Santo, El Enmascarado de Plata: Mito y Símbolo de la Cultura Popular (Spanish Edition)

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The first section looks at Andrade's landscape photography and his manuscript O turista aprendiz, an investigation of national and personal space conflating and contesting ideas of the ethnographic and the touristic. Andrade's activity as a photographer might at first appear to be an incidental part of his wider body of work, but Gabara makes a convincing argument for its consideration not just as a proving ground for Andrade's ideas but also as an important achievement in its own right.

The author's treatment of the 'errant' horizon in these images as the disruption and conjoining of ideas of the near and far, the local and the international, the abstract and the representational, is especially engaging. Andrade was in the process of revising this novel at the time he undertook the journeys described in O turista aprendiz.

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Gabara's observation that the novel's plot inverts the trajectory the writer took in his travelogue is a forceful spur to revisit both works in parallel. Particularly interesting in Gabara's discussion of the portrait is the idea that the sharpness of representation can reside in the conceptual or technical blurriness of the image itself. In the second half of the book, Mexico is the focus. The fourth section deals with Mexican avant-garde literature, photographic in that it is 'simultaneously indexical and illusionary, embodied and abstract, hermetic and ethical' 10 , though if indeed indexical, it is not in a manner C.

Gabara argues that these texts must be read as a conscious divergence both from the straight social realism of the post-revolutionary novel and the high-art purity of mainstream modernism. This equidistance from these two positions is made apparent in the author's cogent analysis of the figure of the New Woman, as she flits through the pages of this writing like an animation in a flick book. Errant Modernism concludes its wanderings with a fifth section that looks at the contemporary visual art in Brazil Tunga and Arthur Omar and Mexico Gerardo Suter, Silvia Gruner and Maris Bustamante that engages with the modernist legacy.

Gabara's work is richly researched and mercurial in its argumentation. While Mexico and Brazil demand comparison and Gabara's proposal to 'imagine Mexico and Brazil as the receding point of the idea of Latin America, dominating any definition of the region yet productively, errantly never quite fitting in' 19 is a sound one, the author at times conflates rather than juxtaposes the two countries. An example is when she writes 'as much as photographers sought to make the camera see differently, writers El arte de morir. La puesta en escena de la muerte en un tratado del siglo XV review.

Women's Narrative in Twentieth-Century Spain review. The suggestive title of this volume by Kathleen M. It sets out to cast a fresh look on texts by a diverse group of authors: In this sense, the collection represents an important addition to the growing body of works on Iberian women's narrative, of which a recent example is the edited volume Mirrors and Echoes: The ten essays that Visions and Revisions comprises are preceded by a general introduction in which the editors provide a succinct overview of the issues the authors analysed are understood to connect with: The specific focus of the individual essays sees them organized into two thematic sections: These are ordered chronologically, from older to younger authors, a felicitous decision in that it facilitates a sense of the development of the salient issues from generation to generation.

From literary subversion of misogynistic notions of gender we move to the attempt to overcome binary constructions in the struggle for identity and meaning in inauspicious personal, political and social circumstances. The commitment to the recovery of Catalonia revealed at the end of the novel is seen to mirror the author's own and is also central to the work of Montserrat Roig, the subject of the next essay by M.

Her contribution deals with Roig's representations of gender and cultural repression in Catalonia under Franco and cogently underlines the importance of history and language in the construction of the female and androgynous selves portrayed in her last novels. Referencing contemporary theoretical perspectives on self-identity, she scrutinizes the construction of the collective identity of the participants of this s' cultural movement through attention to the revealing insights provided by the narrative structure and techniques which compose Moix's book.

Part II represents a shift towards a more explicit exploration of historical circumstances and the attendant problems with recovering and re-presenting the past. The first essay, by Christine Arkinstall, is occupied with Miguel de Unamuno the Precursor review. En el texto que nos ocupa, Barry J. This slender volume consists of two sections. The first, 'Allegory in the Libro de Buen Amor', is a unrevised English translation of Hart's monograph, in which Hart presents what he calls allegorical readings of the Libro, which he firmly situates in the Patristic tradition.

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While in the Introduction Hart claims that he does not discard the corteza or sensus in favor of the meollo or sententia 15 , in practice he does just that. In Chapter 1, Hart insists that the Libro develops a consistent moral argument that rejects loco amor and embraces buen amor despite its superficial ambiguities or sensus.

Chapter 2 analyses ss.

Chapter 3 examines don Amor's praise of money, which, Hart argues, condemns money idolatry. Chapter 4 reads the serrana sequence as failing to present a consistent moral journey from sin to repentence.

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While Hart praises Garoza and Trotaconventos for their adaptation of the traditional stories to the current situation, he doubts they can understand the meanings of their tales. Hart concludes with a praise of the Archpriest as an everyman who wavers morally, 'one of the most attractive figures in literature' Hart's unrevised translation raises the question: Why reprint a text that is already widely available in Spanish? Hart implicitly answers that question in the Preface, where he defends himself against Laurence de Looze's recent criticisms that Hart's work is Robertsonian Hart claims he cites Frye more, although in fact he cites Frye and Robinson four times each and that Hart believes he can read like a medieval reader.

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This Hart denies, although he says that his approach 'attempt[s] to read the Libro […] as it may have been read by its first readers' My reading of Hart's translation persuades me of the justness of de Looze's larger argument that Hart's conclusions are inevitable, given his approach. The second part of this volume contains four short studies of the Libro, two of which had previously been published. The first, 'Marginal Notes on the Libro de buen amor', responds to Dagenais' Ethics of Reading in a Manuscript Culture and reveals how little Hart's views have changed since The second, 'Exemplary Storytellers: Hart confuses forensic and deliberative rhetoric, and insists the Archpriest and Garoza did not engage in intercourse, defending Garoza's honour.

The final piece, also a new study, 'Leo Spitzer's Juan Ruiz', reviews the older scholar's work on the Libro, praising its insistence on the artistic unity of the Libro, while acknowledging that Spitzer's 'cavalier attitude toward the presentation of his work' 84 may discourage younger scholars from reading it, an omission Hart cautions against. The articles in the second half, like the unrevised translation in the first, show Hart engaging with few current scholars; he mostly disregards the vast recent production of Libro scholarship, while arguing that the work Most of the studies that have been written about Bernardo de Aldrete's Del Origen have focused on whether his work could be considered a real precedent of Romance Philology as it was understood in the nineteenth and twentieth century.

In my study I will demonstrate that in fact Aldrete's work has many points in common with some nineteenth- and twentieth-century philologists, especially when he divides Romance languages in two hierarchical groups according to stability and natural superiority. Language would be a symbol of empire.

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However, when studying language evolution, Aldrete opposes one of the bases of early philological studies: This is why Aldrete can be considered a precedent of certain postmodern attitudes towards the diachronic study of language in which nineteenth-century historicism is challenged. There it soon opened residences in Mexico City, Oaxaca, Guadalajara and Guatemala, and a series of colleges, each with a church attached, in these and other major towns that catered for the educational and spiritual needs of both Spanish and Indian parishioners.

Tuition was free, paid for by the profits of the estates, farms and cattle ranches established as part of the endowment of each college before it opened. This study concentrates almost entirely upon the Jesuit missions in the western district of Nayar in the modern state of Nayarit and the north-western frontier regions of Sonora and Baja California.

The introduction provides a literary review of selected works on cultural theory, including those of Pierre Bourdieu and his famous 'habitus', and Michel Foucault. It also stresses the significance of the fact that many of the missionaries in Baja California and Sonora were of Bohemian or German origin whereas in the smaller Najarit region native speakers of Spanish predominated , thereby providing a pan-European character for the reports that they wrote, which detailed in particular the material and human resources of their mission territories.

Chapters 2—4 analyse, in turn, the nature of the three selected mission territories. The first, Nayar, was relatively close to the centres of Spanish power in central Mexico, but remained relatively inaccessible because of its mountainous terrain, which enabled it to serve as a refuge for indigenous groups — notably the coras and tecualmes — unwilling to subject themselves to colonialism. In Sonora, by contrast, evangelization went hand in hand with the influx of settlers, attracted by the establishment of mining camps and the associated expansion of agriculture, ranching and trade, notwithstanding sporadic indigenous resistance, notably the rebellion of the Pimas, which resulted in the Jesuits abandoning some of their haciendas.

In Baja California, too, there was a serious uprising in , provoked in part by the influx of miners and pearl fishers. Chapter 5 discusses the survival strategies employed by the missionaries in the often harsh and unrewarding environments of all three regions, and the conclusion emphasizes the importance of indigenous resistance in limiting imperial expansion. The work makes effective The evident erudition of the author leads one to consider the possibility that, besides his own codex excerptorius developed from his personal readings, he made use of, as the authors of the sixteenth century were accustomed to do, some of the encyclopedias, polyantheae and anthologies that proliferated in those days.

This article, which analyses the nature, purpose and variety of the copious erudition in this Renaissance treatise on the education of a perfect prince, tries to assess the possible influence of these compilations of humanistic knowledge and the results of the repeated recourse to ancient authorities throughout the text. Such an approach renders an effective contribution since it attempts to de-codify 'a series of hidden, surprising messages which point toward the search for feminine knowledge and power through the poetic word' ; all translations are mine. All of them are contained in the 'poetic allegory' that, according to the author, allowed Sor Juana's writing to venture not only into philosophical enquiries but also into her body and spirit.

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Two chapters are dedicated to the auto, one to the long poem, and one to the triumphal arch. According to her, while critics understood the text to be about the impossibility of knowledge, it can also be interpreted as the making of an 'alternative' reality through the written word. For that reason, Phaeton is the most important symbol in the poem; he is punished for a transgression that also represents his triumph. The next two chapters study The Divine Narcissus. In order to discuss the loa, Grossi needs to explain the rhetoric of sacramental theatre, which purports to equate divine and human allegory.

She then declares that Sor Juana not only delights in artifice but also unmasks such system. For example, the ideology behind this composition, says Grossi, shows the customary syncretism between Christian and native world views, but here Sor Juana also argues with imperial and theological discourses. When she turns to the auto itself, she explains its allegorical meanings and focuses on the rebellious practices of the female characters Echo, Synagogue, Gentility, Human Nature, Grace, Arrogance, Music, and the symbol of the virginal fountain.

For Grossi, it all comes back to the power of language which, incidentally, was condemned to the tower of Babel. Such punishment, paradoxically, calls attention to the 'symbolic potential of poetic writing' When Grossi takes on The Allegorical Neptune, she underlines the fact that its complexity requires a semiotic approach that should combine textual, cultural and pictorial dimensions. If the official objective of the arch is to demonstrate the moral perfection of the viceroy, the games of simulacra established through hieroglyphics and hermetic texts also include an allegoresis, or interpretation, that is more personal.

In this mental fantasy, Grossi states, 'Sor Juana shows a total control of the allegorizations that run through the arch' Together with the importance of the senses, this last concept is what provides the basis for Grossi's main argument in the book.

Fantasy, according to her, allows Sor Juana to formulate a feminine space within the audio-visual rhetoric of the time. Certainly, in these compositions the visual element is often re-created in the written text. Grossi contends that the 'official' tone of particular texts primordially directed to the eye cannot hide the presence of 'an epistemological model ciphered in the allegorical disguise' In First Dream, for instance, the hierarchy of the senses is completely subverted.

Silence becomes a main character and 'the diversity and immensity of creation provoke confusion in our gaze and in our will, blocking our path to intellectual understanding' Grossi only briefly debates Octavio Paz, for example, and this is just fine; Sor Juana's works have a weight of their own and do not need to be 'rescued' by interpretations that invariably use words like 'resistance' to state the obvious. This book has grown out of a series of lectures delivered as a doctoral course in the autumn of at the Center for Graduate Study of the City University of New York.

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As Professor Villanueva observes, there could be no better place than New York City, associated with Walt Whitman and Lorca's masterpiece Poeta en Nueva York, to discourse on the impact of the urban setting and its representation in avant-garde poetry. However, unlike other scholars who have approached the topic through the influence of cubism and surrealism, Villanueva emphasizes a different avant-garde growing in the shadow of expressionism and cinema.

The result is a very suggestive study that encompasses nearly all the ismos's contributions to the topic at the same time as it nuances our approach to Lorca's work, which many have related primarily to surrealism. In addition to expressionism, the reader will find a discussion of unanimisme, which has been traced to Whitman's expansive vision, and ultraismo, thus bringing the contributions of Borges and Guillermo de Torre to the fore.

Villanueva approaches the topic through a dynamic interplay of poetry and film imagery that brings Walt Whitman's Leaves of Grass into contact with the early experimental silent films taking the city as their privileged subject. In the beginning the result is what he calls ecphrasis in reverse Villanueva considers several avant-garde classics that focus on city life, such as Berlin, die Symphonie der Grossstadt by Walter Ruttman and Rien que les heures by Alberto Cavalcanti, arguing that these films, together with Joris Ivens' Regen and Fritz Lang's Metropolis, formed essential viewing for avantgardists.

Villanueva's book could be considered a genealogy, above all, for Lorca's Poeta en Nueva York, for it offers a careful contextualization of this work in terms of both the literary and visual arts of the period, identifying the precedents of the nightmarish view of the city we find in the text. Works such as these point to a moment of optimism and defiance, which was not, however, always backed unqualifiedly by the theory of modern architects.

McMullan , for example, has pointed to criticism of New York in Le Corbusier's Urbanisme and linked this to the negative valence in Lorca's text. By arguing that the cinematic image of the city infiltrates early avant-garde art, Villanueva nonetheless offers one of the few serious evaluations of Guillermo de Torre's poetic weight mostly dismissed up to now and shows how his work established a subject and perhaps even pointed to a new syntax. On the other hand, he also argues that it is the dark vision of filmmakers such as Fritz Lang or the angry expressionist drawings of George Grosz that are nearest in spirit to Poeta en Nueva York.

This line of argument is convincing. When the poet decries the spectacle of mass man in the city - workers stagger through the streets in the early dawn in a 'naufragio de sangre' - he is undoubtedly registering the crisis of the Stock Market crash; but he is also, according to Villanueva, writing what could be an ecphrasis of the unhappy armies of labourers portrayed in Metropolis Life in the Megalopolis: Life in the Megalopolis is that rare monograph that is both critically challenging and a pleasure to read. One striking and ironic change is how the modern cult of speed turns here into renewed slowness, as traffic becomes caught in perpetual jams Here chaos itself becomes spectacle, with the urban colossus recast as a monster.

It is a shame that the frequent and extended quotes here and throughout the book are given only in English translation. While Brazilian rap would seem to feature some familiar paradoxes, at once critiquing consumerism and participating in its excesses , the localist website which grew out of the music boasts a 'multiplicity of voices' , suggesting both 'invention and defence of [one's] own space' A final chapter treats some enigmatic art works: Life in the Megalopolis is, as the author herself writes , by no means encyclopaedic.

And readers will no doubt wish their own favourite texts received more attention. This book remains, however, unprecedented in its seamless fusion of creative works from two very different metropolises and its effortless absorption of demanding and sometimes dry urban theorists, from Certeau and Soja to Lefebvre and Nigel Thrift. It is essential reading for students of the city and of Latin American culture.

The Author as Dissident review. Three sections keep the major themes of 'The Dissident Voice', 'Identity and Alterity' and 'Divergences and Convergences' clear, despite the variety of material examined, while 'Authorship and Dissidence Revisited' finally reveals the author no longer in the position of Derridean 'fixity of the authorial signature' but rather 'dramatizing a continual renewal through reading and re-reading'.

The focus on Goytisolo's ceaseless search for an ethical stance beyond mere dissidence begins with a discussion of concepts of authorship from the Renaissance to Nietzsche, in which Ribeiro prioritizes Charles Taylor's emphasis on the need to recognize Good as the basis for ordinary life. Autobiography is seen as a means by which Goytisolo rejects inauthenticity, while critical 'essays', whose incompleteness Teodor Adorno identifies as a mark of subversive thought, allow Goytisolo to foreground literary and historic kindred spirits who serve to 'canonize dissidence'.

Discussion of Juan sin tierra alongside Makbara puts forward textual models which depict a further shift from the notion of dissident author within the canon he has constructed to one where diverse voices overlap, creating competing oral narratives. Drawing on Deleuze and Guattari, Ribeiro contrasts the 'rhyzomatic lack of structure to which Goytisolo aspires' with the '"tree" of official culture', which rises from a single root. She then shows precise geographical locations giving way first to 'textual nomadism' and to 'a new spatial metaphor, that of the market square in Marrakesh': Ribeiro contends that Goytisolo's identification with mystics from the Christian and Islamic traditions allows 'a celebration of dissidence, pluralism, and intercultural dialogue'.

However, when Ribeiro discusses Goytisolo's similarly problematic 'association of homosexual intercourse and violent, innovative, rebellious writing - "seminal" in both senses of the word' when viewing 'The Author as intertextual critic', she argues that 'the parodic tone of Carajicomedia effects a retrospective questioning of the initial depiction of homosexual sex as violent' and concludes that 'the different sets of intertext - those from Goytisolo's own works and those written by other writers - are drawn into a dialogue in which each group influences the way in which the other is interpreted', so that Goytisolo himself problematizes his earlier writings and offers new perspectives on his own work.

There is evidence of haste in the production of this ambitious overview - a distracting number of typos and much of the discussion in footnotes. Novia que te vea, Miroslava, and Ilona llega con la lluvia. All of them, two Mexican and the other Colombian, were released during the s and include women who are or who have been subjected to marginalization due to their race, nationality, ethnicity, religion, or sexual orientation.

The author is not only interested in discussing how these narratives came to be produced as cinema but also analyses arguments she views as important and how they are portrayed on the silver screen. This study is the fruit of the author's doctoral thesis, which she wrote while a student at the University of Kansas.

Even in her introduction she is quite clear about this fact. The book does have a doctoral thesis feel to it, which is perhaps most evident in its structure. The analytical chapters are hefty and demonstrate the author's desire to delve deeply into each subject. The author's abundant use of footnotes can be a bit cumbersome at times, but they do evidence her zeal to convey more information on the topic at hand and often contain helpful background information and additional points—some of which probably could have been successfully incorporated into the main body.

The author has been able to include a large number of black and white stills within this volume. Download free ebooks in lit format X-Factor: Forum to download books Star Wars: Free download ebooks for j2ee Bundle: Free audiobooks for mp3 players to download Notes from the Leyden Museum Google ebook free download Liverpool literature; a descriptive bibliography of old deeds, codices, maps, and printed literature, including many private pamphlets of an Free ebook download german The Global City: Free downloads german audio books Statute Law Repeals: Related Video Shorts 0 Upload your video.

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