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Mujeres en transito: viaje, identidad y escritura en Sudamerica (1830-1910) examines in detail the insightful accounts by four prominent female writers who traveled to and from Latin America in the 19th century: the French-Peruvian socialist and activist Flora Tristan (1803-1844), the Argentines Juana Manuela Gorriti (1819-1892) and Eduarda Mansilla (1838-1892), and the Peruvian Clorinda Matto de Turner (1852-1909). Each author traveled and wrote in different and significant moments in the history of the Latin American nations and their texts touch upon the nature of hemispheric and European cross-cultural relations. Mujeres en transito revises the limited consideration that women's travelogues have received within the Latin American literary tradition. It demonstrates how women's commentaries on their own and other nations speak to their own engagement in the project of modern citizenship. More importantly, the act of traveling often helps female authors to challenge the strictly political, legal and geographic conceptions of nationhood and national identity articulated in canonical texts. Their improved yet marginal position in society as women, their particular reasons to travel, and the personal and symbolic connections with more than one nation or culture lead these four women to articulate a transnational imaginary through which they revise the categories of gender, class, modernity, and cultural homogeneity that shaped 19th-century Latin American societies.
Insdorf challenges the notion of Montaigne as an anti-feminist by exploring both the feminist and anti-feminist concepts apparent in Montaigne's work. By doing so, she does not aim to characterise him as a feminist, but rather to expose the duality of his complex intellect. The first part of the book explicates possible societal and historical influences on Montaigne's views of women, including the role of women in France during the Middles Ages, the Renaissance, and Antiquity. In the second part of the book, Insdorf provides examples of Montaigne's relationships with women as well as an analysis of his concept of womanhood found in his Essais.
Bridget Aldaraca breaks new ground in the study of women, ideology, and the realist novel. Her book explores the ideology of domestic life in Spain as it relates to changing concepts of the family, women's roles in society, the division of social space into private and public spheres, and attitudes toward conspicuous consumption, sexuality, mental illness, and other social themes. Aldaraca begins by examining texts from the time of the Spanish Counter-Reformation through the Spanish Enlightenment and up to 1900, charting the evolution of women's roles within the institution of the family. She then analyzes the personification of the feminine ideal through the literary creation of the angel of the house in the novels of the nineteenth-century writer Benito Perez Galdos. Her book will give Anglo-American scholars access to some of the literary and ideological problems currently under discussion within the historical context of nineteenth-century Spain.
This is the first scholarly edition of Gil Vicente's last play Floresta de enganos(1536). The Spanish and Portuguese text, based on the fascimile reproduction (1928) of the Copilacom de todalas obras de Gil Vicente (1562), is accompanied by copious notes primarily designed to clarify its phonological, morphological, and syntactical peculiarities. The introduction includes, in addition to the history of the play, an analysis of its structure and as essay on possible sources.
Contributors to this volume of essays on Francis Petrarch are Aldo Scaglione, Joseph G. Fucilla, Thomas G. Bergin, Maria Picchio Simonelli, Fredi Chiappelli, Julia Conway Bondanella, Oscar Budel, Marga Cottino-Jones, Christopher Kleinhenz, Sara Sturm, Concetta Carestia Greenfield, Armaud Tripet, Douglas Radcliff-Umstead, Conrad H. Rawski, John E. Wrigley, Eugenio Battisti, Benjamin Kohl, Angelo Mazzocco, Jerome Taylor, Donald L. Guss, Paolo Cherchi, Frank L. Borchardt, Gerhard Dunnhaupt, and Gerhart Hoffmeister.
Barbarino's orthographic study is a quantitative and comparative analysis of the alternation of B and V in Latin inscriptions. His data is drawn from approximately 4,800 epitaphs that include Latin inscriptions from Roman provinces in Britain, the Balkans, North Africa, Dalmatia, Spain, Gaul, and Italy.
Fred M. Clark offers a semiotic analysis of three plays by Nelson Rodrigues, based in Charles S. Pierce's triadic concept of the sign: as sign, interpretant, and object, in regards to its production as perception and consciousness. Clark's use of this triad approach demonstrates the self-conscious plays of icons in Vestido de noiva, Album de familia, and Anjo negro, and offers a basis for the relevance of his conclusions to theatre at large. Based on this semiotic theory, Clark demonstrates the particular modes in which Nelson's theatre builds up fictional situations that transcend the pretense of the vanguard to become radically innovative and achieve a first-rate literary realization, equal of any occidental writer of the period. The author demonstrates the way in which Rodrigues dissects the difference between seeming and being, questioning the very notion of permanence and order.
Eduardo de Faria Coutinho's analysis of Grande Sertao: Veredas places the novel at the intersection of experience, literary history, and artistry. Walking the text's balance between the real and the imaginary, and focusing his reading on the thread of ambivalence that snakes its way throughout, Coutinho weaves together the text's dichotomies between ethics and aesthetics, rural regionalism and urban universalization, and socioeconomic and psychological epistemologies. This book also serves to place Grande Sertao: Veredas in the trajectory of the history of the Latin American novel, creating an accessible point of entry to the genre, and grounding the text firmly within the literary tradition.
While work contrasting Polifemo and Galatea has been done previously, Kathleen Hunt Dolan's book elevates the level of that discourse and enriches the concept with its deeply researched comparative approach. The book explores Polifemo, tying him first to the pre-Ovidian, underworld-dwelling tradition of the Cyclops, then laying out his expansive semantic field, in terms of time and depth, subjectivism, monstrosity, language, and darkness. Dolan's book then takes this multi-faceted construct as the counterpoint to Galatea, whose figurative significance encompasses the relationship between space and surface, objectivism, beauty, and light, whiteness, and color. Dolan's treatment of these tropes within Gongora's tale is balanced not only with other works from within Gongoran canon and criticism, but also with a wide range of poets, artists, critics, and philosophers from a variety of traditions. This comparative approach affords the reader both a broader and deeper understanding of Gongora's fabula.
Through a formalist, structuralist analysis, Rene Pedro Garay defines the Vicente comedias against their socio-historical backdrop, and the literary milieu that witnessed their creation. By doing so, Garay defends the un-Aristotelian medieval tradition, tracing the theory behind Vicente's comedies through Dante and the pre-sixteenth Century Iberian tradition, and placing it in the trajectory towards the birth of the Renaissance. He then charts this humanist comedic structure in two plays, the Comedia de Rubena and Comedia do viuvo, corroborating Vicente's role in determining the form of subsequent comedic drama in Spain.
Through close readings of eight tales from the Conde Lucanor, Anibal A. Biglieri offers the foundation for a Poetics of short didactic narratives. Biglieri's point of entry into this canonical work is his analysis of the text's unique relation with reality. This book also offers insights about the significance of the frame story, the ethics of social position, and the relationship between the author and his text. Hacia una poetica del relato didictico reaffirms the foundational role that El Conde Lucanor plays in the development of narrative structures, and celebrates the complexity of this quintessential landmark of Hispanic literature.
Noting significant differences between the individual tragedies of Racine and the many current notions of what Racinian tragedy is deemed to imply, John Campbell explores the identity and meaning of the modern Racine. He asks if any one critical paradigm, propounded to explain what is commonly called Racinian tragedy, even permits a convincing interpretation of any single play. He expresses skepticism as to whether the various tragedies can together constitute a body of work methodologically and ideologically cohesive enough to demonstrate any set of clearly identifiable patterns. Campbell's examination of the individual tragedies suggests the works are marked by difference, difficulty, uncertainty, and irresolution. This focus is a reminder that Racine is a critical fiction, and that Racinian tragedy is in reality a series of separate entities, individual dramatic works created as such.
The first work of genuine literary merit in Old French is the Vie de saint Alexis, and later reworkings of it attest to its popularity. This volume offers two editions: a twelfth-century edition that was published inaccurately by Gaston Paris, and a thirteenth-century version that has not been published. These two revisions tell us great deal about changing tastes and interests in the Middle Ages, and their implications exceed that of the fate of a particular work.
In 1624 the German erudite Kaspar Barth translated the Spanish book Celestina (1499) into Neo-Latin with the title Pornoboscodidascalus ( teacher of the brothel master ). The translation, intended for the cultivated readers who still used Latin as their lingua franca, contained an extensive prologue and numerous translation notes. This first critical edition of Barth's translation is a valuable tool not only for Celestina scholars, but also for Neo-Latin scholars and for those interested in the history of translation and in early modern Europe. With such a wide readership in mind, the edition contains the transcription of the Neo-Latin text, as well as the English translation of Barth's prologue and notes. It also includes a critical apparatus, notes with full references to the sources quoted by Barth, and an introduction to the most relevant aspects of Barth's translation.
For the first time since the sixteenth century, a new edition is here made available of the first book of Laurent de Premierfait's French version of De Casibus virorum illustrium (Des Cas des nobles hommes et femmes).
In an examination of eyewitness travel writing in thirteenth- through sixteenth-century France, Andrea Frisch studies the figure of the witness at a historical juncture and in a cultural context in which that figure is generally thought to have begun to assume a recognizably modern form and function. Whereas most accounts of early modern travel literature tend to read modern presuppositions about witnessing and testimony back into the material, Frisch approaches the early modern witness in terms of the cultural legacy of the Middle Ages. Through primary readings in law and theology, Frisch documents the tension between the ethical witness (the characteristic witness of premodernity) and the epistemic witness (the modern witness) and explores the impact of that tension on the figure of the witness in pre- and early modern French-language travel literature.
Part one of this volume is a general, but selected, guide of annotated works on Raeto-Romance with special consideration of Romansh. Part two is De Passione Judas: An Anglo-Norman Poem, Nancy V. Iseley, editor. As part two of this edition, this poem is prefaced by an introduction describing it and relating its probable date of origin. Also an evaluation of style and chief sources are presented. Part three is Seth: An Anglo-Norman Poem, by H. H. Hilton, Jr., editor. The annotated poem is preceded by an introduction containing an explanation of the Holy-rood tree legend and a description of the language and style used in the poem.
In this distinctive gem of Proustian criticism, Inge Karalus Crosman defines the function of metaphor within the text. Given the metaphoric saturation of Proust's textual construction, Crosman's key to a universal interpretation is narrowed to those metaphors that build up Proustian time itself. This book, well based in extant criticism, moves systematically through discussion of the most simple metaphors to the most complex and compound. Crosman's masterful analysis and deconstruction leads the reader to the double function of metaphor: the narrative and the cognitive.
Dissonances of Modernity illuminates the ways in which music, as an artifact, a practice, and a discourse redefines established political, social, gender, and cultural conventions in Modern Spain. Using the notion of dissonance as a point of departure, the volume builds on the insightful approaches to the study of music and society offered by previous analyses in regards to the central position they give to identity as a socially and historically constructed concept, and continues their investigation on the interdependence of music and society in the Iberian Peninsula. While other serious studies of the intersections of music and literature in Spain have focused on contemporary usage, Dissonances of Modernity looks back across the centuries, seeking the role of music in the very formation of identity in the peninsula. The volume's historical horizon reaches from the nineteenth-century War of Africa to the Catalan working class revolutions and Enric Granados' central role in Catalan identity; from Francisco Barbieri's Madrid to the Wagnerian's influence in Benito Perez Galdos' prose; and from the predicaments surrounding national anthems to the use of the figure of Carmen in Francoist' cinema. This volume is a timely scholarly addition that contemplates not only a broad corpus that innovatively comprises popular and high culture--zarzuelas, choruses of industrial workers, opera, national anthems--but also their inter-dependence in the artists' creativity.
Narrating Desire: Moral Consolation and Sentimental Fiction in Fifteenth-Century Spain proposes a new taxonomy and conceptual frame for the controversial Iberian genre of sentimental romance. It traces its origin to late-medieval education in rhetoric, philosophy, and medicine as the foundation for virtuous living. In establishing the genre's boundaries and cultural underpinnings, Narrating Desire emphasizes the crucial link between Eastern and Western Iberian sentimental traditions, and offers close readings of a vast array of Catalan and Castilian romances, translations, narratives poems, letters, and doctrinal treatises: the Catalan translations of Boethius's Consolation of Philosophy, Santillana's El sueno, Bernat Metge's Lo somni, Romeu Llull's Lo despropiament d'amor, Pedro Moner's La noche and L'anima d'Oliver, Rodriguez del Padron's Siervo libre de amor, Carros Pardo de la Casta's Regoneixenca, Rois de Corella's Parlament and Tragedia de Caldesa, Pedro de Portugal's Satira, Francesc Alegre's Somni and Raonament, Pere Torroella's correspondence, and the well-known works by Diego de San Pedro (Arnalte y Lucenda; Carcel de Amor) and Juan de Flores (Grisel y Mirabella; Grimalte y Gradissa) among others. From them, Miguel-Prendes singles out a group of dream visions whose interpretive and compositional practices sire the sentimental genre. Social interactions lead to either a consolatory or a sentimental form, which imply very different ways of seeing: the allegorical gaze of consolation gives way to narrative fiction. In distorting moral conversion, the sentimental genre heralds the novel.
Orientaciones trasnpacificas is a wide-ranging study that presents a cross-temporal examination of the discernible orientation toward East and South Asia that pervades the work of well-known intellectual and artistic Mexican figures. It goes from the later years of the regime of Porfirio Diaz in the 1900s to the cultural imaginaries of nationalism in the 1920s, and from the Cold War to the global spread of neoliberalism at the turn of the new century. Understanding Orientalism as a form of situated and historical orientation grounded in Mexico's own (post)colonial formation, the book argues that, although after its independence Mexico's important commercial connection with the Asian continent became attenuated, East and South Asia continued to be a crucial point of reference for Mexico to assert global centrality and to anchor discourses of cultural singularity or political exception. By tracing the intellectual turn to Asia in Jose Juan Tablada's travel narratives and art essays, Manuel Alvarez Bravo's photography landscapes, Jose Vasconcelos's writing about mestizaje and in his literacy campaigns, Roger Bartra's Marxist political economy writings, Rafael Bernal's hard boiled novel, Marcela Rodriguez and Mario Bellatin's musical composition in Ciudad Juarez, and Shinpei Takeda's art installations in Tijuana, the book recasts the colonial emphasis on a transatlantic relationship with Europe and displays a transpacific and planetary imagination-eschewing the Atlantic dialectic between ex colony and metropole-that defined Mexican conceptualizations of literary and cultural modernity. Thus, Orientaciones trasnpacificas shows that Mexican orientalism played an instrumental (though often unremarked) role in the cultural definitions that became fundamental to the field of Mexican and Latin American Studies, such as the notion of hybrid modernity (in racial, aesthetic, economic, or temporal terms).
Home Away from Home: Immigrant Narratives, Domesticity, and Coloniality in Contemporary Spanish Culture examines ideological, emotional, economic, and cultural phenomena brought about by migration through readings of works of literature and film featuring domestic workers. In the past thirty years, Spain has experienced a massive increase in immigration. Since the 1990s, immigrants have been increasingly female, as bilateral trade agreements, migration quotas, and immigration policies between Spain and its former colonies (including the Dominican Republic, Ecuador, Equatorial Guinea, and the Philippines) have created jobs for foreign women in the domestic service sector. These migrations reveal that colonial histories continue to be structuring elements of Spanish national culture, even in a democratic era in which its former colonies are now independent. Migration has also transformed the demographic composition of Spain and has created complex new social relations around the axes of gender, race, and nationality. Representations of migrant domestic workers provide critical responses to immigration and its feminization, alongside profound engagements with how the Spanish nation has changed since the end of the Franco era in 1975. Throughout Home Away from Home, readings of works of literature and film show that texts concerning the transnational nature of domestic work uniquely provide a nuanced account of the cultural shifts occurring in late twentieth- through twenty-first-century Spain.
Raser questions criticism's predilection for a scientific discourse, arguing that aesthetic categories are better indicators of a text's literary qualities. Although aesthetics has claimed subjective pleasure as its sole criterion since the time of Kant, aesthetic judgments tend always to ground themselves in logic or reference. In art criticism, description serves as this ground and is no more productive than in Baudelaire's art criticism, where it leads to poetry.
Questioning a particular tradition of reading, Carol Sherman writes a series of metacritical essays that revise many of our assumptions about Voltaire's stories, substantiate others, and attempt to account for the phenomenon of interpretation for the paradoxical case of fictions that proffer truths. Micromegas, Zadig, Candide, and L'Ingene constantly guide the interpreter to a single reading; nonetheless, these tales deconstruct their premises at the hands of readers who are conscious of their own status as text.
The undisputed masterpiece of fourteenth-century Spain by Juan Ruiz, Archpriest of Hita, affords a particularly privileged locus for the implementation of reader-response theory. As opposed to many medieval authors, Ruiz explicitly refuses to prescribe interpretation for his readership (as evidenced by his programatic rewriting of Augustine's Confessions) a fact that has led to widely divergent critical readings of his fictional biography.
The Broken Angel is the first book-length examination of a mythopoetic configuration that pervades Valery's entire textual universe. The Angel is linked to almost every one of its themes and informs all of its modes, which, in turn, form and deform it. In delineating the textual traces of these transformations and the construction and destruction of the symbolic figure inherited from tradition, Franklin links its defigurations to Valery's method of composition, the weaving of anterior segments into texts, many of which remain open-ended and fragmentary. She shows how the broken form of Valery's texts on the Angel is conditioned by the very tensions inherent in the theme, tensions disclosed by a reading that also reveals the existential situation and psychological predispositions of an Ego scriptor whose Broken Angel emerges from broken texts.
Germain Nouveau (1851-1920), poet and painter, friend of Rimbaud and Verlaine, discreet disciple of Mallarme, led a vie de boheme while composing poems of both religious and erotic inspiration. This book is both a biographical study and an introduction to the works of a long-neglected poet whose calligraphy is to be found in the manuscript of Rimbaud's famous Illuminations. Breton, Aragon, and Eluard acknowledged their debt to this undervalued precursor of French Surrealism.
The abolition of judicial torture-alongside the eradication of both slavery and capital punishment-was one of the most consequential issues debated in eighteenth century continental Europe. A revealing component of this controversial debate was presented in the unpublished Discurso sobre la injusticia del apremio judicial, written by the attorney Pedro Garcia del Canuelo. Seeking support for its publication, he forwarded the manuscript to Prime Minister Manuel Godoy in 1795. The savvy Spanish politician, however, not only rejected the text, but also warned its author against further discussing the issues raised in his treatise. As a result, although its title was known, the essay was lost to history. The current volume, La abolicion del tormento, analyzes, transcribes, and reproduces the complete Discurso while framing its proposals within the European debate regarding the abolition of torture and the prohibition of other methods of mental and physical coercion allowed by diverse tribunals. The monograph additionally considers the extent of the controversy associated with torture in Spain as it provides biographical information on Garcia del Canuelo and examines the philosophical and juridical foundations related to this atrocious practice, one which produced one of the fiercest exchanges of the Enlightenment. The aforementioned dispute reflects the political tensions of an era because a discussion on the legality of torture involves a consideration of what constitutes a human being, what is the relationship between legality and justice, as well as what are the limits of lawful power in relation to the natural rights and the intrinsic value of the individual. Thoroughly documented, this study should be of particular interest to those concerned with intellectual processes and practices during the modern era, not only in Spain, but throughout the Western world as a whole.
Philip Stewart demonstrates that in each of three novels--Marivaux's La Vie de Marianne, Diderot's La Religieuse, and Rousseau's Julie ou la Nouvelle Heloise-the characters' sincerity disguises how incompletely the meaning of their own experience is resolved. However clear their premises, ambiguity creeps in, compromising or subtly contradicting the clarity of their vision. Stewart reveals these countercurrents or repressive rhetorical strategies and situates them with respect to the broad thematics of each work.
This study is devoted to the manifestations of the occult in modernist Hispanic short fiction, particularly that of Manuel Gutierrez Najera, Ruben Dario, and Leopoldo Lugones. According to Howard Fraser, modernist fiction exhibited a coherent, thoroughgoing spiritualist experimentation as an antidote to bourgeois materialism. The fascination of these modernist writers with such areas as alchemy, theosophy, and the supernatural expressed not only a residual Romantic literary sensibility but also the influence of numerous spiritualist movements around the world. In this regard, the modernistas show a spiritualist attitude toward the Beyond, what Joseph Campell has called a dimension of the universe that is not available to the senses . . . the recognition of something [in nature] that is much greater than the human dimension.
This first critical analysis of the Catalan novel of chivalry, Tirant lo Blanch (1490), elucidates the sophisticated plan that lies behind its composition. By breaking down the 487-chapter story into two fundamental narrative threads-the military and erotic exploits of the hero-Aylward reveals the two-pronged narrative scheme that supports Martorell's fast-paced and amusing account of romance and political intrigue in fifteenth-century Constantinople.
In her exploration of the quest for God in Beckett's fiction, Barge discloses a powerful substratum of thematic and narrative movements underlying the rhetoric of Beckett's texts. By studying examples of myth-making structures in representative selections of the fiction, she reveals their profundity and centrality to the whole of Beckett's visionary thought and art. Selections range from Assumption to Company, with attention focused both on the texts and on the criticism concerning them.
Jenkins challenges the notion that Lemaire's recourse to rhetoric was an artistic failure, arguing that rhetoric was actually his success. He demonstrates the importance of rhetoric in pre-Renaissance French literature, filling a crucial gap in previous scholarship. Jenkins provides an overview of rhetorical tradition and Lemair's knowledge of it before performing an analysis of some of the rhetorical aspects of Lemaire's writing.
Conchita Herdman Marianella's book develops the words Duena and Doncella in their Cervantine context. The book offers the two sides of this character type in pre-Cervantine usage, from the tendency of the duena or doncella to appear as a lady-in-waiting, damsel in distress, or other high-level intermediary and to behave in patterns commensurate with that socio-cultural status, to the stereotyped, irate, scheming, gossiping chaperone. While Cervantes often uses this second type in other prose works, the relationship between the two semantic fields becomes much more complex in the Quijote, so explicitly constructed as a satire of the earlier style. It is this tangle of character type and history that Marianella unwinds. This analysis newly illuminates the episode of Dona Rodriguez, one of the pinnacles of the creative craft of the Quijote.
In this impactful addition to the field of ethnolinguistics, Willian W. Megenney dissects the influence of African languages and cultures on contemporary Bahian Portuguese. The author aims at studying the connection between the use of Africanisms and socio-economic class. Megenney interrogates a broad swath of claims concerning potential syntactic, morphological, and phonemic influences in the field, giving sound analysis and drawing the conclusion that, with the potential exception of a causal correlation between the musical intonation in areas of high population density of people of African descent and the tonality of some of the studied languages, the only aspect that is incontrovertibly influenced is vocabulary, though direct source-traces prove problematic at best. Megenney's primary study of the interrelation of socio-economic class and the use of Africanisms, and the circumstances that allowed for the survival of such Africanisms in Brazil, is an intriguing read for any scholar of ethnolinguistics, as well as an excellent resource for researchers working in the Lusophone world.
Paul A. Gaeng's exhaustive morpho-syntactic analysis of Latin nominal declensions, as found in Christian funerary inscriptions from the Roman Empire, seeks to establish the extent to which this inscribed material reflects the period's linguistic evolution: from classical Latin's multi-case structure to the one-case system of Western Romance Languages. The study draws on E. Diehl's three-volume Inscriptiones Latinae Veteres and J. D. Vives's Inscripciones cristianas de las Espanas romana y visigoda for its heterogeneous dataset. Gaeng's work forms a valuable contribution to the study of the dissolution of the Latin declensional system in the shift from Latin to Romance.
La Querelle de la Rose: Letters and Documents is an English language translation of the letters and documents written and exchanged during the literary quarrel about Roman de la Rose. It began in 1401 with a letter from Jean de Montreuil, the provost of Lille and a member of the royal chancery to Christine de Pizan, and an anonymous but notable cleric. The quarrel itself should be of interest to readers of Roman de la Rose, of Medieval French Scholars, and to scholars interested in feminism and conditions of women in Medieval France. Baird and Kane's translation differs from other translations in that it includes Christine de Pizan's 1399 Epistre au Dieu d'amours and that it follows the chronological order of Potansky's 1972 German edition.
Conlon's edition usefully places Le Romant de Richart and Corrozet's prose adaptation Richart sans peour into one text. This composition allows Conlon to explore the connections between the first prose adaptation and its epic source, hypothesizing the rationales for each of their creations. Conlon's introduction to the edition includes information on Richard Duke of Normandy, on later prose editions, on Corrozet, and on sources. It also provides a plot summary of both texts and linguistic commentary. He concludes his edition with an appendix of names and places, glossaries, and a bibliography.
This critical edition of the 1131 La Passion Nostre Seigneur offers comprehensive English-language annotation and a glossary as ancillary materials to this representative text that lays between Latin and early vernacular Biblical drama and the large scale cyclical vernacular Passions of the fifteenth century. Gallagher's introduction to the play offers particularly illuminating commentary on staging and the manuscript's textual forebears and milieu.
Douglas Alden provides scholars of Proust a practical means of access to the Grasset Proofs, which include Du cote de chez Swann, A l'ombre des jeunes filles en fleurs and Le Cote de Guermantes. Alden guides the reader in approaching Proust's only work available in its pre-publication form by dividing his book into two sections. His Commentary offers an analysis of the changes Proust made to his work, and his Variants shows the 1913 and 1914 proofs in discourse with the Pleiade edition.
Alice Fiola Berry's study on the fundamental importance of language itself in the four books of Rabelais leads the reader down the path trod by Panurge and Pantagruel. Berry demonstrates how language and logos are the source of comedy, the focus of attention, and indeed the closest elements to the main character of the texts. Nowhere is this import more clear than in the dominant theme of Rabelais's volumes: the quest for truth. There, in the core of these texts, Berry teases out the ways that the legitimacy of language is most seriously questioned, and the limits of its power drawn.
Joseph Alston James provides the only modern edition of Octavien de Saint-Gelais's Le Sejour d'honneur. A highlight of this edition is the inclusion of illustrations from the manuscript de Saint-Gelais presented to Charles VIII. James's critical work for the edition includes an introduction, a bibliography of de Saint-Gelais's works, a bibliography of works influential to Le Sejour d'honneur, and notes.
Through her close reading, Diane Wolfe Levy reveals the complex irony in France's last volume of short stories Les sept femme de la Barbe-Bleue. The author shows how France imbues his narration with paradoxical elements, contrasts full of irony, and complex oppositions. She also reveals the way irony is directed to both the narrator and the fictional characters. This contradictory nature reveals the lack of objectivity that the prevalent scientific method is supposed to have. Levy exemplifies the irony in its multiplicity, connecting it to the author, the reader, the narrator, and the subject of the tales.
This edition of Urban T. Holmes, Jr.'s exploration of medieval man includes an introduction and has been edited by Holmes's son, Urban T. Holmes, III. This book is not an excessively theoretical text adhering tightly to the development of its argument. Instead, it allows the reader to meet not only medieval man in his own understanding of himself, but to meet the author as well. From the overview of Augustinian philosophy and the divine right of kings, to the human ecology and the difference between man and his relationship to self and God as seen through the eyes of the clergy versus the perception of him by his fellow, Holmes talks the reader through the three divisions of the middle ages, and leaves him with a history that he can touch, feel, and inhabit.
In this book, Richard A. Carr elucidates Boaistuau's quest for a 'nouvelle form' in his loose adaptation of Bandello's Novelle. Emphasizing psychological details absent in the Italian original, Carr repeatedly questions the human motives for the gruesome acts that Boaistuau selected as exempla for his readers. This book demonstrates the Boaistuau's use of two elements generally ignored by writers of his day, the conventions of tragedy, and those of rhetoric. Carr's discussion of his style of writing illuminates Boaistuau's use of each accepted rhetorical device to add to the aesthetic appeal of his text without falling into the excesses that would ultimately conflict with his didactic, moralistic purpose. This text delves not only into Boaistuau's work, but also into his character, placing him in the context of the conflict-ridden time in which he lived. The struggle between the author's moralist stance and seeming malaise when confronted with the violence that filled his world allows entry into the limbo that is seeing the evil in mankind, but having no assurance of the infallibility of God and His Law as a means of redemption. Through this analysis, Carr offers new insights on the complexity and generic innovation of an author often accused of banal superficiality.
Jones's edition of Cort d'amor with English facing translation is a welcome addition to studies on Occitan literature. This edition includes notes for both languages, an index of proper names, and a glossary. Prior to the edition itself, the monograph includes seven introductory chapters dedicated to the manuscript, its date, authorship, sources, and the poem's literary value.
Through an analysis of French hagiography and the vernacular translations of nineteen saints' lives, Johnson and Cazelles explore the impact of saints on ordinary men and the relationship between holiness and heroism in the twelfth century. Divided into two parts, the first is devoted to aspects of the hero-saint and savior-saint, and the second, organized alphabetically by saint's name, engages the French hagiographic traditions.
The Instructions are Saint Louis's second set of recommendations, which he addressed to his daughter Isabelle, who later became Queen of Navarre. O'Connell's critical text is, for the most part, based on the non-Latinized manuscript ms. G (ca. 1300) and incorporates variants from E (the printed version of the Latinized manuscripts) and KMN (non-Latinized manuscripts).
The Swiss writer and poet Juste Olivier was an eyewitness to the political and literary events in Paris during the July Revolution of 1830. His Journal is a keenly observed record of the Parisian intelligentsia of that period.
This edition is annotated and introduced with a detailed chart of representative Spanish and French works of useless-precaution plots. The intention of the essay is to deal with the specific aspect of cuckoldry (traceable in literary history), in which cuckolding is the final result of a dramatic plot.
The author presents a clear picture of the structural history of the Romance language known as Vegliote and illustrates the applicability of structural linguistics to a diachronic study of many stages.
This is an edition of the parts of the Quincuagenas of Gonzalo Fernandez de Oviedo that the author considers aspectos de las Quincuagenas que podemos considerar respaldados por las vivencias del autor, hence the title Memorias. We are left, however, with two substantial volumes of which this is the second.
This book examines the development of Latin American science fiction from the mid-nineteenth century until the early days of Modernsmo via an in-depth discussion of the first three novels published in Spanish America: Viaje maravilloso del senor Nic-Nac al planeta Marte by Argentinian writer Eduardo Ladislao Holmberg, Desde Jupiter by the Chilean Francisco Miralles, and Querens by Pedro Castera from Mexico. These three novels incorporate all the attributes that consistently appear in a science fiction work through a blend of Darwinism and Spiritism, the two most dominant and widely-debated scientific discourses of their time. Consistent with the social and political interests in the recently independent Latin American nations, the three writers address scientific, aesthetic, intellectual and personal beliefs through a combination of utopian optimism and dystopian pragmatism.
A concordance of Delie by the Renaissance writer Maurice Sceve that will be crucial in examining the structure and meaning of the work.
Florence L. Yudin explores the theme of silence in Jorge Guillen's Aire nuestro.
Paul Archambault explores the evolution of Camus' attitude toward Hellenism and Christianity as seen through his writing. The author considers problems as disparate as Camus' use and misuse of Aeschylus and the Presocratics, his ambivalent appraisal of Socrates, the Plotinian nature of his aesthetics, his identification of Christianity with Augustinian theology, and the Gnostic resonance of his characteristic ideas.
Opening a new perspective on Malherbe's major poems, this volume focuses on their design and meaning. In his introduction Rubin defines and illustrates implied comparison. There follows a series of explications which recover each poem's values from analogies concealed in images or motif patterns. The work concludes with a description of formal constants and variables in the six completed odes.
One of the most colorful episodes in Moliere's career was the so-called Comic War, that controversy provoked by the successful production of L'Ecole des Femmes at a time when Moliere was seeking to establish himself as a leading comic playwright of his day. Among the ultimately unsuccessful attempts by rival dramatists to discredit him and his theater, the three comedies published here were particularly notable. Included in this volume are Donneau de Vise's Zelinde (1663); Boursault's Le portrait du peintre (1663); and Le Boulanger de Chalussay's Elomire hypocondre (1670).
The legend of the Siete infantes de Lara has rarely been a part of the Spanish curriculum in American universities mainly because of the lack of reliable and informative texts on the subject. This volume, which was prepared so that students and professors might have ready access to the legend, comprises a study of the legend's aspects, a comparison of the epic's various versions, and an edition of the lost epic from the Refundici toledana de la cronica de 1344.
Published in 1963, this book gave historical context to the works of Camilo Jose Cela (1916-2002) who would go on to be awarded the Nobel prize in Literature in 1989.
This is a transcription of the previously unpublished seventeenth-century manuscript now in the possession of the Hispanic Society of America formerly known as the Cancioneiro hispano-portugues da Academia das Ciencias, Lisboa. The volume is of importance to scholars of Spanish and Portuguese poetry of the Classical period, 1500-1700.
Les Enchantemenz de Bretaigne is a portion of a medieval Arthurian prose romance extracted from a longer work entitled La Suite du Merlin. Editor Patrick Coogan Smith includes background and summaries that provide context for the portion of text provided.
David O'Connell's study seeks to serve as the final word on which version of the Enseignements de saint Louis can claim ultimate authenticity. Through an analytical comparison of the three families of the Teachings and a historical overview of the critical controversy surrounding the texts, O'Connell argues for the authority and historicity of the Noster manuscript. In this study the author has consulted all the manuscripts pertinent to the problem, reviewed the critical controversy that has surrounded these texts since the end of the Middle Ages, and furnished a critical text of the long-neglected manuscript that reproduces both the spirit and the letter of Louis' holograph.
The Innamorato, predecessor to Ariosto's Orlando furioso, has been known in the English-speaking world since the sixteenth century, in both Italian and English translations. The present study was the first in English to be devoted exclusively to an examination of this Renaissance epic, which is one of the major poetic creations of the Italian Quattrocento.
Balzac made a conscious effort in Comedie Humaine to multiply the reappearance, from book to book, of some of his characters. This careful analysis of nearly six hundred reappearing characters shows that some appear only briefly, in no significant role; others play important parts; some become principals in later action.
This story concerns the capture by Alexander's forces of the city of Milide. As an example of courtly literature,Le Parfait combines, curiously, aristocratic refinement with descriptions of violent and bloody battles. The critical apparatus includes an introduction, linguistic study, variants, notes, glossary, and index of proper names.
The word peregrinacion permeates Spanish, Italian, and Portuguese literature, and can be described as wandering, alienation, and exile, combined with pious devotion. Complementing the work of Antonio Vilanova, Juergen Hahn's study of peregrinacion focuses on Spanish literature of the Golden Age.
Based on contemporary sources and recent authoritative scholarship, this analytical index brings together in concise form the available information concerning each of the persons and works named or alluded to in Sainte-Beuve's most-discussed book. The introduction, index, notes, and appendixes are in French.
In this volume Judith Rice Rothschild offers close readings and comparisons of the Lais in order to examine Marie de France's narrative technique.
This study shows how Osuna uses mystical symbolism and allegory in his own writing and in the methods of meditation and contemplation he teaches.
Fashioned Texts and Painted Books examines the folding fan's multiple roles in fin-de-siecle and early twentieth-century French literature. Focusing on the fan's identity as a symbol of feminine sexuality, as a collectible art object, and, especially, as an alternative book form well suited to the reception of poetic texts, the study highlights the fan's suitability as a substrate for verse, deriving from its myriad associations with coquetry and sex, flight, air, and breath. Close readings of Stephane Mallarme's eventails of the 1880s and 1890s and Paul Claudel's Cent phrases pour eventails (1927) consider both text and paratext as they underscore the significant visual interest of this poetry. Works in prose and in verse by Octave Uzanne, Guy de Maupassant, and Marcel Proust along with fan leaves by Edgar Degas, Edouard Manet, Berthe Morisot, and Paul Gauguin serve as points of comparison deepening our understanding of the complex interplay of text and image that characterizes this occasional subgenre. Through its interrogation of the correspondences between form and content in fan poetry, this study demonstrates that the fan was, in addition to being a ubiquitous fashion accessory, a significant literary and art historical object straddling the boundary between East and West, past and present, and high and low art.
The life of the great Cistercian, St. Bernard, was translated into Portuguese from the first three books of Sancti Bernardi Vita Prima at Alcobaca. The surviving fifteenth-century manuscript constitutes an important example of the scholarship of that famous monastic center.
The importance of the troubadour Raimon Vidal as poet and grammarian has been recognized since the thirteenth century. This volume presents Vidal's a long poem on the decline of the jongleur's art, along with a prose translation, notes, and an index of names mentioned in the poem.
This volume is composed of articles by former students of Professor Holmes and presented to him in his sixty-fifth year. Most of the essays deal with medieval subjects or subjects very closely associated with the Middle Ages.
This philological study examines the possible influence exerted by religious traditions on the origin and development of the secular lyrics of the troubadours. It includes an historical outline, a survey of theories concerning the origins, and an analysis of the troubadours' conception of love.
Artus Desire, whose career extended from 1545 to at least 1578, was the author of more than twenty theological treatises and anti-Protestant pamphlets. In this volume Frank S. Giese provides the first comprehensive study of Artus Desire and his work.
In this study of Andre Gide's magnum opus, Les Faux-Monnayeurs, Karin Nordenhaug Ciholas argues for the novel's thematic unity.
This volume is composed of fifteen essays on Hispanic subjects by scholars from the United States and abroad, and it was presented to Professor Adams in his seventieth year.
After a discussion of the youth, education, and early writings of Canete, the author turns to the Madrid years with El Faro and later with El Haraldo. Canete's connection with the Academia Espanola is also discussed as is his response to the post-romantic era.
First recognized with the likes of Samuel Beckett and Eugene Ionesco as a defining figure at the forefront of the theater of the absurd, French playwright Adam Adamov had a fairly prolific career, writing twenty plays between 1947 and his death in 1970. Now, though now he has fallen somewhat into obscurity. John J. McMann provides a study of Adamov's work which traces the playwright's artistic development and explores his role in defining the avant-garde and political theaters of France.
Walters provides commentary on Diderot's translation of Shaftesbury's An Inquiry Concerning Virtue or Merit. By comparing the translation and notes, Walters demonstrates the evolution of Diderot's thought and artistic skill. Walters discusses the difference between theism and deism, the question of universal order, and compares atheism with free thought. After an analysis of religious fanaticism and social and political abuses, he turns his attention to virtue, as it relates to happiness, objective values, the moral sense, the passions, and self-interest. A final chapter deals with the style of the Essai.
An edition of an anonymous poem about the famous thirteenth-century outlaw Eustache surnamed Le Moine (ca. 1170-1217), son of the Boulonnais nobleman Baudoin Busket, that survives in a single manuscript. Conlon's introduction explores the historical background, summarizes the content of the poem, analyzes its language and explains the editorial policy. Notes, an Appendix containing historical and literary texts that mention Eustache le Moine, a Table des noms propres, noms de lieu, etc., a Glossaire and a Bibliographie conclude the edition.
This volume was presented to Professor Engstrom in celebration of his sixty-fifth birthday. Its sixteen studies, contributed by colleagues, friends, and former students, move from the late Urban T. Holmes's article on the Middle Ages down to the nineteenth century, with articles encompassing various aspects of French, Spanish, and Italian literatures.
A study of the somewhat parsimonious but intentional use of multiple sonnets in Calderon's drama.
After a preface describing the purpose and content of this work, the author presents a lengthy bibliography of sources. The proper names in the lyrics of the troubadours follows. Frank M. Chambers' book endeavors to include all the proper names found in the lyric poems of the twelfth and thirteenth century poets known as the troubadours. This work includes a lengthy bibliography along with the list of names.
An analysis of how visual variety and grandeur are intrinsic and artistically well-conceived elements of the work of Rabelais, and that they develop naturally from the Renaissance outlook on the world.
This edition includes all of Jehan Froissart's lyric poetry. McGregor includes explanatory notes, significant or noteworthy variants, as well as a useful glossary and an appendix of lyric forms found in Froissart's narrative poems.
A psychological interpretation of Marie de France's Guigemar, a lai that uses the legend of Hercules as a vehicle for her ideas on love and duty in society.
An attempt to trace the development of Moliere criticism organized around three categories: biographical, academic (both historical and formalistic), and commentaries by theater professionals.
This is a study of Medieval French poet Charles de Orleans and his use of the allegorical mode in his work.
Ruth el Saffar's study of novelistic technique in Don Quixote focuses on the interplay of characters, authors, and readers who populate the work.
Editing this work in the context of modern scholarship has involved many literary and linguistic problems left untouched by the Meyer edition of 1880. The present edition provides a new, accurate reading of the sole manuscript, supported by copious textual notes and chapters on versification, dating, and language of author and scribe.
This is a critical edition of an adaptation of the Discipline Clericalis, the first western collection of eastern apologues, written between 1105 and 1110 by Petrus Alphonsi. The literary and social impact of this work was profound; we find adaptations of its prologues in the vernacular literatures of western Europe and evidence that medieval ecclesiastics used them in their sermons.
D. J. Conlon examines Guy of Warwick, a popular thirteenth century Saxon legend adapted into Anglo-French prose in the fourteenth century.
Seventeenth-century French author Paul Scarron's Roman comique has often been dismissed by critics as episodic and disorganized. This, in part, stems from four interpolated stories which Scarron included and which, according to many critics, have no relation to the novel's plot. Here, after studying the original Spanish versions of these nouvelles, Frederick Alfred de Armas argues that Scarron made changes to the originals to parallel the tone and underline the theme of the overarching story, thus unifying the novel as a whole.
This is an edition of the only Portuguese manuscript of the story of Joseph of Arimathea. It is a sixteenth-century copy of an early fourteenth-century original. This paleographic edition and the study based on it make contributions to the study of Old Portuguese and European Arthurian literature.
This tale, preserved in Arsenal MS 3150, was first published by Professor Sargent in 1963 in mimeographed form. This is a charming story, well suited for reading in a Middle French course.
James I. Wimsatt edits Guillaume de Machaut's important Dit de la fleur de lis et de la Marguerite; he identifies an acrostic connecting the earlier Dit de la Marguerite and Complainte VI with the crusader Pierre of Cyprus; and he established a probable historical framework for the three poems.
This volume contains fifteen essays, primarily in the areas of Romance philology and medieval literature, by former students, colleagues, and distinguished scholars, presented to Louis Francis Solano upon retirement from active teaching.
This critical, annotated edition and study of a long-neglected work by Lope de Vega reveals the philosophical seriousness that the author in his early maturity, anticipating Cervantes' Persiles y Segismunda by more than a decade, brought to his treatment of the Byzantine novel or novel-of-adventures.
This volume contains twenty-one essays by former students, colleagues, and distinguished scholars throughout the United States, presented in honor of Professor Wiley's sixty-fifth birthday.
Rebecca M. Valette examines the short stories of French author Arthur de Gobineau. Through detailed analysis, Valette underscores Gobineau's originality and his contribution to French literature. This study describes the various narrative techniques that are incorporated in the short stories and two fragments are included in this analysis.
This collection of fifty-seven essays, manifestos, and other prose writings on literature, painting, music, and cinema is drawn from various little magazines published in Spain from 1919-1930. This volume, edited by Paul Ilie, is intended to serve as a tool with which to break new ground in the study of the Spanish vanguard.
Through an investigation of the literary doctrines and ideas of the chief critics of the eighteenth century, the author of this study traces the concept of tragic theory in a would-be age of neo-classicism. The innovational and revitalizing forces advocated for tragedy are stressed, but problems relating to subject matter, form, and rules within the genre are also covered.
Coleman begins his book with the following supposition: that Luis Cernuda was a poet whose primary impulse in his art was the suppression of the subjective and the consequent objectivization of poetry. Through careful reading of Luis Cernuda's later poetry, written after 1936, Alexander Coleman argues that Luis Cernuda was a poet whose primary impulse in his art was the suppression of the subjective and the consequent objectivization of poetry.
Published in 1966, this bibliography of Oviedo went far toward advancing factual knowledge about the life and works of a great writer who explored early sixteenth-century America and commented upon its flora and fauna and aboriginal Indian life.
This study is an attempt to furnish data for our knowledge of Vulgar Latin culled from the vocalism of Latin Christian inscriptions, particularly of the funeral type, found in those areas of the Western Roman world where Romance speech developed, and to shed some light, by means of a comparative study, on the controversial issue as to whether linguistic features that differentiate Romance languages and dialects correspond to dialectal differences already in existence.
A critical edition of the literary criticism of Jacques de la Taille, including the original French text, critical footnotes, and introductory essay. The work is primarily a study of quantitative verse in Italy, France, and England during the Renaissance.
Published in 1966, this study is an interpretation of the Chanson de Willame and at the same time an enlargement of traditional concepts defining all medieval epic literature calculated to advance our appreciation of its literary quality.
This is a study that traces the influence of drugs on French literature. The first three chapters acquaint the reader with various aspects of the use and effect of opium and hashish. Later chapters analyze the influence on the works of various writers of the period, particularly Baudelaire.
John Bowle was the first scholar to consider Don Quixote a masterpiece. His edition, published in six volumes in 1781, the first truly learned edition, established a foundation for future study and editing of Cervantes's great work. Here, Cox explores the life and works of John Bowle, and considers his lasting legacy.
These two anonymous French poems indicated that the medieval legend of the Fifteen Signs Before the Judgment still had a place in the intellectual background of the sixteenth century. They reveal the legend's decaying status as well as suggests its new uses, catching the Renaissance in the course of its transition from medieval to modern.
This is a critical bibliography of the Nodier studies and editions of his works that appeared between 1923 and 1967. Part I presents a chronological bibliography of studies on Nodier and annotates each entry. Part II comprises a tentative list of the republications of works by Nodier, indicating those of special interest.
The first part of the document under study is concerned with rhetorical patterns and phrases modeled after Cicero; the second part consists of a series of love letters composed in a mannered fashion and with a preliminary flavor of later preciosity.
Ugo Foscolo's Last Letters of Jacopo Ortis, written between 1799 and 1815, was the first true Italian novel. Its epistolary form is in the eighteenth-century tradition of novels like Clarissa Harlowe and the Nouvelle Heloise. Jacopo's tragic love for Teresa and his subsequent suicide recall The Sorrows of Young Werther. In addition to being an intensely political novel, this work also expresses the author's romantic conception of nature as a mirror of human emotions.
In her study of Marie de France's twelfth century poem, The Lay of Guingamor, Sara Strum examines the work as a hero-quest tale in the vein of Christian morality thus upending previous scholarship about this medieval work.
In this definitive work, Donald Fowler Brown corrects many previous misconceptions about the works of Emilia Pardo Bazan (1851-1921), and offers a detailed study of six of her novels, showing how the French Naturalism contributed to them, and how Zola's chief Spanish follower could at once be a materialist and a staunch Catholic.
Robert Burgess's study of Platonism in Desportes poetry rounds out those of his predecessors in the 16th-century field, particularly Merrill, Kerr, and Lefrancz.
This biographical and critical study of Gabriel de la Concepcion Valdes (1809-1844), better known as Placido, investigates the mystery surrounding his life and execution, and reveals misattributions of his works in previous English translations.
This descriptive study of the sentence structure of the French language from 1300 to 1515 bridges the gap between Lucien Foulet's Petite syntaxe de l'ancien francais and Haase's Syntaxe francais du XVII siecle.
This is the first English-language study of bestiaries, mediaeval works that described and illustrated animals, birds, and other creatures. Florence McCulloch describes the nature of the Latin Physiologus, which is frequently cited as among the earliest examples of serious works of natural history.
Rutebeuf was a thirteenth-century French troubadour. This work examines his portrayals of Louis IX, who he considered to be a fanatic. The prose of Rutebeuf, Edward Billings Ham argues, calls attention to the king's avarice and political ineptitude, and to the self-interest of his counselors and their preposterous incapacity for war.
This collection in prose and verse of twenty-seven historical or legendary tales adapted from the Gesta Romanorum by Pierre Gringore (1475-1538), the French poet and playwright, is based on the two earliest printed versions in the Bibliotheque Nationale and includes the original engravings.
La Chancun de Willame is an Old French epic poem written before 1150 concerning Vivien's resistance to an invading Moslem army and the efforts of his uncle William to rescue him. The poem has a second part dedicated to the activities of a kitchen boy named Reneward in the same battlefield. This volume, edited by Nancy V. Iseley, includes an etymological glossary by Guerard Piffard.
This study examines the fictional works of the French writer Vital d'Audiguier (1565-1624), whose novels provide insight into the changes of the French reading public's taste in fiction during the first quarter of the seventeenth century.
Bernart de Ventadorn was a twelfth-century Catalan poet and troubador. These forty-one poems, filled with nostalgia, joy, and tenderness, were written between 1150 and 1180. This edition, with notes and a complete glossary, contains the original texts accompanied by the only English translations available at the time of publication.
Mario Pei (1901-1978) was a writer, linguist, translator, and academic who wrote more than fifty books and had a distinguished career at Columbia University. This volume of Pei's scholarly articles was selected by his students and colleagues, and published posthumously.
Juan del Valle Caviedes (1645-1697), also known as Caviedes, was a seventeenth-century Peruvian poet. Daniel R. Reedy's examination of his life and work includes a survey of critical commentaries on his poetry since 1791 and a brief history of the editions of his works.
Pierre Bayle (1647-1706) was a French philosopher and writer best known for his seminal work, the Historical and Critical Dictionary. This brief book examines Bayle's writings about Spanish authors and their work, which Scholberg argues was influential on other French critics and philosophers.
Ramon Perez de Ayala's (1880-1962) was a Spanish author of poetry, literary essays, criticism, novels, and short stories. This study analyzes how de Ayala adapted conceptual topics into his fiction and analyzes the central themes of his novels.
This is the first translation into modern English of the story of Floire and Blanchefleur, a popular romantic story that appeared in numerous languages of both northern and southern Europe well into the Renaissance.
Giordano Bruno (1548-1600) was an Italian philosopher, poet, mathematician, and astrologer. This is the first English translation published in the twentieth century of his De gli eroici furori, or The Heroic Frenzies.
Bernard le Bovier de Fontenelle's (1657-1757) Dialogues were written when he was only twenty-five and published in full in 1683. Donald Schier provides an introduction and notes to what was de Fontenelle's first major work, but the text is based on a 1758 edition of Dialogues.
Antonio de Guevera (1481-1545) was a Spanish writer and official chronicler of Charles V. Guevera's Una Decada de Cesares, published in 1539, was based on the lives of the ten caesars from Trajan to Severus Alexander, and became a widely translated and imitated work.
This is a close reading of a play by Felix Lope de Vega (1562-1635) - a Spanish playwright, poet, and major figure of Spanish Baroque literature - titled El caballero de Olmedo. The study analyzes the comedia in terms of the literary and social conventions that it reflects: cortesia, brujeria, and alcahueteria.
Jehan de Lanson is a thirteenth-century French epic poem in alexandrine verse. This edition is based on the manuscripts of Paris and Bern, and includes an introduction, a table of proper names, and a glossary.
Luis de Lucena (1465-1530) was a Spanish writer whose Repeticion de Amores y Arte de Ajedrez con 101 Juegos de Partido is the oldest surviving book on the game of chess. Jacob Ornstein provides an annotated introduction in two parts that gives a general overview of the text and its author, and discusses the work in relation to the Feminist debates.
This book is a reevaluation and a reinterpretation of Pierre Charron (1541-1603) - in particular La Sagesse - and of the impact of his writings. Jean Daniel Charron sheds new light upon this great figure in French literature, and argues that he should be considered more important and original than previously thought.
This work traces the history of Mexican literary academies and societies from the sixteenth century to the mid-twentieth century.
Pedro de Peralta Barnuevo (1664-1743), a writer of early eighteenth-century viceregal Peru, believed that his epic poem Lima fundada (1732), in tandem with Historia de Espana vindicada (1730), was his crowning literary achievement. His instincts have proven correct. However, in spite of the fact that Lima fundada is Peralta's most cited work, it has not been published in its entirety since it appeared. For the first time in more than 280 years, David F. Slade and Jerry W. Williams have edited the entire poem, including all of its original paratexts, introductory compositions, prologue,footnotes, marginal notes and index. Lima fundada by Pedro de Peralta Barnuevo: A Critical Edition recounts the founding of Peru's capital city by Fernando Pizarro, a hero that gives shape to a conflicted discourse about colonization and empire. Lima fundada is implicitly about criollo identity, history, and power in the face of a hierarchical system that gives preference tothe Peninsular-born. The text is a complex history of the conquest in which a cast of nations, empires, rulers, and peoples join to create Peralta's vision of Peru, while celebrating creoles as the true inheritors of the city's heroic founding.
This collection of essays is a memorial volume of Romance language etymological essays written by Prof. Carlton Cosmo Rice (1876-1945), a leading scholar of philology and linguistics at the time, and gathered by Urban T. Holmes.
This critical, annotated essay is followed by appendices on painters in French fiction and selected paintings by them. A descriptive bibliography is also included.
Le Bocage de l'Art d'Armer, Le Loyer's version of Ovid's work, was published in 1576. Included in this volume is an introduction, the 156-stanza poem by Le Loyer with detailed notes, and a conclusion that makes comparisons between the original work by Ovid and Le Loyer's adaptations.
In 1253, this collection of fictional tales was translated from Arabic into the language of thirteenth-century Spain. It is one of the purest surviving representatives of a group of stories generally called the Book of Sindibad and is probably one of the most direct descendants of the long-lost original.
This general chronology of Voltaire's letters by an eminent Voltairiste contains a chronological appendix, followed by a bibliography and an index.
This volume contains an introduction and translation into English of six poems by Geffroi de Paris, the fourteenth-century French writer and author of Chronique metrique de Philippe le Bel, or Chronique rimee de Geoffroi de Paris. A glossary of proper names is included.
This epic French poem was most likely written in the fourteenth century. The edition contains an introduction examining the plot, structure, language, syntax, and composition of the work. Also included is a description of the handwriting used and an explanation of the preparation of the manuscript. The annotated poem is followed by a list of proper names employed in it.
Marquis de Louvois served as French Minister of War under Louis XIV. The letters published in this volume were written from July 1681 to August 1684 and deal almost entirely with the War in Flanders. They are ordered by military campaign into ten sections, and the volume includes an introduction, identification list, and bibliography.
Using W. Von Wartburg's critical bibliography of dialect and patois as a key reference, this work brings together examples of words derived from Latin femina, domina, and a few kindred words in the regional and border dialects of France. Adams also considers the descriptive terms for woman and girl in the same territory.
Modernismo, Latin America's first homegrown literary movement, has garnered critical attention for its political and social import during a time of intense nation building and efforts to propel the region into modernity. LaGreca's Erotic Mysticism explores two dominant discourses of the period, Catholicism and positivism, which sought to categorize and delimit the desires and behaviors of the ideal citizen. These discourses, LaGreca argues, were powerful because each promised to allay the individual's existential fears. Yet the coexistence of these two competing ideologies, one atheistand one religious, sowed doubt and unease in the modern intellectual who sought an alternative mode of understanding the human condition. From these uncertainties sprang a seductively liberating mode of writing: nontheistic erotic mysticism.
Drawing on feminist psychoanalysis and Greek mythology, La madre muerta explores how matricide and unconscious matricidal fantasies have been portrayed in Spanish narrative, drama, and film. The book examines individual and social perceptions regarding gendered subjectivity, the operation of power relations, gender violence, and the economies of desire. It provides a comparative study of different theoretical approaches to matricide and a close reading of five films, three novels, and two plays. This study attempts to unveil the mechanisms by which the matricidal myth has been introduced and continues operative in twentieth- and twenty-first-century Spanish literature and film. Gomez claims that the absence of a positive symbolic mediation with the maternal body is detrimental for the configuration of gendered identities.
Using W. Von Wartburg's critical bibliography of dialect and patois as a key reference, this work is a complete bibliography of Italian dialect dictionaries that had appeared at the time of its publication.
Reading, Performing, and Imagining the Libro del Arcipreste, examines how reading, writing, and interpretation reside at the core of the cultural history of the Castilian Libro del Arcipreste (often called the Libro de buen amor) from the moment of its creation in the first part of the fourteenth century. The study comprises three sections. In the first, the author situates the Libro within the tradition of Augustinian hermeneutics and exegetics, relating the work to the schools at Toledo and Salamanca. The second part develops hypotheses concerning the performative cues in the Libro, emphasizing the audible/visible aspect of medieval reading and performance. The final section deals with the rewriting and reimagining of the Libro on into modernity. The last chapter of this section presents a troubling case study of the modern American reception of the book and the figure of its putative author, Juan Ruiz.
Materia medica exploresthe intersection of the sciences and humanities in Spanish sixteenth-and seventeenthcentury representations of the extraordinary within the larger scheme of the Baroque. Medical and chirurgicaltreatises, discourses, letters, broadsheets, and paratexts of the period share with the humanities thought processes,methods, patterns, and-most importantly-some forms of description. Archival evidence broadens the spectrum ofthese texts, and cases are frequently compared to similar instances in disciplines such as theology, literature, andthe law. Materia medica maps, among other notions, the imagination, the spectacular, the legendary, and the novelesque in scientific writing and examines the influence of the theatrical in representations of medical cases as stated by doctors themselves. The analyses of Materia medica tilt between the world of fact and fantasy and explore the effect of the descriptions of its cases on the social sphere.
Histeresis creativa traces how courtly spectacles, short and full-length plays, and pica-resque narratives arose under Philip III of Spain, and were then adopted by popular culture. The book focuses on some of the most prominent writers of the early, middle, and late Baroque (Miguel de Cervantes, Lope de Vega and Alonso de Castillo Solorzano) but considers their works through the optic of creative hysteresis, i.e. the artistic appropriation of the past to defend the present. The prestige system under Philip III was in need of justifying the imbalance between the increasing material and symbolic power of their patrons, their courtly prestige, and the consent of their subjects. These writers' commitment to the principles of distributive justice and their application to the acts of court oligarchs is reflected in the fundamentals of many of the spectacles and literary works produced during this period.
This is a critical study of the construction of gendered spaces through feminine labor and capital in Puerto Rican literature and film (1950-2010). It analyzes gendered geographies and forms of emotional labor, and the possibility that they generate within the material and the symbolic spaces of the family house, the factory, the beauty salon and the brothel. It argues that by challenging traditional images of femininity texts by authors and film directors like Rosario Ferre, Carmen Lugo Filippi, Magali Garcia Ramis, Mayra Santos-Febres, Sonia Fritz and Ana Maria Garcia, among others, contest the official Puerto Rican cultural nationalist discourse on gender and nation, and propose alternatives to its spatial tropes through feminine labor and solidarities. The book's theoretical framework encompasses recent feminist geographers' conceptualizations of the relationship between space and gender, patriarchy, knowledge, labor and the everyday. It engages with the work of Gillian Rose, Rosemary Hennessy, Doreen Massey, Patricia Hill Collins, and Katherine McKittrick, to argue that spaces are instrumental in resisting intersecting oppressions, in subverting traditional national models and in constructing alternative imaginaries. By introducing Caribbean cultural production and Latin American thought to the concerns of feminist and cultural geographers, it recasts their understanding of Puerto Rico as a neo-colonial space that urges a rethinking of gender in relation to the nation.
Has Chilean author Roberto Bolano (1953-2003) written the final word on Latin America's insufferable modernity? This investigation asserts that Bolano's novels, short stories, poetry and essays examine to a point of exhaustion the most important aspects of Latin America's modern literary tradition. Bolano's critique of modernity as a violent historical condition is a radical mode of literary articulation. With it, the current models of criticism-world literature, the global novel, postcolonial and transatlantic studies-are undermined, while the very notions of margin and center are ultimately disolved. Oswaldo Zavala contends that Bolano deliberately dismantles the symbolic capital of the Western literary tradition by generating a counterhegemonic horizon of meaning that arises from and defines Latin American writing. The book offers innovative readings of Distant Star, By Night in Chile, The Savage Detectives, Last Evenings on Earth and 2666, among other works. It ultimately demonstrates that Bolano transcends the neoliberal dream of a global consciousness by revealing the discontinuous, contingent and savage reality of our pernicious modernity. Bolano forges the most urgent critique of 21st century Latin American and Western literature alike.
Mapping the Landscape, Remapping the Text: Spanish Poetry from Antonio Machado's Campos de Castilla to the First Avant-Garde (1909-1925) explores the mapping of identity and memory in Antonio Machado's (1875-1939) Campos de Castilla (1912, 1917) before studying its disruption by the avant-garde movements Ultraismo (1918-1925) and Creacionismo (1910s-1930s). Machado's attribution of identity to the landscape was remapped by the first avant-garde in order to circumvent the placement of identity in textual landscapes that are coded as national or regional, transform the conception of subjectivity and identity through a reconstruction of poetic form, and reposition Spain at the center of the European avant-garde. Renee M. Silverman focuses on the way in which these mappings and remappings affect perspective and perception. As Silverman argues, both Ultraismo and Creacionismo employ spatio-temporal simultaneity and the multiperspectivism of abstract visual art idioms such as Cubism to break the bond between people and place that is characteristic of Campos de Castilla. Yet, as Silverman emphasizes, there are some important differences between Ultraismo and Creacionismo, particularly in Gerardo Diego's (1896-1987) idiosyncratic brand. This book--the first in English to center on Ultraismo and Creacionismo--contrasts the way in which Ultraismo's leader, Guillermo de Torre (1900-1971), displaces the subject from the terrain of memory, freeing it to cross borders, with how Diego re-roots identity in the textual landscape so as to restore a sense of collectivity to vanguard poetry.
Claude Monet was not only the creator of what we now view as French Impressionist painting, he was also its last major practitioner. By the time he passed away in 1926, he had outlived all the other painters--Renoir, Morisot, Pissarro, Sisley, and the others whom we now group together under that heading. Yet when Andre Suares, one of the four directors--along with Gide, Valery, and Claudel--of the influential Nouvelle Revue Francaise, summed up the movement that year, he did not give Monet pride of place. Rather, he wrote, Far more than Sisley, Claude Monet, or the Goncourt brothers, Loti was the great Impressionist. As this shows, that Pierre Loti, the once world-renowned French novelist, developed a remarkably Impressionist style was recognised early on. It continues to be acknowledged in France today. Franck Ferrand, a contemporary historian known for his appearances on French radio and television, recently wrote that Pierre Loti [is] the only truly impressionist writer of French literature. Yet while those who know his work in France continue to see him as an Impressionist artist on the level of Monet and Renoir, no one has ever asked how he achieved this in literature, how he went about creating novels that resembled the work of Monet. That is the subject of this book. Examining certain of Loti's important novels, this study shows how he managed to reproduce with words what Monet was doing in oils. It also shows how the author came to theorise about the effects of Impressionism on the reader-viewer. Finally, it demonstrates how and why, in one of his last novels, Loti undertook to reproduce the style of one of the painters most admired by Monet: Rembrandt van Rijn, whom the nineteenth-century French rediscovered in part because they could present his sketchy biography as a demonstration of many of the things liberal art historians and painters believed the ideal artist should be.
Instable Puente: La construccion del letrado criollo en la obra de Juan de Espinosa Medrano is the first complete study of the life and works of this 17th century Peruvian priest who is considered today as the most significant letrado criollo (creole man of letters). In particular, the book focuses on how Juan de Espinosa Medrano composes an ensemble of texts (a treatise on poetry, theater, and several sermons) that demonstrates his ability to master the European literary code, while simultaneously undermining the supposed natural preeminence of Spanish intellectuals over the colonized. The book integrates Peninsular Spanish and Latin American cultures through the common field of the Baroque, without losing track of the explicit differences of each. Instable Puente undertakes a comprehensive analysis of the complete works of Espinosa Medrano in the context of the cultures, religious beliefs, economic structures, and political institutions of its day. |This is the first complete study of the life and works of this 17th century Peruvian priest who is considered today as the most significant letrado criollo (creole man of letters). In particular, the book focuses on how Juan de Espinosa Medrano composes an ensemble of texts (a treatise on poetry, theater, and several sermons) that demonstrates his ability to master the European literary code, while simultaneously undermining the supposed natural preeminence of Spanish intellectuals over the colonized.
The promotion of state ideology was pervasive in early modern Spain and its New World colonies. One cultural medium affected, theater--the most popular and viable form of mass entertainment at the time--frequently played a role in the advancement of imperial rule. However, despite censorship and the state control of theaters, early modern dramatists also found novel and covert methods to criticize Spain's handling of its imperial affairs by proposing alternative solutions to the problems with which they dealt. Imperial Stagings: Empire and Ideology in Transatlantic Theater of Early Modern Spain and the New World shows how the dramas of Lope de Vega, Juan Ruiz de Alarcon, Pedro Calderon de la Barca, and Sor Juana Ines de la Cruz confronted the economic, legal, socio-political, and religious problems of Spain and its colonies. It studies how drama, a reciprocal transatlantic phenomenon, interacted with Spanish imperial ideology as it attempted to foster the creation of a national identity. |Imperial Stagings: Empire and Ideology in Transatlantic Theater of Early Modern Spain and the New World shows how the dramas of Lope de Vega, Juan Ruiz de Alarcon, Pedro Calderon de la Barca, and Sor Juana Ines de la Cruz confronted the economic, legal, socio-political, and religious problems of Spain and its colonies. It studies how drama, a reciprocal transatlantic phenomenon, interacted with Spanish imperial ideology as it attempted to foster the creation of a national identity.
Driven by a dual analysis, Encounters with Bergson(ism) in Spain looks at French philosopher Henri Bergson (1859-1941) in Spain--his more or less direct influence on Spanish letters--and also at Bergsonism in Spain--the more indirect resonance with his methodological posture--articulated through Spanish texts as well as theoretical approaches to film and urban space. Through this twin investigation, one part historical and the other part methodological, Benjamin Fraser seeks to broaden the scope of interest in Bergson's philosophy, to emphasize the interdisciplinary nature of Bergson's thought, and to insist upon the relevance of Bergson's methodological premise to two of the most important cultural studies disciplines today--film studies and urban geography. Following an eclectic and interdisciplinary methodology that the French philosopher himself advocated, Fraser reconciles works by some of the most notable twentieth-century authors and critics with compelling aspects of Bergsonism. From novelists Pio Baroja, Miguel de Unamuno, Juan Benet and Belen Gopegui to filmmakers Victor Erice ( El sol del membrillo ), Alejandro Amenabar ( Abre los ojos ) and Carlos Saura ( Taxi ), as well as urban theorists Henri Lefebvre and Manuel Delgado Ruiz, this work takes up philosopher Gilles Deleuze's call for a return to Bergson, pushing past the established boundaries of interdisciplinary to what lies beyond. Fans of Bergson from all disciplines will also be eager to read English translations of Bergson's lectures at the Ateneo in Madrid the 2nd and 6th of May 1916, included here as an appendix. |Benjamin Fraser seeks to broaden the scope of interest in Henri Bergson's philosophy, to emphasize the interdisciplinary nature of Bergson's thought, and to insist upon the relevance of Bergson's methodological premise to two of the most important cultural studies disciplines today--film studies and urban geography.
Influenced by trends in medicine, town planning and social etiquette, Madrid's middle class viewed urban growth with apprehension in the second half of the nineteenth century. In Mapping the Social Body, Collin McKinney examines manifestations and critiques of that reaction in the work of Benito Perez Galdos, Spain's greatest modern novelist. Drawing on a wide range of recent cultural theory as well as contemporary non-literary texts, this book provides modern readers with a metatextual map of Galdos's Madrid and Spanish society as they experienced urbanisation. In a century obsessed with all things visual, the map became a useful model with which the recently formed middle class hoped to reform a social body ravaged by disease, crime, prostitution, and class conflict. This study finds that Galdos's attitude toward the middle class and its mapping enterprise changes over time. Whereas his early novels depict dividing practices as reliable and perhaps necessary, his later works show Spain's social maps to be subjective and discriminatory. In La desheredada, Tormento, and La de Bringas the social body is mapped according to class, genealogy, gender and physical difference. Physically and morally ambiguous, the characters in Fortunata y Jacinta, Nazarin, and Misericordia are unmappable and thus resistant to the bourgeois categorising gaze.
This is the first complete edition of an anonymous late medieval Catalan translation of Italian writer Bernardo Illicino's commentary on Petrarch's Triumphs . Although the translation of Illicino's commentary is considered a classic of Catalan prose by scholars, until now, no one has undertaken the task of preparing a complete edition because of the complexity of the prose, and because the original manuscript survives in two pieces in two different libraries: the National Library of France in Paris and the Ateneu in Barcelona. The original document, reproduced here, represented the first attempt to introduce Petrarch's Triumphs to Peninsular readers and constituted an essential document for the study of the introduction and development of Iberian Petrarchism. This translation of the Triumphs is different from later renditions by the order and content of its chapters. The introduction to this volume raises interesting questions about the translation's nature and about the readers for which it was intended, while underscoring the fact that Italian Humanism was introduced in the Iberian Peninsula through the Catalan-speaking intellectuals in the Aragonese Crown. Written in Spanish with Petrach's verses preserved in the original Italian. |This is the first complete edition of the fifteenth-century manuscripts containing the anonymous Catalan translation of Bernardo Illicino's commentary of Petrarch's Triumphs . The introduction to this volume raises interesting questions about the translation's nature and about the readers for which it was intended. Written in Spanish with Petrarch's verses preserved in the original Italian.
This title is about transforming medieval sentimental romance. Escape from the Prison of Love is an exploration of medieval modes of subject constitution and their transformation in fifteenth-century Spanish sentimental romance, with a particular focus on Diego de San Pedro's Carcel de amor . Drawing on premodern psychological models, Robert Folger argues that courtly self-fashioning through amatory performance provided an alternative and threat to the medieval gradual build-up of the self through hexis and habitus. In the light of the unsettling gender implications for the courtly lover, says Folger, the authors of sentimental fiction explored new ways of subject constitution based not on passionate attachment but on identification. Carcel de amor shows how new forms of writing and reading techniques and authorship provided an avenue for a new notion of interiority that was essential to the Golden Age of Spanish literature.
This title brings 18th-century Peruvian texts back into print. This critical edition makes La Galeria de la Omnipotencia and Pasion y Triunfo de Christo available in print for the first time in over 260 years. The two major works span the years 1729 to 1738. La Galeria celebrates the canonization of Toribio Alfonso de Mogrovejo in a literary tribute and exemplifies how Peralta textualized the contradictions of viceregal loyalty and a commitment to a distinct American identity. Through an analysis of the trans-Atlantic history of the poetic joust in Hispanic letters, David Slade demonstrates how La Galeria exceeds the restrictions of its formulaic genre by offering a perspective on colonial Peru alternative to that of the official metropolitan discourse. Pasion y Triunfo , written in response to Peralta's crisis of faith, enters theological debates and displays the author's mature erudition, elevated rhetoric, and talent for invoking religion and history to serve literary production. Rebuked by the Inquisition, Peralta mounted a convincing defense to save both himself and the text from censorship.With the aim of centering Peralta within the canon of Latin American letters, Slade and coeditor Jerry Williams provide examples of problems and critical questions to be addressed when reading or teaching the two texts. They offer La Galeria and Pasion y Triunfo as a challenge to readers to reevaluate Peralta's legacy, to teach his writings, and to treat them as an exegesis of religious writings in colonial Peru.
The monster is a key figure in Spanish early-modern art and literature. It embodies a revolutionary fictional discourse that reflects violence and ugliness, but also freedom and spectacle. Employing both close readings and monster theory, Rogelio Minana focuses on three of Miguel de Cervantes' most representative works: the short novel El coloquio de los perros, the play El rufian dichoso , and the novel Don Quijote de la Mancha . Minana argues that Cervantes' protagonists - as well as the very discourse that forges them - are monstrous: extreme, beyond the norm, threatening and threatened, spectacular, and fluid in identity, form, and behavior. Cervantes' pervasive discourse of monstrosity destabilizes fixed meanings and identities as it interrogates biological, social, legal, religious, and aesthetic orders. As extraordinary beings that test the limits of identity and narrative, Minana argues, Cervantine talking monsters reveal the interpretive and discursive nature of the modern subject.
Through a political and cultural reading of Ruben Dario's canonical works, Francisco Solares-Larrave articulates an innovative view of Spanish American modernismo as a cultural reply to Europe. Unlike other studies of the politics of Spanish American modernismo, which explore Dario's overt political works, this study looks for the covert, less evident political statements in his artistic literary and journalistic prose. Solares-Larrave demonstrates the cultural transformations of the time while presenting Dario's contributions to Spanish American literature as his reply to Europe, the cultural center of the time. The rebelliousness, political awareness, and cultural criticism that appear in Dario's prose make a sharp contrast to his traditional image as a writer blind to the political and social circumstances of the time, whose work was derided as escapist and shallow.
The first book-length study of the role of farce in Spanish American theatre explores the intersection of politics and drama. Spanish American playwrights have realized that farce's lack of power and marginality can become a resourceful way to confront aggression and censorship, while rejecting the possibility of eventually becoming part of the oppressive center. This book underscores the tendency of Spanish American farce for self-parody, its capacity to uncover and also carry out a profound critique of their nations' artistic, social, and political rituals. To use and transgress farce simultaneously, as a considerable number of Spanish American playwrights do, is to recognize the reality and power, as well as the limits, of laughter.
Jean-Jacques Poucel offers a comprehensive introduction to the poetry and novels of Jacques Roubaud, a prominent member of the French experimental group OuLiPo (Ouvroir de Litterature Potentielle, or Workshop of Potential Literature). Poucel argues that the Oulipian practice of writing under constraint provides a new vehicle for literary memory that strengthens the terms by which poetic traditions are transmitted. In addition to situating the importance of Roubaud's work within a broad contemporary context, this study focuses on the specific sites of interest in some of Roubaud's favorite source texts, including troubadour poetry, the tradition of the sonnet and the Canzoniere, Japanese short forms (waka), early surrealist writing, the mathematics of Bourbaki, and the work of Oulipian writers such as Raymond Queneau, Georges Perec, and Italo Calvino.
Why is science often considered the opposite of literature? Lars O. Erikson examines the relationship between these two fields in eighteenth-century France and finds that the major intellectual and scientific transitions of the period can be better understood by paying attention to literary developments, particularly in genres not traditionally associated with learned societies. Erikson examines works by Diderot and Maupertuis and identifies a shared renegade spirit he calls essayistic science. He demonstrates how the essay, a vague genre characterized by an openness to lay audiences, a self-reflective character, and an insistence on broad overviews, was used to react to a crisis in knowledge and to question the production of facts. Consequently, essayistic science does not deal with facts but with metafacts, breaking down scientific traditions and bridging objective science with subjective literature.
Tracing the beginnings of a bourgeois literature in Golden Age Spain, Francisco Sanchez examines works by Baltasar Gracian (1601-1658), major picaresque texts--particularly Lazarillo de Tormes (1554) and Mateo Aleman's Guzman de Alfarache (1599-1604)--and contemporary writings in which political economists and jurists look at new economic and political circumstances. Using the term republica to describe an economic sphere of social life under the constrictions of both the monarchy and the privileges of the seignorial system, Sanchez investigates notions of person, culture, and life in these texts. He also analyzes the formation of a private sphere of social action and the emergence of a literary sphere to represent early bourgeois values and sensibilities. Sanchez argues that this literature represents culture as intellectual and verbal skills for the social and economic advancement of a Christian but secularized person. |Tracing the beginnings of a bourgeois literature in Golden Age Spain, Francisco Sanchez examines works by Baltasar Gracian, major picaresque texts, and contemporary writings in which political economists and jurists look at new economic and political circumstances. Sanchez argues that this literature represents culture as intellectual and verbal skills for the social and economic advancement of a Christian but secularized person.
This book examines poetic adaptations of painterly techniques in works by writers such as Guillaume Apollinaire, Pierre Reverdy, Andre Breton, Frank O'Hara, and John Ashbery--all chosen for the experimentalism of their poetry as well as for the quality of their critical writings on art. Close attention is paid to essays on painters identified with Cubism, Futurism, and Dada-Surrealism in France and with Abstract Expressionism and New Realism in the United States. Selected poems are examined in light of the critical essays and are taken either as illustrations of a new plastic poetic or as novel hybrids of plastic and literary strategies. Although the parallels between modern poetry and painting go beyond avant-garde techniques, this book emphasizes such innovations as collage, chance operations, and automatism to demonstrate the shift in aesthetic attention from finished products to creative processes. |Sweet examines poetic adaptations of painterly techniques in works by writers such as Guillaume Apollinaire, Pierre Reverdy, Andre Breton, Frank O'Hara, and John Ashbery--all chosen for the experimentalism of their poetry as well as for the quality of their critical writings on art.
While the plays of classical France achieve an unprecedented scenic perfection, what ultimately distinguishes classical drama is its unique awareness of its literary properties: the canny excavation of its resources as the site, instrument, and product of a concerted act of writing. But this self-conscious literariness also bears witness to the era's corollary awareness of the predicament in which even great art works stand as the occasion and counterpart of a critical, often ironic act of reading. In inventing, that is, creating and discovering, the text as a vehicle of self-determining authorship, the grands classiques simultaneously invent the key critical insights shaping the methods we ourselves bring to bear on the poetic monuments they have left us. The literary monument thereby becomes its own indiscernible counterpart, deliberately engaging what, in theory, ought to escape it - the deconstructive other only another contrives to see.
This book examines literary representations of various art forms in a series of major texts from the Romantic period of French literature (1800-1850). There has been considerable recent critical interest in intermediality--and specifically in ekphrasis, or the verbal representation of a visual work--in Western European literature, but little attention has been given to French writers in this tradition. French poets and novelists made a concerted effort, however, to develop interarts relations in the first half of the nineteenth century, even before Baudelaire articulated his famous concept of the correspondences among the arts. Henry Majewski explores efforts to represent and interpret various artworks in poems and novels by a diverse collection of writers including Hugo, Gautier, Michelet, Nerval, Sand, and Balzac. Henry F. Majewski is professor of French studies, emeritus, at Brown University in Providence, Rhode Island. |Henry Majewski explores efforts to represent and interpret various artworks in poems and novels by a diverse collection of writers including Hugo, Gautier, Michelet, Nerval, Sand, and Balzac.
According to Carol Rigolot, reading the work of Nobel Prize-winning poet Saint-John Perse (1887-1975) is not unlike eavesdropping on a telephone conversation in which only one side is audible. His poems are antiphonal, and even polyphonic, works where interlocutors are almost always reduced to anonymity. In this book, Rigolot analyzes the poet's multiple strategies of dialogue, capturing his conversations with a surprising range of people - from biblical figures and ancient Greek and Roman authors to artists as diverse as Dante and Shakespeare, Chateaubriand and Hugo, Audubon, Whitman, Poe, Baudelaire, Verne, Mallarme, Gaughin, Rimbaud, Loti, Claudel, Valery, Segalen, and Braque.
This book, written in Spanish, focuses on the literary and artistic works of such avant-garde figures as Ramon Gomez de la Serna, Benjamin Jarnes, Antonio de Obregon, Juan Chabas, Rosa Chacel, Claudio de la Torre, Almada Negreiros, Maruja Mallo, Mauricio Amster, Manuel Reinoso, Diego Rivera, and Angeles Santos y Victorio Macho. It identifies the attempt to integrate conflicting epistemological, ethical, and sociopolitical categories as the organizational principle driving the avant-garde novel and art. This principle manifests itself in the avant-garde on various levels: the theory of representation, the development of the protagonist, and the concept of history.
This book examines mannerism and baroque in the poetry of Tristan L'Hermite, a leading lyric poet of the seventeenth century. After presenting a history of scholarship on both the mannerist and baroque styles, James Shepard offers a definition of each as it applies to seventeenth-century lyric poetry. He then turns to Tristan's works, examining the poems contained in the Plaintes d'Acante et autres ouvres, Les Amours, La Lyre, and the Vers heroiques; his religious poetry; La Renomme; and his recently discovered poems. Shepard reveals Tristan's amatory poetry to be mannerist and his heroic and religious poetry to be baroque. Many poems, however, contain elements of both styles. This supports Frank J. Warnke's theory that Baroque is the period style, with mannerism and baroque being two aspects of the period. Shepard also uncovers a baroque dompte style-the toned-down baroque that Helmut Hatzfeld and others argue characterized French classicism-in some of Tristan's heroic and religious poetry.
This book undertakes the most comprehensive and theoretically rigorous examination to date of Luis Rafael Sanchez's work in the context of cultural politics in Puerto Rico, and of the international and regional dimensions of Sanchez's work in relation to the unique status of Puerto Rico as a commonwealth and colony. It explores Sanchez's ambivalent position as a member of an intellectual elite, a spokesman for el pueblo , and a Puerto Rican mulatto whose working-class background allows him to highlight unprecedented possibilities for political agency within popular and mass culture. Through analyses of Sanchez's theater, prose, and essays, John Perivolaris examines continuing struggles to define Puerto Rican cultural identity. His detailed readings illuminate Sanchez's ironically humorous deployment of traditionally conservative paradigms of national and individual identity in his postcolonial critique of racialization, gender, sexuality, and Hispanism in the colony. This study fills a long-standing need for an introduction to the work of a major Caribbean and Latin American writer. |An introduction to the work of Luis Rafael Sanchez. It examines Sanchez's work in the context of cultural politics in Puerto Rico and addresses the international and regional dimensions of his work in relation to the unique status of Puerto Rico as a commonwealth and colony.
This book, written in Spanish, explores an understudied aspect of Hispanic culture: the relationship between dramatic texts and their cinematic adaptations. It examines the transposition of form and ideology in cinematic versions of twentieth-century Spanish plays by Carlos Arniches, Ramon del Valle Inclan, Federico Garcia Lorca, Victor Ruiz Iriarte, Antonio Buero Vallejo, Fernando Fernan Gomez, and Jose Sanchis Sinisterra. The matters addressed include a historic overview of the relationship between cinema and theater in Spain, a comparative study of the principles governing these two media, the use of self-reflexivity and metatextual strategies, and the transposition of ideology during critical periods of modern Spanish history, as well as the construction of the female subject, the relationship between power structures and gender difference, and the representation of woman as a spectacle/commodity in selected film adaptations of Spanish plays.
Mariselle Melendez studies the dynamics of colonial subject identity construction as elaborated in the exemplary eighteenth-century travel book, El lazarillo de ciegos caminantes (A Guide for Inexperienced Travelers ). She analyzes elements of race and gender to argue that they become essential parts of the colonialist project which the author articulates throughout his travel diary by means of the voices of his two narrators: the Spanish Visitador Alonso Carrio de la Vandera and his companion and amanuensis, Calixto Bustamente Carlos Inca. Melendez shows how racial and cultural hybridity constitute unstable elements for the colonialist agenda proposed by the author.
This book investigates three examples of the turn-of-the-century essay in Spain and Latin America: Angel Ganivet's Idearium espanol (1897), Jose Enrique Rodo's Ariel (1900), and Alcides Arguedas's Pueblo enfermo (1909). Michael Aronna traces the reactions of these historically and rhetorically related colonial and postcolonial thinkers to the new economic, cultural, social, and political challenges of the late nineteenth and early twentieth centuries. He shows how concepts of sexual degeneration, racial inferiority, immaturity, and gender prominent in contemporary philosophy and science were central to these writers' shared understanding of the nation as an organism vulnerable to social pathogens.
In this book, Thomas Spaccarelli argues that the Escorial codex usually published and studied as nine separate saints' lives and romances is in fact a unified and organized whole. He shows how the codex is intimately related to the pilgrimage to Santiago de Compostela and to the religious, literary, and artistic traditions associated with it. The Libro was produced by a team of compilers, who chose and translated specific French works with the goal of providing edification and encouragement to Spanish-speaking pilgrims. Spaccarelli elucidates the Libro's ideology of pilgrimage, which includes such concepts as guest/host theology, egalitarianism, and the matter of imitatio Christi. In addition, he proposes a series of structural elements operative in the Libro that bind the nine works into a whole.
This study examines the many ways in which seventeenth-century Spanish authors manipulated the expected outcomes of secular literature to create religiously motivated endings prompted by some kind of conversion. In the late sixteenth century, the prevalent technique was to transform the secular material entirely, a lo divino. After 1598, however, writers developed the ingenious procedure of ostensibly following a secular account of events but subverting it by inserting an unanticipated religious ending. The specific kinds of conversion at closure examined here are the appropriation of earlier genres; conversion of non-Christian literary types; personal conversion of the native Spaniard through the Catholic ritual of confession, penitence, and absolution; conversion of the nation's historical material; and conversion of the very landscape upon which Christians walk in their pilgrimage through life.
Volume 231 in the North Carolina Studies in the Romance Languages and Literatures series.
Politiques de l'ecriture is a critical assessment of an important yet overlooked segment in the socio-cultural history of the interwar period. It examines in detail the function, range, and implications of sacred sociology as practiced by the members of the 1937 College de Sociologie--Bataille, Caillois, and Monnerot. Seemingly marginal figures of French letters receive individual as well as comparative attention in terms of their far-reaching impact on contemporary intellectual, epistemological, and critical issues. Through close readings Jean-Michael Heimonet shows how the repeated attempts in modern society and political history to create and preserve a homogeneous society, in which its members are functions rather than individuals, are severely criticized and counteracted by the members of the College. The history of that counteraction is itself the history of a series of important crises in the intellectual and political landscape of the mid- to late 1930s in France.
The years 1930 to 1950 were a period of considerable activity in the Argentine novel, in great part as a reaction and response to the military coup of September 1930 that inaugurated what has come to be known as the Infamous Decade of Argentine social history. In this work, David Foster offers a reassessment of social realism in the Argentine literature of the time. The writers considered include Berbardo, Kordon, Leonidas, Barletta, Jose Rabinovich, Bernardo Verbitsky, Max Dickmann, Elias Castelnuovo, and Alvaro Junque. The focus of the study is an examination of the elements of narrative strategy that make the works of these writers of particular interest within the context of contemporary postmodernist writing, especially as regards documentary and mixed-generic texts.
Volume 219 in the North Carolina Studies in the Romance Languages and Literatures series.
Volume 206 in the North Carolina Studies in the Romance Languages and Literatures series.
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Volume 196 in the North Carolina Studies in the Romance Languages and Literatures series.
Volume 197 in the North Carolina Studies in the Romance Languages and Literatures series.
Volume 190 in the North Carolina Studies in the Romance Languages and Literatures series.
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Volume 184 in the North Carolina Studies in the Romance Languages and Literatures series.
This study seeks to demonstrate an influential relationship between Moliere's classical reading and his character, Tartuffe. The work is divided into five sections: Introduction, The Satiric Element in Tartuffe, Moliere's Tartuffe, An Interpretation Based on Significant Parallels with the Traditions in Roman Satiric Literature, and Conclusion.
Jacob's reputation has traditionally been that of a verbal acrobat. This book is an analysis of the major stylistic devices of his poems and prose poems: puns, parody, and imagery. The author shows how the poet uses devices to communicate with his reader. This beautifully unified study reveals the richness and complexity of Jacob's lyrical style and considerably changes the traditional concept of his poetry.
Volume 172 in the North Carolina Studies in the Romance Languages and Literatures series.
Volume 178 in the North Carolina Studies in the Romance Languages and Literatures series.
This book presents a chronological study of the critical and scholastic work on the Cid. It starts at the beginning of the Eighteenth-century with the rediscovery and the publication of the poem, and ends in 1971, just before the publication of one of the revolutionary modern editions of the text. The most impressive trait of this study is its exhaustiveness. It masterfully organizes a vast field of information in a comprehensive and accessible way. This volume is a very useful tool for any student of the Cid: from the novice to the most expert investigator.
A close reading, with text and translation, of each of the thirteen prose poems which Mallarme published during his life and grouped together in 1897 as the Anecdotes ou Poemes of Divagations. The analysis-the first full interpretation of these poems demonstrates that they should be considered a unified cycle, centering about the themes of the poet's creative process and his relationship to society.
Volume 177 in the North Carolina Studies in the Romance Languages and Literatures series.
Collected essays from a symposium held in April 1974, at the University of North Carolina at Chapel Hill, this volume analyzes Beckett's philosophy, rhetoric, poetry, and novels.
This book studies the stylistic importance of El Discreto as a prelude to El Criticon and analyzes the thematic and structural unity of the novel. Special attention is devoted to the elements of allegory and satire, the diversity of their presentation and integration in the narration, and their linguistic dynamism.
The author, after analyzing textual and iconographic descriptions of the medieval Jewish Passover Seder, concludes that Chretien de Troyes's Grail banquet (found in his romance Perceval portrayed a Sephardic Seder. The author proves by documentary evidence the possibility of Chretien's having been influenced by Sephardic Jewry and structurally reinterprets the Perceval in terms of the Exodus motif.
This study concentrates on close analysis and evaluation of his poetry. It moves from the specific to the more abstract, from commentary on lexicon and syntax through metrics and figurative language to a consideration of the poet's major themes: love, death, and oppressive solitude. The final section is an evaluation of the poetry itself and of Villaurrutia's place in Mexican literature and in a larger Western tradition.
This is a collection of essays dealing with the editing, in theory and practice, of medieval manuscripts.
Marie-Jeanne Riccoboni was one of the most popular novelists of her day. Stewart examines Lettres de Fanni Butlerd (1957) and the seven subsequent novels, paying particular attention to the technical aspects of her work to her handling of the letter form to her ideas on men, women, and love and to her feminism.
Volume 164 in the North Carolina Studies in the Romance Languages and Literatures series.
Volume 176 in the North Carolina Studies in the Romance Languages and Literatures series.
This excellent introductory study offers entry to the life, reputation and works of Alvaro Cubillo de Aragon (1596-1661). By dividing her study by genre, Dr. Shirley B. Whitaker codifies the universals uniting the work of this prolific playwright, from his mythological plays, to his histories, to his religious works, to the Comedias de costumbres for which he is best known.
Volume 163 in the North Carolina Studies in the Romance Languages and Literatures series.
Volume 162 in the North Carolina Studies in the Romance Languages and Literatures series.
With Vida u Obra de Petrarca, Dr. Francisco Rico questions whether the traditional biography of Petrarch is a product of the real life of the author, or from the critical understanding of his work. In this volume, he analyzes the environment and periodization of the Secretum, relocating its date of publication. It has long been assumed that the Secretum--composed of three dialogues in which Augustine, in the presence of Truth tries to persuade Francis to seek spiritual perfection--reflects a spiritual crisis on the part of the author. This is the supposition that Dr. Rico calls into question. This comprehensive, Spanish-language study opens the way for a more realistic interpretation of both the works and motivations of Petrarch.
Volume 137 in the North Carolina Studies in the Romance Languages and Literatures series.
This is an edition of the parts of the Quincuagenas of Gonzalo Fernandez de Oviedo that the author considers aspectos de las Quincuagenas que podemos considerar respaldados por las vivencias del autor, hence the title Memorias. We are left, however, with two substantial volumes of which this is the first.
Contents: Pregnanza di significati e carattere della Vita Nuova; Vide cor tuum; Simulacra; Ego tanquam; Considerazioni sullo svolgimento di Amore nei capitoli XIII-XVIII della Vita Nuova e sul significato d'ispirazione poetica con riferimento al canto XXIV del Purgatorio; Donne ch'avete intelletto d'amore; Che fai? Non sai novella? morta e la donna tua, ch'era si bella; che Amore non e per se si come sustanzia, ma e uno accidente in sustanzia; Quomodo sedet sola civitas plena populo! facta est quasi vidua domina gentium; Li occhi dolenti per pieta del core; Allora vidi una gentile donna giovane e bella molto; Alcune considerazioni conclusive sulla Vita Nuova e sull'inserirsi dell'episodio della 'donna gentile' nella dinamica della narrazione.
Volume 138 in the North Carolina Studies in the Romance Languages and Literatures series.
Articles by: Juan Bautista Avalle-Arce, William D. Ilgen, Luis Leal, Cyril A. Jones, Luis Monguilo, Donald F. Fogelquist, James A. Castaneda, Allen W. Phillips, Ivan A. Schulman, Philip Metzidakis, Enrique Pupo-Walker, Roberto Esquenazi-Mayo, Andrew P. Debicki, Fernando Alegria, Roberto Gonzales Echeverria, John S. Brushwood, Jospeh Sommers, Klaus Muller-Bergh, Frank Dauster, Hugo Rodriguez-Alcala, Roger M. Peel.
Contents: Tirso in the Era of Reform and Rapid Change; Tirso, Antonio Hurtado de Mendoza Lope, and the 'Junta de Reformacion'; Tirso's Relations to Lope and His Theatre Reappraised; Tirso, Lope, Luis Velez, and the Conde de Olivares: Literary and Political Satire in Tirso's La fingida Arcadia; Tirso and Various Caricatures of Luis Velez in 1625, in particular one from Tirso's 'Segunda parte' (1625); Tirso and the 'Corpulent' Poet; Tirso and Velez's currilous Copla, Together with Other Satire; Tirso against Juan Ruiz de Alarcon and Luis Velez; Assessments and Reassessments.
This study is an admirable addition to the corpus treating the Auto Sacramental in Golden Age Spain. Through this book, Dr. Donald Thaddeus Dietz demonstrates the allegorization of New Testament parables by dramatists in sixteenth and seventeenth century Spain. Forming an excellent introduction to the genres of the Auto and the parable, this work opens the genre for a contemporary reader, and contextualizes it within its historiographic and literary contexts.
This book is an exploration into reading Du Bartas's poetry, specifically Creation, as baroque. Its contents include: Etat Present des Etudes sur du Bartas, Les Criteres de L'Oeuvre Baroque, La Creation du Monde: Etude du Poeme, and Du Bartas Entre la Pleiade et le Baroque.
Volume 157 in the North Carolina Studies in the Romance Languages and Literatures series.
Volume 156 in the North Carolina Studies in the Romance Languages and Literatures series.
Alfonso Hordognez was the first translator of the Spanish classic Celestina. The antiquity and accuracy of his translation make it an important research tool, particularly in the effort to establish a critical edition of the classic. Kish has utilized Hordognez's work in this new Italian translation, but Hordognez has relied primarily on a Roman edition of Celestina, dated 1506. Kish's translation is the first to be published since that time.
This volume, presented to Professor Pei on the occasion of his retirement from Columbia, contains sixteen studies by his former students in the fields of Romance philology and medieval literature.
This volume contains sixteen articles that have been previously published in various journals and homage volumes but are now almost inaccessible, if not entirely forgotten. Two of these articles deal with the Golden Age drama in general, and the others concern rather unusual aspects of the theatrical production of the period.
The alcade of Andujar during the reign of Henry IV of Castile (1454-1474), Escavias was also a historian, a poet, and a counselor to the king. Based on unpublished documents, this volume discusses the various aspects of his life and demonstrates conclusively that he was the author of Hechos de Miguel Lucas de Iranzo. In addition, the volume presents the most important sections of his unpublished Repertorio de principes.
This study examines the Old Provencal language on the basis of philological interpretations of a few selected texts, both prose and poetry. The secondary source material includes a razo and two vidas from the troubadour biographies, as well as three poems selected from the works of Bernart de Ventadorn, the Countess of Dia, and Giraut de Bornelh. The linguistic commentary is extensive enough to assure coverage of many important issues in Provencal historical grammar.
This morphological study is designed to show the transformation from Latin verbs into the Old and Modern Italian verbal system. The work is inspired by the methods of traditional, historical philology, and its intent is largely pedagogical.
Scholarly opinion on the philosophical and aesthetic significance of Ronsard's Christianity is sharply divided. This monograph makes a thorough review of the most important and representative writings on the question. The foreword by W. L. Wiley describes the broad cultural and literary framework within which Ronsard's Christianity may be examined.
The only play of Lope de Vega's involving the Cid and Sancho II, this work has long been admired by critics of the Golden Age drama for its vitality and poetic character. This edition brings to light new variants and passages missing in the known printed editions.
This work examines the dialogue tradition as it shaped the structure and themes of Lobo's seventeenth-century classic. Lobo's departure from earlier views of courtly lore is shown in his preference for social eloquence and literary cultivation over nobility of character and physical prowess.
This study brings to light the significant and long-obscured influence of the Roman dramatist and philosopher, Seneca, on the works of Racine. After describing the positive characteristics of Senecan tragedy and the crucial role it played in French drama from Jodelle through Corneille, Ronald W. Tobin analyzes Racine's unique adoption and absorption of Senecan material into his own plays, thereby extending the dimensions of his dramatic art. In the book's Conclusion, some theories are advanced for Racine's well-known silence about his debt to Seneca.
This is the first critical analysis of this comedia de costumbres y de enredo, written in 1617 by the creator of the national Spanish theater. In his edition, Professor Picerno has retained the orthography of Lope's original autograph manuscript, in which modern capitalization, punctuation, and accentuation have been added.
Utilizing the various methods already established by recognized authorities in the field, Mr. Clark studies ten doubtful plays long attributed to Lope. Contrasting subjective impressions of literary historians and the results of the objective tests applied to the comedias, the author discounts Lope's authorship of the ten works.
This study examines the thematic unity of Les Tragiques as the resolution of disorder, interprets its form as a fusion of generic tragedy and the epic, draws a parallel between the poem and the Book of Revelation, and treats aspects of structure and style in the light of this reading of Les Tragiques as tragedy and Apocalypse. It also relates Les Tragiques to the literary context of the time.
This is an annotated edition of a unique Spanish translation of Guido de Colonna's Latin version of the Old French Roman de Troie by Benoit de Sainte-Maure. The editor has provided a useful critical apparatus, including a source study and a glossary.
The author identifies the existentialist thinkers. After a review of the criticism (most of which does not consider Ortega an existentialist), the themes chosen are traced in his works, pointing out the ways in which he coincides with or differs from the usual existentialist treatment and attitudes. The body of the work is followed by an annotated bibliography of representative Ortegean criticism.
This study has as its object the presentation of a new approach to the understanding of the content and style of the works of Francisco de Quevedo.
The first edition (Toledo, 1526) is here reproduced in facsimile in honor of Professor Sterling A. Stoudemire. Oviedo, an official chronicler of the Indies, describes in naive but charming fashion the dazzling variety of new flora and fauna as well as the customs of the Indians he has observed in the Caribbean Islands.
This study is an analysis of Rousseau's relationship to his reader in the major works drom Discours sur les sciences et les arts to Reveries du promeneur solitaire. In addition to specialists, the volume will be of interest to a broad audience directly acquainted with the major works and should stimulate further discussion of the general subject of writer-reader relationships in literature.
This study traces the development of Roa Bastos's concern with the reality of his people and their history and focuses on the mature techniques employed in the creation of a literary myth of a social reality.
Most of the essays in this collection illustrate the manner in which Italian letters influenced European writers from the fourteenth to the twentieth century. Other essays treat of the relationship between emblem and courtesy books--and the identity of literary and artistic theory in the Renaissance.
This study is based on a detailed analysis of the textual variants and revisions that reflect the poet's linear development from his poetic debut in 1922 to the present.
This volume contains over five hundred critical entries divided into thirteen sections that are concerned with the following aspects of Hugo scholarship: bibliographies; catalogues; editions; anthologies; biography; general criticism, political career and social philosophy; language, style and imagery; poetry; the novel; theater; foreign influence; and miscellaneous matters.
The author presents the first formal study of Jewish influences in the famous fifteenth-century cancionero, composed at the court of the poet-king, John II of Castile.
Translating from writings of the period of King John III of Castile, Scholberg weaves together an admirable account of the life and customs of those times--1406-1454.
This commemorative volume is a collection of essays whose subjects range from the structure of the Divine Comedy to detailed studies of Dante's influence, language, and thought.
Carlton studies in detail some forty words that he has found in the texts published by Tjader in his Die nichtliterarischen lateinischen Papyri Italiens aus der Zeit 445-700, vol. I (Lund, 1955).
The annotated text, followed by a listing of principal sources and a selective bibliography, has the dual purpose of tracing a biography of G. D'Orleans and depicting his patronage of the arts.
This volume traces social drama in Spain from its beginnings in the works of Moratin, treats those continuing the Moratin tradition, and studies the social drama of Tamayo y Baus, Ayala, Eguilza, Echegaray, the minor playwrights, and Dicenta and Galdos.
This study treats the evolution of that branch of serious French drama whose themes were taken from the national history. The study also concerns dramatic groups, the staging of plays, and audiences.
The first part of this study investigates both the historical probability of the love affair of Alfonso VIII, King of Castile, and a Jewess and the peregrinations of the theme in comparative literature. The second part contains a critical edition of Lope de Vega's dramatic treatment of the subject.
This study shows that the Chanson de Roland is clearly the work of an individual creativity that could, by deliberate repetition of important parts and careful arrangement of the order of events, transcend speech limitations to hint at the complex reaction and subtle character development of the protagonist.
These essays illustrate how the muse of Italian Renaissance literature wandered over Western Europe, inspiring the best of writers: Ronsard, Lopez Pinciano, Burton, Marheurite de Navarre, Desportes, and indeed, even down to such as modern as Rilke.
Volume 32 in the North Carolina Studies in the Romance Languages and Literatures series.
In 1253 this book was rendered into Spanish from Arabic and became the inspiration for many great books of European literature. The book will be of value to folklorists and students of Spanish and comparative literature, but it will also interest anyone who likes lively tales.
The sketch of manners originated in Colombia under the influence of the Spaniards Larra and Mesonero Romanos, whose works were well known there by 1840. Although the Colombian sketch is not in general distinguished artistically, its scope and variety of subject produce a richly detailed picture of the life, people, and institutions of mid-century Colombia.
Politzer, in collaboration with his wife, created a study of the vulgarisms in the Merovingian documents in France and the Lombard documents in Italy. The results support what has been generally believed about the progress of Vulgar Latin in those areas.
Three annotated essays are examined and conjectures made as to events probably occurring during the period. The essays are Samuel Pepys in Paris , Medieval Gardens , and A Twelfth-Century Schoolmaster .
Winner of the 1949 Language Association Oxford Award, Literature through Art, first published in 1952, sketches the history of French literature in terms of its relations to the fine arts, using pictures to interpret literature and literary texts to interpret art.
The author indicates that the presence of liturgy and allegory in Perceval may possibly indicate that Chretien was experiencing spiritual growth.
This honorary edition of twenty-six annotated articles was presented to Professor William M. Dey on the occasion of his seventieth birthday by his colleagues and former students. Professor Dey's vita and bibliography are also included.
This interpretive essay and epilogue is introduced by a foreword in which he defends the work.
The complete text is followed by a listing of proper names and a table of variants based on six other versions of the manuscript. The introduction gives the background of the author, the work, and the legend and discusses the seven versions and language used.
Spitzer, refuting ideas set forth by Grace Frank, redefines l'amour lointain as the result of the paradox amoureux, which is the base of all troubadour poetry. This is a forty-four page article with extensive notes.
This is an interpretive essay briefly outlining the subject matter and history of the debates on the Italian language. It proposes not to produce new material/ but it is selective, concentrating primarily on the sixteenth century. Two appendixes include a chronological table of the major documents used and a listing of notes and citations.