Lucia Montenegro-Pico
I am a postdoctoral researcher and lector in Spanish Language and Literature (AECID Program -Spanish Agency for International Development Cooperation-) at the Department of Letras Neolatinas of the Universidade Federal do Rio de Janeiro (UFRJ).
My research interests focus on theatre as a social and performative event, on forms of power during the Enlightenment, on symbolic recognition -through the notions of “symbolic power” and “symbolic capital” (Bourdieu)- and social and political struggles amongst the urban elites in Galicia in the second half of the 18th Century regarding to the decisions and "prises de position" concerning theatrical activity. I seek to understand the relationship between the theatrical activity and the consolidation of a field of power by means of symbolic exchanges, as well as coercive practices, such as the “surveillance” and “domestication” (Foucault) of the theatrical audience. I have developed this research in my PhD thesis, "O teatro na Galiza urbana do século XVIII: funcionalidade e confluência com o campo do poder (Ferrol e Corunha: 1768-1806)" [Theatre in Urban Galicia during the Eighteenth Century: Functions and Confluence with the Field of Power], at the University of Santiago de Compostela (2019). More recently I started a new research aimed at setting up a dialogue between the theatrical practices of the Eighteenth Century and of the Baroque Period (late 16th and 17th centuries, the central period for the Spanish literary canon, the well-known “Siglo de Oro”), looking for the continuities and gaps along these centuries and regarding the social and political functions of the theatre or the development of the repertoires, troupes and theatre management. I have published several works on these topics in peer-reviewed journals and book chapters.
I was a visiting scholar at the Department of Historia Moderna e Historia Contemporánea of the Universidad Complutense in Madrid (Spain) and at the Institut d’Histoire Moderne et Contemporaine of the École Normale Supérieure (ENS) in Paris (France).
I also hold degrees in Galician Philology and Portuguese Philology (both in 2008, obtaining the National End-of-University-Career Award and the Award for Excellence of the Autonomous community of Galicia on these graduations) and a M.A. in Theoretical and Comparative Studies of Literature and Culture, also at the University of Santiago de Compostela (2009). Besides, I enjoyed a grant as a language consultant and translator at the Parliament of Galicia (2014), the Legislative Assembly of the autonomous community of Galicia (Spain).
I am member of the GALABRA Research Group (Studies on Culture concerning Galician, Portuguese, Brazilian and African Countries of Portuguese Language Systems) of the Universidade de Santiago de Compostela and since 2020 of the ETTE Research Group (Grupo de Estudos e Traduções de Teatro Espanhol [‘Studies and Translations on Spanish Theatre’]), registered by the CNPq, of the Universidade Federal do Rio de Janeiro (UFRJ).
Alongside research and cultural and political analysis, music -listening and dancing to it- is my passion
My research interests focus on theatre as a social and performative event, on forms of power during the Enlightenment, on symbolic recognition -through the notions of “symbolic power” and “symbolic capital” (Bourdieu)- and social and political struggles amongst the urban elites in Galicia in the second half of the 18th Century regarding to the decisions and "prises de position" concerning theatrical activity. I seek to understand the relationship between the theatrical activity and the consolidation of a field of power by means of symbolic exchanges, as well as coercive practices, such as the “surveillance” and “domestication” (Foucault) of the theatrical audience. I have developed this research in my PhD thesis, "O teatro na Galiza urbana do século XVIII: funcionalidade e confluência com o campo do poder (Ferrol e Corunha: 1768-1806)" [Theatre in Urban Galicia during the Eighteenth Century: Functions and Confluence with the Field of Power], at the University of Santiago de Compostela (2019). More recently I started a new research aimed at setting up a dialogue between the theatrical practices of the Eighteenth Century and of the Baroque Period (late 16th and 17th centuries, the central period for the Spanish literary canon, the well-known “Siglo de Oro”), looking for the continuities and gaps along these centuries and regarding the social and political functions of the theatre or the development of the repertoires, troupes and theatre management. I have published several works on these topics in peer-reviewed journals and book chapters.
I was a visiting scholar at the Department of Historia Moderna e Historia Contemporánea of the Universidad Complutense in Madrid (Spain) and at the Institut d’Histoire Moderne et Contemporaine of the École Normale Supérieure (ENS) in Paris (France).
I also hold degrees in Galician Philology and Portuguese Philology (both in 2008, obtaining the National End-of-University-Career Award and the Award for Excellence of the Autonomous community of Galicia on these graduations) and a M.A. in Theoretical and Comparative Studies of Literature and Culture, also at the University of Santiago de Compostela (2009). Besides, I enjoyed a grant as a language consultant and translator at the Parliament of Galicia (2014), the Legislative Assembly of the autonomous community of Galicia (Spain).
I am member of the GALABRA Research Group (Studies on Culture concerning Galician, Portuguese, Brazilian and African Countries of Portuguese Language Systems) of the Universidade de Santiago de Compostela and since 2020 of the ETTE Research Group (Grupo de Estudos e Traduções de Teatro Espanhol [‘Studies and Translations on Spanish Theatre’]), registered by the CNPq, of the Universidade Federal do Rio de Janeiro (UFRJ).
Alongside research and cultural and political analysis, music -listening and dancing to it- is my passion
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Book Chapters by Lucia Montenegro-Pico
projecto em que estamos envolvidas sobre o campo cultural na Galiza
do século XVIII.
A problemática que desenvolveremos tem a ver exactamente com o
procedimento de selecçom das fontes documentais primárias para o estudo do teatro (assim sendo, interrogaremo-nos sobre aspectos como os seguintes: que tipologia de fontes resultam úteis para o nosso objecto de estudo, baixo que critérios devem ser escolhidas, etc.). Expostos estes problemas relativos à determinaçom das fontes, o nosso desafio consistirá em explicitar aquelas questons específicas que emergem do confrontamento analítico entre fontes de tipologia variada, com o fim de saber como contornar os obstáculos metodológicos gerados e como reconhecer as fontes que resultem mais fiáveis e efectivas para o estudo do teatro nesta altura.
Devido à aplicação de uma focagem excessivamente centrada nos produtos culturais impressos, foi obviada a pertinência do estudo dos espaços como fonte de informação sobre os processos culturais. Na delimitação do corpus de estudo interferiram, igualmente, outros critérios enviesados, como o critério linguístico ou filológico que reduziu significativamente o corpus de estudo, nom sendo considerada a produção veiculada em latim, espanhol ou italiano. A nossa proposta consiste, portanto, na incorporação de elementos negligenciados até agora na análise deste período e na revisão dos critérios metodológicos escolhidos para configurar o corpus.
espaços teatrais que se começava a articular no final deste século. Apesar disto, temos verificado a existência de uma actividade teatral
ligada a teatros portáveis, como passagem anterior à construção, na segunda metade do XVIII, de teatros estáveis, assentados fundamentalmente em núcleos urbanos portuários, como na Corunha e no Ferrol. Adicionalmente, situamos como objeto de estudo o discurso historiográfico sobre o teatro em Galiza no século XVIII, a fim de identificar as causas que motivam e explicam a desatenção da
historiografia e a crítica literária galega a propósito desta produção teatral, o que, em boa medida, se liga ao facto de ser um modelo historiográfico de base nacional(ista).
Papers by Lucia Montenegro-Pico
PhD thesis by Lucia Montenegro-Pico
Despite this subject was often neglected by the Galician and Spanish historiographical discourses, there was a dynamic establishment of Italian opera companies alongside touring comedy companies from Spain in the main cities of Galicia during this period, coinciding with the founding of the earliest public playhouses.
The aim of this study is to reconstruct the volume and type of theatrical activity that the cities of Ferrol and Corunna hosted between 1768 and 1806. It also aims to determine the support the theatre received from the field of power, since the city councils took the full powers of theatrical government and management. In light of this, we aim to unravel the political and symbolic roles that theatre played for the dominant social groups and for the legitimacy of the sovereignty of the institutions of power.
Talks by Lucia Montenegro-Pico
*Esta comunicação foi premiada pela School of Languages, Literatures and Cultures da University College Cork pelo seu interesse científico, recebendo uma ajuda de custo para a participação no congresso.
To accomplish our goal, we analyse all the 20th century narratives on Galician theatre attending Literary History, Music History as well as Architectural and Urbanism diachronic studies developed on the Spanish and Galician academic sphere. I present here some of our preliminary conclusions underlining two kind of deficits we have detected on those narratives. The first set is derived from the application of criteria exclusively focused on the past tradition of every discipline, establishing very strict boundaries between them, and disregarding general dynamics affecting the large field of culture. The second one is related to specific ideological interests that can be traced along the process of construction of the analysed narratives (for instance, the importance of the linguistic factor for the traditional Galician Literary History, particularly on the fixation of the corpus).
Reviews by Lucia Montenegro-Pico
Press articles by Lucia Montenegro-Pico
Drafts by Lucia Montenegro-Pico
projecto em que estamos envolvidas sobre o campo cultural na Galiza
do século XVIII.
A problemática que desenvolveremos tem a ver exactamente com o
procedimento de selecçom das fontes documentais primárias para o estudo do teatro (assim sendo, interrogaremo-nos sobre aspectos como os seguintes: que tipologia de fontes resultam úteis para o nosso objecto de estudo, baixo que critérios devem ser escolhidas, etc.). Expostos estes problemas relativos à determinaçom das fontes, o nosso desafio consistirá em explicitar aquelas questons específicas que emergem do confrontamento analítico entre fontes de tipologia variada, com o fim de saber como contornar os obstáculos metodológicos gerados e como reconhecer as fontes que resultem mais fiáveis e efectivas para o estudo do teatro nesta altura.
Devido à aplicação de uma focagem excessivamente centrada nos produtos culturais impressos, foi obviada a pertinência do estudo dos espaços como fonte de informação sobre os processos culturais. Na delimitação do corpus de estudo interferiram, igualmente, outros critérios enviesados, como o critério linguístico ou filológico que reduziu significativamente o corpus de estudo, nom sendo considerada a produção veiculada em latim, espanhol ou italiano. A nossa proposta consiste, portanto, na incorporação de elementos negligenciados até agora na análise deste período e na revisão dos critérios metodológicos escolhidos para configurar o corpus.
espaços teatrais que se começava a articular no final deste século. Apesar disto, temos verificado a existência de uma actividade teatral
ligada a teatros portáveis, como passagem anterior à construção, na segunda metade do XVIII, de teatros estáveis, assentados fundamentalmente em núcleos urbanos portuários, como na Corunha e no Ferrol. Adicionalmente, situamos como objeto de estudo o discurso historiográfico sobre o teatro em Galiza no século XVIII, a fim de identificar as causas que motivam e explicam a desatenção da
historiografia e a crítica literária galega a propósito desta produção teatral, o que, em boa medida, se liga ao facto de ser um modelo historiográfico de base nacional(ista).
Despite this subject was often neglected by the Galician and Spanish historiographical discourses, there was a dynamic establishment of Italian opera companies alongside touring comedy companies from Spain in the main cities of Galicia during this period, coinciding with the founding of the earliest public playhouses.
The aim of this study is to reconstruct the volume and type of theatrical activity that the cities of Ferrol and Corunna hosted between 1768 and 1806. It also aims to determine the support the theatre received from the field of power, since the city councils took the full powers of theatrical government and management. In light of this, we aim to unravel the political and symbolic roles that theatre played for the dominant social groups and for the legitimacy of the sovereignty of the institutions of power.
*Esta comunicação foi premiada pela School of Languages, Literatures and Cultures da University College Cork pelo seu interesse científico, recebendo uma ajuda de custo para a participação no congresso.
To accomplish our goal, we analyse all the 20th century narratives on Galician theatre attending Literary History, Music History as well as Architectural and Urbanism diachronic studies developed on the Spanish and Galician academic sphere. I present here some of our preliminary conclusions underlining two kind of deficits we have detected on those narratives. The first set is derived from the application of criteria exclusively focused on the past tradition of every discipline, establishing very strict boundaries between them, and disregarding general dynamics affecting the large field of culture. The second one is related to specific ideological interests that can be traced along the process of construction of the analysed narratives (for instance, the importance of the linguistic factor for the traditional Galician Literary History, particularly on the fixation of the corpus).