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Spain's Golden Age, the seventeenth century, left the world one great legacy, the flower of its dramatic genius -- the comedia. The work of the Golden Age playwrights represents the largest combined body of dramatic literature from a single historical period, comparable in magnitude to classical tragedy and comedy, to Elizabethan drama, and to French neoclassical theater.
A History of Spanish Golden Age Drama is the first up-to-date survey of the history of the comedia, with special emphasis on critical approaches developed during the past ten years.
A history of the comedia necessarily focuses on the work of Lope de Vega and Calderon de la Barca, but Ziomek also gives full credit to the host of lesser dramatists who followed in the paths blazed by Lope and Calderon, and whose individual contributions to particular genres added to the richness of Spanish theater. He also examines the profound influence of the comedia on the literature of other cultures.
Representing Culture in the Contemporary Spanish Novel
What does literature reveal about a country’s changing cultural identity? In History, Violence, and the Hyperreal by Kathryn Everly, this question is applied to the contemporary novel in Spain. In the process, similarities emerge among novels that embrace apparent differences in style, structure, and language. Contemporary Spanish authors are rethinking the way the novel with its narrative powers can define a specific cultural identity.
The masterpieces of medieval Spanish literature have come to be known and loved by Hispanists, and more recently by others throughout the world. But the brilliant illuminations with which the original manuscripts were illustrated have remained almost totally unknown on the shelves of the great European libraries. To redress this woeful neglect, two noted scholars here present a generous selection from this great visual treasury including many examples never before reproduced.
John E. Keller and Richard P. Kinkade have chosen five representative works, dating from the mid-thirteenth century to the late fifteenth, to illustrate the richness of early Spanish narrative art. Together, these five works encompass the entire range of narrative techniques and iconography to be found in medieval Spain, and reflect both foreign and native Spanish artistic tendencies. The authors' analyses of the relation between verbalizations and visualizations will provide students of medieval art and literature a wealth of new information expanding our knowledge of this fascinating period. The beauty of many of the illuminations speaks for itself.
Bringing together contributions from top specialists in Hispanic studies - both Peninsular and Latin American - this volume explores a variety of critical issues related to the historical, political, and ideological configuration of the field. Dealing with Hispanism in both Latin America and the United States, the book’s multidisciplinary essays range from historical studies of the hegemonic status of Castillian language in Spain and America to the analysis of otherness and the uses of memory and oblivion in various nationalist discourses on both sides of the Atlantic. Wide-ranging though they are, these essays are linked by an understanding of Hispanism as a cultural construction that originates with the conquest of America and assumes different intellectual and political meanings in different periods, from the time of national cultural consolidation, to the era of modernization, to the more recent rise of globalization.
New Poetry and New Subjects in Early Modern Spain
Present scholarly conversations about early European and global modernity have yet to acknowledge fully the significance of Spain and Spanish cultural production. Poetry and ideology in early modern Spain form the backdrop for Imperial Lyric, which seeks to address this shortcoming. Based on readings of representative poems by eight Peninsular writers, Imperial Lyric demonstrates that the lyric was a crucial site for the negotiation of masculine identity as Spain’s noblemen were alternately cajoled and coerced into abandoning their identifications with images of the medieval hero and assuming instead the posture of subjects. The book thus demonstrates the importance of Peninsular letters to our understanding of shifting ideologies of the self, language, and the state that mark watersheds for European and American modernity. At the same time, this book aims to complicate the historicizing turn we have taken in the field of early modern studies by considering a threshold of modernity that was specific to poetry, one that was inscribed in Spanish culture when the genre of lyric poetry attained a certain kind of prestige at the expense of epic. Imperial Lyric breaks striking new ground in the field of early modern studies.
La representación del amerindio en el teatro del Siglo de Oro
Indios en escena engages both the Baroque and Colonial fields of Hispanism in order to reevaluate fourteen major plays of Spanish Golden Age literature from a social-historical perspective. Castillo argues that these plays portray Amerindians not in their “otherness” but as subjects of empire.
The Myth of Modernity and the Transatlantic Onset of Modernism
Modernismo (1880s–1920s) is considered one of the most groundbreaking literary movements in Hispanic history, as it transformed literature in Spanish to an extent not seen since the Renaissance. As Alejandro Mejías-López demonstrates, however, modernismo was also groundbreaking in another, more radical way: it was the first time a postcolonial literature took over the literary field of the former European metropolis. Expanding Bourdieu’s concepts of cultural field and symbolic capital beyond national boundaries, The Inverted Conquest shows how modernismo originated in Latin America and traveled to Spain, where it provoked a complete renovation of Spanish letters and contributed to a national identity crisis. In the process, described by Latin American writers as a reversal of colonial relations, modernismo wrested literary and cultural authority away from Spain, moving the cultural center of the Hispanic world to the Americas. Mejías-López further reveals how Spanish American modernistas confronted the racial supremacist claims and homogenizing force of an Anglo-American modernity that defined the Hispanic as un-modern. Constructing a new Hispanic genealogy, modernistas wrote Spain as the birthplace of modernity and themselves as the true bearers of the modern spirit, moved by the pursuit of knowledge, cosmopolitanism, and cultural miscegenation, rather than technology, consumption, and scientific theories of racial purity. Bound by the intrinsic limits of neocolonial and postcolonial theories, scholarship has been unwilling or unable to explore modernismo’s profound implications for our understanding of Western modernities.
An authoritative work interspersed with nearly one hundred of John Ruskin’s Swiss drawings recounts his lifelong interest in Switzerland. Hayman provides a chronological account of Ruskin’s visits to Switzerland from his earliest travels in 1833 and 1835 and his frequent tours of the 1840s to the final visits in the 1880s. Of particular concern is Ruskin’s intention between approximately 1855 and 1865 to engrave his own drawings of Swiss towns for a work illustrative of Swiss history. Drawings of the historic Swiss towns in which Ruskin was most interested — Baden, Bellinzona, Brugg, Fribourg, Geneva, Laufenburg, Lucerne, Neuchâtel, Rheinfelden, Schaffhausen, and Thun — are introduced by excerpts from John Murray’s A Handbook for Travellers in Switzerland (1856). Hayman has traced a great many Swiss drawings Ruskin referred to in his letters and diaries and has located twenty-three previously unpublished ones which appear in his book. Ruskin’s well-documented defence of J.M.W. Turner is also brought to light as the author has juxtaposed reproductions of Turner’s sketches of Swiss towns with drawings by Ruskin.
This work will not only interest scholars and students of Ruskin but should also pique the interest of Turner scholars.