Book contents
- Frontmatter
- Contents
- Preface
- Notes on Contributors
- List of Figures
- Introduction
- Chapter 1 Projecting a More Habitable Globe: Hollywood's Yellow Peril and Its Refraction onto 1930s Shanghai National Cinema
- Chapter 2 Berlin – The City of Sound and Sensation in Fritz Lang's M and E. A. Dupont's Varieté
- Chapter 3 Bond's Body: Diamonds Are Forever, Casino Royale and the Future Anterior
- Chapter 4 Whatever You Say, Say Nothing
- Chapter 5 Imperial Gazes, Hollywood Predators: A Cinema of Molestation in Postcolonial Indian Literature
- Chapter 6 Linguistic Identity in Fruit Chan's 1997 Trilogy
- Chapter 7 The Postnational and the Aesthetics of the Spectral: Hou Hsiao-Hsien's Flight of the Red Balloon
- Chapter 8 The Art Object as Text in the Practice of Comparative Visuality
- Chapter 9 Exploring In-humanity: Gertrude Stein's Tender Buttons and Still-Life Painting
- Chapter 10 Re-defining Art: Manuel Rivas' Mujer en el baño
- Chapter 11 Re-envisioning the Haunting Past: Kara Walker's Art and the Re-appropriation of the Visual Codes of the Antebellum South
- Bibliography
- Index
Chapter 10 - Re-defining Art: Manuel Rivas' Mujer en el baño
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Preface
- Notes on Contributors
- List of Figures
- Introduction
- Chapter 1 Projecting a More Habitable Globe: Hollywood's Yellow Peril and Its Refraction onto 1930s Shanghai National Cinema
- Chapter 2 Berlin – The City of Sound and Sensation in Fritz Lang's M and E. A. Dupont's Varieté
- Chapter 3 Bond's Body: Diamonds Are Forever, Casino Royale and the Future Anterior
- Chapter 4 Whatever You Say, Say Nothing
- Chapter 5 Imperial Gazes, Hollywood Predators: A Cinema of Molestation in Postcolonial Indian Literature
- Chapter 6 Linguistic Identity in Fruit Chan's 1997 Trilogy
- Chapter 7 The Postnational and the Aesthetics of the Spectral: Hou Hsiao-Hsien's Flight of the Red Balloon
- Chapter 8 The Art Object as Text in the Practice of Comparative Visuality
- Chapter 9 Exploring In-humanity: Gertrude Stein's Tender Buttons and Still-Life Painting
- Chapter 10 Re-defining Art: Manuel Rivas' Mujer en el baño
- Chapter 11 Re-envisioning the Haunting Past: Kara Walker's Art and the Re-appropriation of the Visual Codes of the Antebellum South
- Bibliography
- Index
Summary
‘A la manera de Camus, no es la lucha lo que nos obliga a ser artistas, sino el arte que nos invita a ser luchadores. Caravaggio definía a los verdaderos artistas como valenthuomi. Y así han de ser. No bravucones, pero si valientes… Los ojos reconocen de inmediato la luz extra de la valentía. Los ojos son cleptómanos. Carece de importancia que el cuadro tenga propietario si pueden acceder a él… Cuando se injerta en el espino de la vida, el cuadro renace y pide hablar. Los colores, las líneas, las formas, se descomponen en palabras que llevan memoria en los hombros del lenguaje’.
—Rivas, Mujer en el bañoIn the twenty-first century Manuel Rivas becomes the most promising Galician author at the commercial level not only in Spain but worldwide. His position in the Galician literary panorama is consolidated as the result of the well merited awards received for his work, his cultural and political participation in Galicia, as well as his efforts in educating citizens abroad from countries all around the world. Through his works he has known how to take Galician culture to the world by-passing the boundaries of language/culture without forfeiting his assessment of Galicia as a culturally indigenous country that deserves a position and recognition within the Spanish literary canon. If in fact, his major works present the traditional history of life in Galicia during the Civil War; one not only encounters the intellectual figure but also the marginalised: the mother, the guerrillas or maquis, the prostitute, the poor, the defeated and the homosexuals.
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- Information
- World Cinema and the Visual Arts , pp. 139 - 152Publisher: Anthem PressPrint publication year: 2012