Bøker i Purdue Studies in Romance Literatures-serien

Explores the processes and works that laid the foundations of a new literary modernity in the wake of the Mexican Revolution. This book focuses on a period that goes from the signing of the Constitution in 1917 to the death of Alfonso Reyes in 1959.

Presents a comparative analysis of the theoretical prose by two major Latin American vanguardist contemporaries, Mario de Andrade (Brazil, 1893-1945) and Vicente Huidobro (Chile, 1893-1948). This title offers a comparative study of two allegorical texts, Huidobro's ""Non serviam"" and Mario's ""Parabola d'A escrava que nao e Isaura"".

Rojas' Celestina (1499) and Delicado's La Lozana andaluza (1530) were written during the height of the Spanish Inquisition. This book shows through textual evidence that these two authors used superficial bawdiness and claims regarding the morality of their respective works as cover to encode attacks against the central dogmas of Christianity.

This work argues that a feminist ethics, in order to be both feminist and ethical, needs to embrace psychoanalysis. It includes an analysis of two attempts by George Sand to reimagine the sexual relationship where the emphasis is on political injustice and the impossibility of women's desires.

Anamorphic devices challenge viewers to experience different forms of perceptual oscillation and uncertainty. This title seeks to demonstrate that much of the literature of the Spanish Golden Age is susceptible, and indeed requires, oblique readings.

In the eighteenth century, a type of novel flourished, showing outsiders who come to Europe. After studying the origin of the genre in Montaigne's essay ""Des Cannibales"", this book analyzes Montesquieu's ""Lettres persanes"", Francoise de Graffigny's ""Lettres d'une Peruvienne"", Voltaire's ""L'Ingenu"", and Claire de Duras's ""Ourika"".

Between 1605 and 1621, Quevedo wrote a sequence of five ""Dreams"" or ""Visions"" (Suenos y discursos). Censorship prohibited its publication of such satire, but copies were made by hand. In 1993 a critical edition of all of the surviving manuscripts was published. Crosby's work compares this version with all of the 43 extant manuscripts.

In this comparative study of Honore d'Urfe's ""L'Astree"" and Charles Sorel's ""Le Berger extravagant"", the author examines the historical transition from the idealist, pastoral romance to the more realist anti-romance.

This work attempts to theorize the process of the emergence, in 18th-century New Spain, of a position of intellectual subjectivity differentiated from that established by the regime of Spanish imperial authority. It traces how groups of ""criollo"" intellectuals try to construct such discourses.

The analysis of the three authors' proverbs through comparisons with classical, medieval, and early modern collections of maxims and sententiae provides insights on the fluidity of such expressions, and illustrates the tight relationship between proverbs and sociocultural factors.

Grounded in his disciplinary experience in both literary and mathematical studies, Vargas attempts to unearth the overlaps and connections between science and art, thus offering a new critical apparatus with which scholars can study Jose Lezama Lima's works.

Charts Brazil's evolving and often conflicted relationship with the idea of Latin America through a detailed comparative investigation of four crucial Latin American essayists: Uruguayan critic Jose Enrique Rodo, Brazilian writer-diplomat Joaquim Nabuco, Mexican humanist Alfonso Reyes, and Sergio Buarque de Holanda, one of Brazil's preeminent historians.

Examines the practice of philanthropy in modern Spain. Through detailed studies of popular music, collective readings, dramas, working-class manuals, and fiction, Vialette reveals how depictions of urban philanthropic activities can inform our understanding of interactions in the economic, cultural, religious,and educational spheres, class power dynamics, and gender roles in urban Spanish society.

Examines the aesthetic history and relations between Cuban film production and Italian Neorealism. The historical framework begins in 1951 before the triumph of the Cuban Revolution and ends in 1962, a year that marks a rupture between Cuban filmmakers and the Italian neorealist aesthetic.

Whereas all texts produced in Iberia during the early modern period reflect the distinct social, political, and cultural realities sweeping across the peninsula to some degree, Portuguese literature written in Spanish offers a unique vantage point from which to see these converging landscapes.

Explores how Emilia Pardo Bazan (1851-1921) imagines and engenders the Spanish nation in her theatrical production staged and/or published between 1898 and 1909. In the aftermath of Spain's colonial losses, Pardo Bazan generated a series of theatrical proposals to revitalize the nation.

Historically a source of emigrants to Northern Europe and the New World, Italy has rapidly become a preferred destination for immigrants from the global South. Marvelous Bodies by Vetri Nathan explores thirteen key full-length Italian films released between 1990 and 2010 that treat this remarkable moment of cultural role reversal through a plurality of styles.

Studies the responses of Angel Rama (Uruguay) and Jose Maria Arguedas (Peru) to the effects of mass culture on Andean indigenous cultures and Latin American print culture during the second half of the twentieth century. It explores the part that Rama and Arguedas played in the conceptualization and promotion of new cultural spaces made possible by commodification and industrialization.

En las ultimas decadas-especialmente a partir de los noventa-ha habido una visible reemergencia del siglo XIX en la cultura del Cono Sur. Figuras decimononicas tipicas (indios, gauchos, letrados y cautivas) han reaparecido en la escena literaria de Argentina, Chile y Uruguay. Heroes como San Martin y Artigas se han convertido en protagonistas principales de la literatura, el cine y el teatro. Generos fundantes de la identidad nacional (el relato de viaje, la poesia gauchesca, el romance nacional) se han reciclado y transformado. Textos canonicos como La cautiva, el Martin Fierro y el Facundo han sido reescritos una vez mas en diferentes campos artisticos. Y controvertidos eventos historicos (las guerras civiles, las masacres de las comunidades indigenas) han sido revisados y vueltos a narrar. Combinando el analisis textual con una perspectiva mas abarcadora anclada en la teoria cultural, este libro responde a dos preguntas interrelacionadas: por que el siglo XIX ha resurgido de manera tan fuerte en las ultimas decadas? Cuales son las implicaciones ideologicas de esta reemergencia?A traves de una comparacion transnacional de Argentina, Chile y Uruguay, y de una lectura de la ficcion producida por figuras prominentes en los tres paises (activistas politicos, intelectuales publicos y autores canonicos), Crisis y reemergencia contribuye a dilucidar como el campo cultural del Cono Sur ha cambiado desde los noventa: como la etica intelectual, las identidades nacionales y las estrategias discursivas que fueron funcionales a la consolidacion del liberalismo en el siglo XIX han sido reformuladas, transformadas y repensadas en las ultimas decadas. Apoyandose en el marxismo cultural, el analisis del discurso y la teoria poscolonial, el libro apunta a una triple contribucion: definir los componentes ideologicos y discursivos que estan en el corazon del siglo XIX, mostrar su continuidad hasta los noventa (y aclarar asi las conexiones entre liberalismo y neo-liberalismo) y exponer su reciente transformacionuna transformacion que abrio el camino a lo que se ha llamado el "e;retorno de lo politico"e; en la region.In the last decades-and especially since the 1990s-there has been a noticeable reemergence of the nineteenth century in Southern Cone culture. Popular nineteenth-century figures (indios, gauchos, letrados, and cautivas) have reentered the national literary scene in Argentina, Chile, and Uruguay. Nineteenth-century heroes such as San Martin and Artigas are again the main protagonists of Southern Cone theater, film, and literature. Canonical nineteenth-century texts (La cautiva, Martin Fierro, Facundo) are being rewritten one more time in different artistic fields. Foundational nineteenth-century genres (travel narratives, gauchesque poems, and national romances) are being transformed and recycled. Controversial nineteenth-century events (the civil wars, the massacre of indigenous communities) are being revisited and explored. Through a combination of close textual analysis and a broader perspective rooted in cultural theory, this book answers two interrelated questions: Why did the nineteenth century resurface so strongly in the last decades? What are the ideological implications of this reemergence?Based on a transnational comparison of Argentina, Chile, and Uruguay, and a survey of narratives that were mostly produced by well-known figures (political activists, public intellectuals, and canonical authors), Crisis y reemergencia helps to elucidate how the Southern Cone cultural field has changed since the 1990s: how intellectuals' ethics, national identities, and discursive strategies that were functional to the consolidation of liberalism in the nineteenth century have been challenged, transformed, and rethought in the last decades. Borrowing from cultural Marxism, discourse analysis, and postcolonial theory, the book pursues a triple contribution: to define the discursive and ideological components that were at the core of the nineteenth century, to show their continuity up to the 1990s (and thus clarify the connections between liberalism and neoliberalism), and to expose their recent transformation-a transformation that paved the way for the "e;return of the political"e; to the region.

This book is the first full-length study to examine Moliere's evolving (and at times contradictory) authorial strategies, as evidenced both by his portrayal of authors and publication within the plays and by his own interactions with the seventeenth-century Parisian publishing industry. Historians of the book have described the time period that coincides with Moliere's theatrical activity as centrally important to the development of authors' rights and to the professionalization of the literary field. A seventeenth-century author, however, was not so much born as negotiated through often acrimonious relations in a world of new and dizzying possibilities.The learning curve was at times steep and unpleasant, as Moliere discovered when his first Parisian play was stolen by a rogue publisher. Nevertheless, the dramatist proved to be a quick learner; from his first published play in 1660 until his death in 1673, Moliere changed from a reluctant and victimized author to an innovator (or, according to his enemies, even a swindler) who aggressively secured the rights to his plays, stealing them back when necessary. Through such shrewdness, he acquired for himself publication privileges and conditions relatively unknown in an era before copyright.As Moliere himself wrote, making people laugh was "e;une etrange entreprise"e; (La Critique de L'Ecole des femmes, 1663). To an even greater degree, comedic authorship for the playwright was a constant work in progress, and in this sense, "e;Moliere,"e; the stage name that became a pen name, represents the most carefully elaborated of Jean-Baptiste Poquelin's invented characters.

Although the boom in historical fiction and historiography about Spain's recent past has found an eager readership, these texts are rarely studied as two halves of the same story. With Genre Fusion: A New Approach to History, Fiction, and Memory in Contemporary Spain, Sara J. Brenneis argues that fiction and nonfiction written by a single author and focused on the same historical moment deserve to be read side-by-side. By proposing a literary model that examines these genres together, Genre Fusion gives equal importance to fiction and historiography in Spain. In her book, Brenneis develops a new theory of "e;genre fusion"e; to show how authors who write both historiography and fiction produce a more accurate representation of the lived experience of Spanish history than would be possible in a single genre. Genre Fusionopens with a straightforward overview of the relationships among history, fiction, and memory in contemporary culture. While providing an up-to-date context for scholarly debates about Spain's historical memory, Genre Fusion also expands the contours of the discussion beyond the specialized territory of Hispanic studies. To demonstrate the theoretical necessity of genre fusion, Brenneis analyzes pairs of interconnected texts (one a work of literature, the other a work of historiography) written by a single author. She explores how fictional and nonfictional works by Montserrat Roig, Carmen Martin Gaite, Carlos Blanco Aguinaga, and Javier Marias unearth the collective memories of Spain's past. Through these four authors, Genre Fusion traces the transformation of a country once enveloped in a postwar silence to one currently consumed by its own history and memory. Brenneis demonstrates that, when read through the lens of genre fusion, these Spanish authors shelve the country's stagnant official record of its past and unlock the collective and personal accounts of the people who constitute Spanish history.

This work explores the use of the grammatical figure called the chiasmus in the work of Miguel de Unamuno. He explores concepts, usually considered opposites, such as mind and body or spirit and matter. Olson's readings lead to observations on Spanish history and events in Unamuno's life.

Entre los mltiples modos de acercarse a un autor tan polifactico y prolfico como el escritor peruano Mario Vargas Llosa, quien gan el premio Nobel de 2010, Guadalupe Mart-Pea ha elegido ver al novelista como ilusionista. Estudia ese mundo de fantasas y ensueos, ese campo de guerra aparentemente inofensivo donde la literatura, el teatro, y la pintura se alan con el escritor, el soador, y el ilusionista para derrocar la realidad. Centrndose en Elogio de la madrastra y Los cuadernos de don Rigoberto, as como el efecto de la ilusin en el proceso de la lectura, arguye que Vargas Llosa hace uso de patrones teatrales, pictricos y msticos para hacernos experimentar lo irreal como real, el sueo como realidad y la magia de la ficcin como un acto que nos otorga poder.Con base a los estudios interartsticos, la semitica y las teoras de la recepcin, analiza cmo estos textos producen en los lectores la triple ilusin de presenciar una obra dramtica, contemplar un cuadro o entreor una convers (ac)in mstica. El primer capitulo del libro se concentra en la teatralidad que anima ambos textos. Partiendo de las teoras sobre la recepcin y la semitica teatral, Mart-Pea investiga el modo en que el autor transforma la narracin en actuacin, la ficcin en performance, y el leer en ver, haciendo que los lectores experimenten la palabra escrita como una representacin viva ante sus ojos. En el segundo reflexiona sobre la funcin que desempea la pintura en la materializacin de los deseos e ilusiones de los personajes. Combinando esttica pictrica y narracin, y bajo el lente de las teoras sobre la relacin imagen-texto, examina las distintas funciones que desempean los cuadros dentro del sistema lingu.stico donde operan. En el ltimo captulo, compara los escritos de Rigoberto con la escritura de autoexamen que Michel Foucault describe en Lcriture de soi. Mientras que el asceta trata de transformar su vida en una obra de perfeccin moral alejando de l las ilusiones, Rigoberto trata de transformar su existencia en una obra de arte congregando fantasas erticas. Ambos textos encapsulan el principal ingrediente activo en la escritura de Vargas Llosa: la ficcin no es sumisin ante la vida sino por el contrario insurreccin contra ella. El ilusionismo verbal se convierte en la tctica ms eficaz para llevar a cabo tal rebelion. Among the multiple approaches to be taken on an author as multifaceted and prolific as the recent Nobel Laureate Peruvian writer Mario Vargas Llosa, Guadalupe Marti-Pena has chosen to look at the novelist as an illusionist. She studies this land of fantasies and daydreams, that seemingly harmless battlefield where literature, theater, and painting contend and join together with the writer, the dreamer, and the illusionist to oust reality. Focusing on Elogio de la madrastra and Los cuadernos de don Rigoberto, and the effect of illusion on the reading process, she argues that by referring to theatrical, pictorial, and mystical patterns Vargas Llosa entices us to experience, along with his characters, the unreal as real, the dream as reality, the magic of fiction as an empowering act.The book looks first at the theatricality and theatrics that enliven both texts. In the light of reader/spectator-response theories and theater semiotics, Marti-Pena shows how the novelist turns narrating into acting, fiction into performance, and reading into seeing. She next reflects upon the role that painting plays in the materialization of the characters' desires and illusions. By funneling pictorial aesthetics through the prism of narration, and by engaging with theory concerned with issues of text-image interrelations, she examines the various functions paintings play within the linguistic system. Finally, she compares Rigoberto's writing exercises to the writings of self-examination described by Michel Foucault in "e;L'ecriture de soi."e; Both texts encapsulate the main active ingredient in all of Vargas Llosa's writings: that fiction is not a submission to life, but rather an insurrection against it. Verbal illusionism becomes the most efficient tactic to carry out such a rebellion.The text of this book is in Spanish.