Department of Humanities

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    Ni cautivas ni desarmadas: la imagen de la miliciana en la narrativa contemporánea española
    (2021) Ruiz Serrano, Cristina
    La figura de la miliciana y su lucha por el cambio sociopolítico se han recuperado en numerosas producciones narrativas recientes. Mediante el análisis de su representación en La voz dormida (2002) de Dulce Chacón, Inés y la alegría (2011) y Las tres bodas de Manolita (2014) de Almudena Grandes, La monja libertaria (1985) de Antonio Rabinad, y Así fue pasando el tiempo. Memorias de una miliciana extremeña (2006) de María de la Luz Mejías Correa, en este artículo se examina la proyección de la miliciana en el imaginario cultural español contemporáneo y en la memoria histórica del país.
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    Las memorias de una gran olvidada: Micaela Feldmande Etchebéhère
    (2021) Ruiz Serrano, Cristina R.
    La guerra civil española ha pasado a la historia por ser la «última guerra idealista» (Aróstegui, 2008: 17) y la «primera guerra» en la que las mujeres tomaron las armas y lucharon en igualdad de condiciones con los hombres, combatiendo desde la equidad de género y su identidad de mujer (Lines, 2009: 168). Dichas mujeres no fueron solamente las brigadistas, voluntarias extranjeras que se incorporaron a las Brigadas compuestas de nacionales de 53 países que viajaron a España a defender el gobierno republicano elegido democráticamente en 1936 del golpe de Estado franquista, sino también las integrantes de las milicias, en su gran mayoría mujeres españolas, que quedaron estigmatizadas y silenciadas tras la guerra (Coleman: 1999: 51).
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    A philosophical defense of myth: Josef Pieper’s reading of Platonic Eschatology
    (2021) Lorkovic, Edvard
    This paper is born of an observation: Plato seems interested in, if not worried about, the afterlife, what happens after we die. The Republic, Gorgias, and Phaedo all end with a story about the world beyond finite human experience, an eschatological myth, whereas other dialogues, like the Meno, Phaedrus, and Apology, allude to the same. Although the myths in the Republic and the Phaedo incorporate more in addition, including apparent accounts of the structure of the universe (Republic616d-617d and Phaedo108d-113c), each of these stories represents an ostensibly theological event: the judgment of souls by divine, which is also to say completely wise and just, judges. Put simply, these myths are about the afterlife. This seemingly theological feature occupies a prominent place in otherwise philosophical texts: in the Gorgias, Socrates shares the myth with Callicles, a moral relativist and crass political realist who is unwilling to be persuaded by philosophical arguments that an unjust life is never profitable and that it is better to suffer injustice than to commit it; in the Republic, Socrates concludes his defense of justice as the best kind of good, namely as something good in itself and for its results, by recounting a story told by Er, a warrior who was permitted to bear witness to the judgment of souls and return to the world of the living to report it, which shows that justice is rewarded in the afterlife even when it is not beneficial in the here and now; and in the Phaedo, Socrates tells the story to his friends after attempting to persuade them that the soul is undying and shortly before drinking the poison that will end his life, as a way, it would appear, of assuaging his friends’ fear of death and worry for his soul. In each case, Socrates treats the content of the eschatological myth seriously and connects it to the arguments that preceded.
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    Unearthing Montreal’s past in Hochelaga, terre des âmes
    (2021) Epp, Marla
    Hochelaga, terre des âmes considers what lies both beneath and above the ground, approaching the past through a study of trees and the natural world as well as through an academic, archaeological dig. Girard celebrates both ways of looking, and, ultimately, like DidiHuberman, shows them to be two facets of the same process of unearthing the past. As Lionel Ruffel contends, a combination of the two is a very contemporary way of approaching the past. The film is also contemporary in another sense, as it actively participates in current discussions around reconciliation in Canada.
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    Daily life in Un roman russe and L’Origine de la violence
    (2021) Epp, Marla
    This article focuses on the tensions between the banality of the everyday and a traumatic but unspoken family loss, which are at the centre of Un Roman russe and L’Origine de la violence. I trace the ways in which the effects of the repressed family past manifest themselves in the routines of daily life, arguing that the everyday has become haunted by a transgenerational phantom, to use Abraham and Torok’s phrase. In these novels, the daily routines of the bourgeois families are not only a product of their social standing and privilege, but also a performative means of showcasing and creating this social position. I contend that the texts not only emphasize the ways in which the details of an individual’s quotidian actions are determined by class standing, but also ask to what lengths someone might go in order to protect or improve the day-to-day comforts of their family. Ultimately, I argue that quotidian experiences can be read as both the effects and the catalysts of many of the decisions surrounding moments of major upheaval—that is to say, that the exceptional event and the everyday cannot be easily disassociated.