Gibraltar, a British Overseas Territory located on the Iberian Peninsula, near the confluence of the Mediterranean Sea and the Atlantic Ocean, exists in a state of ongoing political and cultural tension with the United Kingdom and Spain. Gibraltarians’ collective identity has been formed both from and against these two historical and cultural inputs. British and Spanish writing about Gibraltar has tended to silence the voices of Gibraltarians themselves as they have attempted to describe and reflect upon their community, their place in the world and their experiences. Given this dynamic, this introductory article assesses strategies that four Gibraltarian poets, working in different periods, have taken to write their community into the world.

ABSTRACT: My analysis in this paper centers on Miguel de Unamuno's multifaceted engagement (commentary, translation, poetic response) with Antero de Quental's metaphysically-inclined sonnets. Like Unamuno, I focus on the sonnets "Redenção" and "Na mão de Deus." I first demonstrate how Unamuno unsuccessfully attempts to reconcile Quental's poetic descriptions of death as liberation, and of the individual's reabsorption in death into the universal consciousness, with his agonized faith in a personal God and his New Testament-derived belief in humanity's redemption from sin and salvation by Jesus Christ. I then argue that while Unamuno may have misinterpreted Quental, his misreading was nonetheless productive in that it furnished him with an Iberian exemplar of the sentimientotrágico de la vida – though I contend that Unamuno's elevation of Quental to the status of tragic exemplar is nonetheless misplaced

O kit de sobrevivencia do descobridor portugues no mundo anticolonial, published in late 2020, is the creation of Patricia Lino, a Portuguese researcher, poet, multimedia artist, and assistant professor at the University of California, Los Angeles. Her book is ostensibly an instruction manual for forty items included in a fictitious “survival kit” meant to help Portuguese national chauvinists navigate the rough waters of contemporary political correctness, multiculturalism, and historical revisionism.

university of toronto quarterly, volume 90, number 3, summer 2021 © university of toronto press doi: 10.3138/utq.90.3.hr.46 ninety theses that are helpfully reproduced in an appendix to volume two. Some readers may bristle at this approach to theology. But it has the great virtue of clarity of expression in a time when rhetorical force is often prized above precision. The theological academy can be grateful for the many writings of Robert M. Doran, SJ, this work not least among them. Trinity in History, volume two, and its companion volumes, contain the seeds of a profound transformation of Catholic theology for the twenty-first century and beyond.

This chapter analyzes the apparent contradictions, or double face, of translation in the work of Catalan writer Joan Maragall (1860–1911) – an understudied topic within Maragall scholarship. It first describes the author’s rejection of self-translation, specifically in the Iberian context, and his assertion that communication across related forms of Ibero-Romance (Catalan, Castilian, and a composite Galician-Portuguese) is possible without recourse to translation. The chapter then examines Maragall’s statements on literary translation as they relate to his own translations, particularly of German texts into Catalan and, in one instance, of a French text into Castilian. It concludes by attributing the inconsistencies in Maragall’s statements on translation to the failure of his Catalanist principles, as applied to language and translation, to fully account for the complexities of his bilingual literary life.

Reviewed by: Gooseman by M. G. Sanchez Robert Patrick Newcomb Sanchez, M. G. Gooseman. The Dabuti Collective, 2020. Pp. 449. ISBN 978-1-999-88764-3. Gooseman is the fourth novel by the prolific Gibraltarian author M. G. Sanchez, a fiction writer, memoirist, essayist, and columnist, who has affirmed his place as Gibraltar's most important living English-language writer. Gibraltar, a self-governing British territory bordered by Spain and the Mediterranean, is a multilingual community whose writers have published in English and Spanish. A West Yorkshire resident with a PhD in English literature, Sanchez often utilizes his fiction to address the Gibraltarian experience in Great Britain. Gibraltarians have a long history in the United Kingdom, whether as World War II-era evacuees, students, or economic migrants. In Gooseman and elsewhere, Sanchez depicts the ignorance and xenophobia Gibraltarians face, despite their British citizenship, as "foreigners" from a little-known imperial relic. He cleverly represents this dynamic in the title of his new novel: Gooseman is a corruption of the surname of narrator-protagonist Johann Guzman, who is habitually referred to as "Gooseman," "Geeseman," and so on by his British interlocutors. Readers accompany Johann's sputtering progress from childhood to middle age. Born in Gibraltar in the 1970s to working-class parents, Johann is a sensitive, socially awkward boy, who eventually discovers that he suffers from depression, obsessive-compulsive disorder, and agoraphobia. He also periodically self-harms. The young Johann fails to distinguish himself academically, despite his intelligence, and is repulsed by his peers' alcohol-fueled, sex-obsessed social life. He drops out at 15, "with nothing to show for ten years of schooling except a mild to moderate persecution complex and a stolen library copy of Tayib Salih's Season of Migration to the North" (24). After a period spent self-isolating and failing to live up to his father's expectation that he pay his way ("If you think I'm going to be keeping you without you bringing a wage home, you're out of your head, pishón …" [boy]) (25), Johann heads "to the UK to seek better prospects," as he writes to his parents (85). Johann hopes that by moving "from periphery to centre" (362), he might "start afresh in some place where nobody [would know] about my mentally unstable past, somewhere where character judgments [would be] dependent on what I said" (84). These hopes are quickly dashed. Setting up in the bleak London suburb of Neasden, Johann first works cleaning toilets at McDonald's, then in a mail room. English nativism marks him as a "foreign bahstard [sic]" (377) from the moment he opens his mouth. His mental struggles, which strained by poverty and alienation flower into misanthropy, prevent him from realizing his ties—hinted at by his pilfering of Salih's novel—with his fellow "colonials," that is, the working-class South Asian and African immigrants he encounters in London and later in Yorkshire. Johann also fails at love. His first relationship, with white, middle-class Jules, collapses under the weight of deception (ashamed of his poverty, he pretends to be a graduate student), his emotional instability, and her parents' snobbery. His second, with Ashrita, a civil servant, implodes in spectacular fashion after a night at a swingers' meetup so disastrous that she—improbably—abandons her job, returns to her Indian immigrant parents in Bradford, and agrees to an arranged marriage. Johann's life moves from malaise to crisis when, after failing to convince Ashrita to return to London, he is accosted by a group of Bradford teenagers. Misidentified based on his accent ("'Geeb-ral-tar … 'that's still Kosorvo, mate, innit?") (301), Johann becomes the victim of a hate crime, and is stabbed and beaten so viciously that he is left disabled. After a prolonged hospital stay leaves him homeless and unemployed, Johann is moved to public housing in nearby [End Page 750] Wakefield, where his accent and disability earn him harassment from a second gang of bigoted teens. Verbal threats escalate to property destruction, and most disturbingly, the shoving of a crucified rat through his letterbox. Johann eventually lures the group's sadistic leader into his apartment, where in a scene both...

Review of: Border Control and Other Autobiographical Pieces, M. G. Sanchez (2019) Gibraltar: The Dabuti Collective, 196 pp., ISBN 978-1-99988-763-6, p/bk, ISBN 1-99988-763-8 (e-Book), $12.35/$9.82

Review of: Border Control and Other Autobiographical Pieces, M. G. Sanchez (2019)Gibraltar: The Dabuti Collective, 196 pp.,ISBN 978-1-99988-763-6, p/bk, ISBN 1-99988-763-8 (e-Book), $12.35/$9.82

Transatlantic Studies seeks to provoke a discussion and a reconfiguration of area studies. Within departments of Spanish, Portuguese, Latin American Studies, and Iberian Studies, the Transatlantic approach critically engages the concepts of national cultures and postcolonial relations among Spain, Portugal and their former colonies in the Americas and Africa. Like its objects of study, Transatlantic Studies transgresses national boundaries instead of assuming the nation-state as a sort of epistemic building-block. But it attempts to do so without dehistoricizing the texts and other cultural products it brings under analysis. The thirty-five essays comprised in this volume are geared toward an audience of undergraduate and graduate students, as well as faculty colleagues who teach transatlantically oriented courses. They encompass nearly every decade in the last two centuries: from the Napoleonic invasion of the Iberian peninsula in the spring of 1808 and the subsequent movements of Latin American independence, through the transatlantic avant-garde, to current migration movements between Latin America, Africa, and the former Iberian metropoles. While each essay addresses a specific topic, our contributors also open up new questions for discussion and research, point to further readings, and suggest specific primary sources that can be used in the classroom.

Preview this article: Iberian Studies: New spaces of inquiry, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/ijis/32/1-2/ijis.32.1-2.9_2-1.gif

This paper analyzes two poems, by Gonçalves Crespo and Caetano da Costa Alegre, both entitled “A negra,” and dating from 1882 and 1884. My comparison focuses on the writers’ revindications of the figure of the negra. Drawing on Alfredo Bosi’s understanding of historically-situated, “resistant” literary texts, I argue that the poems show their writers grappling with—and partially subverting—poetic conventions that were hostile to the affirmation of the beauty and dignity of African and Afro-diasporic women, particularly in comparison to the figure of the loira, a commonplace of nineteenth-century Portuguese poetry. The poems pushed the boundaries of what could be said concerning race and beauty in late-nineteenth-century Portuguese verse, while respecting certain conventions so as to be formally and conceptually “legible.” I contend that we should understand these poems in terms of Bosi’s ideology/ counter-ideology dyad, as exercises in ideological and poetic negotiation rather than examples of uncritical conformity, or of a radicalism that, per Bosi, would have been unavailable to these writers.

In this article, I examine an anecdote concerning a counterfeit coin included in João do Rio’s Portugal d’agora (1911). After contextualizing Rio’s interest in Portugal, I argue that the anecdote reveals a latent anxiety about the security of money as a reliable signifier, and about the integrity of the Portuguese monetary system. I contend that this anxiety constitutes one side—the obverse, in numismatic terms—of Rio’s portrait of Portugal during the first years of the 20th century. The "reverse" consists of his descriptions of what we, following Sérgio Buarque de Holanda in Raízes do Brasil (1936), might term Luso-Brazilian desleixo. In my conclusion, I connect Rio’s two-sided view of Portugal with his later positions, as articulated in the journal Atlântida (1915-20), which he co-edited with João de Barros.