Bøger i Purdue Studies in Romance Literatures serien

Looking at six Spanish novels, from the 1940s through the 1990s, this book proposes a new concept of the novel of feminine development. It emphasizes the importance of voicing women's sentiments previously unexpressed in Spanish literature.

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.

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.

Provides readers with an understanding of the complexities and nuances that characterize both Victor Hugo's novel writing and the nineteenth-century French novel.

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 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.

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.

The importance of fashion in the construction and representation of gender and the formation of modern society in nineteenth-century Spanish narrative is the focus of Dorota Heneghan's Striking Their Modern Pose. The study moves beyond traditional interpretations that equate female passion for finery with symptoms of social ambition and the decline of the Spanish nation, and brings to light the manners in which nineteenth-century Spanish novelists drew attention to the connection between the complexities of fashionable female protagonists and the shifting limits of conventional womanhood to address the need to reformulate customary ideals of gender as a necessary condition for Spain to advance in the process of modernization. The project also sheds light on an area largely unexplored by previous studies: men's pursuit of fashion. Through the analysis of the richness of sartorial subtleties in Benito Perez Galdos's and Emilia Pardo Bazan's portraits of their male characters, this book brings forward these writers' exposure of the much-denied bourgeois men's love for self-adornment and the incoherencies and contradictions in the allegedly monolithic, stable concept of nineteenth-century Spanish masculinity. While highlighting the ways in which the art of dressing smartly provided nineteenth-century Spanish novelists with effective means to voice their critique of conventional gender order, the book also lends insight into these authors' methods of manipulating sartorial signs to explore and to envision (as in the case of Pardo Bazan and Jacinto Octavio Picon) alternative models of masculinity and femininity. Threading through all chapters of the study is the idea propagated by all three of these writers that Spain's full integration into modernity required not only the redefinition of the feminine role, but the reconfiguration of the masculine one as well.

Argues that the concept of evil is central to the psychology of secularism. Scott M. Powers draws on notions of secularization as a phenomenon of ambivalence or dualism in which religion continues to exist alongside secularity in exerting influence on modern French thought.

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.

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.

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.

Artesana de sí misma reevalua el lugar de Gabriela Mistral, premio Nobel de literatura, en la historia literaria e intelectual de America Latina. Cabello Hutt acerca a los lectores a la amplia, pero escasamente estudiada, prosa periodistica de Mistral ademas de un conjuncto de manuscritos, cartas e imagenes provenientes de archivas norteamericanos y chilenos así como del recientemente abierto archivo de su albacea y companera, Doris Dana. Artesana de sí misma explora mas alla de la ampliamente estudiada poesia de Mistral y demuestra que su prosa, representacion visual y performatividad de genero son claves para comprender la auto-construccion de esta figura como una intelectual latinoamericana y una escritora de reconocimiento internacional.Artesana de sí misma by Claudia Cabello-Hutt reevaluates the place of Nobel laureateGabriela Mistral in the literary and intellectual history of Latin America, illuminating andfilling a number of lingering voids in the study of this canonical figure. Cabello-Hutt introduces readers to Mistral¿s vast but scarcely studied journalisticprose as well as her unpublished manuscripts, letters, and images held in theUnited States and in newly openedChilean archives. Moving beyond her amply discussed poetry, Cabello-Hutt demonstrates that Mistral¿s essays,visual representations, and gender performance are key to understanding Mistral¿sself-construction as a Latin American female intellectual and internationallyrecognized writer.

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.

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.

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.

Based on extensive oral history and archival research, this book sheds new light on the important role female staff and faculty played in improving the quality of life for rural women during the first half of the twentieth century. It is also a fascinating story, engagingly told, of two very different personalities united in a common goal.

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.

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.

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.

According to the author, the 19th century was incapable of managing the feminine question and prefered to mythicize it. Everything that was related to it, especially feminine sexuality, was transformed into fiction. Thus women were saddled with the role of scapegoat.