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The authoress analysed a discussion about the origin of the Spanish corrida within the perspective of theses about its native (Iberian) character and attempts at undermining the vision of Europe as a world which 'since time immemorial' has witnessed globalisation (the migrations of people and animals, the dissemination of cultural contents, trade exchange, war conflicts, colonisation and political impact). Prime reflections pertain to the cultural identity of 'toro bravo' within the context of the presence of the bull in the mythologies, religions and art of numerous cultures (the Mediterranean basin).
A commentary to the taurological works by Leiris, the art of tauromachy and the eroticism patterned on it, which resigns from the fulfilment of the orgasm for the sake of a 'feminine' model - aesthetisation, theatralisation, delay. The character which Michel Leiris ascribed to the corrida is the same which the theoreticians of postmodernism refer to social relations dominating in present-day culture. The most important moment in life and in the arena is the one when the toreador and the beast, I and the Other, pass without touching each other.
Pedro Almodóvar did not want to make movies about the corrida and recreate the bullfight: in two breakthrough works, 'Matador' (1986) and 'Talk to Her' (2002), he transferred the psychology of the bull-man relation to that of man-man. The authoress of the article proposed a detailed analysis of both films with the assistance of the corrida envisaged as a key, and presented extensive source material (i. a. about the famous toreador Manolete).
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