Present Trends In The Conception And Criticism Of Spanish Romanticism

Ever since the word romantic and its many cognates in European languages began to be used as technical terms towards the end of the eighteenth century, the quest for a satisfactory definition of their meanings has continued unabated. This collection of essays traces the history of the word in the major European languages, showing how romantic and its cognates were first introduced, how their usage spread and their connotations proliferated, and how their present usage became established. This book opens with an introduction by the editor, followed by an essay in which Professor Raymond Immerwaher, Chairman of the Department of German, University of Western Ontario, shows how romantic and its cognates became fashionable in England, France and Germany, and traces the extension of the meanings of these words up to 1790. The story is then taken up in individual essays on the history of the word and its cognates in the major European countries: in Germany, by the editor; in England, by Professor George Whalley, FRSC, of the Department of English, Queen's University, Kingston; in France, by Professor Maurice Z. Shroder of the Department of French, Barnard College, Columbia University; in Italy, by Professor Olga Ragusa of the Department of Italian, Columbia University; in Spain, by Professor Donald L. Shaw of the Department of Hispanic Studies, University of Edinburgh; in Scandinavia, by Professor P.M. Mitchell of the Department of Germanic Languages and Literature, University of Illinois; and in Russia, by Professor Sigrid McLaughlin of the Department of Slavic Studies, University of California at Santa Cruz. The final essay, by H.H.H. Remak, Professor of German and Comparative Literature at the University of Indiana, reports on trends of recent research on West European romanticism and suggests fruitful avenues for further exploration. The book will be of immense value to students and specialists interested in literary, linguistic and cultural aspects of romanticism, and to those concerned with comparative literature and the history of ideas. Hans Eicner taught at Queen's University, Kingston, from 1950 to 1967 when he was appointed Professor and Chairman of German, University of Toronto. Among his published books are: Thomas Mann, Eine Einführung in sein Werk; Friedrich Schlegel: Literary Notebooks 1797-1801; Reading German for Scientists; Kritische Friedrich Schlegel-Ausgabe (in four volumes); Four Modern German Authors: Mann, Rilke, Kafka, Brecht. In 1967 he was elected a Fellow of the Royal Society of Canada.

Gathered to meet the rising upsurge of interest in Spain, this collection features major critical articles dealing with the authors and texts customarily taught in colleges and universities in the United States. The articles are in English and Spanish, with a predominance of the former. The material is organized to reflect the common chronological and period divisions of the academic curriculum, and is clustered around major literary figures, with a mix of general articles on the writers and texts that are most commonly included in anthologies. Spanish literature and culture have attracted a renewed interest since the return to constitutional democracy in the mid-1970s and the growing participation of Spain in the world economy and its incorporation into the European common market. Spanish literature balances a participation in the major literary movements of European literature in general with unique features of Hispanic culture that are a consequence of the special circumstances of its geography,especially the ways in which it historically served as a conduit to Europe of Arabic and Jewish cultures. Figures of international acclaim like Federico Garc'a Lorca, Miguel de Unamuno, and Jose Ortega y Gasset, Nobel prizewinners like Vicente Aleixandre and Camilo Jose Cela, the universality of Miguel de Cervantes, without whom the modern novel would not have been possible, the uniqueness of the Hispanic ballad tradition, mystic poets like San Juan de la Cruz and Santa Teresa Jesus, and the picaresque tradition are some of the major reference points for the singularity of Spanish literary culture. All of this literary activity has inspired innumerable dissertations, theses, and books, published by academic and trade presses, as well as articles in journals traditionally devoted to literary history and philosophy, along with new specialized journals and the organization of national and international congresses on national and cultural issues, writers, and schools of writing. These three volumesselect the most seminal works on Spanish literature and collect them in one place for scholars and students alike. This three volume collection of reprinted articles is also available as individual volumes priced at $80.00/Y [Can. $120.00/Y]: * Volume 1.Theoretical Debates0815335636 Volume 2.From Origins to the 18th Century0815335644 Volume 3.The Modern Period0185335652

Modernism was the major Spanish American literary movement of the late nineteenth and early twentieth centuries. Leader of that influential movement was Rubén Darío, the Nicaraguan now recognized as one of the most important Hispanic poets of all time. Like the Romantics in England and the Symbolists on the Continent, Darío and other Modernists were strongly influenced by occultist thought. But, as the poet Octavio Paz has written, "academic criticism has ... preferred to close its eyes to the stream of occultism that runs throughout Darío's work. This silence damages our comprehension of his poetry." Cathy Login Jrade's groundbreaking study corrects this critical oversight. Her work clearly demonstrates that esoteric tradition is central to Modernism and that an understanding of this centrality clarifies both the nature of the movement and its relationship to earlier European literature. After placing Modernism in a broad historical and literary perspective, Jrade examines the impact of esoteric beliefs upon Darío's view of the world and the role of poetry in it. Through detailed and insightful analyses of key poems, she explores the poet's quest for solutions to the nineteenth-century crisis of belief. The movement that Ruben Darío headed brought Hispanic poetry into the mainstream of the "modern tradition," with its sense of fragmentation and alienation and its hope for integration and reconciliation with nature. Rubén Darío and the Romantic Search for Unity enriches our understanding of that movement and the work of its leading poet.

Spanish Romantic discourse that highlights ways in which the mythic story of Western modernity was shaped by transnational European power-politics.

This study provides a fresh assessment of Spanish Romanticism through a sympathetic appraisal of its literary theory and criticism. It identifies the origins of Spanish Romantic thought in the theories of German Romantic thinkers, in particular Herder's historicism. The range of reference, from the articles of Böhl von Faber to the judgments made by Cañete and Valera is counterpointed by the detail of close readings of books and articles published between 1834 and 1844, together with an examination of the ideas that informed the creative work of Fernán Caballero. Derek Flitter's use of the history of ideas offers a corrective to the recent preponderance of political approaches to Spanish Romanticism, countering their stress on its radical and liberal associations with a detailed demonstration that the majority of Spanish Romantic writers derived their inspiration from restorative, traditionalist, and Christian elements in their contemporaries' theory and criticism.

First Published in 2002. The present volume forms part of a major Bibliography of the Hispanic Theatre, forthcoming in several volumes by different specialists. As such, it is one of the products of a still larger computer-assisted Project of Hispanic Research Bibliographies. The aim has been to give as wide a coverage to the area as possible, listing not only books and articles in periodicals but also data of a documentary character such as items on playbills and the local regulation of theatres. Annotation is confined to information, and critical appraisal is excluded.