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Una de las novelas más conocidas de Victor Cherbuliez fue Le comte Kostia, de 1863. Años más tarde, en 1936, la escritora sentimental Max du Veuzit sacó a la luz Létrange petit comte ou Létrange fils du comte dUskow, título que parece remitir al de Cherbuliez. Con objeto de determinar la exactitud de esta conjetura, nuestro análisis se fundamentará en un estudio comparado que nos permitirá establecer analogías y divergencias entre ambas novelas y confirmará nuestra hipótesis de partida: que la historia de amor de Max du Veuzit ciertamente se ha inspirado en la del conde Kostia.

Este artículo se propone relatar una nueva historia de la sangre. Me centraré en la función de la sangre en México y enfatizaré el papel que desempeñan la música, la cultura visual y la literatura -y en especial sus complejas intersecciones- para practicar una nueva manera de leer este exceso. Si bien la sangre está intrínsecamente relacionada con la muerte, de allí el baño de sangre que hoy día constituye México, ella tiende a funcionar de manera separada. La metáfora amorosa de la sangre, especialmente presente en el género bolerístico, así como en el amplísimo repertorio sentimental mexicano, funda si se quiere un sintagma que pese a su aparente dimensión inofensiva obra una descorporalización que será llevada hasta sus últimas consecuencias. Demostraré cómo la sangre y no el cuerpo torturado, decapitado, o desarticulado constituye el reducto más cuestionable del cuerpo y la materialidad más clara de su ocupación en la necrópolis contemporánea. Comenzaré planteando cómo el género sentimental, en especial el bolero, construye una gramática de la sangre sobre la que luego se funda la violencia más inconcebible sobre el cuerpo. A continuación, propondré cómo ciertas apropiaciones de la sangre operadas por la cultura visual marcan, denuncian si se quiere, la desechabilidad de los cuerpos mientras que otras banalizan y lo que resulta más problemático, perpetran no solo una desarticulación sino más bien una descorporalización radical. Partiendo de una metáfora amorosa, aparentemente inocua, este discurso del corazón abre las puertas a una historia visual del género. Y sin duda, esta historia está escrita con sangre.

En la narrativa uruguaya decimonónica existe toda una variedad de textos olvidados por el canon que proponen un abordaje diferente de la cuestión nacional. En este trabajo, me voy a ocupar de cierto sector de la obra de Eduardo Acevedo Díaz, dada su importancia en el desarrollo de la novela histórica, pero lo haré a través de dos novelas (Brenda y Minés). Estas novelas escriben el cuerpo patriótico de la nación en una clave sentimental y erótica. La nación es representada como un cuerpo femenino ambiguo y erotizado desde una perspectiva voyeurista. Como se verá, el voyeurismo es la política de la pose que define la escritura fundacional. En la narrativa uruguaya decimonónica existe toda una variedad de textos olvidados por el canon que proponen un abordaje diferente de la cuestión nacional. En este trabajo, me voy a ocupar de cierto sector de la obra de Eduardo Acevedo Díaz, dada su importancia en el desarrollo de la novela histórica, pero lo haré a través de dos de sus novelas (Brenda y Minés). En ellas se escribe el cuerpo patriótico de la nación en una clave sentimental y erótica. La nación es representada como un cuerpo femenino ambiguo y erotizado desde una perspectiva voyeurista. Como se verá, el voyeurismo 

This essay examines the efforts of Upton Sinclair and Ernest Poole to connect their respective novels The Jungle and The Harbor to the nineteenth-century sentimental literary tradition, as well as their leftist allies’ reception of those efforts. Sinclair consistently presented The Jungle as a second Uncle Tom’s Cabin, capable of moving readers to agitate on behalf of working-class immigrants, while Poole engaged reflexively with the tropes and traditions of sentimentalism in order to model for his readers how they should respond to The Harbor. Although both novels became bestsellers and influenced later writers of proletarian fiction, early leftist critics dismissed Sinclair and Poole’s sentimentalism as aesthetically simplistic and politically naïve. This essay turns instead to a slightly later contemporary of those critics, Antonio Gramsci, whose prison writings argue for the revolutionary potential of sentimentalism. Reading The Jungle and The Harbor through the lens of Gramsci’s analysis of organic intellectuals and the cathartic power of popular literary forms, this essay contends, resolves many of the problems those early critics identified in the novels.

Medieval male friendship, at the intersection of sociopolitics, rhetoric, and philosophy, is both a habitus of affect and a possibility for unification. In Diego de San Pedros Cárcel de amor (1483-1492), the bonding between el auctor and Leriano represents an Iberian late-medieval secretary-lord friendship that both constitutes el auctors persona and persists throughout the story as the only certainty against passionate love, courtly enmity, and injustice. This article studies this friendship from the perspective of virtue and unification, or becoming one, the two principle dimensions of amiçiçia discussed by fifteenth-century moral philosophers-especially Alfonso Fernández de Madrigal and Ferrán Núñez. It argues that Cárcel incorporates these philosophical thoughts into its narrative-rhetorical design. By reading the paratexts of Cárcel, this article further contends that the pervasiveness of friendship creates a space of boundary-crossing in which the author, el auctor, and Leriano mirror each other and produce a conflated literary subjectivity.

This article analyzes Colum McCann's biofiction TransAtlantic (2013), which it reads alongside Colson Whitehead's speculative historical fiction The Underground Railroad (2016) in order to bring into sharp focus the kind of cultural, political, and intellectual service that biofiction by or about African Americans can perform. By lifting the veil from the mechanisms of oppressive power, these two novels expose common structures that were operational during the slave trade in Africa as well as the \"starve trade\" in Ireland. My main conceptual building block is Ian Baucom's model of two poles of realism (\"actuarial\" and \"melancholy\"), which I expand to suggest that McCann and Whitehead complicate this polarity, allowing the actuarial mode to integrate liberation strategies for the oppressed and nuancing the melancholy mode to circumvent the risk of sentimentalism. In both cases, the strength of interracial agency and intersectional thought points toward lines of flight from the actuarial-melancholic binary.

The paper states that the three types of romantic prose within the scope of popular literature of the 19th century (popular reading books) can be seen in terms of the sentimental novel development as precursors (nowadays the genesis of sentimental novel dates back to S. Richardsons´ Clarissa (1748) or Ch. Brontë´s Jane Eyre (1847) etc., however, ontologically speaking, the roots of this kind of writing are deeper). If the group of adventure-romance popular reading books feature elements that anticipate the earliest story layer of the social fabula of later romance novels, then the adventure-romance popular reading books for women of later provenance feature elements that incline towards the pattern of sentimental novel of the emancipation type. The shy, deceptively uninvolved or even marginalized „ugly duckling“ takes a form of a poor yet beautiful and virtuous orphan in the earlier books and her journey of transformation to a successful personality merges with courage, sensibleness and struggle for her own honour.

El presente artículo analiza la figura del padre en las novelas sentimentales Siervo libre de amor (1440) de Juan Rodríguez del Padrón, Cárcel de amor (1492) de Diego de San Pedro y La Historia de Grisel y Mirabella (1495) de Juan de Flores con el fin de contrastar a Pleberio, padre de Melibea en La Celestina, con el modelo de padre que nos ofrecen estas novelas sentimentales. Mi argumento es que la figura del padre en La Celestina es una parodia de la figura paterna en la novela sentimental. Asimismo, con mi lectura, quiero demostrar que en Pleberio encontramos una nueva subjetividad en la que el padre no se preocupa por representar la ley y la autoridad y ser una figura imparcial, sino que el padre en la obra de Fernando de Rojas asume una posición más humana en relación con la muerte de su hija. This article examines the figure of the father in the sentimental novels Siervo libre de amor (1440) by Juan Rodríguez del Padrón, Cárcel de amor (1492) by Diego de San Pedro and La Historia de Grisel y Mirabella (1495) by Juan de Flores in order to contrast those figures with the character of Pleberio in La Celestina. I argue that the father in La Celestina should be read as a parody of the figure of the father in the sentimental novel genre. Moreover, I propose that Pleberio represents a new form of subjectivity, in which the father is not worried about representing the law and authority nor about being impartial. In Fernando de Rojas' text, the father instead he takes a more human stance regarding his daughter's death.

Are sex scandals simply trivial distractions from serious issues or can they help democratize politics? In 1820, George IV's \"royal gambols\" with his mistresses endangered the Old Oak of the constitution. When he tried to divorce Queen Caroline for adultery, the resulting scandal enabled activists to overcome state censorship and revitalize reform. Looking at six major British scandals between 1763 and 1820, this book demonstrates that scandals brought people into politics because they evoked familiar stories of sex and betrayal. In vibrant prose woven with vivid character sketches and illustrations, Anna Clark explains that activists used these stories to illustrate constitutional issues concerning the Crown, Parliament, and public opinion. Clark argues that sex scandals grew out of the tension between aristocratic patronage and efficiency in government. For instance, in 1809 Mary Ann Clarke testified that she took bribes to persuade her royal lover, the army's commander-in-chief, to promote officers, buy government offices, and sway votes. Could women overcome scandals to participate in politics? This book also explains the real reason why the glamorous Georgiana, Duchess of Devonshire, became so controversial for campaigning in a 1784 election. Sex scandal also discredited Mary Wollstonecraft, one of the first feminists, after her death. Why do some scandals change politics while others fizzle? Edmund Burke tried to stir up scandal about the British empire in India, but his lurid, sexual language led many to think he was insane. A unique blend of the history of sexuality and women's history with political and constitutional history,Scandalopens a revealing new window onto some of the greatest sex scandals of the past. In doing so, it allows us to more fully appreciate the sometimes shocking ways democracy has become what it is today.

This paper discusses the recent texts of Helen Hester, a contemporary feminist theorist, in relation to the writings of Laboria Cuboniks, a feminist collective she was a member of. On the one hand, I critically discuss some of the main concepts underlying xenofeminism, a contemporary strand of feminism revolving around the refunctionalization of technology and the introduction of neo-rationalist tenets in feminist thought, developed by the collective Laboria Cuboniks in their 2015 Xenofeminist Manifesto. On the other hand, I want to propose that some of the shortcomings of these initial xenofeminist concepts are solved in the separate writings of one of the collective’s members, Helen Hester. I begin by situating xenofeminism in the context of left-accelerationism, a philosophy upon which they build their theoretical framework, comprising ontological anti-naturalism, neo-rationalism and a counter-hegemonic approach to politics. Then, I introduce the two key terms I engage from xenofeminism, hyperstition and technology, and demonstrate how Hester nuances their usage in her own works. Finally, I use the term mesopolitics to define Hester’s overall recent project and to help situate it in wider debates surrounding post-work politics and reproductive work.