Engaging the Emotions in Spanish Culture and History

313 Pages·2016·2.708 MB·English

by  Luisa Elena Delgado (editor), Pura Fernandez (editor), Jo Labanyi (editor)

Engaging the Emotions
in Spanish Culture
and History
EDITED BY
Luisa Elena Delgado,
Pura Fernández,
AND
Jo Labanyi
ENGAGING THE EMOTIONS
IN SPANISH CULTURE AND HISTORY

Engaging the Emotions
in Spanish Culture
and History
EDITED BY
Luisa Elena Delgado,
Pura Fernández, and
Jo Labanyi
Vanderbilt UniVersity Press
nashVille
© 2016 by Vanderbilt University Press
Nashville, Tennessee 37235
All rights reserved
First printing 2016
This book is printed on acid-free paper.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data on file
LC control number 2015014683
LC classification number DP48 .E635 2015
Dewey class number DDC 946— dc23
ISBN 978-0-8265-2085-2 (hardcover)
ISBN 978-0-8265-2086-9 (paperback)
ISBN 978-0-8265-2087-6 (ebook)
Cover image: Julio Romero Torres, Conciencia tranquila
(Clear Conscience, 1897). Courtesy of Museo Nacional Centro de
Arte Reina Sofía, Madrid.
Contents

Illustrations vii
Acknowledgments ix
Introduction
Engaging the Emotions—Th eoretical,
Historical, and Cultural Frameworks 1
1 Reasonable Sentiments
Sensibility and Balance in Eighteenth-Century Spain 21
Mónica Bolufer
2 “How Do I Love Thee”
The Rhetoric of Patriotic Love
in Early Puerto Rican Political Discourse 39
Wadda C. Ríos-Font
3 Emotional Readings for New Interpretative
Communities in the Nineteenth Century
Agustín Pérez Zaragoza’s Galería fúnebre (1831) 56
Pura Fernández
4 Emotional Contagion in a Time of Cholera
Sympathy, Humanity, and
Hygiene in Mid-Nineteenth-Century Spain 77
Rebecca Haidt
5 “Hatred alone warms the heart”
Figures of Ill Repute in the Nineteenth-Century
Spanish Novel 95
Lou Charnon-Deutsch
6 “You will have observed that I am not mad”
Emotional Writings inside the Asylum 111
Rafael Huertas
7 A Sentient Landscape
Cinematic Experience in 1920s Spain 120
Juli Highfill
8 The Battle for Emotional Hegemony
in Republican Spain (1931–1936) 141
Javier Krauel
9 Love in Times of War
Female Frigidity and Libertarian Revolution in the Work
of Anarchist Doctor Félix Martí Ibáñez 159
Maite Zubiaurre
10 From the History of Emotions
to the History of Experience
A Republican Sailor’s Sketchbook in the Civil War 176
Javier Moscoso
11 Affective Variations
Queering Hispanidad in Luis Cernuda’s Mexico 192
Enrique Álvarez
12 Sentimentality as Consensus
Imagining Galicia in the Democratic Period 210
Helena Miguélez-Carballeira
13 Emotional Competence and the Discourses of Suffering
in the Television Series Amar en tiempos revueltos 225
Jo Labanyi
14 From Tear to Pixel
Political Correctness and Digital Emotions
in the Exhumation of Mass Graves from the Civil War 242
Francisco Ferrándiz
15 Public Tears and Secrets of the Heart
Political Emotions in a State of Crisis 262
Luisa Elena Delgado
Afterword
Shameless Emotions 283
Antonio Muñoz Molina
Contributors 287
Index 291
vi
Illustrations
1.1. Goya, “Because She Was Sensitive” 22
1.2. “The Three [Basque Provinces] Make One” 30
1.3. “The Ill-Fated Margarita” 33
1.4. Goya, “And They Are Like Wild Beasts” 34
3.1. Illustration to Milady Herwort y
Miss Clarisa o Bristol, el carnicero asesino 61
3.2. Illustration to Las catacumbas españolas 69
3.3. Illustration to La princesa de Lipno o el retrete
del placer criminal 71
5.1. Gavarni (Sulpice Guillaume Chevalier),
in Eugène Sue, El judío errante 99
5.2. Caricature of Jakob Rothschild 102
7.1. Rotary printing press in El misterio
de la Puerta del Sol 132
7.2. Trolley advertisements in El misterio
de la Puerta del Sol 133
7.3. Aerial shots of the countryside and the
Puerta del Sol in El misterio de la Puerta del Sol 136
10.1. Luis Sarabia, Apuntes, “When I Arrived” 181
10.2. Luis Sarabia, Apuntes, “Call to Arms” 181
10.3. Luis Sarabia, Apuntes, “The ‘Gato Negro’” 182
10.4. Luis Sarabia, Apuntes, “My Daughter’s Birthday” 185
10.5. Luis Sarabia, Apuntes, “Victory” 186
vii
13.1. Andrea and Antonio with image of Franco in
Amar en tiempos revueltos 235
13.2. The roof terrace in Amar en tiempos revueltos 236
13.3. Isidro, José, and Pura form an unorthodox
“Holy Family” in Amar en tiempos revueltos 237
14.1. Official commemoration and
public mourning at Paracuellos del Jarama 245
14.2. The relative of a victim of Francoism takes a picture
with his smartphone, Calera y Chozas (Toledo) 253
14.3. Reburial organized by the Foro por la Memoria
at Menasalbas (Toledo) 256
14.4. Pedro Cancho with a portrait of his murdered
grandfather, Milagros (Burgos) 257
14.5 Forensic ritual of emotional identification with
exhumed victims, Casavieja (Ávila) 258
viii
Acknowledgments
This book forms part of the Spanish government–funded projects FFI2010-17273
(Ministry of Science and Innovation) and FEM2013-42699 (Ministry of Economy
and Competitiveness), both directed by Pura Fernández. We thank those who partici-
pated in the two conferences organized by the editors of this book at the Center for the
Humanities and Social Sciences (CCHS) of Spain’s National Research Council (CSIC)
in 2010, and at New York University’s King Juan Carlos I of Spain Center in 2011,
which helped to shape the conception of this volume. The conference in New York
was made possible by grants from the Acción Complementaria de Investigación of the
Spanish government (FFI2009-06748-E/FILO), the Program for Cultural Cooperation
between Spain’s Ministry of Culture and US Universities, and the Humanities Initiative
of New York University, which also generously contributed to the publication costs of
this book. Pura Fernández wishes to acknowledge her debt of gratitude to Eduardo
Manzano, director of the CCHS, for his belief in and support of this interdisciplinary
project, and to her colleagues in the Cultural History of Knowledge research group at
the same institution. Luisa Elena Delgado wishes to thank Marta Segarra and Helena
González (Centre Dona i Literatura, University of Barcelona) for their invitation to
participate in the conference “Polítiques de les emocions: Diàlegs des del gènere i la
sexualitat” (University of Barcelona/Barcelona Center for Contemporary Culture) in
2014. This participation, as well as the ongoing project on communities and emo-
tions developed at the center, helped her to shape her contribution to this volume.
Jo Labanyi would like to thank Rosa María Medina Domènech for many stimulating
conversations on the role of the emotions in Spanish culture, and Luisa Passerini and
the other members of the international research team Europe: Emotions, Identities,
Politics (2002–2004), which introduced her to thinking about the emotions in the first
place. We also wish to thank our contributors for accompanying us on this journey of
several years, because their inspiring work made it so much more gratifying. Our special
thanks are owed to Michael Ames of Vanderbilt University Press for his support of this
project and his efficiency in bringing it to fruition.
ix