Jesús Ángel González
Biographic Data
| ID | 3681336 |
|---|---|
| NAME | Jesús Ángel González |
| GIVEN NAMES | Jesús Ángel |
| FAMILY NAME | González |
| SIGNATURE | GONZALEZ J A |
| AFFILIATIONS | Universidad de Cantabria |
| ORCID | 0000-0002-4025-1571 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1990 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
‘The art of surviving’: Aaron and Guéra’s Scalped as a post-Western
The term Post-Western has been used since the 1970s to refer to books and films that are not Westerns but use conventions of the Western genre to analyse contemporary conflicts and issues. The most important contribution to the establishment of this subgenre has been Neil Campbell’s monograph Post-Westerns (2013), in which they are described as films coming after and going beyond the traditional Western genre while at the same time engaging with …
Pulling Up a Wild Bill”: Television Post‐Westerns
This article examines the concept of the post‐Western and its presence in contemporary American television. The displacement of the Western myth in these series allows their creators to take the audience into a post‐Western “space of reflection” and look for new ways to articulate fears and worries in contemporary America
Ivan Sen's Transnational Post-Westerns: Mystery Road(2012) andGoldstone(2016)
This paper uses Neil Campbell’s definition of post-Westerns as films ‘coming after and going beyond the traditional Western whilst engaging with and commenting on its deeply haunting assumptions and values’ (Post-Westerns, 2013) in order to expand it to a transnational, post-colonial context and focus on two films made by Australian director Ivan Sen (Mystery Road [2013] and Goldstone [2016]) that can be considered Australian post-Westerns. These…
Building bridges between different levels of education: Methodological proposals for CLIL at university
Author/s Jesús Ángel GonzálezJavier BarberoUniversidad de Cantabria, Spain ABSTRACT This article describes a research project carried out at the University of Cantabria, Spain. Having identified a lack of communication between different levels of the education system, the co-authors have carried out qualitative research (“long interviews” with Primary and Secondary CLIL teachers) in order to identify the best methodological guidelines to be follo…
A genre auteur: Enrique Urbizu’s post-Western films
Enrique Urbizu belongs to the ‘New Generation’ of Basque film directors who (together with Medem, Bajo Ulloa, de la Iglesia and Calparsoro) ‘were greeted as the new generation supposedly destined to carry the flame of Basque cinema forward’ in the 1990s (Santaolalla 1999 Santaolalla, I. C. 1999. “Julio Medem’s Vacas (1991): Historicizing the Forest.” In Spanish Cinema: The Auterist Tradition, edited by P. W. Evans, 310–24. Oxford: Oxford Universi…
Transnational Post-Westerns in Irish Cinema
This article reviews the implications of two film categories developed in the last few decades (the transnational and post-Westerns) and applies them to two films produced in Ireland and usually not identified as such. After a review of the concepts of post-Westerns and transnationalism, two examples from Afghanistan (The Kite Runner) and Turkey (Once Upon a Time in Anatolia) are provided to illustrate the proposed category. A review of the cultu…
Living in the Funnies”: Metafiction in American Comic Strips
Another History: Alternative Americas in Paul Auster's Fiction
Even though Paul Auster's work has been influenced by European writers, he is also a fundamentally American writer. His settings, many of his literary references, his characters and most of his themes are certainly American. And so is his interest in American history and reality. Moon Palace (1989), for example, deals with the creation of the myth of the American Dream as the country extended its frontier westward. One of the ways for Auster to e…
Mark Twain's progression from A Connecticut Yankee to The Mysterious Stranger
The Mysterious Stranger manuscripts have always been set apart from Twain's earlier fiction as a consequence of the writer's aggravated pessimism in his last years and his intention to keep them unpublished. But there is a strong resemblance between these manuscripts and a novel published a decade before: A Connecticut Yankee in King Arthur's Court. The similarities between the main characters and their contradiction between meliorism and determi…
Pulling Up a Wild Bill”: Television Post‐Westerns
This article examines the concept of the post‐Western and its presence in contemporary American television. The displacement of the Western myth in these series allows their creators to take the audience into a post‐Western “space of reflection” and look for new ways to articulate fears and worries in contemporary America
Transnational Post-Westerns in Irish Cinema
This article reviews the implications of two film categories developed in the last few decades (the transnational and post-Westerns) and applies them to two films produced in Ireland and usually not identified as such. After a review of the concepts of post-Westerns and transnationalism, two examples from Afghanistan (The Kite Runner) and Turkey (Once Upon a Time in Anatolia) are provided to illustrate the proposed category. A review of the cultu…
Mark Twain's progression from A Connecticut Yankee to The Mysterious Stranger
The Mysterious Stranger manuscripts have always been set apart from Twain's earlier fiction as a consequence of the writer's aggravated pessimism in his last years and his intention to keep them unpublished. But there is a strong resemblance between these manuscripts and a novel published a decade before: A Connecticut Yankee in King Arthur's Court. The similarities between the main characters and their contradiction between meliorism and determi…
Another History: Alternative Americas in Paul Auster's Fiction
Even though Paul Auster's work has been influenced by European writers, he is also a fundamentally American writer. His settings, many of his literary references, his characters and most of his themes are certainly American. And so is his interest in American history and reality. Moon Palace (1989), for example, deals with the creation of the myth of the American Dream as the country extended its frontier westward. One of the ways for Auster to e…
Living in the Funnies”: Metafiction in American Comic Strips
Transnational Post-Westerns in Irish Cinema
This article reviews the implications of two film categories developed in the last few decades (the transnational and post-Westerns) and applies them to two films produced in Ireland and usually not identified as such. After a review of the concepts of post-Westerns and transnationalism, two examples from Afghanistan (The Kite Runner) and Turkey (Once Upon a Time in Anatolia) are provided to illustrate the proposed category. A review of the cultu…
A genre auteur: Enrique Urbizu’s post-Western films
Enrique Urbizu belongs to the ‘New Generation’ of Basque film directors who (together with Medem, Bajo Ulloa, de la Iglesia and Calparsoro) ‘were greeted as the new generation supposedly destined to carry the flame of Basque cinema forward’ in the 1990s (Santaolalla 1999 Santaolalla, I. C. 1999. “Julio Medem’s Vacas (1991): Historicizing the Forest.” In Spanish Cinema: The Auterist Tradition, edited by P. W. Evans, 310–24. Oxford: Oxford Universi…
Building bridges between different levels of education: Methodological proposals for CLIL at university
Author/s Jesús Ángel GonzálezJavier BarberoUniversidad de Cantabria, Spain ABSTRACT This article describes a research project carried out at the University of Cantabria, Spain. Having identified a lack of communication between different levels of the education system, the co-authors have carried out qualitative research (“long interviews” with Primary and Secondary CLIL teachers) in order to identify the best methodological guidelines to be follo…
Pulling Up a Wild Bill”: Television Post‐Westerns
This article examines the concept of the post‐Western and its presence in contemporary American television. The displacement of the Western myth in these series allows their creators to take the audience into a post‐Western “space of reflection” and look for new ways to articulate fears and worries in contemporary America
Ivan Sen's Transnational Post-Westerns: Mystery Road(2012) andGoldstone(2016)
This paper uses Neil Campbell’s definition of post-Westerns as films ‘coming after and going beyond the traditional Western whilst engaging with and commenting on its deeply haunting assumptions and values’ (Post-Westerns, 2013) in order to expand it to a transnational, post-colonial context and focus on two films made by Australian director Ivan Sen (Mystery Road [2013] and Goldstone [2016]) that can be considered Australian post-Westerns. These…
‘The art of surviving’: Aaron and Guéra’s Scalped as a post-Western
The term Post-Western has been used since the 1970s to refer to books and films that are not Westerns but use conventions of the Western genre to analyse contemporary conflicts and issues. The most important contribution to the establishment of this subgenre has been Neil Campbell’s monograph Post-Westerns (2013), in which they are described as films coming after and going beyond the traditional Western genre while at the same time engaging with …
Art (7 works) · Art history (6 works) · History (6 works) · Literature (5 works) · History (4 works) · Psychology (4 works) · Sociology (4 works) · Digital Games and Media (3 works) · Media studies (3 works) · Mythology (3 works)