Politics and Literary Prizes:A Case Study of Spanish America and the Premio Cervantes

The Premio Cervantes, one of the most prestigious prizes awarded for literature in the Spanish language, was established in 1976 as Spain negotiated the Transition to democracy in the post-Franco era. This article examines the context in which the prize was created and subsequently used to negotiate inter-continental relations between Spain and Latin America. The article highlights the exchanges of economic, political and symbolic capital which took place between the Spanish State, its representative, the King of Spain, and winning Latin American authors. Significantly, the involvement of the Spanish State is shown to bring political capital into play in a way that commercial prizes do not. In so doing, the Premio Cervantes gives those formerly at the colonial periphery the opportunity to speak out and negotiate the terms of a new kind of relationship with the former colonial center.

‘From the ‘roads to freedom’ to the ‘roads of humanism’? Sartre and his literary alter ego Mathieu in Les Chemins de la liberté (1938-1949)’

War and Memory international conference- Poetics after ’45,
QUB, Belfast, June 2008

Historical lies and fictional truth, the literary right fighting (for) the truth after WWII

War and Memory Research Seminar
QUB, Belfast, December 2009

Octave Uzanne’s L’Éventail: a literary mythology of the fan

In the last half of the nineteenth century, the folding fan was phenomenally popular in France. The accessory was a ubiquitous component of women’s dress, yet it also attracted the attention of some prominent collectors and Orientalists as well as acquiring an importance in the art and literature of the period. In many plastic works and literary texts devoted to it, the fan retains a link with femininity, and particularly with feminine sexuality, even as its identity as an art object is emphasized. Octave Uzanne’s L’Éventail (1882), a self-professed literary history of the fan, exemplifies this dualistic treatment as it presents the fan both as a titillating intimate companion of women and as a literary and (although to a lesser extent) art historical subject. This article focuses on Uzanne’s treatment of the fan’s early history in the Far and Middle East. By comparing his text with other contemporary histories of the fan, it demonstrates that the “history” of the accessory may be more accurately described as a mythology.