The symptom becomes a sign of traumatic repression, so that when similar traumatic events take place, the symptom be- comes the sign or representation of the original traumatic event: Occidentalism, in this context, refers to the Spanish imperialist ideology by which, since the Hapsburgs, the Spanish empire fashioned itself, through translation imperii, as the last rein- carnation and global culmination of the Roman empire, and therefore, of the West or Occi- dent.
Spanish Occidentalism is formed as a result of the conquest of Latin America and this act of imperialism becomes its foundation. Therefore the symptom is the sign or representation of the repetition of trauma by generating anxiety. It is this traumatic, repetitive and anxious nature of the symptom that interests us. First, for Lacan, the symptom is not simply a sign or representation of the repetition of trauma, but also the only way in which trauma can be re lived. Second, Lacan combines the act of trauma and the enjoyment previous to trauma in a single entity: In this way, the symp- tom is the only way in which the subject has access to his unconscious pleasure and its repression: Furthermore, he claims that the origin of the notion of the symptom, in his reformulation, is to be sought in Marx.
In short, and fol- lowing psychoanalysis, postmarxism has established that ideology is based on 11 For a futher Lacanian analysis of the symptom, this passage is crucial, although it will not be developed in the above analysis: The fourth term, it happens, is the sinthome. In this sense the subject cannot access enjoyment-jouissance ex- cept through the traumatic violence of repression. A pedagogical list would break them down in the following way: The true real implies the absence of law.
The real has no order. This is what I mean when I say that the only thing I will perhaps one day he able to articulate before you is something concemlng what I've called a bit of real. Therefore this natural socialization of individuals sets the ground for nationalism as the community of equal beings that im- agine themselves as citizens and sovereign. The political doc- trine of this class is called liberalism and the economic ideology, the free market capitalism. As we will see at the end of this chapter, most Spanish culture pretended that imperial loss had not taken place.
If in other countries, romanticism is articulated through the expansion of Orien- talism qua discourse on the colonized Other, in Spain romanticism is defined by its articulation of colonial loss, and therefore the crisis of Occidentalism. Therefore, and more generally, one could claim that Spanish romanticism is the symptom of the crisis of Occidentalism. So he slays them despite himself, despite his best efforts to save them. There is no real, historical Marquis of Calatrava. In most romantic literature, the Order of Calatrava is invoked as a sign of old, aristocratic lineage. This is the op- posite logic of the colonial fetish present in Carmen.
Following this trend, Rivas presents the traditional orien- talist scenario characteristic of Seville: By the 18th century, when the action of the play takes place, the reference to Flan- ders is an anachronism that further emphasizes the imperialist imagination of the author. It is a voyage from lost colonies to empire, and from present Orientalism to past Occidentalism. Yet, despite the fact that he is the first subject interested in restoring such an order, his symptomatic nature undermines this order and, consequently, he is forced to kill Don Carlos: The latter stands for the representation of a lost, traumatic past that can no longer be restored and accessed except through a violent enjoy- ment of the symptom.
Eres un mestizo fruto de traiciones. Consequently, he becomes horrified of his own ac- tions: Yo soy un enviado del infierno, soy el demonio extermina- dor As he understands that he has brought a new postimperialist order marked by loss, he cancels himself, thus giving full mean- ing to his symptomatic nature as he ends up enjoying himself by committing suicide: Nothing more romantic in Spain that to signify the postimperial- ist order marked by traumatic loss.
Garcilaso de la Vega. More specif- ically, he would be a postcolonial reaction to a fatherly uprising similar to those of Tupac Amaru II or Bolivar. In the edited passages by Lacan cited on footnote 8, he adds something that now it is worth recon- sidering: The ex-sistence of the symptom is implied by the very position, which supposes this enigmatic link between the imaginary, the symbolic and the real. Seminar XIII 6, my emphasis Thus, if, according to Lacan, the father is a symptom, it means that the sign, referent, or representer of an entire historical period and society, that, is the representer of its law and rule, is also a symptom.
For Lacan, the father is what gives access to enjoyment in the trauma that the violence of the law rep- resents to the individual. The law violently establishes a traumatic law: Precisely the politics and law that justify themselves for having the power to deny full, primal enjoyment. Lacan finally adds that we retroactively fantasize about full enjoyment after the law imposes its vio- lence: But this final point is not important in our case. At the end of the 18th century, when the mutiny of Esquilache broke out , the masses precisely threatened to abolish the law and install the enjoyment of an unruly society that defied the control the en- lightened government had imposed through laws on customs and taxation.
The aristocratic elite reacted by appropriating the customs habits and cloth- ing of the subaltern masses and their celebrations music, dance, and bull- fighting. In this way, once again the nobility had the monopoly of enjoyment as it became the class that controlled the enjoyment of the lower classes, the majo-as. Yet, this new arrangement became precarious since the nobility no longer had a culture of its own, unlike the British and French bourgeoisie who developed a nationalist culture of its own, different from the subaltern classes.
Therefore the Spanish elite had to resort to forms of containment, so that the lower classes did not reappropriate their own culture.
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As we have seen in Ca- dalso, the Spanish aristocracy developed a postimperial culture of manners and customs, whose only hysterical, enjoying subject, became the elite itself. Subalternity, as the essence of true Spanish customs, became a knowledge, a discourse, to be performed exclusively and hysterically by the ruling classes. As the anonymous majo in the above scene states: In short, he is judged not to be a convenient suitor to Leonor, not because he does not belong to the order of the Spanish aristocracy, but rather because he exceeds it and excels at its performative culture.
He is rejected because he becomes the exception that defines the rule: In Lacanian terms, he becomes the Father of the post-Esquilache hegemony. And as such, he becomes the symptom of that political order, not because he does not rep- resent it, but because he represents it in a way that exceeds it. And the only reason for this excess is precisely his exotic origin: In short, the only subject who can represent the new political order and, at the same time, have access to its full enjoyment, comes from the colonies, precisely because the greatest threat to that order emanates from the colonial field, as history proved in , and the play signified it in Her second appearance is to seek a removed place in a cave near a monastery so that she can spend the rest of her life in penance.
In both cases, she receives the damnation of her father and brothers respectively: Moreover, her brother, Don Alfonso, kills her: Toma, causa de tantos desastres, recibe el premio de tu deshonra! Finally, the mother is dead, and even when she is recalled by Leonor, the former appears to be a very unsentimental upholder of the honor of the family. Instead, he seeks shelter in a monastery. The romantic hero must seek his beloved. If what appears to be an error or lapsus in the plot is compounded by the fact that the entire family repudiates Leonor and, ultimately, one of her own brothers kills her, the end of the play cannot be explained in romantic terms.
Technically, his usage is historically incorrect, for children of Spanish nobility and Inca royalty did not pertain to the mestizo caste Hill Yet, she draws a historically mixed conclusion, as she compounds the 18th- century settings of the action and the nineteenth century writing and perfor- mance of the play: However, as I tried to explain, this otherness occupies a more specific place, than a generic otherness. But even then, there is not racial characterization. If all the insults and characterizations are analyzed together a differ- ent racial scenario emerges: Hence, he creates an ever-growing anxiety among the old decadent Spanish aristocracy, which is dealt with in a phobic way but deploying a whole barrage of names and insults, in order to address the painful character of the symptom, rather categorizing it as racially different or other.
Even in this case, the racial coding of desire responds to the mel- ancholia of a postimperial female subject. The final intertextual proof of this analysis lies in the repetition of the same postimperial structure in the other works of the Duke of Rivas. Works such as Malek Adhel and El Moro exposito also explore the same postimperial subject against the nostalgic backdrop of the Christian wars against Spanish Muslims in the Middle Ages. He falls in love with a Muslim woman, Kerima, who nevertheless embraces Christianity. At the end Malek converts to Christianity but dies at the end. In short, it is part of larger intertextuality where different orientalist tropes of imperial and colonial anxiety are played out in symptomatic ways beyond a strictly racial approach.
However, what this play brings on stage is not simply a theatrical representation, but the staging of a national drama, a na- tional tragedy defined by trauma and loss. Therefore, it must be contextualized in a more general historical setting. That is, the founding myth of Spanish nation- alism is not only a reaction against a French invasion, but it is also a surrogate form of Latin American war for colonial independence.
The foundational importance of Latin American postcoloniality in the for- mation of Spanish nationalism comes hand in hand with another apparently contradictory fact: Through Latin America, Spanish nationalism imagines itself being imagined by the deceased Spanish empire. Therefore this Latin American absence in Spanish nationalism, which is at the same time foundational in the formation of the latter, has to be understood under the light of another nationalist development.
That is, these religious wars eventually gathered under the label of Reconsquista become the other central myth of Spanish nationalism, which echo that of the new war of independence against Napoleon. In both cases it becomes a matter of expelling the invading enemy However, Alvarez Junco does not examine the relationship between this medieval foundational myth and the central and formative absence of Latin America in nineteenth-century Spanish nationalist discourse.
Consequently, this nationalist refashioning requires a very important negation or disavowal: Spain becomes a nation in the nineteenth century.cars.cleantechnica.com/diez-das-que-sacudieron-al.php
Reflections on the Origin and Spread of Nationalism. Inhibitions, Symptoms and Anxiety. Ro- mance Review 11 The Theatre in Nineteenth-Century Spain. Lewis and Francisco J. Angel de Saavedra, Duque de Rivas. Revue Hispanique, 58 Rivas, Duque de Saavedra, Angel de. Don Alvaro o la fuerza del sino. Imperialist Psychosis at the Inception of Western Sex Spain continued to be unable to find national forms in which to ex- press its religious sentiment and, as a result, just when it had come from under the influence of Bourgogne, it fell under another one, of a wide reach, although not directly connected with the pilgrim road.
Cluny was in decay throughout the road to Santiago, and that is why I can understand the clamorous propaganda started by those monks, which focused on falsifying the so-called Codex Calixtinus, attributed to the pope Calixtus II. A section of the famous manu- script refers directly to the apostle and the pilgrimage: Spain in its History. Hisorie, critique et theorie liter- reraires. In precis de litterature europeenne. El nacimiento de Carmen. Simbolos, mitos y nacion.
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In this con- text, tourism could shed unexpected light in solving nineteenth-century Span- ish historiography and culture, while also allowing us to redefine modernity at large. Rather than thinking modernity in Spain, I believe that an archaeology of nineteenth-century Spain should begin by resituating its discursive subject and object. Consequently it should face the opposite task of thinking modernity from Spain. The goal is to resituate both modernity and Spain into a new location and relation, which in turn will allow us to rethink both formations from a stand- point that is simultaneously feminist, queer, postmarxist, and postnational.
As a tentative approach, I will pose two different problems. Rather than attempting a clear and definitive response, I will point to two different direc- tions in which to rethink the relationship between modernity and Spain, while opening up a new history that is both geopolitical and biopolitical in its under- standing of modernity and the West.
The first problem has to do with sexual- ity. The ultimate goal is to connect sexuality, Orientalism, and tourism in a single historical formation that embraces Spain and modernity. Spanish literature as oriental. El nacimiento de Carmen.: Another two books to consider: Literary Cross-Currents, Modes and Models. Wayne State UP, In the first volume of his history, Foucault makes a very compelling case for the formation of modern European sexuality during the Victorian era as a continuation of the Catholic confessional mode , by which sex is not repressed per se, but rather constructed as a discursive practice.
In its endless textualization, moder- nity creates both the control-system and the desire for an object that is, first and foremost, discursive rather than bodily: He even goes to claim that we are dealing with a discursive apparatus: There was installed rather an apparatus for producing an ever greater quantity of discourse about sex, capable of functioning and taking effect in its very economy… there emerged a political, economic, and technical incitement to talk about sex" 23, my emphasis.
Foucault elaborates in detail the way in which this discursive relocation of sexuality allows for the regulation of domestic bourgeois heter- osexuality as compulsive, while women, children, and deviants are institution- ally relegated to a non-sexual space wherein they stop having sex—they are denied sexuality Extending the same criticism to Deleuze and Guattari, Spivak has further expounded on the epistemological and ontological underpinnings of this absent imperialism Further- more, Foucaultian theory, so rich in spatial tropes to describe textual move- ment, is at the same time marked by a blatant geopolitical rigidity.
When the issue of location is raised, it always becomes reduced to institutional places without a geopolitical dimension. In his History of Sexuality, he states: Desire and Transgression in European Travel Writing. This spatial stillness always locates the French and British states and their imperialist modernity at its center. At the beginning of the century, southern Europe is feminized in a way that serves to locate northern Europe as mascu- line and heterosexual.
Italy thus charted becomes a woman of incompa- rable physical charms and mysterious, imperfectly controlled poetic powers: It is necessary to add that this feminization is not confined to southern Europe but is extended to the colonies: Africa and Asia McCintlock Even though the colonies are always feminized and othered, the excess of sexuality with which they are marked only allows for tropes of domination, conquest, annihilation, etc.
That is, colonial sexuality exceeds the heterosexual European imagination and, therefore, must be controlled, domi- nated, and ultimately eliminated.
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The colonial woman and the colony as woman is confronted head-on and eliminated, whereas the southern Euro- pean woman and southern Europe as woman is sexually desired and pos- sessed. As Buzard explains, this tradition is older; it is part of the eighteenth-century grand tour taken by the nobility and the incipient haute bourgeoisie: Here, sex is practiced before is turned into discourse and regulation. Fur- thermore, performing sex in southern Europe follows a negative form: As Foucault implies, if sexuality is structured around a compulsion to talk and write about sex, one must conclude that this compulsion is first deployed ge- opolitically: If this is so, then feminized southern Europe is the orig- inal field in which the compulsive discourse on sex, isolated by Foucault, is first organized and produced, although in reverse form.
Instead of talking about what is legal and is not, what is permitted or banned, travel narrative talks about what has happened before the law, in time and space. Writing novels and newspaper articles and taking photographs also made the grotesque visible while keeping it at a safe distance. At no point is Spain mentioned in those accounts.
Reference to literature is not accidental, for as Fou- cault himself implies "[O]ne could plot a line going straight from the seven- teenth-century pastoral to what became its projection in literature, 'scandalous' literature at that" In the case of Spain, this literature is mainly produced by French authors in the first half of the nineteenth century—although their production is disseminated through and read by the rest of Europe. As a result, the French traveler can only enjoy voyeuristically the Spanish woman by invoking a native male as his sexual proxy.
The latter suffers the violent passion of the untamed Spanish woman but, at the same time, also knows how to conquer her. In short, the Spanish woman stands for a French masochist-voyeuristic desire that, as my analysis will reveal, is a site of imperi- alist trauma and anxiety. Ultimately, imperialist psychosis points to the imperialist anxieties that define French colonialism and Orientalism in the first half of the nineteenth century. The most read and most influential French travel narratives involved in feminizing and orientalizing Spain are three: In this respect, they are the forerunners of a later touristic discourse, which will also permeate the French literature of the second half of the nineteenth century; this new touristic discourse will no longer exude imperialist anxieties and will, instead, be more ethnographic and consumerist.
As Lou Charnon-Deutsch points out, many travelers were not writers but rather missionaries, soldiers, businessmen, and diplo- mats His mixture of traveling observations and tales heard or read in Granada are as unproblematic as fantastic in their sheer Orientalism. Impressions de Voyage, perhaps the fourth most influential text, will only be quoted more sporadically in order not to extend the analysis excessively.
Here, the Spanish Renaissance is recreated through the visit of the Muslim protagonist, Aben Hamet, the last survivor of the Abencerages: Don Carlos has also participated in the conquest of the Americas and whishes to marry Blanca to his French comrade, chevalier Lautrec. In a very romantic narration of overwhelming love and rup- turing passion, Aben Hamet and Blanca fall in love, although their opposed religions do not allow them to consummate their love. Moreover, after Aben Hamet has proven his virility and nobility over his Spanish and French counterparts, he surrenders his will to Blanca and promises to become Christian in order to marry her.
However, in the last moment, the two lovers realize that their ancestors were historical rivals and their enmity is at the core of the violent history between Spanish Muslims and Christians. Blanca orders Aben Hamet to go back to his homeland. Lautrec returns to France, defeated in his amorous pursuits, and Don Carlos dies in battle.
Blanca appears at the end alone, as the passionate yet committed Christian Spaniard who sacrifices her happiness to Spanish his- tory and, by doing so, signifies her control and power over all the men who surround her: The French chevalier Lautrec, reduced to the posi- tion of voyeur in a perfect orientalist love story and tragedy, can only partici- pate by moving to a masochist position of suffering: A final reference to the tomb of the last Abencerage, back home in Africa, closes the novella.
Here, the love story allegorizes Spanish history. Personal renunciation makes the two lovers true romantic heroes, while displacing the French char- acter to the position of unrequited lover, ultimately defined by masochism and voyeurism. However, it is important to underscore that Aben Hamet yields to Blanca, when he decides to convert to Christianity and, later, obeys her request to leave Spain. Thus, a feminized othered Spain, Oriental and pre-modern Christian at the same time, stands at the end of the narrative as the impossible historical subject who exerts its power over that very history, while also carry- ing its weight against its own personal interests.
Blanca falls in love with an- other embodiment of Spanish history, a Muslim of Spanish descent, precisely because their respective histories are excessive in their complementariness. The love story is an allegory of Spanish historical excess and jouissance, which no longer can be found in bourgeois France. Therefore, in front of this embodi- ment of excessive Spanish history as jouissance, the French chevalier can only display desire and impotence, thus occupying a position of historical voyeur- ism and masochism.
Ultimately, it is a fantasy of historical jouissance whereby the French chevalier, and the male French reader with him, desires to become an excessive oriental subject and, at the same time, enjoy a pre-modern Christian Europe outside capitalism—a double jouissance that could only be experienced in Spain. The resulting double reality be- comes a more fantastic sight, which, at the same time, because of its increased distance from that very Spanish reality, further unveils its traumatic condition for imperialist French masculinity.
Thus Gautier be- gins by invoking Spain as the Orient: Ultimately it is a vacillation between modern Spanish reality and orientalist French fantasy: The general appearance of Granada falls short of the idea which one has usu- ally formed of it. The people you meet, dressed in modern costumes, wearing stovepipe hats and frock coats, unconsciously produce an unpleasant effect and appear more hideous than they are; for they really cannot go about for the greater glory of local colour in albornoz of the days of Boabdil, or in iron armour of the times of Ferdinand and Isabella the Catholic.
That is, the Spanish woman qua orientalist body is defined by her secretive yet independent na- ture—a scene that the French traveler desires but can only observe and turn into a pictorial voyeuristic fantasy: The women have had the good sense not to give up the mantilla, which is the most delightful headgear that can possibly frame in a Spanish face. They go through the streets to the promenade […] and they glide along the walls, us- ing their fans with incomparable grace and skill.
The habit of walking alone gives the women a freedom, an elegance, and an ease of manner which our ladies, always hanging to some man's arm, lack. This constant separation of men and women, at least in public, smacks already of the East. The Spanish woman becomes the site of French sexual fantasy and, in so far as she also is utterly other, of French masculine trauma.
The oscillation between Spanish traumatic reality and French orientalist fantasy is ultimately centered in the Alhambra. Yet, the desire for an orientalist fantasy imposes itself on Gautier. Consequently, he cannot help himself but to conclude that the Alhambra is the ultimate site of orientalist Spanish jouissance: On emerging from the dark pas sage into this bright space filled with light,32 it seems as if the wand of an enchanter has carried you into the East some four or five centuries ago.
Time, which changes everything, has in no wise altered the aspect of the place, and one would not be in the least surprised did the Sultana Binder of Hearts and the Moor Tafi in his white mantle sud- denly appear. In Chateaubriand, in so far as both historical Spanish realities, Christian and Muslim, are kept separately, the Gypsy does not emerge as reality.
Yet these others must also be con- trolled and orientalized by Gautier in order to uphold the imperialist fantasy of full visual control. In this way, the Gypsy33 enters the French orientalist scenario but also points to the first signs of trauma and imperialist psychosis. It is important to quote this scene at length, because it evidences the first clear signs of imperialist psychosis the English translation omits the following passage: Les gitanas vendent des amulettes, disent la bonne aventure et pratiquent les industries suspectes habituelles aux femmes de leur race: Malaga finally responds to the full-blown orientalist scenario Gautier desires.
There was a fairly large number of women, and I noticed many very pretty ones. I do not know whether the stiff folds of the red drapery which frames in their faces is the cause of their serious and passionate look, which smacks so much of the East, and which the daintier, more graceful, more coquettish women of Madrid, of Granada, and of Seville do not possess, these being always somewhat preoccupied with the ef- fect they pro- duce.
At Malaga I saw most beautiful heads, superb types, which would offer to an artist of talent a series of entirely new and valuable studies. From our point of view it seems strange that women should be pre- sent at a spectacle where a man's life is imperilled at every moment; where blood flows in pools where wretched, ripped-up horses stumble over their own entrails. One might easily imagine that such women must be bold-eved vixens, violent in gesture; but it would be a mistake. Never did more Madonna-like faces, more velvety eyes, and more tender smiles bend over an infant Christ.
Few pages later, after having listed the rest of monuments of Seville and having expressed his disappointment for not being able to see the bullring of Seville, Gautier closes his travel narrative in which he describes his return, by boat, from Cadiz, through Barcelona, to France. At that point, imperialist psychosis recedes and makes room for the acknowledgment, in the past, of the traumatic nature of the encounter with the other.
Rather a sense of trauma and 34 The translation simplies the more subtle original: In , the author added a concluding chapter in the form of an anthropological treaty on Gypsies, in order to endow the story with a more scientific and distancing final effect. This scandal, as Evelyn Gould notes, was not simply sexual but also Bohemian: Yet, Gould and other critics do not mention that the final ethnographic chapter was published the same year France annexed Algeria to the national territory and launched a new colonial expansion in Africa and Asia—after the first period of French impe- rialism ends with the Napoleonic demise of the beginning of the century.
Sim- ilarly, most critics forget to mention that Carmen is published on the eve of the first massive industrial development in Spain in the s: French literature tends to collapse different Spanish ethnic and cultural reali- ties, such as the Gypsy, the Muslim and the pre-modern-Christian in a single female body. As a result, this feminine condensation becomes simultaneously 35 Only at the very end, when he re-enters France, can he afford to start his fantasy all over again: The dream ends, but the fantasy, from a safe space, begins all over again.
Thanks to the new packaged tourism developed by John Cook, starting in , Spain became accessible to middle-class travelers by railroad. Given the increasing lack of reality behind the orientalist Gypsy fantasy, the latter requires a new representational distance, from which the French trav- eler can continue to exert a voyeuristic and masochist gaze over the generalized Spanish orientalist fantasy and, in that way, counteract its unbearable traumatic pull.
As a result, an ethnically marked Spanish male subject who is whiter than any other Spaniard but, at the same time, remains Spanish, enters the oriental scene: In this way, the very dynamics of imperialist psychosis create a non-Spanish difference within Spain which further destabilizes the French orientalist discourse in its fantastic and traumatic dimensions. The otherness of both characters, Gypsy and Basque, is such that the romance between both protagonists takes place in a yet another exotic linguistic environment: As a result, at the height of French orientalist discourse on Spain, a nomad Gypsy seduces a Basque soldier in Basque, thus completely destabilizing the French orientalist discourse.
In short, the most orientalized feminization of Spain, at the same time, turns out to be the most slippery and fantastic: This confusion, in turn, becomes the ultimate sign of true orientalist otherness and trauma; it is both seductive and threatening. Yet, it also remains completely new and unique to the French traveler. The dialogue between the author and Carmen attests to the increasing gap between desire and trauma: I will sum her up by saying that for every fault she had a quality which was perhaps all the more striking from the contrast.
She had a strange, wild beauty, a face that was disconcerting at first, but unforgettable.
Her eyes in particular had an expression, at once voluptuous and fierce, that I have never seen on any human face. Being always on the move, they speak every language, and most of them are equally at home in Portuguese, French, Basque, or Catalan. They can even make themselves understood among the Moors and the English.
Carmen had quite a fair knowledge of Basque. I was kidnapped by Gypsies, who brought me to Seville. Thus, the author, on the one hand, must identify with the masculine protagonist in order to enjoy the full-blown orientalist scene embodied by Car- men, but, on the other, he must disidentify with such protagonist in order to secure a distance and, ultimately, erase him through death.
The final two para- graphs of the first version of Carmen end up with a gruesome description of a passional assassination: She fell at the second thrust without uttering a sound. I can still see her great dark eyes that stared at me, then grew clouded, and closed. At the same time, the impossibility of the French traveler to be the direct sub- ject of imperialist sadism ultimately portends a masochist scenario of imperi- alist impotence and voyeurism.
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As the initial reactions to the publication of Carmen in show, this final moment of imperialist psychosis and masochist jouissance was too threatening, too obscene, for the French readers, because it showed French orientalist desire at its rawest. At the same time, it also an- nounced a serious crisis—a psychosis—on the epistemological and libidinal apparatus of French imperialism. In this respect, the additional chapter added in , an anthropological account of Gypsy life, represents a new attempt to keep imperialist desire at bay, from the trauma of orientalist simulation, by resorting to a new discipline: With the addition offering a return to the voice of authority of the professional historian, it also promulgates a return to what we may take to be imperial order.
It is my contention that it is rather the other way: Spain is the first site where the deployment of the impe- rialist French discursive apparatus of Orientalism experiences its most clear crisis, thus, echoing that of when Napoleon encountered not a national or imperialist Spanish army, but subaltern masses resisting in ways for which his war machine was not prepared: Although Gould contends that the last chapter added in is a historical account, she neglects to notice that it follows the discursive tenets of a new discipline about to be institutionalized by Paul Broca in France in the second half of the nineteenth century: The disciplinary shift is para- mount, for it responds to a new discursive technology that deals specifically with the colonial other and not with a national past, as in the case of history.
In short, and as the last anthropological chapter of Carmen an- nounces, France develops new discursive and economic technologies anthro- pology, capitalist expansion in order to control an object of imperialist desire that already challenges older technologies Orientalism, armed invasions and ultimately generates psychosis. This work also helps expand the new racialist-racist discourse of colonial- ism throughout Europe.
In her groundbreaking work on the representation of the Spanish Gypsy, Lou Charnon-Deutsch establishes a clear distinction between late eighteenth and early nineteenth-century representations, on the one hand, and mid nine- teenth-century accounts, on the other. In the later narratives, the interest for Spain becomes equated with the Gypsy obsession and, conse- quently, Gypsies stand as the quintessential embodiment of an orientalized Spain.
Charnon-Deutsch is the first critic who has advanced a conscious and clear answer to this shift. Although many travelers registered their shock at the alarming mixing of classes, they did not feel obliged to describe the lower orders for their corre- spondents or readers, which may explain why mention of the Gypsies until the mid- nineteenth century was so infrequent. Gradually, however, travelers began to personalize their trip accounts with more colorful details that would later fuel the interest of British travelers during the Romantic period….
In short, rather than refinement and personalization, we have failure and anxiety. Instead of imperial- ist psychosis, many women travelers experience a negative reaction marked by class. Travelers such as Elizabeth M. Leveson-Gower, Lady Tenison, or Mrs. Pemberton, instead of masculine desire, express bourgeois repugnance to the living conditions of the Gypsies. Here, the oriental seductive Spanish woman—and Spain as woman—represents the subject position after which the bourgeois discursive apparatus of sexuality is reorganized in France and North Europe.
Throughout the nine- teenth century, the subjective location of the traumatic enjoyment of French and European bourgeois culture remains attached to the figures of both the orientalized Spanish woman and Spain as woman. Contrary to Gould, I would thus advance the hypothesis that the recurring presence and actuality of the myth of Carmen has to do less with French and European bourgeois bohemia and counter-culture and more with the formation of Western sexuality through orientalism, of which the central figure is the femme fatale: Orientalism in the Age of Colonial Dissolution.
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The History of Sexuality. The Complete Works of Theophile Gautier. The Athenaeum Press, The Inequality of Human Races. Roman Elegies and Venetian Epigrams. The University Press of Kansas, The Theming of America: Dreams, Visions, and Commer- cial Spaces. The Fate of Carmen. The Johns Hopkins Uni- versity Press, Nations and Nationalism Since Cambridge University Press, Presses Universitaires de France, The Library of America, Body and Gender from the Greeks to Freud. Harvard University Press, Race, Gender, and Sexuality in the Co- lonial Conquest.
Rojek, Chris and John Urry, eds.
Tranformations of Travel and Theory. Europe's Rediscovery of India and the East, Columbia University Press, Leisure and Travel in Contemporary Societies. He does mention the past importance of Spain, among other coun- tries, when he lists the shortcomings of his work: But he also adds that "I had to focus rigorously upon the British- French and later the American material because it seemed inescapably true not only that Britain and France were the pioneer nations in the Orient and in Oriental studies, but that these vanguard positions were held by virtue of the two greatest colonial networks in pre-twentieth-century history" 17, my emphasis.
One must conclude that Spain's disappearance from Said's account has a structural importance; it is not merely a problem of historical focus. This is the moment when Spain, on the one hand, disappears from the European map of imperial pow- ers but, on the other, also reemerges as the European country that heralds the end of the Napoleonic expansion in Europe next to Russia—thus becoming a site of imperialist trauma for France. As I will explain in the following, for the French imperialist imagination, Span- ish exoticism dates back to the Middle Ages and Islam, since Spain was the only Western European country where Islam had a prosperous and long-last- ing life.
As a result, and throughout the nineteenth century, Spain is exoticized and orientalized, not only sexually, as discussed in the earlier chap- ter, but also geopolitically at large.
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However, this exoticization and orientaliza- tion of Spain, which ends up having Andalusia and Gypsy culture as its geo- graphic and cultural center, does not have any colonialist or imperialist pur- pose. It is as if Spain were visited and represented with the "wrong" represen- tational apparatus. Several authors such as Urry and Buzard emphasize the fact that modern tourism begins at the beginning of the nineteenth-century.
However, most authors do not connect tourism with Orientalism. According to Urry, for example, tourism begins as a national practice for the urban, Eng- lish, low- and middle classes: More spe- cifically, tourism's goal is to have access to the area of Europe that is not di- rectly affected by capitalism and industrialism: However, in the twentieth, tourism follows the orientalist trail inaugurated by French and British travelers, so that southern Spain becomes the most visited country in Europe. That is, southern Europe and the Orient constitute part of a larger imperialist continuum, rather than of a break.
The tourist and the explorer become two complementary agents of this overarch- ing imperialist activity of translation, representation, and control. The tourist visits the ruinous or non-capitalist Europe of the past, southern Europe, whereas the explorer ventures in the colonial outside. In the case of Greece and Italy, tourism ends up "discovering" classical Greece and the Renaissance respectively. That is, both countries become the historical past of capitalist northern Europe. Although tourism and Orientalism seem to be geopolitically differen- tiated in the case of Italy and Greece, they appear to be one and the same in the case of Spain—Portugal requires a separate analysis.
In order to under- stand this political and institutional collusion, we have to go back to Said's analysis of Orientalism. He points out that there is an orientalist continuity between the West and the new colonized worlds, between the old and the new: The Orient was therefore subdivided into realms previously known, visited, conquered… and those realms not previously known, visited, conquered. Christianity completed the setting up of main intra-Oriental spheres: Certainly neither of these Orients was purely one thing or the other; it is their vacillation, their tempting suggestiveness, their capacity for enter- taining and confusing the mind, that are interesting….
All orientalist painters start in Spain before moving to the oriental-colonial scene. One way to approach this problem, from a tourist-studies perspective, would consist in positing that, in the case of Spain, the northern European tourist "re-discovers" simultaneously pre-modern Catholic Spain and Islam in the same place. In this way, two different geopolitical issues are dealt with at the same time. On the one hand, Renaissance Spain, i.
On the other hand, the erasement of modern Spain leaves the field ready for a re-discovery of an older Christian and Muslim Spain, which is in full compliance with the new imperialist logic of northern European Oriental- ism. In other words, Spain is an Orient for tourists; it is an Orient both domestic—European—and domesticated—colo- nial-Islamic—and thus non-European.
In this way, Spain becomes an Orient without the risks of colonialism. To participate would amount to aligning Spain with the rest of Southern Europe and, thus, to de- orientalizing Spain.
The subject position from which this touristic Orientalism can be best studied is precisely Spanish masculinity. The latter provides a sadistic subject position for the northern tourist who can then vicariously enjoy the voyeuris- tic-masochist scenario of a feminized Spain. Different figures of Spanish mas- culinity create a sadistic continuum that spans from the Christian hidalgo and the Spanish Muslim to the bullfighter and the road bandit or bandolero.
Spanish masculinity is always organized in structural dependence to Spanish femininity and, thus, it responds to a libidinal structure of identification rather than one of desire. The male French traveler identifies with the Spanish man in so far as the latter can sadistically desire the orientalized Spanish woman. Yet, because the Spanish man allows the French traveler to desire vicar- iously the Spanish woman, the former is summoned and dismissed at the end. The French traveler identifies with Spanish mascu- linity while also fearing its orientalist-pre-modern sadistic drive.
In this sense, Spanish masculinity is a traumatic reminder of the Spanish insurgence against the Napoleonic expansion in Europe, which brings about the end of French hegemony—and behind this trauma, the French traveler suspects either Re- naissance Spanish imperialism, medieval Muslim expansionism, or both. In the case of Chateaubriand , as I discussed above, Spanish masculinity is presented as Muslim but, once this subject position enables a structure of voyeurism and masochism towards Spanish femininity, it is dismissed.
Gautier has one of the longest descriptions of French identification and fascination with the Spanish bullfighter As a result, in Granada, where the costumes of the majos are most impressive, Gautier decides to become one by having a majo outfit tailored for him: However, his identification with Spanish masculinity is blocked by the Spanish tailor, when the latter concludes omitted by the English translation: Even Stendhal makes a reference in his Le Rouge et le Noir to balls inspired in orientalist, Spanish themes: Yet, what is important about the above touristic construction of Spanish masculinity as sadistic and orientalist is precisely the fact that, unlike femininity, it is reappropriated by Spanish culture and literature in order to signify a coun- ter-touristic Spanish position and fantasy of both hegemony and sovereignty.
In short, Spanish culture articulates a counter-touristic discourse from the sa- distic position left to Spanish masculinity in order to signify a modern, albeit traumatic, position. Spanish culture redeploys a reversed touristic discourse in order to reclaim the modernity that the northern-European, orientalist, tour- istic discourse denies Spain. At the same time, this refashioning of Spanish masculinity also sheds its orientalist traits and underscores its Hispanic modern character: These two plays represent the triumph and consolidation of liberalism and romanticism in France. In the case of Hernani, the play centers on a Spanish nobleman who is also an outlaw or bandolero: Hernani is defiant of King Carlos, who has robbed him of his lands and, thus, has forced him to become a bandit.
When Don Ruy saves Hernani from the persecution of the king, following hospitality laws, Hernani pledges his life to the Duke. In that way, he exceeds the law while also presenting it: In short, Hernani embodies the excess of Spanish masculinity while also performing its destruction, after a French identification with it has been established.
In both plays, Hernani and Ruy Blas, the ability of Spanish masculinity to assert its individualism, through its outlaw status and love-allegiances, while preserving its pre-bourgeois imperialist code of honor patriarchal law , 43 Hernani is the name of a Basque town, which, once again, shows the slippages to which the representational control of the other is exposed. Although most Spanish critics have pointed out the decisive influence that Hugo and Dumas had in Spanish theater Peers , they have failed to add that Spain, as object of representation, is at the core of French romanticism.
There is a very complex relationship between both literary traditions, which is determined by imperialist and orientalist anxieties. According to Leslie, Dumas changed the original end of the version in the later edition of Thus, the edition of shows what can only be considered a double Tirso, Zorrilla identificational influence and anxiety. Don Juan Tenorio henceforth Don Juan. This myth, once it is reappropriated by Spanish culture, becomes the touchtone of the identificatory anxieties of modern cap- italist European masculinity—after Zorrilla, the myth spreads in Europe with unprecedented success.
As I will discuss in the following, the Spanish refash- ioning of Don Juan as a non-modern, individual, excessive masculinity be- comes the site, parallel to that of the orientalized femme fatale Carmen , of European imperialist psychosis. This is the reason why, Don Juan follows the geographic expansion of Spanish imperialism in Europe but, at the same time, does not become a direct subject of that expansion a soldier , since Spanish imperialism is doomed to fail in the seventeenth century.
Don Juan travels throughout Europe not as a subject of Spanish imperialism a soldier , but as a modern subject as a tourist. He, at the same time, acknowledges and defies the decadence of the Spanish em- pire through a fantasy of touristic travel. Don Juan pays with death his touristic fantasy, contrary to the traditional outcome of the grand tour: Hence the contradictory end of the play: In Don Juan, the Spanish masculine subject affirms its historical, modern, counter- touristic agency by foregrounding its excessive, sexual character.
Don Juan resorts precisely to a non-capitalist economy: In other words, the excessive, masculinist myth of Don Juan is articulated in Spain so that the connection between sexuality and geopolitics is mobilized against the northern-European, touristic logic by which southern Europe, and specifically Spain, is being feminized Carmen.
At the same time, the refashioning of Spanish masculinity, as ultimately counter-touristic and non-capitalist-industrial, announces the conditions under which French and British industrial capitalism makes its incursion in Spain in the second half of the nineteenth century. Spain becomes the desired, orientalist, female territory Carmen while also remain- ing the traumatic, counter-touristic site of an older sadistic masculinity Don Juan , which haunts and defines capitalist, bourgeois masculinity in its orien- talist-touristic expansion in the South.
The appearance of Don Juan in Spanish theater is not coincidental or sin- gular; nor does bring Spanish romanticism to an end, as it has been suggested Peers, Mayberry. It is, rather, the most successful articulation of a discourse of Spanish otherness, which was already present since early Spanish romanti- cism. In this context, Spanish romantic theater, as the central genre of roman- tic culture in Spain, can be redefined as the failed process of performing Spanish otherness. Romantic theater performs Spanish otherness as a modern failure: The troubadour Don Manrique is kidnapped by a Gypsy woman when he is a baby and raised in that ethnic group.
He dies as a result of his inability to regain his true noble identity. Zorrilla is the first romantic Spanish writer to articulate the non-modern trace of Spanish masculinity as a position that is both other to European mo- dernity and, yet, historically unavoidable to any Spanish cultural project. He does so precisely by resorting to the touristic discourse articulated by most north European writers, and, then, redeploying it in a counter-touristic way, so that the traumatic position of Spanish masculinity is inscribed as a modern, yet excessive, trace.
Moreover, most conquests take place in Spain. However, the figure of the burlador is secondary in Spanish literature, for it does not have much relevance in the Spanish moral code of the Golden Age. Don Juan points to a cultural and political reality that is clearly addressed and negotiated by Zorrilla: Don Juan is set in Renaissance Spain, that is, at the height of imperialist Spain.
Naples and Rome , This country represents the area of influence of Spanish imperialism that does not embrace the Protestant cause and, as a result, does not develop industrial capitalism till the end of the nineteenth century. Between both characters, Don Juan and Don Luis, they map out the extension and limits of the old territories of the Spanish empire. The above touristic mapping of the bygone Spanish empire also entails an interpretation of its history.
The wager consists in deciding who can carry out more duels and am- orous conquests in one-year time. The play gives no explanation as to the rea- sons why the wager is not conducted in peninsular Spain and colonial Latin America but, rather, in the rest of the continental Europe described above. Ultimately, the wager is a historical palimpsest of Spanish geopolitics: This is the reason why Latin America and other colonial territories are not mentioned: By venturing in the Protestant and capitalist side of the Spanish empire as well as in the only Catholic country where capitalism succeeds France , Don Luis loses the wager.
Similarly, by limiting his conquest to the non-capitalist area of the Spanish empire southern Italy , Don Juan secures his success. When he narrates his escape from Rome, he adds: Soy peruano, fui oficia de marina de mi pais, y tengo un MBA; he viajado mucho y me gusta investigar, me apasiona lo relacionado a las culturas ancestrales. Me estoy especializando en el fabuloso idioma aymara, que es un idioma software, y en el fascinante imperio Tiahuanaco.
I am Peruvian, like to research about ancient civilizations, I wrote about the aymara language, a very sophisticated and technological advanced language able to work as a software. Te civilization who spoke that language was the Tiahuanaco who was the ancestors of the Inca Empire. I traveled a lot around the world and my country. It allowed me to have a different point of view about several things, and I am writing about it. Are You an Author?
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Related El Idioma Secreto de los Incas (UN PASADO DIFERENTE nº 2) (Spanish Edition)
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