Nuria Morgado
College of Staten Island, World Languages and Literatures, Faculty Member
- Friedrich Nietzsche, Nietzsche, Cervantes, Miguel de Cervantes, Guilty Conscience Nietzsche, Antonio Machado, and 33 moreJuan De Mairena, Immanuel Kant, Literatura española e hispanoamericana, Literatura española - exilio 1939 - cine y literatura, Literatura española contemporánea, Generacion Del 98, Generación del 27, Estudios Culturales, Filosofía y Literatura, Estudios de Género, Estudios De Género Y Feminismo, Literatura Y Feminismo, Cine Español, Pedro Almodóvar, Miguel de Unamuno, Ortega y Gasset, José Ortega y Gasset, Jorge Luis Borges, Literatura española del Siglo de Oro, Teatro Siglo de Oro Español, Enrique Vila Matas, Vila-Matas, Pio Baroja, Lourdes Ortiz, Laura Freixas, Schopenhauer, Arthur Schopenhauer, Antonio Muñoz Molina, Miguel Delibes, Modernity, Modernidad, Postmodernidad, and Malcolm Alan Compitelloedit
- Nuria Morgado is Professor of Hispanic Studies at The College of Staten Island and The Graduate Center of The City Un... moreNuria Morgado is Professor of Hispanic Studies at The College of Staten Island and The Graduate Center of The City University of New York (CUNY). Her research includes modern and contemporary Hispanic literature, cultural studies, comparative literature, and the relationship between literature, culture, and philosophy. She has edited and co-edited several books and published numerous essays, book chapters, interviews, and book reviews both nationally and internationally. Professor Morgado is part of the Academic Committee of the Miguel Delibes Chair, founded by The Graduate Center (CUNY) and Universidad de Valladolid (Spain). Additionally, she is Full Member of the North American Academy of the Spanish Language (ANLE) and Correspondent of the Royal Spanish Academy (RAE). Professor Morgado is also the co-founder of Letras Hispanas: Revista de Literatura y Cultura, the book review editor of the Arizona Journal of Hispanic Cultural Studies, and the editor-in-chief of Boletín de la Academia Norteamericana de la Lengua Española (BANLE), the ANLE's academic journal. Moreover, she serves on several editorial boards.edit
Research Interests: Cultural Theory, Hispanism, Filosofia Del Lenguaje, Hispanic Studies, Estudios Culturales, and 15 moreFilosofía Latinoamericana, Filosofía Política, Literatura, Filosofía, Filosofia y Derechos Humanos en America Latina, Cultura y Literatura Latinoamericana, Filosofía española, Literatura española e hispanoamericana, Filosofía hispanoamericana, Filología Hispánica, Estudios Hispánicos, Filosofía y Literatura, Estudios hispanicos, Facultad de Filosofía y Letras UNAM, and Filosofía Española Contemporánea
Research Interests: Comparative Literature, Spanish Literature, Filosofia Del Lenguaje, Literatura Latinoamericana, Hispanic Studies, and 15 moreEstudios Culturales, Filosofía Latinoamericana, Filosofía Política, Filosofía, Literatura Comparada, Literatura Comparada (Comparative Literature), Literatura Hispanoamericana, Estudios Latinoamericanos, Literatura española e hispanoamericana, Filosofía hispanoamericana, Transmodernity, Estudios Hispánicos, Literatura y Filosofía, Filosofía y Literatura, and Estudios Comparados
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Research Interests: Spanish Literature, Miguel de Cervantes, Cervantes, Don Quijote, Literatura española, and 8 moreLiteratura Comparada, Quijote, Literatura española del Siglo de Oro, Spanish Literature of the Golden Age, Don Quixote, Literatura española e hispanoamericana, El Ingenioso Hidalgo Don Quijote De La Mancha, and Estudios Comparados
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Resumen: La obra de Miguel Delibes ha sido estudiada e interpretada con frecuencia a partir de su fuerte compromiso con la naturaleza, considerando, sobre todo, la relación existente entre el campo y la ciudad y su lucha personal contra... more
Resumen: La obra de Miguel Delibes ha sido estudiada e interpretada con frecuencia a partir de su fuerte compromiso con la naturaleza, considerando, sobre todo, la relación existente entre el campo y la ciudad y su lucha personal contra una conciencia capitalizada que no respeta el medio ambiente. En USA y yo, el libro periodístico que señala sus impresiones sobre los Estados Unidos, se muestra Delibes en contra de los efectos deshumanizantes de la mecanización y resalta asimismo la necesidad de armonizar la tecnología con la naturaleza. En este artículo se explora la impresión de Delibes ante la ciudad en contraste con su concepto del progreso, siempre en sintonía con su credo ecológico y su compromiso con el medio ambiente.
Abstract: Miguel Delibes’s work has been frequently studied and interpreted based on his strong commitment to nature, considering, above all, the relationship between the countryside and the city and his personal struggle against a capitalized conscience that does not respect the environment. In USA and I, the journalistic book that points out his impressions of the United States, Delibes is against the dehumanizing effects of mechanization and also highlights the need to harmonize technology with nature. This article explores Delibes’s impression of the city in contrast to his concept of progress, always in tune with his ecological creed and his commitment to the environment.
Abstract: Miguel Delibes’s work has been frequently studied and interpreted based on his strong commitment to nature, considering, above all, the relationship between the countryside and the city and his personal struggle against a capitalized conscience that does not respect the environment. In USA and I, the journalistic book that points out his impressions of the United States, Delibes is against the dehumanizing effects of mechanization and also highlights the need to harmonize technology with nature. This article explores Delibes’s impression of the city in contrast to his concept of progress, always in tune with his ecological creed and his commitment to the environment.
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[Resumen] Este ensayo explora el rechazo manifiesto en la teoría crítica de Antonio Machado hacia el aparato estético del barroco que no hace sino apuntar hacia la artificialidad del arte en sí. Su crítica está considerada desde el... more
[Resumen] Este ensayo explora el rechazo manifiesto en la teoría crítica de Antonio Machado hacia el aparato estético del barroco que no hace sino apuntar hacia la artificialidad del arte en sí. Su crítica está considerada desde el contexto de la nueva poesía vanguardista y expresa un desagrado del uso artificioso de las imágenes conceptuales desprovistas de todo sentimiento. Su evaluación negativa sobre el barroco se realiza en función de su concepción estética y los criterios que emplea se basan en los principios que rigen tanto sus juicios estéticos como su propia praxis poética. Asimismo, sus juicios estéticos sobre el barroco están informados por su conocimiento de las teorías estéticas y filosóficas que se estaban dando en esos momentos fuera de las fronteras peninsulares. La estética barroca no era parte de la poética de la intuición que teorizaba y practicaba. Se podría decir que el objetivo último de sus reflexiones sobre el barroco era el de arrojar algo de luz sobre el enigma de la poesía.
[Abstract] This essay explores the manifest rejection in the critical theory of Antonio Machado towards the aesthetic apparatus of the baroque that does nothing but point to the artificiality of art itself. His criticism is considered from the context of the new avant-garde poetry and expresses a dislike of the artificial use of conceptual images devoid of all feeling. His negative evaluation of the baroque is based on his aesthetic conception and the criteria he uses are based on the principles that govern both his aesthetic judgments and his own poetic praxis. Likewise, his aesthetic judgments about the baroque are informed by his knowledge of the aesthetic and philosophical theories that were taking place outside the peninsular borders at that time. Baroque aesthetics was not part of the poetics of intuition that he theorized and practiced. One could say that the ultimate goal of his reflections on the baroque was to shed some light on the enigma of poetry.
[Abstract] This essay explores the manifest rejection in the critical theory of Antonio Machado towards the aesthetic apparatus of the baroque that does nothing but point to the artificiality of art itself. His criticism is considered from the context of the new avant-garde poetry and expresses a dislike of the artificial use of conceptual images devoid of all feeling. His negative evaluation of the baroque is based on his aesthetic conception and the criteria he uses are based on the principles that govern both his aesthetic judgments and his own poetic praxis. Likewise, his aesthetic judgments about the baroque are informed by his knowledge of the aesthetic and philosophical theories that were taking place outside the peninsular borders at that time. Baroque aesthetics was not part of the poetics of intuition that he theorized and practiced. One could say that the ultimate goal of his reflections on the baroque was to shed some light on the enigma of poetry.
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Siguiendo la metafísica de Immanuel Kant, según se desprende de la Crítica de la razón pura, y el pensamiento filosófico de Antonio Machado manifestado en su obra en prosa, este ensayo examina el escepticismo dialéctico de ambos... more
Siguiendo la metafísica de Immanuel Kant, según se desprende de la Crítica de la razón pura, y el pensamiento filosófico de Antonio Machado manifestado en su obra en prosa, este ensayo examina el escepticismo dialéctico de ambos pensadores como un medio para el conocimiento, en el que se resalta el valor de la duda, las contradicciones y paradojas del pensamiento especulativo para resistirse a cualquier certidumbre dogmática.
Research Interests: European Studies, Spanish philosophy, Emmanuel Kant, Immanuel Kant, Gottfried Wilhelm Leibniz, and 22 moreDavid Hume, Skepticism, Kant & neo-Kantianism, 19th and 20th-century European philosophy, Filosofía, Literatura española, Gestión del Conocimiento, Metafísica, Antonio Machado, Teoría del conocimiento, Literatura y Filosofía, Filosofía y Literatura, Filosofía y Letras -UANL, Escepticismo, Dialéctica, Literatura Española Peninsular, Estudios Interdisciplinarios, Crítica De La Razón Pura, Filosofia, Juan De Mairena, Filosofía Y Poesía, and Facultad de Filosofía y Letras UNAM
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Research Interests: Gender Studies, Women's Studies, Film Studies, Performance Studies, Performativity, and 11 moreParody, Spanish cinema (Film Studies), Spanish film, Women and Gender Studies, Pedro Almodóvar, Epistemology of Ignorance, Women in Almodovar Films, Parodia, Camp and Queer Aesthetics in Almodovar Films, La Feminidad Segun Almodovar, and Cine Contemporaneo Espanol
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Research Interests: Humanities and Hispania
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Research Interests: Cultural History, Cultural Studies, Spanish Literature, Spanish Literature (Peninsular), History Of Emotions, and 9 morePhilosophy of the Emotions, Hispanic Literature, Hispanic Studies, Estudios Culturales, Cultura y Literatura Latinoamericana, Spanish Cultural Studies, Historia Social Y Cultural, Literatura española e hispanoamericana, and 19th/20th-Century Peninsular Spanish Literature and Culture
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Roberto Montero González (Madrid 1965), más conocido en el mundo literario como Montero Glez, es uno de los escritores contemporáneos más sobresalientes de su generación. Sus primeras novelas publicadas, Sed de champán (1999), Cuando la... more
Roberto Montero González (Madrid 1965), más conocido en el mundo literario como Montero Glez, es uno de los escritores contemporáneos más sobresalientes de su generación. Sus primeras novelas publicadas, Sed de champán (1999), Cuando la noche obliga (2003) y Manteca colorá (2005) han sido aclamadas por el público y la crítica, así como su volumen de cuentos titulado Besos de fogueo (2007). Dedicado al periodismo desde el año 84, ha reunido sus artículos de opinión en Diario de un hincha, el fútbol es así (2006) y El verano: lo crudo y lo podrido (2008). Su trabajo más logrado, según la crítica, es su novela Pólvora negra (2008), galardonada con el prestigioso Premio Azorín, y en ella reconstruye el atentado del anarquista catalán Mateo Morral contra Alfonso XIII en mayo de 1906, al lanzarle el día de su boda un ramo de flores que escondía la bomba destinada al monarca. En torno a este hecho, con una prosa brillante y exquisita y con saltos temporales en la acción narrativa, Montero ...
Research Interests: Fernando Pessoa, Borderlands Studies, Hispanic Literature, Gloria Anzaldua, Hispanic Studies, and 14 moreEstudios Culturales, Cultura y Literatura Latinoamericana, Academic Journals, GUERRA CIVIL ESPAÑOLA, Mestizaje, Mestiza Consciousness, Literary Journals, Fronteras, Literatura española e hispanoamericana, Revistas académicas, Frontera, Filología Hispánica, Estudios De Latinoamerica, and cuadernos de aldeeu
studies. Nevertheless and as he concludes, “a particular continuity, perhaps the most pervasive, has been the apparent complicity of the authorial figure with the violence of authoritarian regimes of power and systems of oppression”... more
studies. Nevertheless and as he concludes, “a particular continuity, perhaps the most pervasive, has been the apparent complicity of the authorial figure with the violence of authoritarian regimes of power and systems of oppression” (127). This conclusion is compelling and revealing in the case of all of these authors to the degree that they have been and continue to be challenging of the status quo and of the normativities they explore in their fictions. But could the pursuit of the figure of the literary author as “rebel without a cause” be precisely the performative required to join the pantheon of male letrados? Might this ethical quandary be different if women and women’s bodies were at the center at the narrative? Although Cortés notes that his interpretations, anchored in the examples he discusses, might be applicable to several texts written by male writers of the Hispanic Caribbean and its US diasporas, the disturbing conundrum he identifies in Macho Ethics might benefit from engagement in relationship to some of these other writings, particularly those penned most recently. A goal here would be to identify and document just how pervasive this particular strategy of entangled authorial self-figuration might be and to what degree, if ever, does it ever get disrupted by any male author. Cortés is emphatic in his exploration of the continuities of male letrado ideations in writings produced in the Caribbean and in the United States, in Spanish and in English. To the degree that Macho Ethics brings together the writers that it does, it is in the company of recent scholarship that insists in bringing transnational and bilingual sensibilities to critical exegesis. A very interesting dimension of what Cortés achieves in Macho Ethics is his exploration of the participation of putatively queer subjects and themes in the construction and reproduction of (hetero) normative structures and hierarchies. The continuities that he detects between the Cuban Severo Sarduy and the other authors discussed, together with Cortés’ suggestion of the possible continuity of these entanglements of authority with the figures of the dictator and the macho in the work of other cisand trans-identified US Latino and Caribbean authors, beg questions about the degree to which normativities are entangled with queerness as gender or sexual dissidence. To what degree does normative authority remain attractive and compelling to authors who might otherwise “disidentify” with it? To what degree does “rebellion” of this kind constitute a performative utterance that ultimately reproduces normativity? In clear debt to pioneering scholarship by José Quiroga, Licia Fiol-Matta, and Ben Sifuentes-Jáuregui, Cortés offers an intriguing horizon for future literary and cultural inquiry in Latino and Hispanic Caribbean Studies.