EL BOOM DE LA LENGUA ESPAÑOLA (Estudios Críticos de Literatura y Lingüística) (Spanish Edition)

Ibsen has become a global recognized author whose texts have been edited and performed around the world in many cultures and languages. Furthermore, many quotes from his work has been translated, adapted and used in other media than the printed book or the stage. These micro texts represent indeed another way of published and translated versions of his work to be added to the Ibsenian catalogue. Using the concept of textualterity coined by Joseph Grigely, based on the idea of understanding the art of work as an inscribed event on a particular time and space, I would like to explore how the Ibsenian micro texts around the world are resignified when being translated not only to other languages, but also to other cultures and other media that supports new readings.

In short, I will try to define how Ibsen quotes become a transmedia traveling text. He currently works on how media and several different materialities and virtualities shapes fiction, and how fiction travels through different media to be able to better understand how a diversity of reading habits are connected to their reading machines across Hispanic Literatures. In the last years he has published a monograph and an international collective monograph on the topic. For employees Norwegian website. Search our webpages Search. Norwegian version of this page Email a. Visiting address Niels Treschow hus El tecnocuerpo cervantino en la red social.

Apropiaciones, rescrituras, usurpaciones, imposturas, simulaciones varias y el editor cyborg. Del LaZarillo al Occupy Z: Revista Internacional de Estudios Literarios. A variety of written, oral, listening, and reading activities allow students to explore different genres while reviewing grammatical and lexical items pertaining to each individual theme in context. Cultural awareness is enhanced through exposure to an array of target-language media, as well as through in-class discussion. This course develops the use of persuasive and argumentative language.

Our focus is on analyzing and debating current issues pertaining to the Spanish-speaking world, and articulating sound personal perspectives on these issues. A variety of written, oral, listening, and reading activities allow students to explore an ample selection of topics, while reviewing grammatical and lexical items pertaining to each individual theme in context.

Cultural awareness is enhanced through exposure to an array of target-language media as well as through in-class oral presentations and discussions. This sociolinguistic course expands understanding of the historical development of Spanish and awareness of the great sociocultural diversity within the Spanish-speaking world and its impact on the Spanish language. We emphasize the interrelationship between language and culture as well as ethno-historical transformations within the different regions of the Hispanic world.

Special consideration is given to identifying lexical variations and regional expressions exemplifying diverse sociocultural aspects of the Spanish language, and to recognizing phonological differences between dialects. We also examine the impact of indigenous cultures on dialectical aspects. The course includes literary and nonliterary texts, audio-visual materials, and visits by native speakers of a variety of Spanish-speaking regions. This course will follow the traces of queer voices throughout different textual and artistic manifestations — from poetry to scenic arts, from narrative to cinema — with the aim to draw an intersectional, unstable and transnational map of rebel textualities and visualities in both the Latin American countries and Spain.

As a lateral way of looking, queerness brings together, not without conflict, activism and academia, theory, action and creation. During the course, we will address how these Hispanic queer works problematize notions such as the canon, the tradition, the sociopolitical structures or the idea of family and lineage. By questioning them, we will see how not only these works challenge the fundamental basis of social, political and literary order, but also unfold a fluid, productive alternative to neoliberalism.

Readings in Spanish and English.

This course examines multiple forms of Mexican literary and cultural production from the nineteenth century through the early twentieth century. Drawing from essays, poetry, fiction, travel narratives, photographs and illustrated magazines, the course focuses on key periods of social and artistic upheavals.

We will then move to the second half of the century, exploring authors pertaining to the mayor literary movements of the period in particular, romantic and realist novels , and we will analyze the textual and visual rhetoric associated with the costumbrista genre. We will conclude with modernista poetry, chronicles and short story. Readings in literary criticism and theory will engage with primary texts in the course as well. The production of crime fiction in the Hispanic literary world has a long tradition that dates back to the mid-nineteenth century and has recently gained critical attention as postmodern literary theories focus on fictional forms that are both popular and self-conscious.

This course studies the historical development of the genre in Hispanic letters, as well as its formal and ideological foundations. En este curso nos interesa trazar las distintas maneras en que la literatura ha invocado la inefabilidad aural de lo musical y reflexionar sobre sus posibles sentidos. This course will explore some key examples of the literatures of the Spanish-speaking Caribbean Cuba, Puerto Rico, and Santo Domingo during the twentieth century, including those of its migrant and exile communities.

• Peaceful World.
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• The Memoirs of Dolly Morton.

SPAN or instructor consent. In this course we will study some of the main intellectual currents in the Spanish-speaking Caribbean during the nineteenth century and their relationships to the literary production of the period. In particular, we will address the reformulation of ideas of the Enlightenment, liberalism, and philosophical Positivism, both for political reflections upon slavery, colonialism, and projects of national independence and social reform as well as for literary aesthetics.

How did predicaments of the Enlightenment come to structure pro-slavery thought? What was the relationship between liberalism and abolitionism? And what did literature have to do with these issues? This seminar will examine the intersection of material culture and Latin American literary and artistic production from the nineteenth century to the present. Using objects as lens, we will focus on the ways in which textual and visual representations of the inanimate world address questions concerning aesthetics, nationalism, gender, class, and human agency.

But Lope always glances back at the past and his works cannot be understood if we view them simply as a new genre. Emulating the classics, he takes up the ancient sisterhood between the arts and incorporates painting onstage, much like Cervantes had done before. This course will explore the relationship between visual culture and Spanish-American literary and artistic production from the nineteenth century through the present, focusing on the development of a modernizing cultural discourse.

Drawing from a variety of materials such as literary texts, essays, photographs, advertisements, and films, we will examine the intersections between different practices of writing and multiple visual manifestations. Authors, filmmakers and artists may include: Classes are conducted in Spanish. Open to graduate students and advanced undergraduates. This course uses literary, artistic, and musical materials to compare visions of Afro-Cuban and Native Mexican cultures as imagined by artists in this time period. Some of the issues in the political and cultural changes behind the remarkable new repertoires created in these two countries include nationalism, nativism, modernism, and relations with France and the U.

Graduate students will have longer papers and more intense readings. ONE of the following: Music-reading NOT necessary; Spanish at a level will help. In the early modern age, the verbal had a strong visual component. Poets and playwrights utilized the sense of sight since it was the highest of the Platonic senses and a mnemonic key to lead spectators to remember vividly what they had read or heard, long before spectacle plays were in fashion. One important technique for visualization was ekphrasis, the description of an art work within a text. Often, to perform was to imitate the affects, sentiments and poses of a painting.

The class will examine the uses of art onstage: It will also delve into different forms of ekphrasis from the notional to the dramatic and from the fragmented to the reversed. Although the course will focus on Spanish plays of the early modern period, it will also include ancient treatises by Cicero, and Pliny as well as Renaissance mnemonic treatises by Della Porta. The course will be in English. Reading knowledge of Spanish is required since plays will be read in the original. Those taking the class for credit in Spanish must write their final paper in Spanish.

This class engages contemporary conversations in the study of Afro-Latin performance and explores the work of emerging black performance artists across the hemisphere. Tracing performances of blackness from the Southern cone to the Caribbean, we will examine the ways blackness is wielded by the State and by black communities themselves in performance and visual art across the region. What work is blackness made to do in states organized around discourses of racial democracy and mestizaje? How are notions of diaspora constructed through performances of blackness?

Knowledge of Spanish is recommended. While the course will be taught in English, many of the performances and at least four of the readings will be in Spanish. The study of poetry written in New Spain, working with manuscripts as well as with "editiones principes. During the eighteenth century, European Enlightenment writers led a philosophical assault on the Americas. From Spain, France, and Britain, philosophers made various arguments claiming that in the Americas everything degenerated: The Americas, it turned out, simply paled in comparison to Europe.

This class is an exploration of the American response to this rhetorical subalternization. To be clear, this class is not a study of the subalterns of the Americas; rather, we will focus on the elite Spanish American and British American response to their subalternization by Europe.

The course is an interdisciplinary course. Our focus, however, will be on the primary texts: Spanish-reading skills will definitely aid in comprehension, but all non-anglophone texts are available in translation. In this seminar students will be introduced to some of the main critical and theoretical debates that are taking place at present within Latin American and Iberian literary and cultural studies. The seminar includes as well an additional colloquium with members of the Hispanic and Luso-Brazilian studies faculty to be scheduled outside seminar hours.

In the s and as a result of their involvement in the various social movements of the s, Latinas and other women of color began to publish what are now canonical texts in women of color feminism, books such as This Bridge Called My Back: Yet queer Latino men remained relatively silent. Why was this the case? What were the conditions of possibility that allowed Latinas to consciously and politically engage in the public sphere by publishing their work?

We will begin with these questions as we focus, more specifically, on the history of queer Latino studies, that is on men and masculinity. If queer Latino men did not publish immediately in the s, what public discourses existed in which queer Latino male sexuality was discussed? Our focus will take us across a variety of genres and disciplines: This intensive course is designed to take students with a basic knowledge of Spanish to the level of reading proficiency needed for research. To that end, students will work on grammar, vocabulary, and reading strategies.

Students will read a range of scholarly texts, a number of which will be directly drawn from their respective areas of research. This course involves directed readings in special topics not covered by courses offered as part of the program in Catalan. Subjects treated and work to be completed for this course must be chosen in consultation with the instructor no later than the end of the preceding quarter.

CATA or , depending upon the requirements of the program for which credit is sought. This course involves directed readings in special topics not covered by courses offered as part of the program in Spanish. SPAN or , depending upon the requirements of the program for which credit is sought. Due to the prestige and cultural ascendancy of its classical models, epic was considered the highest literary genre of the sixteenth-century repertoire, which forced Renaissance authors of epic poetry to explicitly compete against their illustrious predecessors and among themselves.

This provides a perfect basis to study some mechanisms of textual production in Renaissance poetry, but it will also help us to raise issues around the European and global circulation of literary goods, cultural competition, the relation between epic, nation, and empire, or the contested place of epic among the constitutive discourses of colonialism.

We will read three major Renaissance epic poems written and distributed in the same years: Texts will be provided in both the original languages and in English. In order to enrich the discussion, reading in the original will be encouraged for students with different language backgrounds and skills.

This course will examine the musical document as a source of musicological studies and its relationship to performance. We will look at various types of documents and assess specific problems of each age and geographical area. There is a performance component to this class. Students are encouraged to have some background in music or Latin American history prior to entering the course. In recent years, tensions between Spain and Catalonia have called attention to a number of long-standing issues that have remained unresolved in modern Spanish cultural and political history: It is a common misconception that literature can happen only in the alphabet or that such non-alphabetical literatures have long ago ceased to be made.

This course corrects such misconceptions by exploring modern and contemporary literatures that have been written with, or in response to, such sign-systems as pictographs, hieroglyphs, totem poles, wampum, and khipu. Key questions to be asked include: En este seminario nos interesa trazar las distintas maneras en que la literatura ha invocado la inefabilidad aural de lo musical y reflexionar sobre sus posibles sentidos.

This course explores Basque cinema from its beginnings to our days while also reviewing Spanish cinema from a Basque point of view. Among other topics, the course will explore the nationalist imaginary and its influence in film, the centrality of gender and motherly representations in Basque cinema, Basque films' recent tendency to become Spanish blockbusters outselling Hollywood, and allusions to the Basque Country in Spanish cinema. This course is designed as an alternative to SPAN for students aspiring to use Spanish in a professional context.

In order for both courses to serve as equal preparation for the following course in the sequence SPAN , the textbook used and the grammatical topics covered in SPAN and are identical, while some readings, listenings and vocabulary will differ. Students will expand their lexical and cultural knowledge of their chosen professional area through self-selected readings and a presentation, and will hone linguistic skills relevant to any workplace environment.

The goal of this first course in a two-course intermediate sequence is to help students who are heritage learners of Spanish to improve their oral, writing and reading skills and to formalize their linguistic ability. Basic grammatical patterns e.

1. Seminar Series 2013-14.
2. Coisas Que Eu Não Esqueci Porque Me Ensinaram Muito (Portuguese Edition)?
3. Academic interests;
4. Desafío al jeque (Deseo) (Spanish Edition).
5. Hispania. Volume 75, Number 5, December 1992!

Awareness of contemporary Hispanic societies and their historical roots will be enhanced through exposure to a variety of literary and non-literary texts and authentic audio-visual materials. Open only to heritage speakers with consent of instructor. The goal of this second course in a two-course intermediate sequence is to teach heritage learners of Spanish how to use formal written and spoken language to debate and to formulate cogent arguments. This eight-week course helps beginning students build a solid foundation in the basic patterns of written and spoken Spanish and their use in everyday communication.

It is specifically designed to help you obtain functional competency in speaking, reading, writing and listening in Spanish. The curriculum is the equivalent of SPAN during the regular academic year, and successful completion of the fulfills the language competency requirement for UChicago students in the College.

In this seminar we will explore how concepts of territory and territorialization were textually and visually articulated in nineteenth-century Latin America. Our inquiry will not only interrogate the aesthetic principles and procedures through which the nation conceived as geography was envisioned in the literature and arts of the period, most saliently around the figure of the landscape. We will also investigate alternative forms of spatialization related, yet irreducible, to the imperatives of the modern nation-state, such as the cognitive mappings associated to scientific explorations and to the symbolization of private property.

What are the epistemological presuppositions and ideological implications of such practices? What scenarios did they produce? Who was deemed or destined to inhabit them, and within what temporality? In our discussions we will engage key theoretical works on space, territory and landscape e. Lefebvre, Mignolo, Cosgrove, W.

Contrary to popular belief, the Mexican Revolution of began not with a bang, but a whimper. Led by a short and pampered mystic from the faraway frontier state Coahuila, the Revolution during its first days promised very little save for the possibility of a different face at the helm. And yet, what soon transpired were seven long years of brutal fighting throughout the country as different factions vied for power. Some of the slogans born from that Revolutionary epoch came to be heralded during the next 70 years by the ruling political party in order to marshal manpower and produce votes.

How has the Mexican Revolution maintained such immense political and cultural cachet for over 70 years? What is the truth of the Revolution? If the goals of the Revolution were not met, then how is it that the Mexican literary intelligentsia of the twentieth century based an entire artistic cosmogony around it? Which texts should be labeled 'Novels of the Mexican Revolution?

Seminar Series 2015-2016

This class will investigate such issues via a broad study of the novels, visual culture, and films having to do with the Mexican Revolution, its aporias, and its afterimages. This is a survey course on the Language Policy and Language Planning carried out on the Basque Language, namely the language practices language use , language beliefs and the measures taken at the levels of corpus, status and acquisition planning. We will study the process of standardization of Basque since its beginning in , how spelling, morphology and lexicon were unified, the modernization of terminology, and the latest corpus and dictionaries available in Internet.

We will also analyze the plans and measures set up that enabled to have Basque mass media or Basque be used in governmental services or in local work spheres, as well as the acquisition measures implemented via the educational system. All that entailed that today the Basque language has , more speakers than it had in and it is used as a language of instruction in Preschool, Primary Education, Secondary Education and even at the university level.

This course will be focusing on Catalan culture and translation in order to address different aspects of translation history, ethics and practice in relation to minority and minoritized languages, identities and communities. The classes would seek to explore and analyze what happens to Catalan literature, film, theatre and performance in translation into other languages in particular in the Anglophone world , as well as reflect on changing approaches to and affordances of translation within, between and beyond the Catalan-speaking territories in diverse situations of language contact and intercultural encounter involving Catalan-speaking individuals and communities.

The course will be structured in four parts: Catalonia in-translation; invisible landscapes; traumatic translations; and cartographies of desire. How has it been used in Latin America and the Caribbean? This course is an introduction to theatre and performance in Latin America and the Caribbean that will examine the intersection of performance and social life. What is the role of performance in relation to systems of power? How has it negotiated dictatorship, military rule, and social memory? Ultimately, the aim of this course is to give students an overview of Latin American performance including blackface performance, indigenous performance, as well as performance and activism.

Undergraduates must be in their third or fourth year. Over the last 20 years, Mexico has experienced an important political transformation more democratic institutional arrangement , relative economic stability, growing non-political forms of violence, increasing integration into the world economy and culture, resulting in a constant requisitioning of the actual meaning and connotations of such terms as a national culture, a national literature, the Mexican intellectual, and Mexican diversity.

The debate keeps the text alive by helping us refine, define, and defend our own interpretations of the classics. Make certain that your library contains this invaluable bibliographical tool. Catherine Larson Indiana University. The present book is more than the formal study announced in its subtitle.

By contrast Montesinos appears as the representative of an antiquated criticism which registers only the work of the novelistic artisan, not the artist 8. As Gabriel moves between the fact and fiction of court life, both he and the reader become aware of the problematic difference between fact and fiction and experience a similar learning process.

The discussions of the three remaining books all have interest, but cannot be treated in this limited space. Suffice it to say they all combine thematic expositions with explanations of the techniques employed to transform life into literature. For me it is not completely successful. Theme is not merely a kind of occasional guard-rail on the highway of literary analysis; its purpose is not merely to prevent aberrant formal theorizing. Theme, what the writer sees and wants to express, is part of the roadway itself. The forms and techniques he studies are real and important, but, I believe, he must go further in his next study toward showing how theme and form evolve together.

Pereda scholars will welcome this latest addition to the growing corpus of criticism and editions of the Santander novelist. In the last several years, a reevaluation of Pereda and his work has begun. But he has also been a prolific chronicler of Santander. His extensive knowledge of Santander and nineteenth-century Spanish life and culture help enormously in contextualizing the life and works of the Santander writer, in Pereda.

Since then, much work and considerable revision of the novelist must be taken into account. Perhaps the most significant change has to do with the post-Franco awareness of the need for a more distanced approach to Pereda, too often the pawn of widely varying unstated and stated ideological agendas in the past. He was, for example, a shareholder, owner of a soap factory, an adviser and officer of the Banco de Santander, active in charity work. Madariaga develops this significant side of Pereda, without neglecting his traditionalist hidalgo roots.

Pereda, as his biographer points out, was full of contradictions in his work and life. Pereda was living through an era of radical change. Nevertheless, in his writings he frequently attacked the very class to which he belonged. He privileged the countryside and his recreation of an idealized rural patriarchy, yet hated to live there. Madariaga documents this and other inconsistencies of the writer. The book is handsomely presented, with wonderful photographs and other illustrations and several hard to find documents as appendices.

Si bien no estamos frecuentemente en desacuerdo con las percepciones de Ramos, en ocasiones nos preocupan ciertas cosas que asevera u omite. Contemporary approaches to Unamuno seem at this point to have taken two general directions. In Navajas we seem to perceive a desire to turn Unamuno into a postmodern. Zavala, on the other hand, feels no qualms about allowing Unamuno to belong to his own epoch. This honesty allows her the pleasure of endowing Unamuno with a prophetic quality and of calling him an initiator Yet she is willing to give credit to postmodernism wherever it is due.

Echoes of Marx are tempered by Freud. Still, it is Bakhtin who predominates. In the process, the written word is undermined and we are forced to place our confidence in the spoken word. Behind this is an epistemology based on responsibility. For Bakhtin and Unamuno, who were both influenced by neo-Kantian philosophy, multiplicity is a cognitive necessity in the struggle against univocal falseness.

Hegelian and Nietzschean themes are his adversaries, as well as any theological trait he might detect in philosophy In all fairness, however, we must recognize that she first analyzes it throughly in Niebla , where the mist is viewed as an epistemological metaphor ultimately related to the dream. Ullman University of Wisconsin-Milwaukee. The books also share a negative trait: The publishers rather than the authors are to blame for this; their editorial policies proscribe documentation because it may discourage general readers. It is especially galling to find such anti-intellectualism in effect at Edicions 62, a leader in the promotion of Catalan literature and culture.

One wonders why the official bodies which subsidized these two projects did not impose minimal documentary criteria on the publishers. Ibarz worked with more readily available sources: In spite of the fame Rodoreda enjoyed in her final years, little was known about her life when she died in This owed as much to her long exile as to her penchant for secrecy, mirrored in the Sterne citation that appears in several of her works: The Rodoreda who emerges here was, perhaps above all else, an ambitious woman, one who began to yearn quite young for financial independence and, somewhat later, for literary fame.

Rodoreda had a difficult life, marked by an unhappy early marriage to her uncle; a failed maternal experience; two wars; a tormented but enduring love affair which won her the enmity of many important Catalan intellectuals; chronic ill health; and an exile -territorial and linguistic- that lasted thirty-nine years. Her companion in exile, Joan Prat better known by his pseudonym, Armand Obiols , played a crucial role in this transformation.

It is not, as her detractors have asserted over the years, that Obiols wrote her fiction, but he did influence it in many positive ways. The years spent in exile from brain-drained postwar Spain were also enriching; unlike her compatriots, she was in constant contact with important European and Latin American intellectuals, artists, cinematographers, and their work.

On the negative side, her decision to organize the chapters around a particular subject -e. The book contains a surprising number of errata. Ibarz has an unerring eye for the most effective quotation to illustrate her affirmations. Geraldine Cleary Nichols University of Florida. The theories of French social historian Michel Foucault, particularly his ideas on the subject of power, have inspired feminist applications to literary texts as well to social arrangements.

Eleven pages briefly summarize the place of the woman novelist in Spain, introduce Tusquets, then turn to wider issues of power, feminism, and feminist literary criticism, touch on Foucault particularly his theories of power and resistance and the applicability of his ideas to feminist thought.

A synopsis of the forthcoming analysis summarizes the main thrust of this book: Chapter 1 concentrates on El mismo mar de todos los veranos and the use of the intertext and its various complements such as the exotext, paratext, etc. These intertexts are forms of repression which the narrator must resist. As would be expected, subsequent chapters offer variations on the theme of power. Simulation as interpreted by Foucault and Jean Baudrillard explains erotics, aesthetics, and power in El amor es un juego solitario.

Here, dissociation of the subject from chronology can modify the arrangement of power relations. Siete miradas en un mismo paisaje rekindles the ongoing debate concerning its generic category, but Molinaro also fits this ambiguity into the theme of power by its rebellion against the limits and laws of genre. Thematically, social situations and betrayal are common to the stories. The focus for Para no volver involves psychoanalysis and the act of retelling as resistance. This book is quite short -only ninety pages, including the introduction and postscript- but limited to the specific topic, it accomplishes its purpose, which includes as well an excellent critical grounding for the analysis.

Jones University of Kentucky. Una mala noche la tiene cualquiera y Tiempos mejores. Amalia es una mujer sumamente pasiva, sometida a quien quiera conversar con ella. Se los ve gesticular, sin importar lo que dicen, porque cuando dicen: Entre los dos hay pugna. El narrador es impasible. Vicente Cabrera University of Minnesota, Morris. However, this awareness, until recently, has not coincided with the development of reference books in Spanish, Portuguese or English.

The present book, taking its place among six other reference books in English on this topic, serves as one of the best single sources on Latin American literature. Its scope and depth can satisfy a disparate clientele from the curious layperson, to the student, to the scholar. One hundred and seventy-six writers, representatives of Latin American letters, Spanish Americans and twenty-seven Brazilians are presented in chronological order by date of birth from the colonial period to the present.

Although only authors are included and no literary topics, the editors do provide a forty-one-page history of this literature and a fifteen-page chronology. Selection of authors and apportionment of space are crucial and serve as criteria for status within the entire field of Latin American literature. In addition to providing information, a reference book indirectly is an assessment of an individual, a field or a culture. Well thought out and constructed, a bibliographical work can tell us the importance of certain countries in literary production by their numbers of authors and also the status of individual writers.

Here is the profile according to the work at hand: Bolivia, Ecuador and Panama each have one author. Yet it is very difficult to judge a reference book out of context. Therefore, it is necessary to peruse some of the other references in English on this same topic in order to measure the achievement of Latin American Writers. The selections in this book are from Contemporary Authors and approximately U. Hispanic and Spanish American authors are covered each in three pages with a few biographical facts, primary and secondary biographies and a critical discussion of contributions. A Bio-Bibliographical Source Book are self-explanatory and fill out the bibliography of reference books in English from the past fifteen years.

When put within the context of the above, Latin American Writers is an achievement in size and in scope. None of the other works equals it for bibliographical data and for broadness and depth of discussions. Consequently, although one could quibble with the editors about representations of countries and space allotment to certain authors, the work as a whole is excellent. It should be especially useful in smaller libraries that cannot afford sources on most of the included authors. The book also indicates a maturity in Latin American literature at least from the point of view of acceptance in the English-speaking world.

Schmidhuber y Alatorre, cada uno por su parte, hallaron ediciones sueltas de una comedia impresa, La segunda Celestina , el primero en la Universidad de Pennsylvania y el otro en la Biblioteca Nacional de Madrid. Benedetto Croce once remarked that impartial history is hard to find. The authors, experts from diverse disciplines, concur that the Inquisition was as much a government agency that enforced internal security as it was a defender of Roman Catholicism.

Rather, the local bishops had jurisdiction over them, both secular and ecclesiastical, thus creating in New Spain two separate but parallel legal systems. Only two among the thousands of indigenous folk healers ever received harsh sentences. Hence they underscore the important role women played indirectly in the realpolitik of Spain.

Even the most notorious, such as Piedrola, suffered not the death penalty as Hackett in England, but only internal exile. Through patronage systems based on Jewish blood purity, secret Jews kept Judaism alive and formed highly successful patron-client relationships. Stephen Haliczer, historian, Northern Illinois University, proposes the premise that in Spain Jesus replaced witches as evildoers.

Joseph Silverman, renowned American Hispanist, examines the Inquisition through literature. Moshe Lazar, comparatist, University of Southern California, relates how the Anussim secret Sephardim salvaged scorched fragments of Jewish holy books in order to preserve their faith. Also, in an ironic twist, they learned Judaic teachings from inquisitorial sessions and proselytizing literature. This collection of essays, written by Pellettieri between and , utilizes a number of the latest theories of criticism to examine trends in Argentine theater from its inception until the present.

Although the title of this volume suggests a traditional chronological examination of Argentine theater encompassing the entire period in question, Pellettieri eschews that approach. The essays are well chosen and organized so there is a minimum of repetition. Pellettieri is particularly adept at applying the theory of the grotesque to his analyses, as evidenced by the following observation: Pellettieri's ten essays vary in length and scope. Essays that appear early in the volume often refer ahead to themes and techniques developed more fully by contemporary playwrights.

The essays on the s through the s Chapter 6 and on Roberto Arlt and Pirandello Chapter 7 are rather brief and sketchy. Pellettieri does occasionally offer some fine interpretations of dramas by Griselda Gambaro, Roberto Cossa and other contemporary playwrights. This volume is marred by an excessive number of typographical errors.

Hispania. Volume 75, Number 5, December | Biblioteca Virtual Miguel de Cervantes

Podol Lock Haven University. Also important since the first days of resistance against the British invaders is the tendency to theorize, to grapple with Argentine problems, to search for constitutional panaceas. It is, however, much more, since one cannot separate thought from the cultural manifestations of the historical, geographical, economic and political realities.

Well organized and clearly defined, the ten chapters deal with: Sarmiento and Alberdi receive a chapter on their own, as does the soldier-president-writer Mitre, none of whom believed in true democracy or universal suffrage. The last two chapters are devoted to an examination of the roots of Argentine nationalism and a kind of Intellectual populism, thereby challenging the traditions or guiding fictions of the governing elite, from the overthrow of Rosas till about Of particular interest is the treatment of lesser-known writers like Carlos Guido y Spano and Olegario V.

Reading The Invention of Argentina is like visiting old friends. I use these terms advisedly since Argentina, at one stage the most advanced and civilized country in the New World, has had recently the worst record in terms of human rights and political repression. In his epilogue Shumway suggests that the ghosts of the nineteenth-century pensadores still haunt the land.

The divisions and suspicions of the different groups were responsible not only for the civil wars of the s but even for the dirty war of the s. An Intellectual Biography is the concrete manifestation of these guiding fictions gone wrong. In nine uniform chapters Hodges analyses the descent into barbarism of the government during the dirty war and the overlapping military process, as it was euphemistically called.

Based on solid research, and supported by primary materials not previously available, especially documents of the guerrilleros Montoneros, E. In the twentieth century the military era dates especially from the coup of General Uriburu against the Radical president Yrigoyen, which set the precedent for the decades to come.

Although Peronism became a populist movement, one remembers that it grew out of a military uprising. Their justification of the disappearance 30, people and imprisonment of innocent citizens on the grounds of subversion, predicated on the assumption that they were already waging World War III against Marxism in the defence of Western civilization, is frighteningly logical and simplistic. Nem mesmo em termos de Literatura Latino-Americana tem sido reconhecida. Robles offers further evidence that cutting edge intellectual activity has been present as much in what are often considered lesser developed regions of Latin America as it has in other parts of the western world.

Here he recognizes that Ecuadorian letters of the twenties and thirties are most widely known for the works of these writers whose orientation leaned toward social themes. Robles sees them as part of a kind of intellectual oligarchy who dominated most of the literary scenario. He views this as an understandable repercussion of major international as well as national social, political and economic events and movements Hugo Mayo es considerado Robles supports his commentary with documentation from several literary journals. The thrust of this chapter deals with the struggle over which approach to literary art would prevail.

After that, the great impetus of Ecuadorian letters is toward social themes. Robles treats this subject objectively and presents his material convincingly. Heise Mankato State University. The essays help to provide the cultural viewpoint inescapably embedded in Chicano literature whether it be poetry, novel or drama. Bruce-Novoa embraces different topics and ideas, unified by one underlying common goal: Bruce-Novoa suggests that many authors have rejected bilingualism because it leads to an inferior product. Chapter 8 offers vital aid in tracing the origins of Chicano Literature and surveying how far it has come.

Also included is the appearance of female writers and their struggle to be recognized as important. Although not equally significant, none of the essays can be dismissed as unimportant. Just as these people have suffered inequality and injustice, the literature of Hispanic minorities faces enormous problems in being accepted.

As Bruce-Novoa points out, the obstacles are many and each essay provides different perspectives on a literature that few understand. The collection of essays is indispensable for those wishing to learn more about the Chicano culture, its creators, the lives and spirit of the people represented in a vibrant literature that cries out to be understood and appreciated. This detailed text is written mainly for specialists because it presumes a certain knowledge of contemporary Brazilian history and its political parties, and offers an intimate look at the formation of political alliances in the post-war years of Brazilian democracy.

Lacerda founded and ran his own newspaper Tribuna da Imprensa in , just in time to follow the presidential contest between Eduardo Gomes and Vargas. Journalists in Brazil at this time played a central role in debating political opinion, and newspaper editorials held great sway with the public and politicians alike. During the course of his career, Lacerda was often threatened by political enemies for his incendiary criticism. After the death of Vargas, Lacerda was forbidden to make radio broadcasts. Lacerda left the country, and continued to give unfavorable press about the Kubitschek government while abroad in By , Lacerda was re-elected to the congress and chosen as the UDN leader.

He found himself once again at the center of national controversy by discussing documents that implicated vice-president Goulart. Lacerda also participated in the heated debate about decentralizing the educational system of Brazil, coming out in favor of private and parochial schools. In he was elected governor of Guanabara; the epilogue concludes that he was admired for his energetic projects, and scorned for his lack of personalism.

This book offers the conservative side to the debate surrounding the issues that have shaped Brazilian politics in the recent past. Was Lacerda a political crusader or political opportunist? Disruptive agitator or constructive activist? Was he anticorruption or anti-leftist? These are the questions that remain in the mind of the critical reader when considering the life of Carlos Lacerda.

Elizabeth Ginway University of Georgia. A semejanza de Borges, la obra de Bioy Casares rechaza el mimetismo realista, rehuyendo cualquier tipo de atadura con la realidad extratextual.