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This work explores the background and first two years of the First Carlist War--a conflict that pitted conservative northern peasants against the liberal Madrid government in the largest and most sustained case of armed peasant resistance to modernization in nineteenth-century Europe.
Originally published in 1984.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Benito Perez Galdos and the Creative Process was first published in 1954. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Most critics would rank Benito Perez Galdos second only to Cervantes among the great novelists of Spain. However, in spite of the esteem in which he is generally held, Galdos has been the subject of relatively few scholarly studies. Professor Pattison, by an analysis of two of Galdos' novels, attempts to reconstruct the creative processes that were involved in the writing of these novels. This is the first time that such a critical approach has been used in the field of Spanish fiction and the resulting study is significant not only to Spanish scholars but to all students of literature seeking further insights into the fascinating and still elusive creative process.
Professor Pattison analyzes the novels Gloria, published in 1877, and Marianela,which was published the following year. Both are stories of contemporary life, the former having as its theme the conflict between noble religion and the fanaticism of individual religious sects, and the latter presenting a story of tragic love interwoven with the social problem of the responsibilities of the rich toward the poor.
In tracking down the sources of ideas, characters, plots, and viewpoints that emerge in these novels, Professor Pattison worked first-hand in Galdos' personal library in Madrid. From the notes and markings in the books and from other intimate observations, the scholar-detective put his finger on many of the original sources that contributed to Galdos' artistic creations and identified the prototypes for fictional characters among persons Galdos knew.
Vol. 86 (2009) - Vol. 87 (2010)
The Bulletin of Hispanic Studies has been published continuously from Liverpool since its foundation by Edgar Allison Peers in 1923. Edited in one of the leading British University Departments of Hispanic Studies by an editorial team specializing in a wide range of Hispanic scholarship, and supported by a distinguished international Editorial Committee, the Bulletin of Hispanic Studies is the foremost journal published in Britain devoted to the languages, literatures and civilizations of Spain, Portugal and Latin America. It is recognized across the world as one of the front-ranking journals in the field of Hispanic scholarship.
The journal's interests are broad-ranging and cover the linguistic areas of Spanish, Portuguese, Galician, Catalan, Basque and Amerindian. While contributions are mainly in the areas of literature, linguistics, cultural history, film and visual arts, cultural and gender studies, it likes to reflect and engage with all aspects of 'Hispanic Studies', both traditional and modern.
Vol. 1 (1949) through current issue
Founded in 1948 by Everett W. Hesse, Bulletin of the Comediantes is published semiannually by the Comediantes, an international group of scholars interested in early modern Hispanic theater. The Bulletin welcomes articles and notes in Spanish and English dealing with sixteenth- and seventeenth-century peninsular and colonial Latin American drama. Submissions are refereed by at least two specialists in the field. Since 2011, the journal has been published by the Department of Spanish and Portuguese at San Diego State University.
Autobiografía e invención en el siglo XVI
First-person narrative does not always fall under the genre of autobiography. In the centuries before the genre was defined, authors often patterned their personal narratives after prestigious discourses, such as hagiography, historiography, and the literary miscellany. Caballero noble desbaratado: Autobiografía e invención en el siglo XVI [Noble Knight Disrupted: Autobiography and Invention in the Sixteenth Century] analyzes several first-person narratives from Spain and the conditions of their writing and reception. It focuses on the sixteenth-century Libro de la vida y costumbres [Book of life and customs] by Alonso Enríquez de Guzmán (1499-1547), the knight of the title. One chapter looks at antecedents to the central work: the late fourteenth-century Memorial by Leonor López de Córdoba, who narrates difficult passages of her life; the Breve suma de la vida y hechos [Brief Summary of the Life and Deeds] by Diego García de Paredes, who speaks of duels and battles as an object lesson in honor and courage for his son; and Cautiverio y trabajos [Captivity and Travails] by Diego Galán, a tale of captivity and flight in Muslim lands that constitutes an early example of fictionalized autobiography. The study also examines the influence of writers like Bartolomé de Torres Naharro, Antonio de Guevara, and Pedro Mexía and the vitality of lyric poetry on both sides of the Atlantic. Although the Biblioteca de Autores Españoles has devoted a volume to Enríquez de Guzmán, there has never been a book-length study dedicated to this author. This book fills that gap and constitutes a valuable contribution to the study of autobiography in Spanish.
Alegoría, seducción y resistencia en cinco autos sacramentales
Pedro Calderon de la Barca (1600-1681) is generally acknowledged to be the master author of autos sacramentales, one-act pageant plays that usually dramatize the myths of the Fall and Redemption. Since the auto was supervised by both the church and the state, it is typically held to be an art form that serves theology and the dominant powers of the time. Basing her examination of Calderon's autos on modern theories of allegory, Viviana Diaz Balsera focuses on the seductive power of the dramatic, visible level of the allegorical auto and questions the widely held assumption that Calderon's autos harmonize the dramatic and religious discourses that constitute them. In her readings of Los encantos de la Culpa, Eljardin de Falerina, La nave del Mercador, La vida es sueflo, and Lo que va del Hombre a Dios, she instead finds a disjunction between the literal, poetic level and the religious, theological meaning. With its splendid scenes, poetic fables, and elaborate music, the auto ironically has the potential to reproduce the seductive function it frequently attributes to the Devil and/or the forces of evil. Rather than the dogmatic champion of the Catholic Church, the auto emerges as conflictive, ambivalent, and moving, participating in the very dangers of sensual pleasures it seeks to warn against.
The Conquistador Expeditions of Francisco Vásquez de Coronado and Don Juan de Oñate
Guided by myths of golden cities and worldly rewards, policy makers, conquistador leaders, and expeditionary aspirants alike came to the new world in the sixteenth century and left it a changed land. Came Men on Horses follows two conquistadors— Francisco Vásquez de Coronado and Don Juan de Oñate—on their journey across the southwest.
Driven by their search for gold and silver, both Coronado and Oñate committed atrocious acts of violence against the Native Americans, and fell out of favor with the Spanish monarchy. Examining the legacy of these two conquistadors Hoig attempts to balance their brutal acts and selfish motivations with the historical significance and personal sacrifice of their expeditions. Rich human details and superb story-telling make Came Men on Horses a captivating narrative scholars and general readers alike will appreciate.
Cinematic Adaptations of Colonial Literature in Mexico and Brazil
The years 1992 and 2000 marked the 500-year anniversary of the arrival of the Spanish and the Portuguese in America and prompted an explosion of rewritings and cinematic renditions of texts and figures from colonial Latin America. Cannibalizing the Colony analyzes a crucial way that Latin American historical films have grappled with the legacy of colonialism. It studies how and why filmmakers in Brazil and Mexico—the countries that have produced most films about the colonial period in Latin America—appropriate and transform colonial narratives of European and indigenous contact into commentaries on national identity. The book looks at how filmmakers attempt to reconfigure history and culture and incorporate it into present-day understandings of the nation. The book additionally considers the motivations and implications for these filmic dialogues with the past and how the directors attempt to control the way that spectators understand the complex and contentious roots of identity in Mexico and Brazil.
Lawyers, Society, and Politics in Barcelona, 1759-1900
Offering a window into the history of the modern legal profession in Western Europe, Stephen Jacobson presents a history of lawyers in the most industrialized city on the Mediterranean. Far from being mere curators of static law, Barcelona's lawyers were at the center of social conflict and political and economic change, mediating between state, family, and society.
Latin American Writers and Franco's Spain
Drawing on extensive research in the Spanish National Archive, Alejandro Herrero-Olaizola examines the role played by the censorship apparatus of Franco’s Spain in bringing about the Latin American literary Boom of the 1960s and 1970s. He reveals the negotiations and behind-the-scenes maneuvering among those involved in the Spanish publishing industry. Converging interests made strange bedfellows of the often left-wing authors and the staid officials appointed to stand guard over Francoist morality and to defend the supposed purity of Castilian Spanish. Between these two uneasily allied groups circulated larger-than-life real-world characters like the Barcelona publisher Carlos Barral and the all-powerful literary agent Carmen Balcells. The author details the fascinating story of how novels by Mario Vargas Llosa, Guillermo Cabrera Infante, Gabriel García Márquez, and Manuel Puig achieved publication in Spain, and in doing so reached a worldwide market. This colorful account underpins a compelling claim that even the most innovative and aesthetically challenging literature has its roots in the economics of the book trade, as well as the institutions of government and the exigencies of everyday politics and ideology.