ABSTRACT

After the Spanish Civil War, mourning was a quasi-political affective practice: an emotional performance that cannot be translated to the language of the state but is inextricable from the political. As a lesser known but paradigmatic example, the exhumation and relocation from Alicante to El Escorial of fascist leader José Antonio Primo de Rivera reveals how the public display of emotions was assumed to play an important role in the legitimation of political power. It also demonstrated the deliberate work and attention that went into constructing a national emotional hegemony. Relying on a chronicle of the event by veteran Falange partisans Samuel Ros and Antonio Bouthelier and on insights from Alison Jaggar and Margaret Wetherell, this essay shows how emotions are culturally specific performances, deeply embedded in relations of power. The reburial of José Antonio expressed a social group’s feelings but also their interpretation of the political significance of such feelings. Falangist mourning both secured that group’s political standing and challenged the legitimacy of alternative emotional performances, but it also betrayed anxieties about the (emotional, political, aesthetic) challenges of their performance of mourning. These ranged from the identification of nation, party and landscape to the strict division and regulation of gender performances. Despite its best efforts to present a unified emotional landscape and a spectacle of male homosocial bonding, the chronicle registers unspontaneous choreographies of emotion, the struggle for hegemony within Francoist factions, gendered indiscipline and undesired emotional displays that did not conform to the new state’s authority.

摘要

西班牙内战之后，哀悼是一种准政治的情感习俗：一种情感表现，无法翻译成国家的语言，但却与政治密不可分。作为一个鲜为人知但又是范式的例子，法西斯领导人若泽·安东尼奥·普里莫·德·里维拉从阿利坎特的掘尸和搬迁到埃斯科里亚尔，揭示了人们如何假定情感的公开展示在政治权力合法化中起着重要作用。它还显示出在构建国家情感霸权方面的精心工作和关注。依靠资深法兰西游击队游民塞缪尔·罗斯（Samuel Ros）和安东尼奥·布特维尔（Antonio Bouthelier）的活动纪事，以及艾莉森·贾格（Alison Jaggar）和玛格丽特·韦瑟雷尔（Margaret Wetherell）的见解，这篇文章展示了情感是如何在文化上特定表现的，深深植根于力量关系中。何塞·安东尼奥的葬礼表达了一个社会群体的感受，也表达了他们对这种感受的政治意义的解释。哀悼者既捍卫了该团体的政治地位，又挑战了另类情感表演的合法性，但同时也背叛了人们对其哀悼表演所产生的（情感，政治，美学）挑战的焦虑。从确定国家，政党和地区到严格划分和规范性别表现，不一而足。尽管尽了最大的努力来呈现统一的情感格局和男性同性恋社交的奇观，但该编年史记录了情感的自发编排，法兰西各派内部争夺霸权的斗争，性别不纪律和不合要求的情感展示，这些都不符合新国家的权威。