Princesa Del Amor Hermoso

Offering a fresh, revisionist analysis of Spanish fiction from 1900 to 1940, this study examines the work of both men and women writers and how they practiced differing forms of modernism. As Roberta Johnson notes, Spanish male novelists emphasized technical and verbal innovation in representing the contents of an individual consciousness and thus were more modernist in the usual understanding of the term. Female writers, on the other hand, were less aesthetically innovative but engaged in a social modernism that focused on domestic issues, gender roles, and relations between the sexes. Compared to the more conventional--even reactionary--ways their male counterparts treated such matters, Spanish women's fiction in the first half of the twentieth century was often revolutionary. The book begins by tracing the history of public discourse on gender from the 1890s through the 1930s, a discourse that included the rise of feminism. Each chapter then analyzes works by female and male novelists that address key issues related to gender and nationalism: the concept of intrahistoria, or an essential Spanish soul; modernist uses of figures from the Spanish literary tradition, notably Don Quixote and Don Juan; biological theories of gender prevalent in the 1920s and 1930s; and the growth of an organized feminist movement that coincided with the burgeoning Republican movement. This is the first book dealing with this period of Spanish literature to consider women novelists, such as Maria Martinez Sierra, Carmen de Burgos, and Concha Espina, alongside canonical male novelists, including Miguel de Unamuno, Ramon del Valle-Inclan, and Pio Baroja. With its contrasting conceptions of modernism, Johnson's work provides a compelling new model for bridging the gender divide in the study of Spanish fiction.

This book brings together twelve essays that attest to the continuing viability of intertextuality, a widely recognized by-product of a cosmic readjustment in thinking about the nature and boundaries of texts. All the contributors to this collection are well versed in the theoretical implications of intertextuality. Their essays give repeated evidence that intertextuality is itself dynamically intertextual and that it is as endlessly fruitful as its myriad applications. The essays further demonstrate that, whether theoretically in fashion or out of it, whether seen as rhetorical exercises, ideological statements, or philosophical meditations, intertextual pursuits remain the paramount adventure in the literary-critical enterprise.

Presenting and interrogating an array of texts and discourses, this collection brings into focus a broad range of topics whose common denominator is the intersection between cultural productions and politics in different moments of the history of Latin America and Spain. From the struggles of class distinction, identity and community in 19th and 20th century and contemporary Latin America as explored in photography, literature and film, to how political and sexual transgressions from medieval times to the present are portrayed in Hispanic literature, and the ways that canonical and non-canonical texts in Spain have been defying hegemonic power relations in the 20th century and beyond. This volume provides fresh approaches from well-established scholars, as well as from a new generation of researchers whose works enlighten the reader about the rich facets of such intersections. This publication also offers a background to pursue further research in these areas and to serve the general public interested in Latin American and Spanish literary and cultural studies, and those seeking a greater understanding of social and economic change in both Latin America and Spain: specifically, issues of inclusion and citizenship; the constraints on state power in the neoliberal era; the strategies used by texts to create subjects that are not bound to conventional identity formations; and the challenges and possibilities of subverting the gaze of the institutional spectator.

Linda, la Princesa de la Jungla (2011) Linda, la Princesa de la Jungla (2011) es su primera obra narrativa donde relata la vida de una mujer que ha vivido momentos felices, historias tristes y violentas, infl uidas por el realismo identifi cándose con cualquier ser humano que pueda estar atravesando las mismas vivencias y experiencias. Esa obra está dirigida tanto a hombres como a mujeres, que han vivido controlados por temores, por engaño por violencia, por situaciones devastadoras que los han llevado a la desesperación .El objetivo de este libro es el de poder ayudar a tener mayor nivel de Fe y a confi ar en que existe un camino de esperanza donde se puede confi ar y sacar fuerzas para hacer un alto, respirar y continuar y darse otra oportunidad. A través de cada capítulo podrán encontrar distintas situaciones de la vida cuotidiana refl ejadas en la vida del personaje principal. Así como también, como se desarrolla el crecimiento natural y espiritual, y puedan comprender que todo en esta vida tiene un propósito.

This project comes from our need to harness voices in Africa and Latin America, giving these voices an opportunity to converse, argue, synthesize, agree, and share ideas on the craft of writing, on life, on being, on thinking, so that we will all benefit. Sixty-two writers and poets are included, of which 19 were purely fiction writers, six were mixed genres writers, one a non-fiction writer, one a playwright, and 35 are poets. Altogether there are 92 pieces in two languages: English and Spanish.

Gender and women’s studies have formed part of the academic landscape for many years, but while the field is now established enough to have developed in depth and perspectives, there remain many areas of significance yet to be explored–most significantly, much of the work carried out has remained rooted in the Anglo-American context. Those working outside this context are increasingly aware of the need to understand women in different cultural contexts in order to determine whether, to what extent and how representations of women and cultural contexts are interactive and dynamic concepts. The current volume contributes to the growing interest in the field of women and culture in the Hispanic and Lusophone worlds and shows how women writers, researchers, teachers and students have always made waves to counteract the complacency, prejudice and tradition that threatens to ignore or subsume them. The volume draws on literary study–the starting point for much of the early work on gender in Spain, the Lusophone world and Latin America–but also goes beyond it, to discuss women’s interaction not only with literature but also with art, and language itself, in the Hispanic and Lusophone contexts. It acts as a showcase for contemporary scholarship undertaken in Hispanic and Lusophone gender studies, developing earlier insights and forging new ones, to refine the debate continuing in the subject. The contributors include both established scholars with a proven track record and promising newcomers to the field. The volume arises from the individual research projects and sustained discussions of Women in Spanish, Portuguese and Latin American Studies (WiSPs), an organisation that exists to promote scholarship by and about women in the field of Iberian, Lusophone and Latin American Studies. This volume celebrates the first seven years of WiSPs's life and presents some of the research presented under its auspices at annual conferences and study days.

Poet, journalist of world wars and the Russian Revolution, prolific novelist, translator, playwright, respected society figure: Sofía Casanova intrigued and influenced the Spanish reading public for over fifty years. Sofía Casanova's unique achievements should have drawn considerable critical and scholarly notice. Yet today her life and works remain unexamined or ignored. It is the purpose of this book, researched in Spain and Poland, to reintroduce Sofía Casanova to the scholarly and general public.

EN ANIMAL QUE AME SE CONVERTIRA.ESTA HISTORIA ESTÁ DEDICADA A TODOS AQUELLOS QUE DE UNA U OTRA FORMA LUCHAN POR CONSERVAR NUESTRO MEDIO AMBIENTE.

"When Spanish dictator Francisco Franco legalized internal immigration in 1947 he unwittingly inaugurated the greatest period of urban expansion and rural de-population that Spain had known. During the next two decades, nearly four million citizens would move from Spain's traditional pueblos perdidos to overburdened urban metropolises. Along with wooden trunks and baskets of chickens, the immigrants (or paletos, as they were often called) bore on their journey the weight of centuries of ideological meaning tied to the geographic regions they were traversing. To abandon rural Spain had come to signify a rejection of manhood, wealth, Christian values, and even Spanishness itself. Paletos, however innocent they may have appeared, were not ideologically neutral. In the coming decades the weight and complexity of the meanings behind immigration, the country, and the city would only grow as Spain advanced from economic under development, social ignorance, and political reaction to full-fledged participation in global economics and politics, activities that would reshape what it meant to be an immigrant and paleto both within and across the geographic border that had traditionally defined the Spanish nation."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved