Martin Repinecz closes issue 73.2 with his review of Erin K. Hogan’s Patriarchy’s Remains: An Autopsy of Iberian Cinematic Dark Humor (2024). 🔗 Link below to access

Alfredo Martínez-Expósito reviews Catalan Cinema: The Barcelona Film School and the New Avant-Garde (2024), edited by Anton Pujol and Jaume Martí-Olivella in the RQ 73.2. 🔗 Get Access: doi.org/10.1080/0883...

Sarah Wright (@sarahwright.bsky.social) reviews Andrew A. Anderson’s Lorca’s Experimental Theater: Breaking the Guardrails of Convention (2024) in the RQ 73.2. 🔗 Link below

Ramón Espejo Romero provides a first comprehensive review of the history of Spanish plays in New York from 1965 to 1975 in the Romance Quarterly 73.2. 🔗 Link below 📸 Image available in the website of Repertorio Español, theatre company existing in NYC since 1968.

Fiorella Gallardo and María Paz Oliver highlight “the political potential of the margins and the imagination of possible worlds that escape dominant structures” in their new article with the RQ. 🔗 Link below 📸 Detail of the cover of Las malas published by Tusquets.

Dinorah Cossío’s “Entre el deseo y el diagnóstico: esterilidad y medicalización en Quién quiere ser madre (2017) de Silvia Nanclares” explores how the medicalization of women’s bodies articulates a critique of contemporary reproductive policies in the RQ 73.2. 🔗 Link below

Dinorah Cossío’s “Entre el deseo y el diagnóstico: esterilidad y medicalización en Quién quiere ser madre (2017) de Silvia Nanclares” explores how the medicalization of women’s bodies articulates a critique of contemporary reproductive policies in the RQ 73.2. 🔗 Link below

Fiorella Gallardo and María Paz Oliver highlight “the political potential of the margins and the imagination of possible worlds that escape dominant structures” in their new article with the RQ. 🔗 Link below 📸 Detail of the cover of Las malas published by Tusquets.

In “Del conte a la novel·la: gиnesi i transformaciу d’Es vessa una sang fàcil, de Manuel de Pedrolo”, Carme Gregori Soldevila tracks the transformations and transvaluations in Manuel de Pedrolo rewriting of Es vessa una sang fàcil (1954). 🔗 Link below.

Eduardo Matos-Martín opens Romance Quarterly volume 73 issue 2 with a reading of Aleix Saló’s nonfiction comic book continuing his question about How Spain Was Filled with ‘Fascists’ Until the Fascists Arrived (2020). 🔗 Link below. 📸Cover of Todos Nazis (2020) published with Reservoir Books.

Romance Quarterly Volume 73 Number 2 is now out and ready with articles and book reviews you cannot miss. 🔗 Tap the link below to get access

Connie L. Scarborough closes the Romance Quarterly 73.1 with a review of Robin M. Bower’s In the Doorway of All Worlds. Gonzalo de Berceo’s Translation of the Saints. 🔗 Link below

Ruth Z. Yuste-Alonso (@ruthyuste.bsky.social) reviews Heather Jerónimo’s Performing Parenthood. Non-Normative Fathers and Mothers in Spanish Narrative and Film (2024) in the RQ 73.1. 🔗 Link below

Marina Barba Dávalos and Ana Isabel Ballesteros Dorado connect theatre and music with “Entre lo popular vasco y el bel canto: variaciones semánticas de la música incidental compuesta por Carnicer para La batelera de Pasajes, de Manuel Bretón de los Herreros.” 🔗 Link below

A disembodied notion of the humanities faces the physical bodies from which they emerge in Katie Vater’s article “Embodying the Humanities in Antonio Orejudo’s Un momento de descanso (2011)”. 🔗 Link below 📷 Detail of the cover of Un momento de descanso published by Tusquets.

Eric Salazar reads the generative power of instability in Cristobal Colon’s letters in “Ninguno puede dar razón cierta: incertidumbre, ruina y adversidad en las cartas de Cristobal Colón”. 🔗 Link below 📷 Carta a Luis de Santángel (1493)

Jaime Hanneken opens issue 73.1 of the Romance Quarterly with “The roto Unearthed: Chilean Mestizaje and the Technic of Revelation”. 🔗 Link below. 📷 Monument to the Chilean roto, Plaza Yungay, Santiago

Romance Quarterly 73.1 is now available. Visit the link below to read its exciting and varied articles and book reviews.

Mary T. Hartson closes issue 72.4. of the Romance Quarterly reviewing Iker González-Allende’s Masculinidades gays y maricas en la cultura española contemporánea. 🔗 Link below.

Jeffrey K. Coleman reviews Martin Repinecz’s Volatile Whiteness: Race, Cinema, and Europeanization in Spain in the RQ 72.4. 🔗 Link below.

Mary T. Hartson closes issue 72.4. of the Romance Quarterly reviewing Iker González-Allende’s Masculinidades gays y maricas en la cultura española contemporánea. 🔗 Link below.

Jeffrey K. Coleman reviews Martin Repinecz’s Volatile Whiteness: Race, Cinema, and Europeanization in Spain in the RQ 72.4. 🔗 Link below.

CFP: Estudos galegos en @romancequarterly.bsky.social ❕Rogamos máxima difusión Dende hai unha década os estudos galegos teñen máis presenza na academia norteamérica. Este número pretende difundir a investigación que xurde dos distintos encontros e redes de galicianistas nestes lares #estudosgalegos

Roberto Mendoza-Farías (@rmf.bsky.social) maps spectral spaces in two works of Fernanda Melchor in “Una mirada al abismo: Espacio espectral y la producción social de violencia de género en la obra de Fernanda Melchor.” Link below. 🎨 Detail from Hurricane Season published by New Directions

Alejandra Rengifo visits the spectrality of La Pampa in Luciana Sousa’s Cuando nadie nos nombre (2022). Link below. 🎨 Detail of the cover of Cuando nadie nos nombre published by Tusquets

Marita Lopera guides us through what she has named “spectral spaces” (“espacios espectrales”) in Magda Moreno’s Las hijas de Gracia (1951) in her latest article in the Romance Quarterly. Link below. 📷 Detail of the cover of Las hijas de Gracia published by Editorial Bedout

Alicia V. Ramírez Olivares (dis)orientates the readers of the RQ towards a lesbian occupation of space in two contemporary anthologies in “Espacio de costumbre, desorientación y vulnerabilidad en la espectralidad de la literatura lésbica en México.” Link below.

Alicia V. Ramírez Olivares (dis)orientates the readers of the RQ towards a lesbian occupation of space in two contemporary anthologies in “Espacio de costumbre, desorientación y vulnerabilidad en la espectralidad de la literatura lésbica en México.” Link below.

Marita Lopera guides us through what she has named “spectral spaces” (“espacios espectrales”) in Magda Moreno’s Las hijas de Gracia (1951) in her latest article in the Romance Quarterly. Link below. 📷 Detail of the cover of Las hijas de Gracia published by Editorial Bedout

Alejandra Rengifo visits the spectrality of La Pampa in Luciana Sousa’s Cuando nadie nos nombre (2022). Link below. 🎨 Detail of the cover of Cuando nadie nos nombre published by Tusquets