Download Free Reading The Ghost Toward A Theory Of Haunting In Contemporary Spanish Culture Book in PDF and EPUB Free Download. You can read online Reading The Ghost Toward A Theory Of Haunting In Contemporary Spanish Culture and write the review.

This book examines five highly influential Francoist films produced from 1938 until 1964 and three later films by critically acclaimed directors Luis BuÃ3Âłuel, Guillermo del Toro, and Alex de la Iglesia that attempt to undermine Francoist aesthetics by re-imagining its visual and narrative cliches.
The Spectralities Reader is the first volume to collect the rich scholarship produced in the wake of the “spectral turn” of the early 1990s, which saw ghosts and haunting conjured as compelling analytical and methodological tools across the humanities and social sciences. Surveying the past twenty years from an interdisciplinary and cross-cultural perspective, the Reader displays the wide range of concerns spectrality, in its diverse elaborations, has been called upon to elucidate. The disjunctions produced by globalization, the ungraspable quality of modern media, the convolutions of subject formation (in terms of gender, race, and sexuality), the elusiveness of spaces and places, and the lingering presences and absences of memory and history have all been reconceived by way of the spectral. A primer for the wide readership engaged with cultural interpretations of ghosts and haunting that go beyond the confines of the fictional and supernatural, The Spectralities Reader includes twenty-five groundbreaking texts by prominent contemporary thinkers, from Jacques Derrida and Gayatri Spivak to Avery Gordon and Arjun Appadurai, as well as a general introduction and six section introductions by the editors.
This book examines the interactions between ghosts and families in three recent horror films from the Spanish-speaking world that, rather than explicitly referencing recent political violence, speak to the societal conditions and everyday normative violence that serve as preconditions for political violence. This study deconstructs intersectional processes of racially and sexually normative subject formation—and its oppositional other, ghostly erasure—that are framed by a common temporal logic, wherein full citizenship is contingent upon a nation's dominant notions of contemporaneousness and whether individuals properly inhabit prescriptive timelines of (re)productivity. St-Georges’s study explores ways in which ghosts and families are manipulated in each national imaginary as a strategy for negotiating volatility within symbolic order: a tactic that can either naturalize or challenge normative discourses. As a literary and cinematic trope, ghosts are particularly useful vehicles for the exploration of national imaginaries and the dominant or competing cultural attitudes towards a country's history, and thus, the articulation of a present political reality. The rhetorical figure of the family is also key in this process as a mechanism for expressing national allegories, for expressing generational anxieties about a nation's relationship to time, and for organizing societies and social subjects as such, interpellating them into or excluding them from national imaginaries. By proposing these specific coordinates—ghosts and families—and by mapping their relationship between Spain and Latin America, Troubling Timelines proposes a study of a temporal framework that, besides bridging the traditional area-studies divide across the Atlantic, creates a space for interdisciplinary inquiry while also responding to increasing demand for studies that focus on intersectionality.
Spanish Cinema against Itself maps the evolution of Spanish surrealist and politically committed cinematic traditions from their origins in the 1930s—with the work of Luis Buñuel and Salvador Dalí, experimentalist José Val de Omar, and militant documentary filmmaker Carlos Velo—through to the contemporary period. Framed by film theory this book traces the works of understudied and non-canonical Spanish filmmakers, producers, and film collectives to open up alternate, more cosmopolitan and philosophical spaces for film discussion. In an age of the post-national and the postcinematic, Steven Marsh's work challenges conventional historiographical discourse, the concept of "national cinema," and questions of form in cinematic practice.
Winner, William M. LeoGrande Prize, Center for Latin American and Latino Studies at American University, 2022 For half a century, cultural production in Colombia has labored under the weight of magical realism—above all, the works of Gabriel García Márquez—where ghosts told stories about the country’s violent past and warned against a similarly gruesome future. Decades later, the story of violence in Colombia is no less horrific, but the critical resources of magical realism are depleted. In their wake comes "spectral realism." Juliana Martínez argues that recent Colombian novelists, filmmakers, and artists—from Evelio Rosero and William Vega to Beatriz González and Erika Diettes—share a formal and thematic concern with the spectral but shift the focus from what the ghost is toward what the specter does. These works do not speak of ghosts. Instead, they use the specter to destabilize reality by challenging the authority of human vision and historical chronology. By introducing the spectral into their work, these artists decommodify well-worn modes of representing violence and create a critical space from which to seek justice for the dead and disappeared. A Colombia-based study, Haunting without Ghosts brings powerful insight to the politics and ethics of spectral aesthetics, relevant for a variety of sociohistorical contexts.
Ghosts and other supernatural phenomena are widely represented throughout modern culture. They can be found in any number of entertainment, commercial, and other contexts, but popular media or commodified representations of ghosts can be quite different from the beliefs people hold about them, based on tradition or direct experience. Personal belief and cultural tradition on the one hand, and popular and commercial representation on the other, nevertheless continually feed each other. They frequently share space in how people think about the supernatural. In Haunting Experiences, three well-known folklorists seek to broaden the discussion of ghost lore by examining it from a variety of angles in various modern contexts. Diane E. Goldstein, Sylvia Ann Grider, and Jeannie Banks Thomas take ghosts seriously, as they draw on contemporary scholarship that emphasizes both the basis of belief in experience (rather than mere fantasy) and the usefulness of ghost stories. They look closely at the narrative role of such lore in matters such as socialization and gender. And they unravel the complex mix of mass media, commodification, and popular culture that today puts old spirits into new contexts.
Ghosts, spirits, and specters have played important roles in narratives throughout history and across nations and cultures. A watershed moment for this area of study was the publication of Derrida's Specters of Marx in 1993, marking the inauguration of a "spectral turn" in cultural criticism. Gathering together the most compelling texts of the past twenty years, the editors transform the field of spectral studies with this first ever reader, employing the ghost as an analytical and methodological tool. The Spectralities Reader takes ghosts and haunting on their own terms, as wide-ranging phenomena that are not conscripted to a single aesthetic genre or style. Divided into six thematically discreet sections, the reader covers issues of philosophy, politics, media, spatiality, subject formation (gender, race and sexuality), and historiography. It anthologizes the previously published work of theoretical heavyweights from different disciplinary and cultural backgrounds, such as Jacques Derrida, Gayatri Spivak, and Giorgio Agamben, alongside work by literary and cultural historians such as Jeffrey Sconce and Roger Luckhurst.
An intellectual feast for fans of offbeat history, Ghostland takes readers on a road trip through some of the country's most infamously haunted places--and deep into the dark side of our history.