Replaced: Andalucía, national belonging, and Jewishness in Lorca's Los títeres de Cachiporra.
Federico García Lorca's fascination with the cristobicas, a traditional Andalusian puppet show, led him to write and stage a number of these plays from early on in his career. Scholars of Lorca's guignol often note that through the revitalization of this endangered art form, the young playwright sou...
| Published in: | Romance Quarterly Vol. 68; no. 4; pp. 209 - 223 |
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| Format: | Article |
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Taylor & Francis Ltd
Oct-Dec 2021
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=153184137&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 153184137 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 08831157 RQU jtl: Romance Quarterly issn: 08831157 maglogo: N pubinfo: dt: Oct-Dec 2021 vid: 68 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 153184137 10.1080/08831157.2021.1978359 ppf: 209 ppct: 14 formats: tig: atl: Replaced: Andalucía, national belonging, and Jewishness in Lorca's Los títeres de Cachiporra. aug: au: Cohn, Adam affil: Department of Spanish, Italian, and Portuguese, University of Virginia, Charlottesville, Virginia, USA su: Garcia Lorca, Federico, 1898-1936 Jewish identity La Niña Twentieth century Puppets Power (Social sciences) Antisemitism Andalusia (Spain) sug: subj: Andalusia (Spain) Garcia Lorca, Federico, 1898-1936 Jewish identity La Niña Twentieth century Puppets Power (Social sciences) Antisemitism keyword: anti-Semitism Federico García Lorca Jewishness puppetry regional identity ab: Federico García Lorca's fascination with the cristobicas, a traditional Andalusian puppet show, led him to write and stage a number of these plays from early on in his career. Scholars of Lorca's guignol often note that through the revitalization of this endangered art form, the young playwright sought to bring innovation to Spain's theater. As a result, the actual contents of these plays have received little attention, and are generally viewed as using stock characters and conventional plots. The present article argues that Los títeres de Cachiporra (1922) stages a modern version of the Spanish nation as lived in Andalucía through a farcical take on the el viejo y la niña marriage plot. Specifically, I illustrate how Rosita's three suitors have different relationships with regnant power structures and display various degrees of rootedness to the Andalusian town where the action unfolds. Particular attention is paid to Rosita's former lover, Currito, who returns after abandoning both her and the town five years earlier. I demonstrate that the anti-Semitic insults directed at Currito reveal a deeper anxiety over who should be included in the modern Spanish nation. Contextualizing these comments among broader trends in European anti-Semitism and Spanish philo-Sephardism in the early twentieth century, I argue that Jewishness is a productive analytic for understanding Currito's function in the play. A superseded Jewishness, in a final analysis, becomes the counterpoint against which Spanishness is measured. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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