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We accept original specialized articles on research in the following fields: * Literatures in English in both contemporary and historical perspectives; * Literary Theories and Criticism; * Cultural Studies including Cinema and Media Studies; * Linguistics including theoretical, empirical, historical and applied; * Cognitive and functional approaches; * Discourse and pragmatic studies; * Multimodal Discourse Analysis. We particularly welcome interdisciplinary approaches between fields, such as: * Linguistic tools applied to literary analysis; * The interplay between language and culture; * Language and the analysis of cultural phenomena such as diaspora in different contextual settings; * Literature, language and gender theories / gender theories and literary works. * These are but a few of the many possibilities that an interdisciplinary stance suggests. |
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Board of Advisors (Consejo asesor) |
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Submissions should be in the form of articles, book reviews or interviews, and they should meet the following criteria: Atlantis follows a strict selection policy. Each contribution is evaluated anonymously by at least three referees, and is not published unless there is significant agreement as to its suitability. Annually, Atlantis publishes 12-14 articles, 14-18 book reviews and 1-2 interviews. Prospective authors should carefully read the Atlantis Formal Guidelines (see website) before submitting a contribution. Authors must submit their contribution both by attachment and on hard copy. |
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Departamento de Filologías Extranjeras y sus Lingüísticas |
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ATLANTIS
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Atlantis is the journal of the Spanish Association of English Studies, AEDEAN (Asociación Española de Estudios Anglo-Norteamericanos). Since 1979 it has been publishing scholarly work in the area of English, covering a broad range of linguistic, literary and cultural topics. The Journal has a decidedly international outlook and encourages contributions from across the world. It is published twice a year, in June and December, and includes articles and book review articles. All proposals are double-blind peer-reviewed by experts and the journal is widely indexed and disseminated through international platforms. Atlantis is indexed in the Arts and Humanities Citation Index(r) (ACHI), Current Contents(r)/Arts & Humanities, Social Sciences Citation Index(r), Journal Citation Reports(r) (JCR) Social Sciences Edition; Current Contents(r)/Social and Behavioral Sciences (Thomson-Reuters). It is also indexed in SCOPUS (Elsevier), DICE and MLA, and disseminated by JSTOR, Latindex, The Year’s Work in English Studies, as well as by EBSCO and Proquest databases, among other indexing and abstracting services. Atlantis holds the Quality Seal for Excellence in Academic Journals awarded by the Spanish Foundation for Science and Technology (2014-2018) (Sello de Calidad de Revistas Científicas Españolas, FECYT). Editorial team: General Editor Managing Editor Copy Editor Principal Contact Mireia Aragay
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ATLANTIS 38.1, 38.1
Greetings in Letters by EFL Primary School Children. A Longitudinal Study
In this study we look at the use of salutations and valedictions in letters by primary school learners of English as a foreign language (EFL). Second language discourse studies have paid relatively little attention to the structural and pragmatic aspects of letter writing by university EFL learners. However, obligatory greetings in letters have been superficially addressed in research, hidden among other aspects. Likewise, there is a dearth of longitudinal studies to help understand how, over time, EFL learners (and in our case primary students) develop discourse and pragmatic competence in letter writing, particularly with regard to its most distinguishable features: salutations and valedictions. In the present study we traced individual learners' performance over three school years in order to identify patterns of use and developmental tendencies. The findings suggest the existence of stages of development in the use of greetings. In the process of acquisition, salutations come first and in many cases they are overextended to fulfil the functions of complimentary closings. Finally, the analysis of greetings uncovers children's personal/individual voices and identities and reveals how children perceive their addressees.
The Role of Semiotic Metaphor in the Verbal-Visual Interplay of Three Children's Picture Books. A Multisemiotic Systemic-Functional Approach
This paper aims to explore how the use of semiotic metaphors in picture books contributes to children's understanding of the stories. The three picture books selected for analysis were written during the twentieth century and respond to a standard of literary quality: Guess How Much I Love You (1994), Where the Wild Things Are (1963) and Gorilla (1983). The concept of semiotic metaphor as a tool to create ideational meaning is analysed within the framework of Systemic Functional Linguistics and Systemic-Functional Multimodal Discourse Analysis. Kay O'Halloran extends the Hallidayan concept of grammatical metaphor to the semiotic metaphor in order to determine how verbal and visual modes interact with each other in multimodal texts. Like grammatical metaphor, semiotic metaphor also involves a shift in the grammatical class or function of an element. As this process does not take place intra-semiotically, but rather inter-semiotically, the reconstrual produces a semantic change in the function of that element, creating a new way of making meaning and representing reality. The results of the analysis show that semiotic metaphors are essentially used in children's tales to facilitate young children's understanding of the story by making some abstract phenomena related to states of being more concrete and specific.
Anthony Munday's Palmendos (1589) in the Early Modern English Book Trade: Print and Reception
Anthony Munday's The Honorable, Pleasant and Rare Conceited Historie of Palmendos is based on the first book of the Spanish romance Primaleón de Grecia (Salamanca, 1512), which was in its turn a sequel to Palmerín de Olivia (Salamanca, 1511). Primaleón was such a big hit in the Spanish book trade that ten editions were published between 1512 and 1588. This work was translated into Dutch, Italian and French, thus enjoying an extraordinary reception abroad. In 1589, Anthony Munday issued his English translation of the first thirty-two chapters of the French edition, which focused on the adventures of Palmendos, Primaleon's eldest brother. The fact that a different English translation of these same passages was published by William Barley in 1596 illustrates the positive reception this story had among contemporary readers. Its popularity would also account for the publication of a second edition, now lost, in the mid-late 1620s, and of two further editions in 1653 and 1663. This article studies the printing history of Anthony Munday's Palmendos and examines Munday's position as a professional author/translator in the Early Modern English book trade. The role of Hispanic chivalric literature in the late sixteenth and seventeenth century London book market is also analyzed.
"He Is Not English, He Is Not a Novelist; And How Far Is He Even Likeable?" On the Critical Reception of Arthur Koestler's Thieves in the Night
This paper deals with the immediate critical reception of Arthur Koestler's Thieves in the Night (1946). Through a comparative analysis of reviews published at the time of the book's appearance, it aims to show that the said reception was in many cases neither fair, nor focused on the book's literary values. More specifically, in comparing the novel's American reception with its British counterpart, and focusing on the various fallacies and biases, predominantly in the latter, this work aims to draw attention to the fact that the present-day obscurity of this commercially successful novel might be due, at least partially, to the often angered and biased reaction to the topic of the book, and its explicit criticism of British foreign policy, rather than a result of the book's qualities themselves.
"But What's One More Murder?" Confronting the Holocaust in Philip Kerr's Bernie Gunther Novels
Philip Kerr's Bernie Gunther series of Nazi Germany-set historical crime novels use irony in the exploration of themes of complicity, guilt and redemption in relation to the Holocaust. The use of irony enables Kerr's protagonist Bernie Gunther to confront and describe the Holocaust and establish his sense of selfhood as an anti-Nazi. However, it does not empower him to resist the Nazis actively. Bernie seeks to confront the Holocaust and describe his experiences as an unwilling Holocaust perpetrator when he led an SS police battalion at Minsk in 1941. Later, his feelings of guilt at his complicity with the Nazis in the Holocaust haunt him, and he seeks redemption by pursuing justice to solve conventional murders. The redemption that Bernie Gunther pursues is called into question in the ninth novel in the series, A Man Without Breath (2013), when the possibility of active resistance to the Nazis is revealed to him when he witnesses the Rosenstrasse Protests in Berlin in 1943. This revelation raises the questions of agency and choice, and forces an ordinary German like Bernie Gunther to confront the possibility that he might have actively opposed the Nazis, rather than allow himself to become their accomplice.
The Rise and Fall of the Horse Dreamer in Sam Shepard's Drama
Whereas several theatrical works show Sam Shepard's longstanding fascination with horses, none of them until the premiere at the Abbey Theatre in 2007 of Kicking a Dead Horse had brought a dead equine to the stage. The striking stage image of the cadaver of a horse dominating the stark setting and the figure of the horsekicker is critically assessed in this article, establishing a comparison with its kindred predecessor, the dreamer of horses in Geography of a Horse Dreamer (1974). Beyond the most obvious connection between these plays, the fact that actor Stephen Rea played the main role in them both, their evolving representation of the animal and the characters' engagement with it all deserve critical attention as they become a metaphor which reveals the transformations in Shepard's latest style of theatre. The trope of the horse dreamer is associated with creative freedom. The dramatization of the loss of American dreams in both plays reveals their divergent stance on human imaginative potential and also on the creative process, as the "style of dreaming" is closely related to the style of writing.
The Shell-Shocked Veteran in Toni Morrison's Sula and Home
In Sula (1973) and Home (1973) Toni Morrison depicts the madness of the homecoming war veteran, whose symptoms and their consequences impair his life. Through the return of her traumatized African American soldiers, she explores the tensions of a racially-prejudiced America and the dire consequences for the black community and self. Morrison unveils the destruction that racism effects on blacks, both the physical and psychological violence. Hence Sula and Home become anti-war novels which portray anti-heroes, broken men, whose madness is associated with the war, but also with a racist America.
Facing Old Age and Searching for Regeneration in a Dying American West: Gregory Martin's Mountain City
Contemporary western American literature is increasingly departing from the traditional association between the West and youth in classical frontier mythology, showing an aging, gray and often ill West, as illustrated by authors such as Cormac McCarthy, Marilynne Robinson, Wallace Stegner and Ken Haruf, to name just a few examples. This perspective also plays a powerful role in Gregory Martin's Mountain City (2000), an impressive memoir about a decaying Nevada mining town and its aging population. This article explores the interaction between living and aging in Martin's book. It is often a continuous dialogical process of exchange and overlap where Martin revises western mythology centered on the youth trope and deconstructs negative images of old age and disease. Martin offers a realistic portrait of a fading western way of life. However, his emphasis on the vanishing condition of traditional western stereotypes turns out to be problematic. In fact, Martin's bleak vision of the Old West and its broken promises coexists in Mountain City with his recognition of the pervasive quality of the archetypal western regenerative influence, as exemplified by the power of this declining community to heal the narrator's placelessness and provide him with a sense of "homeplace" and a cultural identity.
From the Traumatic to the Political: Cultural Trauma, 9/11 and Amy Waldman's The Submission
Since the 9/11 terrorist attacks a long list of novels concerned directly or indirectly with these events have been published. Psychic trauma literature has been especially popular among them, a fiction accused of solipsism and depoliticized discourse by being mostly unconcerned with the attacks' global context and political consequences. This essay does not ignore the importance of the trauma paradigm but focuses on cultural rather than psychic trauma and on Amy Waldman's The Submission (2011) as an example of the possibilities raised by the cultural trauma novel. Although rooted in the domestic and the personal, Waldman's novel transcends the shortcomings of psychic trauma fiction by exposing the cultural and political consequences of trauma, thus opening up a new path for future 9/11 fiction.
In Search of a Happy Ending: The Afterlife of Romeo and Juliet on the Asian Screen
This essay takes as its starting point the view that the afterlife of Romeo and Juliet in several Asian Shakespearean film adaptations is characterised by the presence of a happy ending. The film corpus used consists of adaptations set in countries such as India (1942: A Love Story, Issaq and Ram-Leela), China (Qing Renjie), Singapore (Chicken Rice Wars) and Japan (a Japanese TV adaptation of Romeo and Juliet). The first section explores how the ending is actually altered and the second provides a brief historical overview of Romeo and Juliet in these countries and considers why all these adaptations feel the need to transform the tragic dénouement for a happy resolution. As post-colonial -- and hybridised -- works, or simply works aiming to resist Western hegemonic power, the purpose of the adaptations considered is two-fold: to challenge the Western authority of Shakespeare and to offer a new way of reading the play via the use of mimicry, parody or the burlesque. The last section then demonstrates the strategies used by all these adaptations to advance an inauthentic ending; they all "cheat" and play with the audience. All the modern-day adaptations explored highlight the need to have popular appropriations of the play -- beyond straightforward literary productions -- which reinterpret and rewrite the Shakespearean play in an Asian context in order to make it their own. Following a postcolonial framework, this essay shows that it becomes necessary to understand the rewriting of Romeo and Juliet in some Asian countries. Experimentation, recreation and parody abound in all these adaptations, with clear political implications.
Other Issues
December 2023, Volume 45, Number 2
, Volume 45, Number 1
, Volume 44, Number 2
, Volume 44, Number 1
, Volume 43, Number 2
, (Volume 43, Number 1)
December 2019, Volume 41, Number 2
June 2019, Volume 41, Issue 1
, 39,2
, 39, 1
Atlantis, 33,1
Atlantis 42.1, Volume 42, Number 1
, Volume 42, Number 2