Etxeita wrote a more idealized-costumbrista novel in 1910: Jaioterrimaitia (Beloved Homeland), which no longer makes reference tohis imperialist past in the Philippines thus completing his colonialdisavowal, while rendering the Basque migrant into a fully ahistorical,representational colonial subject: the novel takes places in themountains, in a village called Ardibaso. Instead of the Philippines,Mexico becomes the new site of colonial disavowal: three couplesfrom Ardibaso migrate to Mexico, make their fortunes, and return to thevillage, without ever interacting in a meaningful way with any Mexicancharacter. The three couples only deal with each other and otherBasque emigrants in what can only be called a “Mexican Ardibaso”(mostly located in Veracruz). In short, even the Mexican postcolonialspace becomes fully Basquized in order to disavow fully colonialism/imperialism: Mexico is not the Basque Country, but just the same.In order to understand the full extent of Etxeita’s disavowal ofhistorical colonialism, it is important to resort to this very colonialhistory and, more specifically, to the colonial history of the Basquesin the Philippines. After sixty years of monopolistic activity (1728-1785) in Venezuela, the Real Compañía Guipuzcoana de Caracas, aBasque colonialist monopoly, lost its hold of the Venezuelan market,due in part to its exploitative and abusive methods, and found itselflooking for other monopolist markets. As Marciano de Borja explainsin his The Basques in the Philippines, the Spanish monarchy grantedthe same company the colonial market of the Philippines and so theReal Compañía de Filipinas was born in 1785 (2005: 66-74), whichdid not compete with the «Galeón de Acapulco» as it took the Easternroute through Cape of Good Hope.. As a result, Basque colonialisthistory took root in the Philippines. Although this company ended in1837, the Basque presence among the local Spanish elite grew. ABasque, Antonio Ayala, founded and expanded, with other Germanand Spanish partners, what became the Ayala Corporation—stilltoday the largest company in the Philippines (De Borja, 2005: 124-27). Moreover, and as Etxeita’s biography confirms, another Basquecompany, Olana, Larrinaga and Co., ran the only shipping route fromEngland to the Philippines. Historically, the Basque elite had a centralposition in Manila and, more generally, in the colony at large. As I willexplain later when analyzing Rizal’s work, it is important to emphasizethat this elite was recognized as distinctively Basque (the Spanishcolonizer of the Philippines was also Basque, Lope de Legazpi).Galdós, Etxeita, Rizal – Madrid, Mundaka, Manila: On Colonial Disavowal and (Post) Imperial Articulations of the Hispanic Pacific-Atlantic - Joseba Gabilondo<strong>452ºF</strong>. #09 (2013) 13-41.Etxeita’s biography is central to the above history of Basque colonialism.He became a sea captain at the age of 20 and started to work forthe Basque shipping company located in Liverpool, Olana, Larrinagaand Co, which ran the route between Liverpool and Manila. Etxeitaeventually settled down as the agent of the company in Manila and laterwas promoted to the position of president. After gaining membershipin several advisory boards in Manila, he also became the president of34
the local chamber of commerce and finally the mayor of the capital.He lived in Manila for 16 years. In 1898, he returned to his hometownMundaka where he spent the rest of his life (Kortazar, 1999: 8).As I stated earlier, it is only after Etxeita left the Philippines in1898 and settled in his native Mundaka, that he began to write inBasque (Josetxo 1909; Jaioterri maitia 1910; Au, ori ta bestia 1913).Therefore the switch to Basque language, to the local indigenouslanguage—to his own Basque “Tagalog,” as it were—is the cruciallinguistic and literary device that allows Etxeita to perform hismaneuver of colonial disavowal. Josetxo borrows from his earlierfictionalized biography in Spanish, but it becomes fully fictional ina very crucial element: the haunting absence of the Philippines,which only emerges at the very end of the novel to completeprecisely a post-imperial-colonial fantasy of «yes but just thesame»: the hero’s unknown father appears at the end to give hima Basque paternity and, with the fortune that the father made in thePhilippines, also endow the son with a new (petty) bourgeois lineage.Josetxo is an indiano novel and fantasy. The protagonist, Josetxo,is snatched by gypsies and grows poor with his adoptive familyin Mundaka. Due to his great abilities and good disposition, hebecomes captain of a ship and owner of a small fortune by agetwenty. Due to a shipwreck, he ends up in Argentina and after strikinga filial relationship with a rich Basque hacienda owner, he becomesthe overseer of the hacienda and several years later, returnsas the richest man of Mundaka. Finally, he marries his childhoodsweetheart, who has suffered and resisted for years all the attemptsmade by her evil parents to marry her to other men who werericher than Josetxo and had a well-established origin in the village.The sentimental subplot, based on his own life, and which alreadyappeared in his first semi-autobiographic novel in Spanish, furtheremphasizes colonial disavowal. Josetxo, unlike Etxeita, is a boykidnapped and abandoned by a “gypsy” woman; thus his originsand Basque filiation are put into question by the novel. Againstthe opposition of Josetxo’s adoptive family who wants to marryhim to a richer girl, Josetxo’s girlfriend, Eladi, awaits faithfully hisreturn as he navigates and endures shipwrecks throughout theworld. After a long absence Josetxo returns, now rich, and marriesEladi. In short, colonial disavowal also takes an emotional andaffective turn, as Josetxo marries the right «colonial» woman, aBasque woman who is even bound by blood—she is his cousin.Here, semi-incestuous relationships further emphasize colonialdisavowal, as the love between both heroes is thickened byblood. In Amoríos de Juana y Manuel, at the end of the novel,the mother supplants the girlfriend as the final emotional instanceof colonial disavowal: Josetxo ultimately returns to his mother.Galdós, Etxeita, Rizal – Madrid, Mundaka, Manila: On Colonial Disavowal and (Post) Imperial Articulations of the Hispanic Pacific-Atlantic - Joseba Gabilondo<strong>452ºF</strong>. #09 (2013) 13-41.35
- Page 1 and 2: 452ºF452ºF OriginalIssueVersióno
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- Page 15 and 16: The bullion [of silver coming from
- Page 17 and 18: Although Paul Gilroy’s disregard
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- Page 33: force; the latter is always mention
- Page 37 and 38: century in a double colonial geogra
- Page 39 and 40: spaces of dominated nationalism suc
- Page 41 and 42: JUARISTI, J. (1997): El bucle melan
- Page 45 and 46: Euskal Herriko sasietako urretxindo
- Page 47 and 48: Bizkitartean non daude euskal nobel
- Page 49 and 50: XX. mendeko emakume euskaradunen li
- Page 51 and 52: Aukeratu ditugun emazte idazleen te
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- Page 67 and 68: Txillardegik ETA erakundearen sorku
- Page 69 and 70: Halere, historiak, batzuetan totelk
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erezia» (Atxaga et al., 1975). Min
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poesía irrealista y evasiva, forma
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lotzeko nahia agertzen baita: «Mun
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du, hain zuzen, literatur historia
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kostaldeko iruditeria goibela hartz
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POESÍA CORPORAL/DANZA VERBAL:UNA L
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0. IntroducciónEn este trabajo vam
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Sarrionandia―).2. El imaginario p
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coreografía nos remite a la textua
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pero eso sí, los poemas se escucha
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y tienen voz. Ixiar Rozas (2011) en
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aile, una voz en off recita parte d
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iniciativas culturales de las compa
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POÉTICA DERESISTENCIAEN ITXAROBORD
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Itxaro Borda (pseudónimo de Bernar
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haber sentido de niña), permiten
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Percibía la paz.Sigo dando a verLo
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Poética de resistencia en Itxaro B
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ilingüe «Otsude nago», transferi
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BibliografíaAPALATEGI, U. (2008):
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normal en lenguas nacionales o inte
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452ºFLaburpena || Bakartasuna da I
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1. Zedarri zenbait1. 1. Bakartasuna
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Bakartasuna plurala eta paradoxikoa
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eta pertsonaien misantropia azaleko
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Walter Benjaminek -Benjamin, 1972:
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modu paradoxiko batean, (Euskal) ko
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BibliografiaItxaro Bordaren liburua
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Nouvelle Revue de Psychanalyse (198
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PERIFÉRICABLVD. O UNA(NEO)BARROCAP
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No deja de ser una comprobación de
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Puede decirse, así, que Periféric
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1. Un policial contra el policialCo
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-Che, campestre, ¿dónde te metes?
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tener, y si bien el lector tiende,
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de ciudad, diría Rama). Dos formas
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posible, representada e inventada,
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No puedo dejar de enfatizar, así,
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BibliografíaARECO, M. (2011): «Ca
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452ºFAbstract || It is a truth uni
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naturalistic or empiricist literary
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enemy in the 1984 TV series—with
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gain control. The most evident case
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ipped John’s mask off in front of
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Anna: Nothing’s too complex for o
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originally conceived as a prequel t
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as “made of lead,” is responsib
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other opening the casket is pivotal
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a case of mistaken identity. I’m
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GALLARDO, X. C. and SMITH, C. J. (2
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Mireia Martín
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Nuevas subjetividades/Sexualidades
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Islas imaginadasLuz C. Souto452ºF