Titlebook: Affect and Belonging in Contemporary Spanish Fiction and Film; Crossroads Visions Jesse Barker Book 2017 The Editor(s) (if applicable) and

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Trabeculoplasty

反感

,History and Trauma at the Crossroads: Guillermo del Toro’s , and Isabel Coixet’s ,,e lines between contextual subjectivity and notions of universal being, proposing a reconciliation of these two modes of being in order to work through past traumas, as well as to combat authoritarianism in all its guises. Unlike the fictions in the previous chapter, characters in these films are ul

紳士

,Synthetic Skins: Mercedes Cebrián’s , (,) and Pedro Almodóvar’s , (,),e film endings in the last chapter, I explore here a context of ambivalent social liberation with new challenges: the call of postmodern consumer culture to continually shape one’s own lifestyle, to become one’s desires . Cebrián parodies this consumerist culture in contemporary Spain and Almodóvar’

配置

,Unraveling Cultures: Alejandro González I?árritu’s , and Najat El Hachmi’s , (,),Barcelona’s interwoven border crossroads of social class, cultural origin, and economic exchange—attempting to assert patriarchal control and manage the wellbeing of his family and the immigrants he employs. The Amazigh-Catalan protagonist of . navigates her internal migrant crossroads. Patriarchy i

使糾纏

,Unsheltered: Pablo Berger’s ,?(,) and Jesús Carrasco’s , (,), based on deterministic identity discourses but rather seeking to engage characters and audience/readers in a direct affective relation with the landscapes and people they portray. Invoking the current financial crisis in Spain and new social movements, I argue that the specter of past suffering and

高調(diào)

凝乳

字謎游戲

Corporate Foundation als PR-Instrumenttities meet universal being and imminent embodied consciousness. I define affective belonging through a number of perspectives on intersubjectivity:? affect theory, psychoanalysis compared to John Bowlby’s attachment theory, recent neuroscience, gender frameworks, and Buddhist Mindfulness.

脫離

Corporate Fraud Comparison Across Industriest the films end on ambivalent notes, showing that the assemblage is never complete, never seamless. Their endings invoke the affective complexity—joy and sadness, togetherness and separateness—of subjective experience.