Journal of Hospitality Marketing and Management

Abstract I will discuss the first staging of Shakespeare’s Julius Caesar produced at the Roman theater of Mérida. In 1955, José Tamayo–head of the Lope de Vega Theater Company–mounted Julius Caesar at the city’s Roman theater and amphitheater. José María Pemán wrote a free Spanish version of the play in verse. The company’s style, known as “Tamayoscope,” brought entertainment to the people during Franco’s rule. In 1964, Julius Caesar returned to Mérida to celebrate the Festivals of Spain, the 25th Anniversary of Peace, and Shakespeare’s Quatercentenary. Though this Julius Caesar presented a positive view of the regime, it gave way to resistance to Francoism. To prove this, I will examine the archives of this Julius Caesar. I contend that these archives problematize the production’s propaganda. The 1955 archives endorsed the regime’s ideology; those of 1964 were anarchival. Archives are often regarded as officially produced documents which uphold hegemonic narratives and norms; anarchivism integrates archives into subjective and collective experiences. The archives of the Lope de Vega’s Julius Caesar reveal an anarchival dimension which positively impacted Mérida’s socio-political life.

Abstract The literary depictions of the tirailleurs sénégalais, the West African French colonial troops who fought in World War I, in novels published during the conflict and in the interwar years were often little more than racist caricatures. Two works from the interwar period, Lucie Cousturier’s Des Inconnus chez moi (1920) and Raymond Escholier’s Mahmadou Fofana (1928), based on the friendships the respective authors established with West African troops during the Great War, provide a counterpoint to the degrading portrayals of the tirailleurs. Cousturier, a painter, taught French to soldiers at the hivernage camp next to her villa in Fréjus while Escholier, the former curator of la Maison de Victor Hugo and le Petit Palais, led units of tirailleurs in battle on the Western Front and in Macedonia. Cousturier and Escholier build on their knowledge of art and literature to construct nuanced portraits of West African troops to restore the men’s humanity. Making use of metaphors from the natural world and allusions to literature and/or art, these two writers create characters that challenge the racist tropes associated with the tirailleurs sénégalais.

Literary scholars often describe Elfriede Jelinek’s language as devoid of feeling or subjectivity. They claim the author’s cynicism is contained in her work and encourages the search for its psychological or even pathological causes. In contrast to these premises, we take a new look at the language in the drama Ulrike Maria Stuart from a neurodiversity perspective. This approach is founded in Disability Studies and is based on an alternative understanding of otherness. The main character in the play, a deceased Red Army Faction member inspired by the historical figures Ulrike Meinhof and Maria Stuart uses a neurodiverse counter-language that invites a reinterpretation of Jelinek’s so-called antipsychology. The struggle between linguistic control and loss of control leads to an alternative, neurodiverse communication based on an intensified sensitivity. This way, Jelinek presents neurodiversity not as a defect but as a potentially productive, heightened state of consciousness that does not impair communication but structures it in novel ways.

This essay examines the changing meanings of terms for exile in early Germanic literature, with a focus on Old English wrecca and Old High German reccho. The cognate underwent early pejoration in English, but amelioration in German. These developments can be understood by appreciating the dualities inherent in exile, especially as articulated in the traditional theme of Exile. I demonstrate that this theme, which has heretofore been explored only in Old English, occurs in Old High German and in Old Saxon as well. The Old Saxon instances are particularly revealing, as they contain a balance of positively and negatively inflected depictions of exile. Passages in The Heliand, Beowulf, Guthlac A, and The Hildebrandslied evoke more favorable or unfavorable connotations of exile by repeating, or omitting, particular motifs.

Despite living and writing roughly four centuries apart, Anglo-French poet Renée Vivien (1877–1909) and Italian-French poet and philosopher Christine de Pizan (ca. 1364–1430?) share several similar biographical and literary characteristics. Most significantly, both women produced texts that have been described as feminist or proto-feminist utopian genealogies avant la lettre: Christine de Pizan, in her Livre de la cité des dames (1405); Renée Vivien, in her poetry and translations of Sappho and other ancient Greek women poets (1901–1909). In this paper, I argue that these utopian genealogies share an intertext: the Comedia of Dante Alighieri. If, as medievalists have suggested, Dante’s representation of the poet Virgil and the noblewoman Beatrice as his literary and spiritual guides inspired Christine de Pizan’s search for women such as the Cumaean Sibyl as mentors of her own, it is likely that Renée Vivien’s veneration of Sappho can also be traced to her reading of Dante, whose Comedia she attempted to translate in her adolescence. And if Christine de Pizan saw the city of ladies as a Paradise for women who wished to preserve their chastity, Renée Vivien imagined Mytilene, the city of Sappho on the island of Lesbos, as a Limbo for a new kind of “pagan”: lesbians like herself, whose love for women, she believed, placed them outside the bounds of Christian law.

SummaryHenry Bataille’s name is often classified among authors who are fond of the poetics of “boulevard theater”, which seems to perpetuate the canonical form of drama. However, at the turn of the twentieth century, this theater underwent an undeniable crisis that undermined the very foundations of Aristotelian aesthetics, particularly those of action. The questioning of tradition is manifested primarily through a new approach to conflict, the origin of any dramatic intrigue, which evolves from a dispute between antagonists into a resolute intrapersonal confrontation unfolding within the troubled souls of characters grappling with acute suffering. While delving into evil and its scenic representation, Henry Bataille approaches this issue in an unusual manner for a French playwright of the late nineteenth century. In the play La Possession, we witness, on one hand, the expression of cruelty fueled by animosity between characters, and on the other hand, we observe metapsychological violence descending upon the poor, defenseless creatures facing the irrevocability of fate. If the first conflict (interpersonal) physically pits adversaries against each other—with physical violence being replaced by a battle unfolding on moral and psychological levels, the second one (intrapersonal) takes place within the heart and psyche of the hero, who, paralyzed by existential anguish, is torn between his fantasies and his relationship with reality.

In the second half of the sixteenth century, various Spanish, Italian and French poets resorted to an image foreign to the usual repertoire of amorous subjects: the wound of the lover begins to bleed due to the proximity of the lady. This reflects a popular belief that the mere presence of the murderer can cause "accusing" blood to ooze from the corpse. The idea is already found in earlier Petrarchists, such as Serafino Aquilano or Bernardo Pulci. In addition to trying to clarify the possible relations of influence between these verses, whose sources have not yet been sufficiently studied in some cases, we will see how the theme seems ideal for bringing out the genius of each poet. Finally, we will allude to a passage from the famous De Amore of Ficino which could explain the origin and success of this motif in European Petrarchan poetry.

This paper examination provides a thorough exploration of the later novels of French writer Alain Robbe-Grillet, focusing specifically on his portrayal of sexual relationships and ethics. Drawing upon Roland Barthes’ “the text of bliss” concept and Baudrillard’s “Irony of the Object” theory, this study suggests that Robbe-Grillet’s sexual description not only amends Freud’s theory of sexuality, but also disputes traditional gender roles and ethical norms. It delves into the interplay between the sexual ethics represented in his novels and conventional ethics, revealing a balance between male and female sexual dynamics that often highlight overlooked individuals amidst grand narratives and societal structures. Furthermore, it discusses Robbe-Grillet’s rebellion against Utilitarianism and his emphasis on individual choices and specific contexts in ethical thinking, seeing each ethical action as unique and intrinsically valuable. The paper concludes by delineating the nuanced contributions of Robbe-Grillet to literary discourse, particularly in his innovative approach to sexual dynamics and ethical considerations in literature. It underscores his distinctive role in challenging and expanding the boundaries of sexual representation and ethical discourse within the literary context.

AbstractThis article contextualises the Anglo-Italian aspects of Naples, Biblioteca Nazionale, MS XIII.B.29. This fifteenth-century paper miscellany contains Bevis of Hampton, Chaucer’s Clerk’s Tale, St Alexius, Libeaus Desconus, as well as a recipe collection, a section of Lydgate’s “Doublenesse”, and a fragment of Sir Isumbras. The book is among a very select number of codices containing Middle English texts that are presently preserved in an Italian institution. Previous research has demonstrated XIII.B.29 must have travelled to the Italian peninsula at a relatively early date, but the exact reason behind its compilation and the method by which it arrived in Italy remain uncertain. This article reviews the manuscript’s design, provenance, and contents, arguing the book is not just an English manuscript in Italy, but also to some degree an English manuscript about Italy and Italian experiences. Specifically, the article contends that an episode in the manuscript’s Bevis, which describes a street fight near Lombard Street in London, benefits from a reading that acknowledges late medieval developments in finance and long-distance Anglo-Italian commerce, as well as the emergence of Italian communities in Southampton and the capital.

AbstractA number of bloggers, journalists, teachers, and librarians have compared Elizabeth Acevedo’s 2019 young adult novel With the Fire on High with Laura Esquivel’s Como agua para chocolate (1989), recommending that fans of Esquivel’s work pick up Acevedo’s—and vice versa. These suggestions echo Acevedo’s own comments about the narrative, which she has characterized as “parecido a ‘Como agua para chocolate,’ pero en el barrio” (Acevedo & Pichardo, 2019). This article takes this recent reception history as an invitation to think through how With the Fire on High deepens and course-corrects the revolutionary path of Esquivel’s earlier text. More specifically, I interrogate how Acevedo and Esquivel engage with linguistic identities and with multilingualism in particular as source material for political resistance and healing. Acevedo, like Esquivel before her, represents multilingual identities in ways that disrupt and resist the neocolonial violence of the United States. However, whereas Como agua para chocolate’s references to minoritized languages are executed in a manner that threatens to reinscribe traumatizing ethnoracial and class hierarchies passed down via colonial history, multilingualism in Acevedo’s novel works more systemically to intervene in and undermine such established matrices of power. Acevedo participates in a project of linguistic resistance and healing that involves reclaiming a heritage language for a multiply marginalized protagonist and, through that act of reclamation, rejecting the received cultural wisdom propagated by both colonial and neocolonial systems.

AbstractThis article characterises Quevedo's “musa décima”, his poetry not included in the posthumous editions, in order to deepen its features and to consider the future critical edition of the whole. The limits of the corpus are still blurred, due to the abundance of poems of doubtful attribution. After a brief contextualisation in the complex transmission of Golden Age poetry, the catalogue of poems, their textual sources and outstanding literary features are dealt with: jocular matter and antigongorism, burlesque sylvas and poems of praise, which situate the author at the beginning of his career. Unveiling this “peripheral” corpus will have an impact on the “nuclear” poetry of Quevedo.

While some scholars argue that Hartmann von Aue’s Erec (c. 1186) advocates for a more equal form of marriage between its protagonists Erec and Enite, others have rejected this characterization. This essay argues that Hartmann uses the idea of equality of partnership from the theologian Hugh of St. Victor († 1141) as well as contemporary ecclesiastical discourse to craft an unequally equal marriage. Marital sex was the one activity in which most churchmen agreed that husband and wife were equal, and yet it is too frequent marital sex that leads the couple to their crisis. Furthermore, the end of the romance shows a reinterpretation of the earlier crisis as Erec following Enite’s wishes too much, although the couple’s mutual desire had originally been emphasized. The romance also fails to fully condemn Erec’s brutal behavior toward his wife following the crisis, which Enite herself patiently accepts and even harmonizes with their equal partnership. The ending, in which Enite recedes into the background after the couple reconciles, suggests that the romance advocates a form of marriage in which equality exists between the spouses in name only, because true equality appears as female domination. Erec decides how much he should follow his wife’s wishes, whereas she has no choice but to follow his.

AbstractIn this essay, I analyze the extent to which repetition can be considered creative in the context of penitential poetry, and what the ramifications are of that pairing for our own understandings of that poetry. When sin is inherited and confessions were guided by eminently repeatable formulae, how does penitential poetry come into being for the first time and enter penitential discourse as a “makyng” that is created or made yet already received, already repeated and circulating at the moment of its birth? The carol, I argue, presents a good place to address that question: its idiosyncratic formal components present a site of creativity and repetition between text and audience, a conjunction which anticipates the dynamics of filmic montage as conceived by Sergei Eisenstein. This aspect of the carol also invites us to explore how authority is created and received in the present moment, bereft of the difference from the present moment so often involved in constructing auctoritas. In conversation with Eisenstein, the medieval penitential carol ultimately becomes a site to reconsider how poetic form can simultaneously uphold and dismantle hierarchical relationships between creators and audiences. In so doing, the penitential carol invites us to re-approach our own critical “makyngs,” which effectively channel the work of medieval poetic form from centuries past.

This paper studies two contemporary plays, Lynn Nottage’s Sweat (2015) and Dominique Morisseau’s Skeleton Crew (2017), and contends that they examine the assumption that the neoliberal ideology can be effectively confronted through a critical examination of the subject of neoliberalism. It draws mainly upon Foucault’s discussion of neoliberalism and Wendy Brown’s thoughts about the neoliberal society and argues that the subject that neoliberalism constructs and privileges, homo economicus, is motivated merely by economic gain and seeks to maximize his/her interests in a competitive environment with restricted resources. Sweat and Skeleton Crew, this paper suggests, point to the social immolation that the dominance of the neoliberal subjectivity brings about. They both also highlight the point that marginalized population is especially vulnerable to the principles of the neoliberal ideology. They, therefore, emphasize the need to confront neoliberalism through encouraging altruistic tendencies which requires abandoning the homo economicus model of human behavior.

“Auðunar þáttr vestfirska” or the story of “Audun and the Bear” is about two kings, one Icelander, and one bear, and concerns a wide range of topics and issues. The core of the story, however, concerns the comparison of two great men (a medieval and Icelandic topos) and how an apparently naïve and certainly stubborn young Icelander succeeds in making them reveal themselves as moral actors. On first reading, it might appear that King Svein of Denmark is the clear winner of this implicit contest, but the comparison is a subtle one and the kings more equal than such a reading might initially suggest.