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Anamorphosis, Cervantes, and the Early Picaresque
The term anamorphosis, from the greek ana (again) and morphe (shape), designates a variety of perspective experiments that can be traced back to the artistic developments of the 1500's and 1600's. Anamorphic devices challenge viewers to experience different forms of perceptual oscillation and uncertainty. Images shift in front of the eyes of puzzled spectators as they move from the center of the representation to the margins, or from one side to the other. (A) Wry Views demonstrates that much of the literature of the Spanish Golden Age is susceptible, and indeed requires, oblique readings (as in anamorphosis).
The Transfer and Circulation of Modern Poetics Across the Atlantic
Translation--from both a theoretical and practical point of view--articulates differing but interconnected modes of circulation in the work of writers originally from different geographical areas of transatlantic encounter, such as Europe, Latin America, North America, and the Caribbean. After Translation examines from a transnational perspective the various ways in which translation facilitates the circulation of modern poetry and poetics across the Atlantic. It rethinks the theoretical paradigm of Anglo-American "modernism" based on the transnational, interlingual and transhistorical features of the work of key modern poets writing at both sides of the Atlantic--namely, the Portuguese Fernando Pessoa; the Chilean Vicente Huidobro; the Spaniard Federico García Lorca; the San Francisco-based poets Jack Spicer, Robert Duncan, and Robin Blaser; the Barbadian Kamau Brathwaite; and the Brazilian brothers Haroldo and Augusto de Campos.
Cervantes's "Persiles and Sigismunda"
In the work he considered his masterpiece, Persiles and Sigismunda, Cervantes finally explores the reality of woman--an abstraction largely idealized in his earlier writing. Traditional critics have perpetuated this disembodied ideal woman: "Every Man," claimed the translators of the 1706 Don Quixote, has "some darling Dulcinea of his Thoughts." As Diana de Armas Wilson shows, however, Cervantes himself envisioned the radical embodiment of "Dulcinea" in the later Persiles, a pan-European Renaissance allegory. Wilson illuminates Cervantes's strategic use of the ancient genre of Greek romance to contest various chivalric fictions about women, love, and marriage--fictions collapsing under the constraints of an emerging bourgeois culture. Taking as her subject Cervantes's erotic imperative--to leave behind "barbaric" notions of love in quest of a new conceptual space--Wilson demonstrates how the heroes of the Persiles, unlike Don Quixote, learn to cross the borders of difference. Their journey toward marriage is illustrated by thirteen inset "exemplary novels," perhaps the most exploratory of Cervantes's writings. Allegories of Love not only examines the fundamental importance of sexual and cultural difference in Cervantes's last romance, but also reveals the historical conditions of representation itself during the late Renaissance.
Originally published in 1991.
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.
This is the first book published in English by of the work of Brazilian poet Adelia Prado. Incorporating poems published over the past fifteen years, The Alphabet in the Park is a book of passion and intelligence, wit and instinct. These are poems about human concerns, especially those of women, about living in one's body and out of it, about the physical but also the spiritual and the imaginative life. Prado also writes about ordinary matters; she insists that the human experience is both mystical and carnal. To Prado these are not contradictory: "It's the soul that's erotic," she writes.
As Ellen Watson says in her introduction, "Adelia Prados poetry is a poetry of abundance. These poems overflow with the humble, grand, various stuff of daily life - necklaces, bicycles, fish; saints and prostitutes and presidents; innumerable chickens and musical instruments...And, seemingly at every turn, there is food." But also, an abundance of dark things, cancer, death, greed. These are poems of appetite, all kinds.
Women Shaping Berber Identity
In southeastern Morocco, around the oasis of Tafilalet, the Ait Khabbash people weave brightly colored carpets, embroider indigo head coverings, paint their faces with saffron, and wear ornate jewelry. Their extraordinarily detailed arts are rich in cultural symbolism; they are always breathtakingly beautiful—and they are typically made by women. Like other Amazigh (Berber) groups (but in contrast to the Arab societies of North Africa), the Ait Khabbash have entrusted their artistic responsibilities to women. Cynthia Becker spent years in Morocco living among these women and, through family connections and female fellowship, achieved unprecedented access to the artistic rituals of the Ait Khabbash. The result is more than a stunning examination of the arts themselves, it is also an illumination of women's roles in Islamic North Africa and the many ways in which women negotiate complex social and religious issues. One of the reasons Amazigh women are artists is that the arts are expressions of ethnic identity, and it follows that the guardians of Amazigh identity ought to be those who literally ensure its continuation from generation to generation, the Amazigh women. Not surprisingly, the arts are visual expressions of womanhood, and fertility symbols are prevalent. Controlling the visual symbols of Amazigh identity has given these women power and prestige. Their clothing, tattoos, and jewelry are public identity statements; such public artistic expressions contrast with the stereotype that women in the Islamic world are secluded and veiled. But their role as public identity symbols can also be restrictive, and history (French colonialism, the subsequent rise of an Arab-dominated government in Morocco, and the recent emergence of a transnational Berber movement) has forced Ait Khabbash women to adapt their arts as their people adapt to the contemporary world. By framing Amazigh arts with historical and cultural context, Cynthia Becker allows the reader to see the full measure of these fascinating artworks.
From the 1790s to the End of the Flintlock Period
American Military Shoulder Arms, Volume II, contains more than three hundred photographs. As with the previous volume, Volume II is written primarily for students of arms, but also contains material of interest to historians, museum specialists, collectors, and dealers of antique arms.
Flintlock Alterations and Muzzleloading Percussion Shoulder Arms, 1840-1865
This third volume in Moller’s authoritative reference work describes muzzleloading percussion shoulder arms procured by the U.S. government for issue to federal and state armed forces in the period that includes the Civil War.
Colonial and Revolutionary War Arms
American Military Shoulder Arms, Volume I: Colonial and Revolutionary War Arms focuses on the arms used from the early exploratory period throughout the colonial period and the American Revolution. Arranged chronologically, it contains definitive descriptions of the pre-flintlock and flintlock shoulder arms used in North America and detailed accounts of the development and progression of military regulation shoulder arms of the major colonial powers from the early eighteenth century through the Revolutionary War.
Lavishly illustrated with more than four hundred vivid photographs of muskets, rifles, carbines, and other arms, this book offers an intelligent analysis of the shoulder arms procured and used by the colonists, colonial and state governments, and the Continental Congress.
Vol. 46 (2011) through current issue
Fundada en 1966 por Rodolfo Cardona, Anales Galdosianos, publicación de la Asociación Internacional de Galdosistas y una de las principales revistas internacionales de estudios ibéricos del siglo XIX, difunde anualmente artículos, reseñas y documentos sobre la vida y obras de Benito Pérez Galdós y sus contemporáneos a partir de una gran variedad de perspectivas críticas, además de acoger trabajos de índole interdisciplinaria, transnacional y/o comparatista relacionados con la literatura y cultura de la España del siglo XIX. Agradecemos el apoyo importante de Boston University, la Casa Museo Pérez Galdós y el Cabildo de Gran Canaria.
Founded in 1966 by Rododlfo Cardona, Anales Galdosianos, a yearly publication of the Asociación Internacional de Galdosistas, and one of the principal international journals on 19th-century Iberian studies, publishes articles, reviews and documents related to the life and works of Benito Pérez Galdós and his contemporaries, within a broad spectrum of critical perspectives, in addition to including studies of an interdisciplinary, transnational and/or comparative nature on 19th-century Spanish literature and culture. We appreciate the important support of Boston University, the Casa Museo Pérez Galdós and the Cabildo de Gran Canaria.