Pedro Lange-Churión | University of San Francisco (original) (raw)
Papers by Pedro Lange-Churión
Post Script, 2008
... for each other, lock gazes, and fuse into a passion-ate kiss—after which Miles tears up, yet ... more ... for each other, lock gazes, and fuse into a passion-ate kiss—after which Miles tears up, yet again, the Massey Prenup, whose ... instantly hire hundreds of writers who can manufacture “that Barton Fink feeling.” Consider Jerry Lundegaard, so desperate to make a buck and win ...
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Contemporary Theatre Review, Nov 1, 2012
His irrepressible fascination with the gaucho notwithstanding, Domingo Faustino Sarmiento’s influ... more His irrepressible fascination with the gaucho notwithstanding, Domingo Faustino Sarmiento’s influential text Facundo: civilización y barbarie en las pampas argentinas (Facundo: Civilisation and Barbarism), became the kernel to create a narrative of the nation. This narrative would ensure progress tantamount to the development that characterised the civilised models he rushed to emulate in Europe and the United States of America. Specifically, this text provided the Argentine and Latin American elites, in cahoots with international economic interests, with an ideological discourse to justify practices ranging from racial and social segregation, through the ‘necessary’ whitening of the country via the promotion of immigration, to relinquishing the country’s wealth to foreign interests. Generally, the binary opposition that emerges from Sarmiento’s foundational text (civilisation/barbarism) cuts across Argentine society in myriad ways which included urban planning, educational reform, aesthetics, social mores and the production of cultural artefacts. For Sarmiento the place of civilisation was the city, the desirable ontology was the European subject, and thus the proto European Argentine subject who dwells in Buenos Aires defined herself in sharp contrast from the barbarous native and the gaucho who, in turn, inhabited the countryside and the plains. This process of identification underpins strategies in which the subject defines the other, and by doing so defines ‘self’. Such definitions seek to construct otherness as subaltern, thereby insistently enacting and solidifying the asymmetrical structures of power that run beneath these identity projections. The dichotomy civilisation/barbarism has been reinterpreted to produce other oppositions: centre/margin; modernity/primitivism; inclusion/exclusion; marginality/integration; man/woman. 1. Domingo Faustino Sarmiento (2003), Facundo: civilización y barbarie en las pampas argentinas (Buenos Aires: Stockcero, 2003). Contemporary Theatre Review, Vol. 22(4), 2012, 467–484
Bulletin of Spanish Studies, Oct 16, 2015
Abstract In this article, I read Almodóvar's film La piel que habito (2011) as an example of ... more Abstract In this article, I read Almodóvar's film La piel que habito (2011) as an example of what Edward Said calls late style. However, unlike the perfecting or visionary style of artists' later works, Almodóvar's late style, lacking the counter-cultural ground provided by La movida, the urban movement in post-Francoist Spain, becomes self-referential, not only in the repeated allusions to his earlier films, but also in his readiness to imitate Hollywood's canonical cinematic language. In fact, I argue that La piel que habito maintains an internal dialogue with Alfred Hitchcock's Vertigo. The avant-garde aura identified with Almodóvar's cinema is often related to La Movida. Yet, as Eduardo Subirats contends in Modernidad y exilio, this cultural movement never attempted to revise the political, social and cultural content remaining from the fascist rule but rather recycled them into a form of cultural transvestism. I argue that, beyond its liberated disguise, Almodóvar's conception of sexuality is ideologically conservative, hinging on an understanding of gender relations that corroborate the tenets of Laura Mulvey's classic critique of the patriarchal gaze in Hollywood narrative cinema. The conservatism unearthed in this article refers to patriarchal conceptions of courtly love developed by Jacques Lacan in The Ethics of Psychoanalysis. Particularly, I look at the construction of the feminine that results from Almodóvar's erotic conservatism.
La bibliografía que sigue dedicada a los estudios críticos sobre Agustín Moreto trata de ser una ... more La bibliografía que sigue dedicada a los estudios críticos sobre Agustín Moreto trata de ser una puesta al día de la investigación que hasta el momento se le ha dedicado, de modo que facilite al lector interesado conocer qué aspectos y qué obras de Moreto han merecido más atención de la crítica y cuáles, por omisión en esta bibliografía, están aún a la espera de estudio e
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Bulletin of Spanish Studies, 2015
Abstract In this article, I read Almodóvar's film La piel que habito (2011) as an example of ... more Abstract In this article, I read Almodóvar's film La piel que habito (2011) as an example of what Edward Said calls late style. However, unlike the perfecting or visionary style of artists' later works, Almodóvar's late style, lacking the counter-cultural ground provided by La movida, the urban movement in post-Francoist Spain, becomes self-referential, not only in the repeated allusions to his earlier films, but also in his readiness to imitate Hollywood's canonical cinematic language. In fact, I argue that La piel que habito maintains an internal dialogue with Alfred Hitchcock's Vertigo. The avant-garde aura identified with Almodóvar's cinema is often related to La Movida. Yet, as Eduardo Subirats contends in Modernidad y exilio, this cultural movement never attempted to revise the political, social and cultural content remaining from the fascist rule but rather recycled them into a form of cultural transvestism. I argue that, beyond its liberated disguise, Almodóvar's conception of sexuality is ideologically conservative, hinging on an understanding of gender relations that corroborate the tenets of Laura Mulvey's classic critique of the patriarchal gaze in Hollywood narrative cinema. The conservatism unearthed in this article refers to patriarchal conceptions of courtly love developed by Jacques Lacan in The Ethics of Psychoanalysis. Particularly, I look at the construction of the feminine that results from Almodóvar's erotic conservatism.
The Modern Schoolman, 1998
Contemporary Theatre Review, 2012
His irrepressible fascination with the gaucho notwithstanding, Domingo Faustino Sarmiento’s influ... more His irrepressible fascination with the gaucho notwithstanding, Domingo Faustino Sarmiento’s influential text Facundo: civilización y barbarie en las pampas argentinas (Facundo: Civilisation and Barbarism), became the kernel to create a narrative of the nation. This narrative would ensure progress tantamount to the development that characterised the civilised models he rushed to emulate in Europe and the United States of America. Specifically, this text provided the Argentine and Latin American elites, in cahoots with international economic interests, with an ideological discourse to justify practices ranging from racial and social segregation, through the ‘necessary’ whitening of the country via the promotion of immigration, to relinquishing the country’s wealth to foreign interests. Generally, the binary opposition that emerges from Sarmiento’s foundational text (civilisation/barbarism) cuts across Argentine society in myriad ways which included urban planning, educational reform, aesthetics, social mores and the production of cultural artefacts. For Sarmiento the place of civilisation was the city, the desirable ontology was the European subject, and thus the proto European Argentine subject who dwells in Buenos Aires defined herself in sharp contrast from the barbarous native and the gaucho who, in turn, inhabited the countryside and the plains. This process of identification underpins strategies in which the subject defines the other, and by doing so defines ‘self’. Such definitions seek to construct otherness as subaltern, thereby insistently enacting and solidifying the asymmetrical structures of power that run beneath these identity projections. The dichotomy civilisation/barbarism has been reinterpreted to produce other oppositions: centre/margin; modernity/primitivism; inclusion/exclusion; marginality/integration; man/woman. 1. Domingo Faustino Sarmiento (2003), Facundo: civilización y barbarie en las pampas argentinas (Buenos Aires: Stockcero, 2003). Contemporary Theatre Review, Vol. 22(4), 2012, 467–484
La Madriguera, Sep 1, 1999
Post Script, 2008
... for each other, lock gazes, and fuse into a passion-ate kiss—after which Miles tears up, yet ... more ... for each other, lock gazes, and fuse into a passion-ate kiss—after which Miles tears up, yet again, the Massey Prenup, whose ... instantly hire hundreds of writers who can manufacture “that Barton Fink feeling.” Consider Jerry Lundegaard, so desperate to make a buck and win ...
Quimera Revista De Literatura, 1998
Quimera Revista De Literatura, 1998
Inti Revista De Literatura Hispanica, 1999
Quimera Revista De Literatura, 1999
Theory & Event, 2020
The idea to pair image and idea erupted in the early years of the twentieth century with Construc... more The idea to pair image and idea erupted in the early years of the twentieth century with Constructivist and Dada collage. A hundred years later and faced with wreckage piled upon wreckage, like the angel of history we are caught in the wind blowing us into the future with our back turned toward it. The storm propelling us is no longer progress as Benjamin named it in the early 20th century. As destructive as he found the march of progress to be, we now encounter a politics of regress, whose goal is to unmake the accomplishments of past and current generations and to cast doubt on any truth we know. This dangerous political game and the deaths it casually effected, gave way to an outburst of fury in the streets in the summer of 2020 and the civil unrest has not abated. So, the words and theories we use to pry open the import of these resulting images aim to salvage a shred of human dignity and a sense of mutual care amidst our current epiphany of darkness. We hope these images may reveal some of our truths so ruthlessly denied by political leaders, so that the reader may see, and our words are an elegy connecting a vision of loss to consciousness of purpose for ourselves and our demos.
Post Script, 2008
... for each other, lock gazes, and fuse into a passion-ate kiss—after which Miles tears up, yet ... more ... for each other, lock gazes, and fuse into a passion-ate kiss—after which Miles tears up, yet again, the Massey Prenup, whose ... instantly hire hundreds of writers who can manufacture “that Barton Fink feeling.” Consider Jerry Lundegaard, so desperate to make a buck and win ...
Item does not contain fulltex
Contemporary Theatre Review, Nov 1, 2012
His irrepressible fascination with the gaucho notwithstanding, Domingo Faustino Sarmiento’s influ... more His irrepressible fascination with the gaucho notwithstanding, Domingo Faustino Sarmiento’s influential text Facundo: civilización y barbarie en las pampas argentinas (Facundo: Civilisation and Barbarism), became the kernel to create a narrative of the nation. This narrative would ensure progress tantamount to the development that characterised the civilised models he rushed to emulate in Europe and the United States of America. Specifically, this text provided the Argentine and Latin American elites, in cahoots with international economic interests, with an ideological discourse to justify practices ranging from racial and social segregation, through the ‘necessary’ whitening of the country via the promotion of immigration, to relinquishing the country’s wealth to foreign interests. Generally, the binary opposition that emerges from Sarmiento’s foundational text (civilisation/barbarism) cuts across Argentine society in myriad ways which included urban planning, educational reform, aesthetics, social mores and the production of cultural artefacts. For Sarmiento the place of civilisation was the city, the desirable ontology was the European subject, and thus the proto European Argentine subject who dwells in Buenos Aires defined herself in sharp contrast from the barbarous native and the gaucho who, in turn, inhabited the countryside and the plains. This process of identification underpins strategies in which the subject defines the other, and by doing so defines ‘self’. Such definitions seek to construct otherness as subaltern, thereby insistently enacting and solidifying the asymmetrical structures of power that run beneath these identity projections. The dichotomy civilisation/barbarism has been reinterpreted to produce other oppositions: centre/margin; modernity/primitivism; inclusion/exclusion; marginality/integration; man/woman. 1. Domingo Faustino Sarmiento (2003), Facundo: civilización y barbarie en las pampas argentinas (Buenos Aires: Stockcero, 2003). Contemporary Theatre Review, Vol. 22(4), 2012, 467–484
Bulletin of Spanish Studies, Oct 16, 2015
Abstract In this article, I read Almodóvar's film La piel que habito (2011) as an example of ... more Abstract In this article, I read Almodóvar's film La piel que habito (2011) as an example of what Edward Said calls late style. However, unlike the perfecting or visionary style of artists' later works, Almodóvar's late style, lacking the counter-cultural ground provided by La movida, the urban movement in post-Francoist Spain, becomes self-referential, not only in the repeated allusions to his earlier films, but also in his readiness to imitate Hollywood's canonical cinematic language. In fact, I argue that La piel que habito maintains an internal dialogue with Alfred Hitchcock's Vertigo. The avant-garde aura identified with Almodóvar's cinema is often related to La Movida. Yet, as Eduardo Subirats contends in Modernidad y exilio, this cultural movement never attempted to revise the political, social and cultural content remaining from the fascist rule but rather recycled them into a form of cultural transvestism. I argue that, beyond its liberated disguise, Almodóvar's conception of sexuality is ideologically conservative, hinging on an understanding of gender relations that corroborate the tenets of Laura Mulvey's classic critique of the patriarchal gaze in Hollywood narrative cinema. The conservatism unearthed in this article refers to patriarchal conceptions of courtly love developed by Jacques Lacan in The Ethics of Psychoanalysis. Particularly, I look at the construction of the feminine that results from Almodóvar's erotic conservatism.
La bibliografía que sigue dedicada a los estudios críticos sobre Agustín Moreto trata de ser una ... more La bibliografía que sigue dedicada a los estudios críticos sobre Agustín Moreto trata de ser una puesta al día de la investigación que hasta el momento se le ha dedicado, de modo que facilite al lector interesado conocer qué aspectos y qué obras de Moreto han merecido más atención de la crítica y cuáles, por omisión en esta bibliografía, están aún a la espera de estudio e
Item does not contain fulltex
Bulletin of Spanish Studies, 2015
Abstract In this article, I read Almodóvar's film La piel que habito (2011) as an example of ... more Abstract In this article, I read Almodóvar's film La piel que habito (2011) as an example of what Edward Said calls late style. However, unlike the perfecting or visionary style of artists' later works, Almodóvar's late style, lacking the counter-cultural ground provided by La movida, the urban movement in post-Francoist Spain, becomes self-referential, not only in the repeated allusions to his earlier films, but also in his readiness to imitate Hollywood's canonical cinematic language. In fact, I argue that La piel que habito maintains an internal dialogue with Alfred Hitchcock's Vertigo. The avant-garde aura identified with Almodóvar's cinema is often related to La Movida. Yet, as Eduardo Subirats contends in Modernidad y exilio, this cultural movement never attempted to revise the political, social and cultural content remaining from the fascist rule but rather recycled them into a form of cultural transvestism. I argue that, beyond its liberated disguise, Almodóvar's conception of sexuality is ideologically conservative, hinging on an understanding of gender relations that corroborate the tenets of Laura Mulvey's classic critique of the patriarchal gaze in Hollywood narrative cinema. The conservatism unearthed in this article refers to patriarchal conceptions of courtly love developed by Jacques Lacan in The Ethics of Psychoanalysis. Particularly, I look at the construction of the feminine that results from Almodóvar's erotic conservatism.
The Modern Schoolman, 1998
Contemporary Theatre Review, 2012
His irrepressible fascination with the gaucho notwithstanding, Domingo Faustino Sarmiento’s influ... more His irrepressible fascination with the gaucho notwithstanding, Domingo Faustino Sarmiento’s influential text Facundo: civilización y barbarie en las pampas argentinas (Facundo: Civilisation and Barbarism), became the kernel to create a narrative of the nation. This narrative would ensure progress tantamount to the development that characterised the civilised models he rushed to emulate in Europe and the United States of America. Specifically, this text provided the Argentine and Latin American elites, in cahoots with international economic interests, with an ideological discourse to justify practices ranging from racial and social segregation, through the ‘necessary’ whitening of the country via the promotion of immigration, to relinquishing the country’s wealth to foreign interests. Generally, the binary opposition that emerges from Sarmiento’s foundational text (civilisation/barbarism) cuts across Argentine society in myriad ways which included urban planning, educational reform, aesthetics, social mores and the production of cultural artefacts. For Sarmiento the place of civilisation was the city, the desirable ontology was the European subject, and thus the proto European Argentine subject who dwells in Buenos Aires defined herself in sharp contrast from the barbarous native and the gaucho who, in turn, inhabited the countryside and the plains. This process of identification underpins strategies in which the subject defines the other, and by doing so defines ‘self’. Such definitions seek to construct otherness as subaltern, thereby insistently enacting and solidifying the asymmetrical structures of power that run beneath these identity projections. The dichotomy civilisation/barbarism has been reinterpreted to produce other oppositions: centre/margin; modernity/primitivism; inclusion/exclusion; marginality/integration; man/woman. 1. Domingo Faustino Sarmiento (2003), Facundo: civilización y barbarie en las pampas argentinas (Buenos Aires: Stockcero, 2003). Contemporary Theatre Review, Vol. 22(4), 2012, 467–484
La Madriguera, Sep 1, 1999
Post Script, 2008
... for each other, lock gazes, and fuse into a passion-ate kiss—after which Miles tears up, yet ... more ... for each other, lock gazes, and fuse into a passion-ate kiss—after which Miles tears up, yet again, the Massey Prenup, whose ... instantly hire hundreds of writers who can manufacture “that Barton Fink feeling.” Consider Jerry Lundegaard, so desperate to make a buck and win ...
Quimera Revista De Literatura, 1998
Quimera Revista De Literatura, 1998
Inti Revista De Literatura Hispanica, 1999
Quimera Revista De Literatura, 1999
Theory & Event, 2020
The idea to pair image and idea erupted in the early years of the twentieth century with Construc... more The idea to pair image and idea erupted in the early years of the twentieth century with Constructivist and Dada collage. A hundred years later and faced with wreckage piled upon wreckage, like the angel of history we are caught in the wind blowing us into the future with our back turned toward it. The storm propelling us is no longer progress as Benjamin named it in the early 20th century. As destructive as he found the march of progress to be, we now encounter a politics of regress, whose goal is to unmake the accomplishments of past and current generations and to cast doubt on any truth we know. This dangerous political game and the deaths it casually effected, gave way to an outburst of fury in the streets in the summer of 2020 and the civil unrest has not abated. So, the words and theories we use to pry open the import of these resulting images aim to salvage a shred of human dignity and a sense of mutual care amidst our current epiphany of darkness. We hope these images may reveal some of our truths so ruthlessly denied by political leaders, so that the reader may see, and our words are an elegy connecting a vision of loss to consciousness of purpose for ourselves and our demos.
European Literary History, 2018
This chapter takes the aftermath of World War II as its point of departure. Its arch rests on thr... more This chapter takes the aftermath of World War II as its point of departure. Its arch rests on three thematic pillars: the wounded city, the imagined city, and the multicultural city. These pillars will provide a context to explore thematically some of the urban representations in the vast terrain of city literature. The section on the wounded city examines literary representations of architectural and psychological ruination by looking at the urban landscape of post-World War II Europe, including literature written on the Balkan War of the 1990s. Imagined cities entail utopian visions that embody the desire for the reconstruction of Europe after World War II, as well as “corrective” dreams alluding, in one way or another, to the European urban phenomenon. In the last section of this chapter, the multicultural city, resulting from mass migration and globalisation, is explored in novels that address its social and cultural diversity.