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El periodismo literario de Elena Poniatowska y Rosa Montero
Women’s voices routinely have been muted or omitted entirely when a nation assembles its historical narrative. In Miradas Transatlánticas: El periodismo literario de Elena Poniatowska y Rosa Montero, Alicia Rita Rueda-Acedo examines the relationship between the journalistic and literary work of the two writers named in the title as they utilize a distinct combination of journalism and fiction to create new spaces where women’s voices and experiences may be situated prominently in their nations’ historical narratives. Rueda-Acedo analyzes the works of the two writers from the perspectives of both gender and genre studies, extending the notion of genre from the literary tradition and applying it to journalistic production. Each of the chapters rethinks and revises the concept of literary genres by arguing for the inclusion of the interview, the reportage, the article, and the chronicle within the category of literature. In her study of Las siete cabritas by Poniatowska and Historias de mujeres by Montero, Rueda-Acedo argues successfully that these are works of homage to women who have influenced history. By interpreting and subverting patriarchal models, the writers draw attention to the ways in which women have engaged Mexican, Spanish, and Universal history. Rueda-Acedo focuses on the characteristics of the journalistic interview and proposes its interpretation as a literary text. A poetics of this genre is also proposed. Rueda-Acedo’s study explores how Poniatowska and Montero represent women who have marked history as part of the feminist agenda that the two writers have promoted in their journalistic and literary production. The book also emphasizes the role of the two writers as researchers and critics and deepens the vibrant debate about the relationship between literature and journalism currently being discussed on both sides of the Atlantic.
Portuguese Expansion and the Writing of Africa
Las fundaciones de la modernidad literaria mexicana (1917-1959)
Naciones Intelectuales explores the processes and works that laid the foundations of a new literary modernity in the wake of the Mexican Revolution. It focuses on the period from the signing of the Constitution in 1917, to the death of Alfonso Reyes in 1959, and analyzes the four elements of Mexican cultural practices: the notion of literature, the figure of the intellectual, the creation of academic institutions, and the definition of national identity that emerged through the various debates held by leading figures of the period. The book analyzes different key moments, controversies, and cultural interventions, which ultimately led the diverse aesthetic spectrum created by the revolution into becoming a highly institutional system of literature. This book offers a cartography of Mexican literary institutions unprecedented in scope, which will allow readers, students, and scholars to understand the construction of modern Mexican literature in a clear, rigorous, and systematic way.
This volume, which includes essays on Catalonia, the Basque country, Galicia, and literature written by African immigrants, focuses on issues of "difference" that are at the center of current debates in Spain and elsewhere--the emergence of minoritized literatures, multilingualism and identity, new relationships between culture and institutions, the negotiation of historical memories, the connections between migrations and the redefinition of nationhood, and the impact of global trends on local symbolic systems.
Benito Prez Galdos (1843-1920) occupies a position in Spanish literature surpassed only by Cervantes, and, like him, made a major contribution to the European novel that is now becoming widely recognized. In a semiological approach to the second period of Episodios Nacionales, Diane Urey demonstrates the relevance of these twenty-six novels, the least studied of Galdos's works, to fundamental issues such as the relationship between history and fiction, and between mimesis and creation. Her findings of ambiguity, irony, and allegory in this writer's highly self-conscious historical novels will revise our views of Galds's place in European letters while offering new insights into a general theory of historical fiction.
Diane Urey offers an alternative to referential or ideological interpretations of the Episodios by stressing the indeterminate textuality of historical incidents and the fictionality of historical discourse. Drawing on Derrida, De Man, Foucault, and Hayden White, she applies a wide range of narrative theory to these texts and concludes that novel and history are interchangeable modes of discourse because they rely necessarily on the same narrative strategies.
Originally published in 1989.
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.
The Obedience of a King of Portugal was first published in 1958. 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.
Especially designed as an example of fine book making, this volume presents a facsimile reproduction and a translation of a fifteen-century publication. The original upon which this publication is based is in the James Ford Bell Collection in the University of Minnesota library. The text is that of the obedience oration of Vasco Fernandes de Lucena, delivered for John II of Portugal to Pope Innocent VIII in 1485. Scholars consider the work a magnificent example of the Latin oratorical prose of the period.
Concrete Aesthetics in Cuba, Brazil, and Spain, 1868-1968
The Object of the Atlantic is a wide-ranging study of the transition from a concern with sovereignty to a concern with things in Iberian Atlantic literature and art produced between 1868 and 1968. Rachel Price uncovers the surprising ways that concrete aesthetics from Cuba, Brazil, and Spain drew not only on global forms of constructivism but also on a history of empire, slavery, and media technologies from the Atlantic world. Analyzing José Martí's notebooks, Joachim de Sousândrade's poetry, Ramiro de Maeztu's essays on things and on slavery, 1920s Cuban literature on economic restructuring, Ferreira Gullar's theory of the "non-object," and neoconcrete art, Price shows that the turn to objects--and from these to new media networks--was rooted in the very philosophies of history that helped form the Atlantic world itself.
Saramago's "Historical" Trilogy
On Emerging from Hyper-Nation represents Ronald W. Sousa’s attempt to answer the question, “Why do I smile on reading one of Saramago’s ‘historical’ novels?” Why that reaction of emotional release? To answer the “smile question” the book engages in a critical mode that could be described as “discourse analysis.” It combines several critical strains and relies on basic concepts from Freudian and Lacanian psychoanalysis, Adlerian psychology, and contemporary cognitive psychology for their discourse-analytical value rather than as entrées into psychoanalytical reading per se. The introductory chapter presents some of the concepts that underlie that compound analytical modality and sets out an overview of twentieth-century Portuguese social and economic history. Then, with an eye to answering the “smile question,” the book reads Nobel Laureate José Saramago’s three novels, Baltasar and Blimunda (1982), The Year of the Death of Ricardo Reis (1984), and The History of the Siege of Lisbon (1989). Or, better, it seeks to read Sousa’s own reading of the three works, since focus falls on how each novel seeks to construct both its own reading and also Sousa as its reader. The discussion brings to light a number of textual phenomena that bear upon the “smile question.” Among them are that the novels invoke, often subtly, the fascist hermeneutical heritage remaining from before the revolution of 1974 as a constituent part of their communication with the reader; that they summon up historical trauma; that they function as Freudian-style “tendentious jokes”; and that, through these various invocations, they seek to constitute a postrevolutionary Portuguese subject. The reading of Sousa’s reading, then, ends up being a reading of some of the cultural forces at work in postrevolutionary Portugal.
Muslims and Jews in Inquisitorial Spain
The distinct religious culture of early modern Spain -- characterized by religious unity at a time when fierce civil wars between Catholics and Protestants fractured northern Europe -- is further understood through examining the expulsion of the Jews and suspected Muslims. While these two groups had previously lived peaceably, if sometimes uneasily, with their Christian neighbors throughout much of the medieval era, the expulsions brought a new intensity to Spanish Christian perceptions of both the moriscos (converts from Islam) and the judeoconversos (converts from Judaism). In Parallel Histories, James S. Amelang reconstructs the compelling struggle of converts to coexist with a Christian majority that suspected them of secretly adhering to their ancestral faiths and destroying national religious unity in the process.
Discussing first Muslims and then Jews in turn, Amelang explores not only the expulsions themselves but also religious beliefs and practices, social and professional characteristics, the construction of collective and individual identities, cultural creativity, and, finally, the difficulties of maintaining orthodox rites and tenets under conditions of persecution. Despite the oppression these two groups experienced, the descendants of the judeoconversos would ultimately be assimilated into the mainstream, unlike their morisco counterparts, who were exiled in 1609.
Amelang masterfully presents a complex narrative that not only gives voice to religious minorities in early modern Spain but also focuses on one of the greatest divergences in the history of European Christianity.