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Critical Practices in Post-Franco Spain was first published in 1994. 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.
This volume offers a sample of Spanish critical work in literary theory and cultural studies. Like all critical histories, Spain's is political: Philology dominated the critical scene during the Franco years, and after Franco, this hegemony has been contested by semiotics, poststructuralism, psychoanalysis, and feminisms. Without trying to represent all the theoretical projects presently underway in Spanish criticism, this book opens a window on the vast field of new critical practices in Spain and provides a general picture of influential theoretical currents.The essays collected here range widely in topic and style, and they reflect a new generation's preoccupation with critical problems that go beyond the field of literary studies. The authors focus on new discourse in various print and electronic media, on the discursive construction of the museum space, and on literary theory as it confronts issues of translation, subjectivity, writing, and narratology.
Silvia López is assistant professor of Spanish at Carlton Collegea doctoral candidate in the departments of cultural studies and comparative literature at the University of Minnesota. Jenaro Talens is professor of Hispanic literature and comparative literature at the University of Geneva. He is the author of The Branded Eye: Buñuel's Un Chien Andalou, (Minnesota 1993). Darío Villanueva is professor of theory of literature at the University of Santiago de Compostela, Spain.
Philosophy and the Novel in Spain, 1900-1934
The marriage of philosophy and fiction in the first third of Spain's twentieth century was a fertile one. It produced some truly notable offspring -- novels that cross genre boundaries to find innovative forms, and treatises that fuse literature and philosophy in new ways. In her illuminating interdisciplinary study of Spanish fiction of the "Silver Age," Roberta Johnson places this important body of Spanish literature in context through a synthesis of social, literary, and philosophical history.
Her examination of the work of Miguel de Unamuno, Pio Baroja, Azorin, Ramon Perez de Ayala, Juan Ramon Jimenez, Gabriel Miro, Pedro Salinas, Rosa Chacel, and Benjamin Jarnes brings to light philosophical frictions and debates and opens new interpersonal and intertextual perspectives on many of the period's most canonical novels.
Johnson reformulates the traditional discussion of generations and "isms" by viewing the period as an intergenerational complex in which writers with similar philosophical and personal interests constituted dynamic groupings that interacted and constantly defined and redefined one another. Current narratological theories, including those of Todorov, Genette, Bakhtin, and Martinez Bonati, assist in teasing out the intertextual maneuvers and philosophical conflicts embedded in the novels of the period, while the sociological and biographical material bridges the philosophical and literary analyses.
The result, solidly grounded in original archival research, is a convincingly complete picture of Spain's intellectual world in the first thirty years of this century. Crossfire should revolutionize thinking about the Generation of '98 and the Generation of '14 by identifying the heterogeneous philosophical sources of each and the writers' reactions to them in fiction.
Lesbian Literary Culture in Queer Madrid
Nation, Time, Language, and Space in Hispanic Literatures
The Dialectics of Exile: Nation, Time, Language and Space in Hispanic Literatures offers a theory of exile writing that accounts for the persistence of these dual impulses and for the ways that they often co exist within the same literary works.
Counter-Epic Literature in Early Modern Spain
The counter-epic is a literary style that developed in reaction to imperialist epic conventions as a means of scrutinizing the consequences of foreign conquest of dominated peoples. It also functioned as a transitional literary form, a bridge between epic narratives of military heroics and novelistic narratives of commercial success. In Discourses of Empire, Barbara Simerka examines the representation of militant Christian imperialism in early modern Spanish literature by focusing on this counter-epic discourse.Simerka is drawn to literary texts that questioned or challenged the imperial project of the Hapsburg monarchy in northern Europe and the New World. She notes the variety of critical ideas across the spectrum of diplomatic, juridical, economic, theological, philosophical, and literary writings, and she argues that the presence of such competing discourses challenges the frequent assumption of a univocal, hegemonic culture in Spain during the imperial period. Simerka is especially alert to the ways in which different discourses-hegemonic, residual, emergent-coexist and compete simultaneously in the mediation of power. Discourses of Empire offers fresh insight into the political and intellectual conditions of Hapsburg imperialism, illuminating some rarely examined literary genres, such as burlesque epics, history plays, and indiano drama. Indeed, a special feature of the book is a chapter devoted specifically to indiano literature. Simerka's thorough working knowledge of contemporary literary theory and her inclusion of American, English, and French texts as points of comparison contribute much to current studies of Spanish Golden Age literature.
Natural-Law Ethics in Spanish Golden Age Theater
Spanish Golden Age drama as an expression of morality falls between the extremes of art-for-art's-sake and utilitarianism. According to Spanish literary critics of the 16th and 17th centuries, drama imitated reality, the subject and domain of philosophy. The integration of drama and scholastic moral philosophy was an important aspect of the critical theory of this era, which held that art should both teach and delight.
Through close textual analysis of representative plays, this book examines the artistic fusion of natural-law philosophy and drama. It demonstrates the relationship between ethics and the central ideological themes of these works, illustrating that an awareness of the doctrines of natural law ethics is crucial to an enriched comprehension of the drama of Golden Age Spain.
Female Spiritualities, Contested Orthodoxies, and English Religious Cultures, 1350-1700
In The Embodied Word: Female Spiritualities, Contested Orthodoxies, and English Religious Cultures, 1350–1700, Nancy Bradley Warren expands on the topic of female spirituality, first explored in her book Women of God and Arms, to encompass broad issues of religion, gender, and historical periodization. Through her analyses of the variety of ways in which medieval spirituality was deliberately and actively carried forward to the early modern period, Warren underscores both continuities and revisions that challenge conventional distinctions between medieval and early modern culture. The early modern writings of Julian of Norwich are an illustrative starting point for Warren’s challenge to established views of English religious cultures. In a single chapter, Warren follows the textual and devotional practices of Julian as they influence two English Benedictine nuns in exile, and then Grace Mildmay, a seventeenth-century Protestant gentry woman, “to shed light on the ways in which individual encounters of the divine, especially gendered bodily encounters expressed textually, signify for others both personally and socio-historically.” In subsequent chapters, Warren discusses St. Birgitta of Sweden’s imitatio Christi in the context of the importance of Spain and Spanish women in shaping a distinctive form of early modern Englishness strongly aligned with medieval religious culture; juxtaposes the fifteenth-century mystic Margery Kempe with the life and writings of Anna Trapnel, a seventeenth-century Baptist; and treats Catherine of Siena together with the Protestant Anne Askew and Lollard and Recusant women. In the final chapters she focuses on the interplay of gender and textuality in women’s textual representations of themselves and in works written by men who used the traditions of female spirituality in the service of competing orthodoxies.
Rather than being properties of the individual self, emotions are socially produced and deployed in specific cultural contexts, as this collection documents with unusual richness. All the essays show emotions to be a form of thought and knowledge, and a major component of social life—including in the nineteenth century, which attempted to relegate them to a feminine intimate sphere.
The collection ranges across topics such as eighteenth-century sensibility, nineteenth-century concerns with the transmission of emotions, early twentieth-century cinematic affect, and the contemporary mobilization of political emotions including those regarding nonstate national identities. The complexities and effects of emotions are explored in a variety of forms—political rhetoric, literature, personal letters, medical writing, cinema, graphic art, soap opera, journalism, popular music, digital media—with attention paid to broader European and transatlantic implications.