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Quevedo y los campos literario y de poder
This text explores the literary, cultural and political relationships of Francisco de Quevedo (1580–1645), one of the major writers of the Spanish Golden Age. It establishes the birth and development of the first Spanish literary field circa 1600 then focuses on the relationship between the literary field and the field of power (the King, the court at large and the Catholic Church hierarchy).
Francisco de Quevedo, the Spanish poet and satirist whose books were by far the most widely read in Spain in the 17 th century, died unaware that his genius had created modern satire in Spanish, and that for the ensuing five centuries, as we now know, his name would be a household word wherever Spanish was spoken. Between 1605 and 1621, Quevedo wrote a sequence of five "Dreams" or "Visions" ( Suenos y discursos ), in each of which he hilariously envisions Spanish society as populated by people rightfully condemned to Hell. These astonishingly witty and irreverent satires of contemporary Spanish culture, morality, prejudice and religious fanaticism, were composed in a style so allusive, elliptical and equivocal as to successfully entertain both those who barely understood their full range and import, and others who celebrated the poet's rebellious insinuations. Censorship prohibited the publication of such satire in its original form, but hundreds of copies were made by hand and circulated widely. In 1993 a critical edition of all of the surviving manuscripts was published. Today the Suenos are commonly read in modern editions of the first censored version, printed in 1627. The present book ( La tradicion. . . ), compares this version with all of the 43 extant manuscripts, and for the first time identifies those groups of manuscripts from which the publishers of the first edition derived their text. This text can now be seen as a version not only censored, but corrupted successively by copyists and editors who did not understand Quevedo's satire, and did not hesitate to add entire clauses, omit others and transfer sentences from one place to another.
First published in 1554 and banned by the Inquisition, the anonymous Lazarillo de Tormes begat a whole new genre—the picaresque novel. This classic has had enduring popularity as a literary expression of Spanish identity and emotion. Through its daring autobiographical form the reader observes the magnificent, conquering Spain of Charles the Fifth through the inner consciousness of the humble Lazarillo.
This editon includes the annotated Spanish-language text and prologue (with modernized and regularized spelling) , a full vocabulary, and concise footnotes explaining allusions and translating phrases of varying difficulty.
Spanish-language with introductions in English
During the 1960s and 1970s, when writers such as Julio Cortazar, Carlos Fuentes, Gabriel Garcia Marquez, and Mario Vargas Llosa entered the international literary mainstream, Cold War cultural politics played an active role in disseminating their work in the United States. Deborah Cohn documents how U.S. universities, book and journal publishers, philanthropic organizations, cultural centers, and authors coordinated their efforts to bring Latin American literature to a U.S. reading public during this period, when interest in the region was heightened by the Cuban Revolution. She also traces the connections between the endeavors of private organizations and official foreign policy goals.
The high level of interest in Latin America paradoxically led the U.S. government to restrict these authors' physical presence in the United States through the McCarranWalter Act's immigration blacklist, even as cultural organizations cultivated the exchange of ideas with writers and sought to market translations of their work for the U.S. market.
The twelve essays in this fiorilegio of the work of Otis H. Green afford a representative view of the thought and scholarship of one of the world's foremost Hispanists. In each of them is developed some important facet of the intellectual milieu of the Middle Ages and Renaissance, reflecting Otis Green's life-long and wide-ranging quest for evidence that would broaden our understanding of those complex periods and correct the misapprehensions which have gathered about them. Included are important sections of his great work, Spain and the Western Tradition and essays from journals now difficult to obtain or out of print. This book provides a valuable introduction to Spanish thought and to the work of a scholar who has done much to elucidate it.
The Spanish Golden Age
Literature Among Discourses was first published in 1986. 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.
Literature in the High Middle Ages referred to anything written. Those who institutionalized the study of literature in the eighteenth and nineteenth centuries ignored this medieval meaning, and literary history, especially in the hands of teachers, became what Wlad Godzich and Nicholas Spadaccini call a peregrination from one masterpiece to another. In Spanish literature, a cluster of such masterpieces came to be identified quite early, constituting a siglo de oro,a Golden Age. These outstanding works of the sixteenth and seventeenth centuries became a paradigm of achievement for the German romantics who formulated the project of literary history; for this reason, the authors of Literature among Discourses have chosen to begin their own exploratory voyage with the Spanish Golden Age.
Their intent is not simply to complete the historical record by studying "popular" texts alongside the canonical works, nor is it to establish these texts as a treasure trove of raw materials awaiting entry into and transformation by the masterpiece. They ask, rather, why the masterpiece came to occupy its place—how specific texts (or classes of texts) came to be differentiated from other discursive entities and labeled "literature." Taken together, their essays reveal an era in which literature is never a given, but is instead constantly being forged in a manner as complex as the social dynamic itself.
Contributors include: the editors, José Antonio Maravall, Michael Nerlich, Ronald Sousa, Constance Sullivan, Jenaro Talens, José Luís Canet, and Javier Herrero. Wlad Godzich is director of the Center for Humanistic Studies, and Nicholas Spadaccini, professor of Spanish and Portuguese, at the University of Minnesota.
A New History of Inquisitional Spain
Recovering voices long relegated to silence, The Lives of Women deciphers the responses of women to the culture of control in seventeenth-century Spain. In this new history of Inquisitional Spain, Lisa Vollendorf incorporates convent texts, Inquisition cases, biographies, and women’s literature to reveal a previously unrecognized boom in women’s writing between 1580 and 1700. . During this period, more women wrote for the public book market and participated in literary culture than ever before. In addition, the rise in convents and female education contributed to a marked increase in texts produced by and about women in religious orders. Vollendorf argues that, in conjunction with Inquisition and legal documents, this wealth of writing offers unprecedented access to women’s perspectives on life in early modern Spain, and that those perspectives encompass diverse ethnic backgrounds and class differences. Many of the documents touch on issues of sex and intimacy; others provide new ways of understanding religious practice in the period. Perhaps most important, these writings give a richly textured view of how women reacted to the dominant culture’s attempts to define, limit, and contain femininity. Vollendorf shows that the texts reflect a shared preoccupation with redefining gender and creating legitimate spaces for women. As The Lives of Women vividly illustrates, hundreds, if not thousands, of women’s stories await rediscovery in archives. The book provides a roadmap for understanding the experiences and concerns of wives, widows, sisters, and daughters who lived in a key moment in the development of the Spanish nation and the Hispanic world. At its core, The Lives of Women argues for a reconceptualization of history, one that will rely on the experiences of women and minorities as much as on the words and actions of kings and conquistadors.
The Fall into Consciousness
Written in 1929--1930, when Federico García Lorca was visiting Columbia University, Poet in New York stands as one of the great Waste Land poems of the 20th century. It expresses, as Betty Jean Craige writes in this volume,"a sudden radical estrangement of the poet from his universe" -- an an estrangement graphically delineated in the dissonant, violent imagery which the poet derives from the technological world of New York.
Craige here describes -- through close analysis of the structure, style, and themes of individual works in Poet in New York -- the chaos into which this world plunges the poet, and the process whereby he is able, gradually, to recover his identity with the regenerative forces of nature. Her study demonstrates that, though seemingly unique in form and motifs, Poet in New York is integral with Lorca's overall poetic achievement.
The Poetry of Jorge Manrique
Jorge Manrique was the greatest poet of fifteenth-century Castile and one of the three or four greatest in Spanish literature. Frank A. Domínguez offers here an introduction to Manrique's poetry and the first book-length study of him in English in fifty years.
After presenting the biographical and historical context of Manrique's poetry, Domínguez examines the poet's love lyrics, describing the large fund of commonplaces and forms that Manrique's verses share with those of other poets of his age. Manrique's highly stylized language and parallel verse structures express the obsession of the lover with the beloved. Moreover, his attention to parallel construe the world's greatest.
In treating the Coplas, Domínguez not only offers a sensitive reading of the elegy but also examines questions of text, structure, and style. Like the love lyrics, the Coplas present a high incidence of parallel structures that make for clarity and symmetry. Domínguez also finds that the complex stylistic relationships of the verses provide the Coplas with a unity that is deeper and more fundamental than has generally been perceived.
This study, eclectic in its critical approaches, will be the standard English work on Manrique for years to come.