History Of Spanish Literature Research Articles

Spain Beyond Spain: Modernity, Literary History, and National Identity (review)

Reviews 229 Overall, Realism as Resistance offers many worthwhile insights into these literary texts and is, on the whole, cogently argued and elegantly written. AKIKO TSUCHIYA, Washington University, St. Louis epps, brad, and luis fernández cifuentes, eds. Spain Beyond Spain: Modernity, Literary History, and National Identity. Lewisburg: Bucknell UP, 2005. 388 pages. In their excellent introduction to Spain Beyond Spain: Modernity, Literary History, and National Identity, Brad Epps and Luis Fernández Cifuentes warn readers that this collection of essays ‘‘is not a literary history, but at most a series of critical reflections on and about literary history’’ (42) whose objective it is to represent ‘‘a diversity of positions’’ (20) regarding a problematic which for some time now has been central to many Hispanists working within the North American academy : the reconfiguration of our research and curricular agendas beyond the parameters of what ‘‘Spanish’’ and ‘‘literature’’ have come to mean within what Joan Ramón Resina aptly calls ‘‘Cold War Hispanism.’’ That is to say, a Hispanism which ‘‘sidestepped historical materialism, feminism, class, race, and minority issues, all of them congruous with the critique of Spain’s imperialist past’’ (72). While it could be argued that the new generations of Hispanists have already problematized many of the tenets of literary history that they inherited—as evinced by the wealth of feminist and gender work which has been produced in the past twenty years, for example, or the postcolonial gaze that has been cast upon early modern literary production—the majority of the authors in this impressive and thought-provoking volume believe that much more rumination must be undertaken. These scholars suggest that Hispanism continues to be bounded by untenable linguistic, cultural and literary paradigms. In his lucid contribution Mario Santana articulates the critical reflection that runs through the majority of the essays when he states that Peninsular studies must ‘‘redefine its object of study’’ (120). One gets the sense when reading this volume that Hispanism is at an important crossroads and that it needs to be not only problematized but also theorized in new ways. Thus, the tone of the volume is urgent and, moreover, imperative. The book is organized into five parts, each of which reflects upon what are for the editors the crucial or perhaps the most vexed problematics within Peninsular studies: the language of literary history, the nineteenth century as the consolidation of a ‘‘national literature,’’ the pluralities of Peninsularism, contemporary theoretical approaches to Hispanism, and national identity. Each author contributes a very significant piece and, moreover, a distinctive approach to thinking about and through the complex landscape of Spain and its cultural production. Also, since each essay addresses a specific aspect of the manner in which literary history has conceptualized, for example a period, the nation—Spain as a monolingual entity—or the notion literature itself, the essays tend to unravel traditional literary history in order to reveal the discursive foundations upon which it has been constructed. Thus, the essays weave together a very welcome historical 230 Revista Hispánica Moderna 60.2 (2007) understanding and analysis of how contemporary Hispanism has come to be, with incisive and exciting proposals on how to shift the terrain of study and register the discursive formation of Spanish identity in our work and in our classrooms. Spain Beyond Spain: Modernity, Literary History, and National Identity is an important book. Not only does it brilliantly question the discursive pillars that anchor the foundational fictions of Spanish literary history, it also provides lucid and alternative ways of redefining our object of study. In the wake of the imperative spirit of this volume, I would recommend that it be required reading for Peninsularists on both sides of the Atlantic. ALDA BLANCO, University of Wisconsin nauss millay, amy. Voices from the fuente viva: The Effect of Orality in TwentiethCentury Spanish American Narrative. Lewisburg: Bucknell UP, 2005. 222 pages. The complicity of writing in the historical trauma of conquest and domination has made it a guilty activity that yearns for the purity and innocence of language before writing, the language of those who have been silenced by that traumatic history. The fascination of Latin American writers with the ‘‘primitive’’ or ‘‘barbaric ’’ voice of...

Lugubrious Nights. An Eighteenth-Century Spanish Romance by José de Cadalso

R e v i e w s Cadalso, Jose de. Lugubrious Nights. An Eighteenth-Century Spanish Romance. Translated from the Spanish with an Introduction by Russell RSebold. Albuquerque: University of New Mexico Press, 2008. 86pp. Russell P. Sebold’s elegant edition and translation of Jose de Cadalso’s Noches lugubres {\77\) is zv/c\come. contribution to 18th-century European literary studies that will increase awareness about the place and importance of 18 th century Spanish literature in the development of European Roman¬ ticism. Often considered an oddity in Spanish literary history (its genre and movement affiliation are hard to catalogue), this dialogued prose poem, divided into three sections corresponding to the three nights in which the action (or lack thereof) takes place, focuses entirely on the cosmic grief of its protagonist, Tediato, crazed with pain after the death of his young lover. For three nights Tediato tries to recover her corpse from the grave with the aid of Lorenzo, apitiful gravedigger. He wants to take the body to his home and then commit suicide, burning the house on top of the ill-fated lovers’ corpses. But every night his wish remains unfulfilled. The first night dawn arrives before they can take the body out. The second night he is mistaken for acriminal and put in jail, only to be released once the true killer is cap¬ tured. The third night (strikingly shorter than the other two, being barely two pages long) remains unfinished, with Tediato still philosophizing about life’s miseries and walking with Lorenzo towards the tomb. The text ends inconclusively with the words “[IJet’s go, fnend, let’s go.” (76), appropri¬ ately so, says Sebold, since suicide in this work constitutes not aliberating act of finality, but “a slow, much more painful form of suicide, aprotracted wasting away of the spirit.” (26). Sebold’s claim in the introduction is indeed an audacious one: he states and argues that this book is the first romantic text in European literature, since its date (1771) places it before works traditionally considered the pio¬ neers of Romanticism, such as Goethe’s Werther (1774) or Chateaubriand’s Rene (1802): Before Lugubrious Nights, there existed in no literature awork in which the principal subject matter was the rejection of an innocent hero by heaven, by his fellow men, and by all human institutions. No protagonist who at the same time sees in his own grief the synecdoche of all human grief and who hopes to find no compassion except in nature, over which he seems to be raised up like anew terrestrial divinity and with which at the same time pro¬ poses to fuse himself through the liberating act of voluntary death. [...] Tediato’s view of the world is indebted to the ideas of philosophers, poets 1 7 4 I N T E R T E X T S and essayists like Locke, Shaftesbury, Thomson, Young, Akenside, Gold¬ smith, Rosseau, and Johann Robeck [...]. But none of these authors goes as far as Cadalso does. (16) Sebold gives adetailed account of the book’s philosophical background and, in doing so, he rectifies some of the common assumptions about the forging of Romanticism in Spain. He discards the German philosophers Fichte, Hegel, and Schelling as influences and points to Locke and Condillac (as proponents of sensationalist epistemology) and Rousseau (with his the¬ ory of the noble savage, and the corrupting effects of civilization), informing the philosophical background of Lugubrious Nights and therefore the current of Spanish Romanticism that would depart from this seminal book. This affirmation of the existence of native roots for Romanticism in Spain constitutes another stimulating claim that diverges from placesinSpanishliteraryhistory.Itisusuallyassumed(especiallybecauseit so stated by the post-romantic generation, the deeply culturally nation¬ alist Realist group of writers and critics) that Romanticism in Spain was a foreign import, mostly acopy of French and English authors, lacking areal national personality. Sebold underlines the fertile combination of both EuropeanandSpanishsourcesatthebaseofCadalso’sseeminglystrange andanomaloustext.HereplacesEdwardYoung,traditionallybelievedtobe the direct source for Lugubrious Nights, for different English authors (Aken¬ side,Goldsmith)moreattunedwiththedesolateviewofdeathandtheplea foruniversalsolidarityatthecoreoftheSpanish1771text,butalsobrings to the forefront the Spanish roots of Cadalso’s thought: the work of ascetic moralists, such as Luis de Granada, who dwell in...

Vida y sucesos de la Monja Alférez : Spanish Dictatorship, Basque Identity, and the Political Tug-of-War over a Popular Heroine

The history of literary criticism concerning Vida y sucesos de la Monja Alférez, the autobiography of the 17th-century novice Catalina de Erauso, illustrates the power of intellectuals and academics to place, misplace or even ignore a text within literary canons. This article explores the period between 1939 and 1975 when Vida was politically appropriated under the Franco Regime. Erauso was claimed as a cultural icon by both those who wanted to define a Basque identity as well as those who wished to reassert patriotic sentiments in Spain. Literary critics have throughout the ages utilized the Vida text for their own purposes, but during the Franco years critics often engaged in particularly twisted machinations to make the text fit their needs. The history of literary criticism concerning Vida has in fact failed to locate the text within literary parameters, and the text has therefore remained lost in terms of its significance in the history of Spanish literature and autobiography.La historia de la crítica literaria en relación a Vida y sucesos de la Monja Alférez, la autobiografía de Catalina de Erauso, novicia del siglo XVII, revela el poder que intelectuales y académicos poseen para situar, descuidar, o incluso ignorar un texto dentro de cánones literarios. Este artículo explora el período entre 1939 y 1975, cuando Vida fue apropiado políticamente bajo el Régimen Franquista. Erauso se convirtió en un símbolo cultural, tanto para aquéllos quienes querían definir una identidad vasca, como para los que querían reafirmar ciertos sentimientos patrióticos en España. Durante el Régimen, críticos literarios crearon maquinaciones especialmente retorcidas en torno al texto para satisfacer sus propias necesidades. La historia de la crítica literaria referente a Vida ha fracasado en la tarea de localizar el libro dentro de específicos parámetros literarios, y por tanto el texto ha permanecido perdido en cuanto a su significado en la historia de la literatura y de la autobiografía española.

Historia y punición: Ángel Valbuena Prat, depurado

The present article delves into the purge file on the Professor and literaty historian Angel Valbuena Prat. In 1943, Valbuena was forcefully removed from his teaching post at the Faculty of Arts in Barcelona and sent to that in Murcia. This administrative measure was mainly motivated by certain aspects of his Historia de la literatura espanola (A History of Spanish Literature; Barcelona, 1937). The analysis carried out in what follows throws light on how the repression enforced by Franco’s dictatorship affected the university life of the period, while simultaneously providing information on the reception and history of one of our most prestigious works of literary historiography in the 20th century.

Quixotism: The Imaginative Denial of Spain's Loss of Empire (review)

Reviewed by: Quixotism: The Imaginative Denial of Spain's Loss of Empire Alda Blanco Britt Arredondo, Christopher . Quixotism: The Imaginative Denial of Spain's Loss of Empire. SUNY P, 2005. 266 pages. In a bold and much needed revisionist critical move for Hispanism, Christopher Britt Arredondo forcefully argues in Quixotism: The Imaginative Denial of Spain's Loss of Empire that Hispanists should eliminate the use of the term "Generation of '98" in order to "clear the ground for an alternative understanding of the literary and intellectual culture of early twentieth-century Spain" (8). With this book Britt Arrendondo joins a growing and healthy tend within Hispanism of reformulating Spanish literary history, questioning the premises upon which it has been written to date, and problematizing the notion of "generation" as the favored way of classifying twentieth-century authors. Unlike previous scholars devoted to the study of the so-called "Generation of '98"—Ricardo Gullón and Inman Fox, for example—who were extremely critical of the term put into circulation by Azorín and yet, nevertheless, continued using it as a convenient way of referring to this disparate group of authors preoccupied, if not obsessed, by the decadence of Spain after the final loss of its colonial empire in 1898, Britt Arredondo completely rejects it because "in the form it had been handed down to the present, it reproduces the implicit assumptions concerning Spain's heroic and classical past that motivate the nationalist imperialism professed by Unamuno, Ganivet, Maeztu [and] Ortega" (12). His alternative is to propose the use of a critical category, Quixotism. By reconfiguring the literary terrain at the turn of the century through this category he hopes to "contribute to the modernization of a field of study that remains, to this day, unnecessarily constrained by the memory of its nationalist legacy" (vii). Thus, this study is meant to be a "counternarrative" in the "extranational," "antinationalist" tradition, a tradition that for Britt Arrendondo has been marginalized and silenced within Spanish culture and Hispanism, and which includes, among others, Blanco White, Américo Castro, Juan Goytisolo, and Eduardo Subirats" (180–81). In order to establish the term and the category of Quixotism, he dissolves the "Generation of '98," regroups several of its members (Ganivet, Unamuno, and Maeztu) into a new set which he links by what he deems to be their nationalist and imperialist thinking as articulated through the "iconographic association of [End Page 87] the Spanish nation with the figure of Don Quixote" (6), and incorporates Ortega into his new critical category. Because the dual purpose in this book is "to expose the intellectual roots of Spanish fascist culture" (vii), which for him originates in the thinking and writing of Unamuno, Ganivet, Maeztu, and Ortega, and "denounce the complicity of certain scholars with that culture" (vii), he sets out to prove the four main arguments around which he organizes his study. Given the novelty of Britt Arredondo's approach to the study of turn-of-the-century meditations upon the "problem of Spain" and his introduction of Quixotism as a new critical category, I believe it is important to quote from the text rather than to gloss or summarize it. His first argument is that "the Quixotism proposed by these thinkers extols obsessive devotion to utopian ideals as a solemn, dignified, and virtuous habit of mind. Quixotic behavior [. . .] is a sign of nobility. Fittingly, the Quixotism of Ganivet, Unamuno, Maeztu, and Ortega constitutes an attempt to recuperate, if not altogether reinvent, Don Quixote as a sometimes stoic and mystical, sometimes redemptive and messianic hero who embodies the leadership ideals that these intellectuals believed could regenerate post-1898 Spain" (12–13). Secondly, he argues that "[r]ather than promote a critical understanding of the historical events that had led to Spain's demise as a world power, they set out to deny that their nation's loss of empire was irrevocable" (13). His third claim is that these thinkers "produced conjectural national histories that presented the 'true' history of the Spanish nation's decline from empire as 'false.' Against this background of 'false historical reality' they affirmed their own 'truer' versions of the nation's 'essential history.' According to these...

The Canon and the Archive: Configuring Literature in Modern Spain

This volume rethinks the opposition between canonical and noncanonical, opting instead for understanding the literary canon as a segment of the larger archive of literature. Beyond what is presently regarded as canonical, this archive includes previously valued works that have been forgotten, as well as an indefinite supply of works as yet unconsecrated or unknown. Drawing from an eclectic array of theoretical sources - from Stanley Fish, Barbara Herrnstein Smith, John Guillory, Pierre Bourdieu, and Itamar Evan-Zohar to Michel Foucault and Jacques Derrida - Wadda C. Rios-Font re-reads nineteenth- and twentieth-century Spanish texts and authors who have tested the boundary between high and low culture, repositioning them within Spanish literary history and criticism. Through these self-reflexive readings, the book explores how the definition of literature has changed in more than two centuries of modernity in Spain, as well as the critical, institutional, and cultural negotiations behind this change. Wadda C. Rios-Font is Associate Professor of Spanish at Brown University.

The Cambridge history of Spanish literature

The Cambridge history of Spanish literature

Borrowed Words: Translation, Imitation, and the Making of the Nineteenth-Century Novel in Spain (review)

534 Reviews One of the many unquestionable merits of her ambitious study is that by defining for fellow scholars a distinctive area of novel-writing she opens the door to further re? search, provoking new readings ofworks in a narrative formof rich social significance. University of Valladolid Maria Jesus Garcia Garrosa Borrowed Words: Translation, Imitation, and the Making of the Nineteenth-Century Novel in Spain. By Elisa Marti-Lopez. London: Associated University Presses. 2002. 193 pp. ?22.02. ISBN 0-8387-5520-8. This book concerns two fundamentally important and interrelated aspects of literary life in mid-nineteenth-century Spain: the writing and publication of socially con? cerned misteriosinspired by Sue, and the prominence of (often quite free) translations of foreign works. As Elisa Marti-Lopez points out, both of these have been neglec? ted because they are considered detrimental to the development of modern Spanish culture, rather than as serious contributions to the emergence of the modern novel. In Marti-Lopez's view, the dependence of criticism on models of strong originality conspires against an appreciation of Spaniards' dialogistic engagement with foreign models and of subtler forms of differencefrom and similarity to non-Spanish cultures. The author argues that Spanish intellectuals were faced with two key problems: the turbulent establishment of a Liberal state and corresponding nation-building, and the hegemony of Paris and London as European publishing centres, based around an author-publisher relationship, and exporting heavily to foreign markets (like Spain). The pursuit of modern forms of culture and politics required emulation and depen? dence; national identity, and distinct circumstances, required difference. Such were the conditions within which the dialogue with Sue's mysterestook place. In saying this, Marti-Lopez rightlyemphasizes that Spanish culture ofthe mid-nineteenth cen? tury was not dominated by Conservative nationalism; nor was interest in the mysteres confined to the Left. This book does not, however, provide an interpretation of many Spanish misterios. Given that the genre was often cultivated by leftists, as Marti-Lopez says, it seems peculiar that the only two texts to receive extended consideration are by Conserva? tive Liberals (Cortada's translation of Les Mysteres de Paris, Mila de la Roca's Los misterios de Barcelona). In terms of the wider panorama, Progressive concern with culture as a vehicle of the public good is discussed, but not connected to a political philosophy that had moved on from the Enlightenment. Perhaps in consequence, Marti-Lopez's threefold equation of Schlegel's legacy, Conservatism, and the idea of a national spirit, all supposedly opposed to the misterios,misrepresents the complex exchanges of ideas in Spain. None the less, this book is a welcome contribution to and rectification of modern Spanish literary history. University of Edinburgh Andrew Ginger Between theMaternal Aegis and theAbyss: Woman as Symbol in thePoetry ofRosalia de Castro. By Michelle C. Geoffrion-Vinci. Madison, NJ: Fairleigh Dick? inson University Press; London: Associated University Presses. 2002. 161 pp. ?24.95. ISBN 0-8386-3913-5. This is a brave book, but its argument is not entirely convincing because of the author's tendency to slip into biographical readings of Rosalia de Castro's poetry and ...

(review)

534 Reviews One of the many unquestionable merits of her ambitious study is that by defining for fellow scholars a distinctive area of novel-writing she opens the door to further re? search, provoking new readings ofworks in a narrative formof rich social significance. University of Valladolid Maria Jesus Garcia Garrosa Borrowed Words: Translation, Imitation, and the Making of the Nineteenth-Century Novel in Spain. By Elisa Marti-Lopez. London: Associated University Presses. 2002. 193 pp. ?22.02. ISBN 0-8387-5520-8. This book concerns two fundamentally important and interrelated aspects of literary life in mid-nineteenth-century Spain: the writing and publication of socially con? cerned misteriosinspired by Sue, and the prominence of (often quite free) translations of foreign works. As Elisa Marti-Lopez points out, both of these have been neglec? ted because they are considered detrimental to the development of modern Spanish culture, rather than as serious contributions to the emergence of the modern novel. In Marti-Lopez's view, the dependence of criticism on models of strong originality conspires against an appreciation of Spaniards' dialogistic engagement with foreign models and of subtler forms of differencefrom and similarity to non-Spanish cultures. The author argues that Spanish intellectuals were faced with two key problems: the turbulent establishment of a Liberal state and corresponding nation-building, and the hegemony of Paris and London as European publishing centres, based around an author-publisher relationship, and exporting heavily to foreign markets (like Spain). The pursuit of modern forms of culture and politics required emulation and depen? dence; national identity, and distinct circumstances, required difference. Such were the conditions within which the dialogue with Sue's mysterestook place. In saying this, Marti-Lopez rightlyemphasizes that Spanish culture ofthe mid-nineteenth cen? tury was not dominated by Conservative nationalism; nor was interest in the mysteres confined to the Left. This book does not, however, provide an interpretation of many Spanish misterios. Given that the genre was often cultivated by leftists, as Marti-Lopez says, it seems peculiar that the only two texts to receive extended consideration are by Conserva? tive Liberals (Cortada's translation of Les Mysteres de Paris, Mila de la Roca's Los misterios de Barcelona). In terms of the wider panorama, Progressive concern with culture as a vehicle of the public good is discussed, but not connected to a political philosophy that had moved on from the Enlightenment. Perhaps in consequence, Marti-Lopez's threefold equation of Schlegel's legacy, Conservatism, and the idea of a national spirit, all supposedly opposed to the misterios,misrepresents the complex exchanges of ideas in Spain. None the less, this book is a welcome contribution to and rectification of modern Spanish literary history. University of Edinburgh Andrew Ginger Between theMaternal Aegis and theAbyss: Woman as Symbol in thePoetry ofRosalia de Castro. By Michelle C. Geoffrion-Vinci. Madison, NJ: Fairleigh Dick? inson University Press; London: Associated University Presses. 2002. 161 pp. ?24.95. ISBN 0-8386-3913-5. This is a brave book, but its argument is not entirely convincing because of the author's tendency to slip into biographical readings of Rosalia de Castro's poetry and MLR, 100.2, 2005 535 the lack of a sufficiently developed theoretical framework to sustain such a radical rereading. Nevertheless, Michelle C. Geoffrion-Vinci is to be congratulated for tak? ing Castro criticism in new and exciting directions. After providing an informative overview of critical studies to date, the author rightly draws attention to the curious fact that gender in Castro's poetry has yet to be examined in depth. This book aims to make good the lack by focusing on female symbolism, in particular the figureofthe mother. This includes examining the relationship between female procreativity and literary creativity; the maternal body and the concept of fertility;matriarchy and na? tionalism; veil imagery and spiritual redemption; and Christian symbolism employed to celebrate female desire. The scope ofthe study ranges across Castro's poetry, from A mi madre (1862) to En las orillas del Sar (1884). The book begins by making connections between Castro's poetry and end-ofcentury French symbolism, the point being that, although Castro's imagery is to a large extent conventional, it...

Mendizábal, García Gutiérrez, and the Property of Spanish Theater

Mendizábal, GarcÃ-a Gutiérrez, and the Property of Spanish Theater Lisa Surwillo is an Assistant Professor of Spanish at the Pennsylvania State University . Her fields of research include nineteenth- and early twentieth-century Spanish Peninsular literature, especially theater, Spanuh literary production as intellectual property, and Spanish cultural studies. At the premiere of El trovador, on March 1, 1836, the audience at the Teatro del Principe, inspired by the ingenuity of the play just completed, was spontaneously overwhelmed by a uniform desire to call its unnamed author onto the stage in order discover the source of this piece of theatrical perfection and honor him with applause. So goes the well known anecdote that has served for almost 200 years to convincingly explain the origin of a supposedly just recognition of authorial genius in dramatic works in Spain. First composed at the time of the premiere of El trovador, it has been perpetuated and entered into the annals of Spanish literary history as fact, without having been subjected to critical inquiry. In the present essay, through an interpretation of the literary chronicles of the premiere, an investigation into the cultural context, and a review of contemporary political and economic measures , the famous call for the author is read as a pressdriven event that transformed the author into a celebrity and served as an argument for the derecho de autor (author's rights, or intellectual property) for dramatic literature. The ideologies of the Romantic project were closely allied with those of the post-Fernandine Spanish Liberal political economy (both in the poets' embrace and rejection of it on an individual level). While the former exalted individual subjectivity in the voice of the poet's ego, the latter legally promoted "the priority of the individual and the sanctity of property" (Rose 85). The Spanish variety of Liberalism that guided the government administration at the beginning of the campaign for dramatic literary property, in Arizona Journal of Hispanic Cultural Studies Volume 6, 2002 44 Arizona Journal of Hispanic Cultural Studies February, 1836 was grounded in natural law theories of property. In the Lockean conception of the individual, every person is his or her own property, and the product of the labor executed by die body (or mind) is die natural property of the same person. As Mark Rose has explained in his discussion of authorship in England, individual liberty and the right to control private possessions are indivisible according to classical Liberal discourse. Moreover, the freedom of the individual to employ his efforts to create property and die freedom to dispose of that property as he saw fit [...] were the principles inscribed by reason in the very order of nature. (85) This was the ideology manifested in early Spanish Liberal constitutions and codification of private property as "sagrada" in the Tabla de Derechos. This most fundamental of individual rights, in a nation built not of estates but of classes and individuals , was also found in the parallel glorification of the ego in Romantic literature. Political economy and literary school intersected in the issue of literary property under which the individual writer's craft is recognized first as labor and an extension of his person and his talents, a condition that allowed it to be then granted an independent, extra-literary value in society as "property." These ideas of Liberal political economy were circulated in Spain by, among others, Alvaro Flórez Estrada, a leading economist who, like many Spanish Liberals , was in exile in England during the reign of Fernando VII and associated there with the Holland House. He was influenced in particular by the work of David Ricardo, whose The principles of political economy and taxation (1817) specifically addressed the place of labor in the calculation of value and distribution in a national economy. Flórez Estrada presented his own influential ideas on property in Curso de economÃ-a polÃ-tica, reprinted four times in the 1830s. This text recognizes "propiedad' ("property" or "possessions") as the "justa recompensa del trabajo" [just recompense for work]. Both of these terms are historically coded: "work" (as opposed to leisure) is subject to the assumptions and expectations of a given society. In the case of Liberal...

Mayans' Rhetórica and the Search for a Spanish Rhetoric

Abstract: Gregorio Mayans y Siscar's Rhetórica (Valenda, 1757)must be regarded as a pivotal work in the evolution of eighteenthcentury Spanish rhetorical theory. Since Mayans' ideas did not appear without precedent in the Rhetórica, this article begins by tracing the development of his principles through his earlier writings about the state of discourse in Spain. A detailed analysis of the Rhetóricaitself is followed by a demonstration of how Mayans modified classical rhetoric into a rhetoricized poetics whose history became integrated into the history of Spanish literature. Thus Mayans' transformation of classical rhetoric takes its place in the development of Spanish cultural history, in which rhetoric increasingly came to be regarded as a part of the larger study of the national literature.

Chandler, R. E. and Schwartz, K., <italic>A New History of Spanish Literature</italic>

Chandler, R. E. and Schwartz, K., A New History of Spanish Literature Get access R. E. Chandler and K. Schwartz, A New History of Spanish Literature rev. edn. Pp. xv + 437. Baton Rouge and London: Louisiana State University Press, 1991. Hardbound £42.75; paperbound £17.95. D. G. Pattison D. G. Pattison Magdalen CollegeOxford Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 40, Issue 1, March 1993, Pages 88–89, https://doi.org/10.1093/nq/40.1.88 Published: 01 March 1993

A New History of Spanish Literature

A New History of Spanish Literature

A New History of Spanish Literature.

A New History of Spanish Literature.

On Spanish Literary History and the Politics of Gender

On Spanish Literary History and the Politics of Gender

Darkness in the Age of Light: Amnon of Maria Rosa Galvez

SHROUGHOUT the history of Spanish literature, t adaptations of the biblical story of the rape of Thamar by her brother Amn6n have appeared I* in songs, poems, drama, and at least one novel. As Spaniards resurrect the Old Testament account (2 Samuel 13.1-13.39) over the years, howFg ever, they tend to underscore different aspects of the famous incident. The moving tale of forbidden love, incest, and parental remorse first takes root in Spain in the ballad form, a version of which appears in Primavera yflor de romances; in this early manifestation of the story, the anonymous author emphasizes the theme of family strife (Cobb 102).1 In the seventeenth century, Lope de Vega's novel Pastores de Belin (1612) includes the narrative and expands the role of Jonadab, Amn6n's cousin. Later in the same century, Tirso de Molina's La venganza de Tamar (1621) stresses Thamar's search for lost honor as well as David's decision

A Short History of Spanish Literature

A Short History of Spanish Literature

Further thoughts on King Pedro's predicament at the end of Calderón'sEl médico de su honra

E. M. Wilson appended a possible source-story of the plot of Calderon's El medico de su honra to the printed version of his 1966 Taylorian lecture ‘Some aspects of Spanish literary history’ (Oxford...

A Short History of Spanish Literature

A Short History of Spanish Literature

A Short History of Spanish Literature

A Short History of Spanish Literature