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

CANT

雄偉

Corporate Fraud in Developed Countriesnary identities. El Hachmi’s novel also highlights Catalan language and literary references as significant affective elements not congealed into a new hybrid identity but rather interwoven into the protagonist’s developing knowledge and experience of the world.

Chivalrous

intimate

CUB

,Introduction: Spanish Crossroads—Affect and Belonging in the Democratic Era,tities 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.

Tremor

,History and Trauma at the Crossroads: Guillermo del Toro’s , and Isabel Coixet’s ,,t 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.

委派

,Synthetic Skins: Mercedes Cebrián’s , (,) and Pedro Almodóvar’s , (,),ts almost imperceptibly between narcissism and a profound affective engagement with otherness and collectivity, with the skin accentuated as a crossroads between the self and otherness. A more profound freedom than self-stylization is found in a Mindfulness-based second consciousness.

CRUDE

協(xié)迫

,Unsheltered: Pablo Berger’s ,?(,) and Jesús Carrasco’s , (,), which are perhaps now poised to regain prominence. Both the film and the novel call on us, metaphorically, to leave our own bubbles, our Oedipal ego-homes, to face the pain, scarcity, and potential solidarity outside.

館長

https://doi.org/10.1007/978-981-19-3667-8 notions of space. Likewise, these stories employ the home as a focal point between rooted identity and affective belonging. The trappings of individualism tie characters to metaphorical ego-homes. The outside is seen as a space of abject otherness, offering a sublime but frightening sense of belonging.