPaz 187)

Romanic Review

Luisa Carnés’s novel Tea Rooms: Mujeres obreras (1934) recounts the corporeal and sensory experie... more Luisa Carnés’s novel Tea Rooms: Mujeres obreras (1934) recounts the corporeal and sensory experience of workers in a pastelería, capturing their hunger and fatigue amid the smells of freshly baked pastries. These working women are thus inserted into economic space, defined as the production, distribution, and consumption of the material goods that sustain life and give pleasure. The novel makes palpable their desire to enjoy the consumer products that surround them—whether in the tea room, in nearby shops, or in the cinema across the street—pleasurable goods that remain beyond their means. In the musical comedy El bailarín y el trabajador (1936), a ruined señorito, formerly a ballroom dancer, finds himself relegated to working in a cookie factory. As he redirects his bodily exertion from nonproductive to productive labor, he sings of the working life as “dulce y sabrosa” (sweet and flavorful). Based on a play by Jacinto Benavente (1925), and repurposed in the era of the Popular Fron...

Ramón Gómez de la Serna, Apr 25, 2023

Cambridge University Press eBooks, Nov 30, 2022

Mediodía: revista hispánica de rescate, 2018

Las jornadas se conciben como intercambio de ideas entre investigadores de ambas orillas atlántic... more Las jornadas se conciben como intercambio de ideas entre investigadores de ambas orillas atlánticas que han centrado su trabajo en la Edad de Plata. Desafíos y futuro del hispanismo. Metodologías, enfoques teóricos y debates actuales. Marcos conceptuales e historiográficos de la Edad de Plata. Seis diálogo entre especialistas, a largo de dos días.

Vanderbilt e-Journal of Luso-Hispanic Studies, 2009

... Madrid: Gredos, 1964. García Delgado, José Luis, and Juan Carlos Jiménez. Un siglo de España:... more ... Madrid: Gredos, 1964. García Delgado, José Luis, and Juan Carlos Jiménez. Un siglo de España: La economía. Madrid: Marcial Pons, 1999. García Montero, Luis. “El cine y la mirada moderna.”Vázquez Medel, El universo plural 51-67. González Calleja, Eduardo. ...

Journal of Spanish Cultural Studies, 2019

Arizona Journal of Hispanic Cultural Studies, 2008

an academic argument and prescribing social remedies. The book advocates a new discourse of symbo... more an academic argument and prescribing social remedies. The book advocates a new discourse of symbolic (rather than physical) violence and the production of symbolic capital to mediate gang conflicts. Yet it remains unclear what forms these symbols would take, how to implement them, or how they would mitigate the brutal urban reality that Ecuadorian youth currently endure. Furthermore without defining how gang members themselves might contribute to this symbolic discourse, the conclusions of this study veer close to the unrealistic political solutions that it is criticizing. The symbolic approach also downplays the real, corrosive effects of gang violence on community and the psychological repercussions on gang members themselves. And while this study sympathizes with these youth and justifiably highlights their social and economic plight, in doing so it problematically frames gang members as passive victims, too easily excuses their crimes and violence, and refrains from suggesting that youth themselves should assume even partial responsibility for their actions. Despite these missteps in its conclusions, Jóvenes en la calle: Cultura y conflicto carries out an engaging analysis that gives voice to disenfranchised youth in a society that regards them as undesirables. Cerbino’s interrogation of the concept of Hispanic youth as problem produces an original reading of the complexities of identity among young people that no longer have the chance to be young.

Arizona Journal of Hispanic Cultural Studies, 2011

Romance Quarterly, 2005

n the first decades of the twentieth century, as the new and often shocking findings of atomic ph... more n the first decades of the twentieth century, as the new and often shocking findings of atomic physics emerged, matter acquired a paradoxical and ambiguous status, suddenly revealed as both material and ineffable (see Table 11). Niels Bohr’s planetary model of the atom suggested that seemingly solid substance was composed largely of empty space, with a positively charged nucleus orbited by negatively charged electrons. By the late 1920s, quantum mechanics had replaced Bohr’s model with another that asserted the wavelike character of matter, thus further dissolving the concept of the solidity of things. Paradoxically, atoms and their subatomic components—the very fundaments of matter—were incorporeal and invisible, registered only through indirect means— for example, by detecting differences in the electrical charges of a material undergoing bombardment, or through particle tracks observed in cloud chambers.2 Physics increasingly had become a science without an empirical object: its evidence deriving from artifically induced phenomena; its visualizations dependent upon technological mediations, mathematical calculations, and poetic metaphors. Moreover, to add insult to injury, the atom, regarded for centuries as the essential, and indivisible body composing all things, could be broken down into still more infinitesimal particles.3 Through the new genre of “popular science,” the literate population in the West acquired a rudimentary understanding of these new findings, giving rise to epistemological speculations (sometimes quite exorbitant), which unsettled faith in the solidity of matter and the finality of truth.4 Spain, by most measures of modernity, trailed behind other European countries—in terms of literacy, education, and funding for scientific research. Yet, as Thomas Glick has shown in his study, Einstein in Spain, the findings of the Curies, Rutherford, Planck, Bohr, and Einstein became known in Spain almost as soon as they emerged. Einstein’s first paper on relativity of 1905 was

Susan Goethel Campbell’s exhibition Field Guide explores the nature of art and the conceptual pro... more Susan Goethel Campbell’s exhibition Field Guide explores the nature of art and the conceptual process through a multimedia installation that also reflects upon temporality, art history, ecology and science. Introduced with a time-lapse video of weather patterns captured by web cam over the course of an entire year, atmospheric effects assume the quality of translucent washes that blur distinctions between opacity and transparency, painting and technology. Aerial views of built environments set against expansive cityscapes present essential imagery for large-format digital woodblock prints realized in monochromatic tonals and saturated grids of yellow and blazing orange. Some combine undulating wood grain patterns with pinhole perforations to admit light; others consist of diaphanous walnut stains applied to hand-crafted paper, a self-referential allusion to art’s planarity and permeable membrane. The evanescence of these views is echoed in pristine impressions of filtered dust and shimmering milkweed assemblages contained in Plexiglas light boxes. Known as Asclepias, milkweed is an herbaceous flower named by Carl Linnaeus after Asclepius, the Greek god of healing, due to its efficacious medicinal powers. Like the weather, the milkweed’s reflective silver filaments respond to shifting currents of air paired with gently wafted treetops projected in the viewing room. Here pearls of light corresponding to the spheres and pinpricks of the prints on the walls float randomly over the fictitious frame of a cubical vitrine. Orbs appear and disappear amid nocturnal shadows as figments of the imagination, their languid dispersion eliciting not-ofthis-world sensations of suspension, ascent and transcendence. This joined to the mesmerizing stillness of a gallery pierced occasionally by the sound of supersonic aircraft, a reminder of the machine in the garden. Beyond, the history of landscape photography and the Romantic sublime are encoded in works titled “Old Stand” that render minuscule figures of stationary box photographers against the grandeur of ice-capped Rockies. In some of the works the human figure is effaced as a historical memory through exquisitely modulated rubbings whose unbounded spatiality contrasts with the reflexive interiority of the viewing room. Campbell’s incandescent vision of nature asserts the phenomenal power of art to elevate the human spirit in the presence of heart-stirring beauty. It dares to reaffirm the timeless union between the material and immaterial substance of the universe, between human life and the ephemera of the natural world. f i l m

Romance quarterly, Apr 24, 2024

Anales de la literatura española contemporánea, ALEC, 2007

... 7 For an example of a historical ireatment of Ihe Gothic. ... Soho, where Mr Hyde lodges, or ... more ... 7 For an example of a historical ireatment of Ihe Gothic. ... Soho, where Mr Hyde lodges, or Wilde's opium dens in the docklands, frequented by Dorian Gray; indeed, the transition from one to theother is actually part of the narrative of Dracula, where the Count travels from ...

Revista de estudios hispánicos, 2012

frecuentemente sin representación literaria. “Para Futorasnky, no es la desterritorialidad lo que... more frecuentemente sin representación literaria. “Para Futorasnky, no es la desterritorialidad lo que define la experiencia de la sociedad moderna sino la transterritorialidad. Es decir, el transplante de un paisaje humano a otro . . . entre el ‘aquí’ y el ‘allí’ para transportar sobre todo las palabras apropiadas que le permitan sobrevivir en el espacio ajeno” (154). El otro poema que analiza es “Terraplén”, crónica referida a varios momentos catastróficos de la historia, ubicados en distintas ciudades de Asia, Sur América y Europa. Destaca Mercado la temática de la fragilidad de la condición humana, de cuyo dolor y angustia solo queda el dato de la crónica, el dado en el periodismo global que traspasa la construcción de este poema en prosa. El “Epílogo” es un resumen claramente trazado de la conversación expuesta en el libro, “un diálogo que anima sus propias reflexiones sobre la palabra, la experiencia vital y poética” (159), el “género del yo” que se desdobla en el otro, planteo que lleva de la estética a la ética. Cartografías del destierro de Sarli E. Mercado estudia y medita sobre poemas de autores argentinos, pero también refiere a temas y problemáticas de muchos escritores que por diversas razones viven en el exilio, luchando con “la experiencia contemporánea del desplazamiento . . . donde la misma relación con la lengua materna resulta afectada” (160). Celebro el estudio de Mercado que se enfoca en autores que siguen persistentemente una “búsqueda de un lenguaje (poético) que narre lo inexpresable de la experiencia del sujeto contemporáneo (habitante de la Modernidad)” (166). Sin duda, expande con sus análisis de recursos y procesos poéticos el alcance de la obra de estos autores en su estética híbrida y lúdica, estética que prefigura una ética, lo que armoniza aún más el “silencioso diálogo” que se da en las páginas de esta meditación.

Revista de estudios hispánicos, 2012

El capítulo siete presenta dos facetas del orientalismo en EEUU y en el Lejano Oriente. El primer... more El capítulo siete presenta dos facetas del orientalismo en EEUU y en el Lejano Oriente. El primer artículo esboza la forma en que un chicano, personaje de la novela The Silver Cloud Café se aproxima a los filipinos en EEUU y el segundo muestra la forma en que las revistas norteamericanas presentan a los americanos de descendencia asiática. El tercero analiza las instituciones culturales establecidas por las órdenes religiosas en las Filipinas en el siglo XVII y el cuarto examina cómo Japón se presenta a sí mismo y cómo es visto por los poderes tanto orientales como occidentales. Las últimas dos partes le ceden un espacio a la música y la filmografía. El primer estudio del capítulo ocho investiga la producción musical de Fred Ho y su mezcla de ritmos afro-asiáticos; el segundo presenta la occidentalización de la banda china “12 Girls Band”. Por último, en el capítulo nueve se estudia el orientalismo en Star Trek y en la película chilena Kiltro a la que aludí previamente. One World Periphery Reads the Other es un libro imprescindible porque ofrece una amplia gama de artículos que enriquecen el campo de los estudios orientalistas sobre todo porque ofrecen alternativas al mero fenómeno que Said juzga. En la actualidad, la globalización ha impulsado nuevas publicaciones que nos obligan a continuar estudiando el Oriente desde diversas perspectivas. Por ejemplo, se acaba de publicar Verde Shanghai (2011) de la mexicana Cristina Rivera Garza donde cuenta la insólita historia de una mujer que es, en realidad dos mujeres: Marina Espinosa, casada con un médico; y Xian, su alter ego. Y, en la obra de teatro Shanghai (también del 2011) del uruguayo Gabriel Peveroni, dos brokers occidentales viven una pesadilla en el mundo subterráneo de Shanghai. La pareja de jóvenes es llevada por la fuerza a un “no lugar”, a un experimento en el que sus identidades son hackeadas. ¿Es acaso el Oriente una nueva suerte de utopía vista desde la “periferia”?

Arizona Journal of Hispanic Cultural Studies, 2005

?/Portraits of Excess: Read ing Character in the Mod ern Spanish Novel (Society of Spanish and Sp... more ?/Portraits of Excess: Read ing Character in the Mod ern Spanish Novel (Society of Spanish and Spanish American Studies 1999) and is currently working on a book manuscript entitled "Hie Vitality of Things: The Spanish Avant-Garde in Commodity Culture, 1918 1936" where she explores the intersections of econom ics and literature. .. .hubo un momento en que la modernidad hablo por la boca de Gomez de la Serna. (OctavioPaz 187)

Romanic Review

Luisa Carnés’s novel Tea Rooms: Mujeres obreras (1934) recounts the corporeal and sensory experie... more Luisa Carnés’s novel Tea Rooms: Mujeres obreras (1934) recounts the corporeal and sensory experience of workers in a pastelería, capturing their hunger and fatigue amid the smells of freshly baked pastries. These working women are thus inserted into economic space, defined as the production, distribution, and consumption of the material goods that sustain life and give pleasure. The novel makes palpable their desire to enjoy the consumer products that surround them—whether in the tea room, in nearby shops, or in the cinema across the street—pleasurable goods that remain beyond their means. In the musical comedy El bailarín y el trabajador (1936), a ruined señorito, formerly a ballroom dancer, finds himself relegated to working in a cookie factory. As he redirects his bodily exertion from nonproductive to productive labor, he sings of the working life as “dulce y sabrosa” (sweet and flavorful). Based on a play by Jacinto Benavente (1925), and repurposed in the era of the Popular Fron...

Ramón Gómez de la Serna, Apr 25, 2023

Cambridge University Press eBooks, Nov 30, 2022

Mediodía: revista hispánica de rescate, 2018

Las jornadas se conciben como intercambio de ideas entre investigadores de ambas orillas atlántic... more Las jornadas se conciben como intercambio de ideas entre investigadores de ambas orillas atlánticas que han centrado su trabajo en la Edad de Plata. Desafíos y futuro del hispanismo. Metodologías, enfoques teóricos y debates actuales. Marcos conceptuales e historiográficos de la Edad de Plata. Seis diálogo entre especialistas, a largo de dos días.

Vanderbilt e-Journal of Luso-Hispanic Studies, 2009

... Madrid: Gredos, 1964. García Delgado, José Luis, and Juan Carlos Jiménez. Un siglo de España:... more ... Madrid: Gredos, 1964. García Delgado, José Luis, and Juan Carlos Jiménez. Un siglo de España: La economía. Madrid: Marcial Pons, 1999. García Montero, Luis. “El cine y la mirada moderna.”Vázquez Medel, El universo plural 51-67. González Calleja, Eduardo. ...

Journal of Spanish Cultural Studies, 2019

Arizona Journal of Hispanic Cultural Studies, 2008

an academic argument and prescribing social remedies. The book advocates a new discourse of symbo... more an academic argument and prescribing social remedies. The book advocates a new discourse of symbolic (rather than physical) violence and the production of symbolic capital to mediate gang conflicts. Yet it remains unclear what forms these symbols would take, how to implement them, or how they would mitigate the brutal urban reality that Ecuadorian youth currently endure. Furthermore without defining how gang members themselves might contribute to this symbolic discourse, the conclusions of this study veer close to the unrealistic political solutions that it is criticizing. The symbolic approach also downplays the real, corrosive effects of gang violence on community and the psychological repercussions on gang members themselves. And while this study sympathizes with these youth and justifiably highlights their social and economic plight, in doing so it problematically frames gang members as passive victims, too easily excuses their crimes and violence, and refrains from suggesting that youth themselves should assume even partial responsibility for their actions. Despite these missteps in its conclusions, Jóvenes en la calle: Cultura y conflicto carries out an engaging analysis that gives voice to disenfranchised youth in a society that regards them as undesirables. Cerbino’s interrogation of the concept of Hispanic youth as problem produces an original reading of the complexities of identity among young people that no longer have the chance to be young.

Arizona Journal of Hispanic Cultural Studies, 2011

Romance Quarterly, 2005

n the first decades of the twentieth century, as the new and often shocking findings of atomic ph... more n the first decades of the twentieth century, as the new and often shocking findings of atomic physics emerged, matter acquired a paradoxical and ambiguous status, suddenly revealed as both material and ineffable (see Table 11). Niels Bohr’s planetary model of the atom suggested that seemingly solid substance was composed largely of empty space, with a positively charged nucleus orbited by negatively charged electrons. By the late 1920s, quantum mechanics had replaced Bohr’s model with another that asserted the wavelike character of matter, thus further dissolving the concept of the solidity of things. Paradoxically, atoms and their subatomic components—the very fundaments of matter—were incorporeal and invisible, registered only through indirect means— for example, by detecting differences in the electrical charges of a material undergoing bombardment, or through particle tracks observed in cloud chambers.2 Physics increasingly had become a science without an empirical object: its evidence deriving from artifically induced phenomena; its visualizations dependent upon technological mediations, mathematical calculations, and poetic metaphors. Moreover, to add insult to injury, the atom, regarded for centuries as the essential, and indivisible body composing all things, could be broken down into still more infinitesimal particles.3 Through the new genre of “popular science,” the literate population in the West acquired a rudimentary understanding of these new findings, giving rise to epistemological speculations (sometimes quite exorbitant), which unsettled faith in the solidity of matter and the finality of truth.4 Spain, by most measures of modernity, trailed behind other European countries—in terms of literacy, education, and funding for scientific research. Yet, as Thomas Glick has shown in his study, Einstein in Spain, the findings of the Curies, Rutherford, Planck, Bohr, and Einstein became known in Spain almost as soon as they emerged. Einstein’s first paper on relativity of 1905 was

Susan Goethel Campbell’s exhibition Field Guide explores the nature of art and the conceptual pro... more Susan Goethel Campbell’s exhibition Field Guide explores the nature of art and the conceptual process through a multimedia installation that also reflects upon temporality, art history, ecology and science. Introduced with a time-lapse video of weather patterns captured by web cam over the course of an entire year, atmospheric effects assume the quality of translucent washes that blur distinctions between opacity and transparency, painting and technology. Aerial views of built environments set against expansive cityscapes present essential imagery for large-format digital woodblock prints realized in monochromatic tonals and saturated grids of yellow and blazing orange. Some combine undulating wood grain patterns with pinhole perforations to admit light; others consist of diaphanous walnut stains applied to hand-crafted paper, a self-referential allusion to art’s planarity and permeable membrane. The evanescence of these views is echoed in pristine impressions of filtered dust and shimmering milkweed assemblages contained in Plexiglas light boxes. Known as Asclepias, milkweed is an herbaceous flower named by Carl Linnaeus after Asclepius, the Greek god of healing, due to its efficacious medicinal powers. Like the weather, the milkweed’s reflective silver filaments respond to shifting currents of air paired with gently wafted treetops projected in the viewing room. Here pearls of light corresponding to the spheres and pinpricks of the prints on the walls float randomly over the fictitious frame of a cubical vitrine. Orbs appear and disappear amid nocturnal shadows as figments of the imagination, their languid dispersion eliciting not-ofthis-world sensations of suspension, ascent and transcendence. This joined to the mesmerizing stillness of a gallery pierced occasionally by the sound of supersonic aircraft, a reminder of the machine in the garden. Beyond, the history of landscape photography and the Romantic sublime are encoded in works titled “Old Stand” that render minuscule figures of stationary box photographers against the grandeur of ice-capped Rockies. In some of the works the human figure is effaced as a historical memory through exquisitely modulated rubbings whose unbounded spatiality contrasts with the reflexive interiority of the viewing room. Campbell’s incandescent vision of nature asserts the phenomenal power of art to elevate the human spirit in the presence of heart-stirring beauty. It dares to reaffirm the timeless union between the material and immaterial substance of the universe, between human life and the ephemera of the natural world. f i l m