Spanish Influences Research Articles

Whiteface versus Black Performance: Accounts of Black and Afro-descendant Performers in Portuguese America

Abstract: This study of theatrical performance in Portuguese America examines the prevalence of Black and African descendant performers onstage, whether enslaved or free. On the one hand, I consider the artistic implications of these performers' prominence in terms of how their performances fused European theatrical elements, for instance, with plays being staged in opera houses and featuring works by Pietro Metastasio and Carlo Goldoni. Other engagements with the European tradition suggest Spanish influences, such as performances of comedias and comic farces ( entremezes ). On the other hand, we find Afro-diasporic performance practices on the Portuguese American stage. Additionally, I address methodological challenges: How can this kind of theatricality be analyzed? Is it possible to reconstitute such scenes of Black performance and analyze acting methods, notwithstanding the scarce documentation? Finally, must we interrogate the connections between social organization in colonial Brazil's slave-holding society and forms of artistic expression. Sources mobilized for these queries include travelers' descriptions of performances, documents found in archival sources, and firsthand accounts of fêtes.

Survival and Sovereignty: Forces on the Rise in Aurelio Tolentino’s Novels

Abstract Aurelio Tolentino (1869–1915) is best remembered as the first nationalist dramatist who was in and out of prison because of his mutinous writings. His five extant novels manifest the sociopolitical struggle of early 20th-century Filipinos from the worldview of a versatile author. Tolentino’s fiction from 1909 to 1914 unveils how the colonized adapted ingrained, rigid, and conventional Spanish influences to the liberal and materialistic scheme imposed by the United States. A sociohistorical approach was used to investigate Tolentino’s narratives, revealing a people with a pliant but firm character brought about by their four centuries of subjugation. The literary method used in the study likewise illuminates the economic and literary struggles of the author as an ex-convict. The novels illustrate how the suppressed survived and yearned for sovereignty from the dual domination that beset the land.

Queer Fiesta

The Andean patron-saint fiesta is an iconic folkloric celebration often considered as a religious syncretic and hybrid expression of popular culture that brings together Spanish and Indigenous influences. Within fiestas, danzas (dance-dramas) represent both embodied devotional offers that include gendered costuming and dancing and representations of folklore as an ideology sustained by the idea of a heterosexual nation. In this article, I address queerness as a set of epistemologies and a privileged terrain to perform and contest the hybridity of fiestas producing a performance practice I term ‘queer hybridity.’ To do so, I focus on the work by Bolivian drag collective La Familia Galán as performers in La Paz’s La Fiesta del Gran Poder as Waphuri Galán, a danza character they created in 2001. I analyse queerness in tandem with hybridity and ask what it means for a queer subject to perform in a hybrid space like the patron-saint fiesta, while navigating folkloric narratives that position gender and sexual non-normativity as a danger to tradition. I read the clashes between queerness and normativity in fiesta as meaning-making encounters that do not attain to hybridity as a post-colonial identity but instead materialize the queer remaking of a hybrid performance form. I propose different new hybrid categories that are created as a result within the fiesta logics of ritual cross-dressing, devotion, temporality and cultural heritage, but also beyond fiesta time and space. Ultimately, I argue that the construction of the character of the Waphuri Galán by La Familia Galán and the effect it has had in Bolivian folklore and LGBT politics underscore the importance of queer epistemologies as contributing and sustaining ways of knowing in fiesta hybridity and its change over time.

Об испанских влияниях на религиозную литературу униатов и православных в Речи Посполитой XVII в.: постановка проблемы

Об испанских влияниях на религиозную литературу униатов и православных в Речи Посполитой XVII в.: постановка проблемы

La España de Kahn: un viaje y una ensoñación

Louis kahn's interest in European architecture in general, and in the Spanish one particularly, is known and well documented. Yet, it was not until 1972 when the American architect visited our country. The reason was the invitation by the Barcelona Fair to participate in the Technical Conference about Construction and Urbanism, held in the Montjuich Campus from 6 to 9 June 1972. The singularity of this visit inspires to analyze in depth the Conference and his brief stay in Spain. Kahn shared the event with some of the most prominent architects at the time as kenzo Tange, James Stirling and Frei Otto. kahn gave the lecture titled Architecture and human agreement , a deep talk where he expressed his concerns about the nature of art and architecture. After that, he spent some days visiting Barcelona where David Mackay, partner of the architecture studio MBM, showed him some of his works along with Antoni Gaudi's masterpieces. Nevertheless, kahn's relationship with Spain does not end in Barcelona. His classical education, and the influence of other architects, encouraged his enthusiasm for the great examples of Spanish architecture and, especially, with Granada and Cordoba. Up to the point to prepare a specific trip to visit these two cities two years after his visit to Barcelona. Yet work problems suspended momentarily this travel and his unexpected death a few weeks later ended with this dream trip. Despite of that, the analysis of the work of kahn reveals certain Spanish influences. For example, the relation between central space of the Salk Institute for Biological Studies in La Jolla with the Court of the Myrtle of the Alhambra; or the geometrical solutions of the First Unitarian Church of Rochester or the Dominican Motherhouse in Media with the Palace of Charles V. All these relations express the interest and knowledge of kahn about f the Spanish architecture but also, the desired of trip never realized ( at least physically).

“Baptized Spanish”: Gertrude Stein and the Making of a Spaniard

Abstract As early as 1901—but especially after meeting the Spanish artist Pablo Picasso in 1905—Gertrude Stein imagined Spain as a birthplace of modernism, invoking a close American–Spanish relationship to symbolize how old traditions might be transformed into modern art. Unfortunately, the close connection between Stein and Spain has been overshadowed in literary criticism by the very categorization of Stein as chiefly an American modernist and expatriate who lived in Paris. However, the transnational trajectory of her writing career was as much American–Spanish as American–French, and the Spanish influences are much more interesting and relevant to her work. While much attention has been given to the Stein–Picasso relationship, few critics acknowledge the Spanish influence and the style that emerged thereafter—and with this, the recognition that Spain was a crucial setting of twentieth-century modernism.

Paronella Park: Music, Migration and the ‘Tropical Exotic’

The history of Paronella Park is a tale of migration from Europe to far north Queensland; underscored by the music of a diversity of cultures that weaves a rich tapestry through this narrative; set to a backdrop of tropical wilderness in the rainforest of Mena Creek, via Innisfail. Jose Paronella arrived in north Queensland, Australia from Catalonia, Spain in 1911; where he spent many years working as a cane cutter. In 1929 he bought thirteen acres of land on Mena Creek to fulfil his dream of creating a Spanish castle and tourist resort. By 1935 Paronella’s dream had become a reality, with the completed construction of Paronella Park: a Spanish castle, picnic area, ballroom, movie theatre, hydro-electric power system, tennis courts and botanical gardens. Paronella Park became the cultural hub of the Mena Creek-Innisfail area, providing entertainment in movies, dances, balls and theatre. North Queensland was a base for Allied Service personnel during World War II, so musical activities increased greatly during this time with Australian and United States soldiers frequenting Paronella Park on rest and recreation. From this heyday, Paronella Park has survived destruction by cyclones and floods, fire, years of neglect, and finally restoration of much of the property. Over the past decade, Paronella Park has won extensive tourism awards. In 2010, to commemorate Paronella Park’s 75th anniversary, the musical The Impossible Dream was written and performed in Cairns. This paper traces the musical history of Paronella Park, investigates the cultural and musical activities performed there, identifies the bands and musicians who played at Paronella Park, their musical styles and repertoire, discusses the contribution of Paronella Park to tourism in north Queensland, and evaluates the influences of Spanish culture and music on the identity of the Mena Creek community. Music and lyrics from The Impossible Dream are transcribed and analysed to correlate their musical links to entertainment at Paronella Park during the 1930s and 1940s and identify Spanish influences in the musical score. The research also evaluates the impact of The Impossible Dream on recent tourism at Paronella Park, investigates current musical entertainment at Paronella Park and its potential for future development.

Masonería, historia y memoria: la cuestión de los Orígenes

The article deals with Freemasonry and its myths of origin. It is a contribution to the new scientific history of Freemasonry developed in Latin America since the 2000, in response to the French and Spanish influences. From the best specialists of Freemasonry, of sociology of knowledge and of the history of ideologies, the origins of the two large neo-traditions available on the origins of Freemasonry (the myths of ancient origins and medieval origins) are summarized. Then, the article seeks to reflect on the ideological foundations of these neo-traditions. It polls in a preliminary way some variants and militant applications that resulted from this neo-traditions during the 20th century, glimpsing a link between the myth of the ancient origins and modern ideology of progress on the one hand, and between the myth of medieval origins and traditionalist, reactionary or conservative ideology on the other hand. At this point, the article only paves the way for a broader and more systematic study whose bases are proposed in the conclusion.

Gender Flux: Transatlantic Influence on Fashioning the Cross-dresser in American Silent Cinema

From the post-Victorian era to the enforcement of the Hays Code in 1934, European theater and film played a significant role in the temporal conditional, sociocultural acceptance of gender fluidity in the USA. My claim is that during a time period that spanned between approximately 1906 and 1934, the popularization of female/male impersonators served as a transgressive force that propelled a meaningful dialogue surrounding social tolerance. The selection of films in this article represents an attempt to narrow the vast field and introduce the strongest evidence to substantiate my assertion. Each film reveals a direct link to a European artistic tradition; all cast the cross-dresser as protagonist; costume/fashion plays a central role in characterization; and finally the narratives demonstrate a socially progressive point of view regarding the negotiation of gender roles. Through detailed film sequence readings and costume and cultural analysis, I conduct an examination of these North American pivotal silent motion pictures and their antecedent British, French, German, Italian, and Spanish artistic influences. In order to better understand the complex political climate simmering beneath the artifice of twentieth-century drag, this article will also contextualize these texts within the social crisis that erupted as a result of modernity.

The Spanish Copla in T.S. Eliot's “Landscapes”

In his “Landscapes,” T.S. Eliot experiments with the copla, a poetic meter associated with popular Spanish folksong. Related to the Latin copula, meaning “ link” or “union,” the copla often uses a localized landscape to meditate on the struggle between profane and religious love. The presence of the copla form in “Landscapes” calls us to reconsider the status of these neglected minor poems in Eliot’s oeuvre. Attending to the poems’ Spanish influences reveals Eliot’s evolving thought on the place of personal emotion on the religious path. “New Hampshire,” “Virginia,” “Usk,” “Rannoch, by Glencoe,” and “Cape Ann” can be read as a cohesive sequence beginning with personal contemplation and moving to the resignation of self, foreshadowing the religious sensibility arrived at through the Spanish mystics in Four Quartets.

필리핀 스페인 식민지 양식 바하이 나 바토(Bahay na bato)의 버내큘러 건축 특성에 관한 연구

Philippines, having the unique combination between its traditional and vernacular culture and European culture during colonization by Spain over three hundred years, shows the variations of style and scale in domestic architectures. Bahay na bato, one of the typical house of recent stone house in Philippines, has been completed referring traditional bahay kubo and Spanish stone built house, adapting vernacular principles in traditional house and new Spanish culture and life styles. Especially, vernacular for climates, earthquakes, social and cultural conditions, environment and materials in traditional bahay kubo still alive in bahay na bato mingled with spanish architectural technology and culture. This study place emphasis on the vernacular characteristics in bahay na bato by considering the climate control method in traditional house and Spanish influences on Philippines house.

Early Cinema History and the Emergence of “Filipino” Film

A Review of Cine: Spanish Influences on Early Cinema in the Philippines (2003), Quezon City: National Commission for Culture and the Arts and Film: American Influences on Philippine Cinema (2011), Mandaluyong City: Anvil Publishing, Inc.

Ejemplos de la recepción creativa de la literatura española en la literatura eslovena

Ejemplos de la recepción creativa de la literatura española en la literatura eslovena

Review

Reviewed by: An Inca Account of the Conquest of Peru Jonathan D. Steigman (bio) Titu Cusi Yupanqui. An Inca Account of the Conquest of Peru. Trans. Ralph Bauer. Boulder: UP of Colorado, 2005. ISBN 087081821X. 166 pp. With the first English translation of the account of Titu Cusi Yupanqui, English professor Ralph Bauer gives us a view of the Spanish conquest of Peru from a Native perspective. Bauer provides an excellent introduction that situates the work within its historical and cultural context. Through the introduction and copious explanatory endnotes, the reader gains a real understanding of the hybrid nature of the text, a result of the process of its composition. Titu Cusi Yupanqui was the next-to-last Native ruler of the Inca Empire. Considered by the Spanish authorities to be in a state of rebellion against the colonial government after inheriting the throne from his father, the rebellious native leader Manco Inca, Titu Cusi composes his work, a letter to the Spanish sovereign Philip II enumerating Spanish atrocities in Peru, from the jungle refuge of Vilcabamba in 1570. He tells his story in his native Quechua to the Augustinian missionary, fray Marcos García, who translated it into Spanish. It was then transcribed by Martín de Pando, Titu Cusi’s mestizo secretary, thus contributing to the hybrid nature of the work. As Bauer points out, both Andean and Spanish influences are present in the text. He notes that García exerted some influence over the composition process because “the Spanish missionary ‘ordered’ and translated it into Spanish” (12). [End Page 86] Bauer notes that the document is more than just an appeal to Philip II to take control of the situation in Peru and to put an end to Spanish abuses; it is also a subtle form of Native resistance against Spanish rule: Aware that their clubs, pikes, and slingshots were largely ineffective against the armored and mounted Spanish conquistadors, Native leaders soon learned to appropriate not only the foreigners’ use of swords, firearms, and horses but also the most powerful weapon that the invaders had brought: the written word. The text presented here tells an early chapter in the long history of Native appropriations of this European medium. (18) Titu Cusi not only appropriates the written word generally but also chooses a specific format for his appeal to the crown: the “relación” (account). Bauer tells us that this is a form of legal discourse with origins in notarial rhetoric. It is intended to present an eyewitness account within the context of a legal dispute, and it relies upon firsthand experience for its authority. The rhetorical style of the “relación” also becomes a historiographic text, in addition to a legal deposition designed to influence official policy and legislation. Titu Cusi’s approach demonstrates a profound understanding on his part of the modes of European discourse that he appropriates to pursue his goals of more a humane colonial system, providing a means by which he might return from internal exile. Bauer shows that Cusi’s work is typical of sixteenth century scholastic political philosophy, similar in style to the rhetorical contributions of Indigenous rights advocates Francisco de Vitoria y Bartolomé de las Casas. Titu Cusi’s account lends specificity to the work of las Casas, pointing out that burdens imposed by the neofeudal rulers of Peru were responsible for the decline of the Native population. Having converted to Catholicism, Titu Cusi portrays himself in a way that is similar to the rhetorical style of las Casas, as a Christian prince, the “natural” ruler of the land who is voluntarily placing himself under the authority of Philip II, according to Bauer. We also learn from Bauer’s introduction that the account is a [End Page 87] political document as well as a literary work. It is a petition from Titu Cusi to Philip II intended to initiate a negotiation process designed to end the Inca rebellion against Spanish authority. Titu Cusi’s goal is to end hostilities and gain an estate and pension for himself. His mission was ultimately unsuccessful, but his attempt at reaching accommodation with the Spanish government has left us with a document that provides...

'PULLING UP MYTHS FROM THE ROOT:' DESIGNING AND IMPLEMENTING AN ANTI-RACIST CURRICULUM ABOUT THE AFRICAN HERITAGE FOR THIRD GRADERS IN PUERTO RICO.

When defining the foundations of Puerto Rico's national culture, indigenous Taínos and Spanish influences are often referred to as the first and second roots respectively. African heritage is known as "the third root." This ranking reveals deeply entrenched racial hierarchies that position blackness as the least important or desirable element of Puerto Rican identity. This article is based on a five-year ethnographic research project that documents the impact of this racial hierarchy in the third grade classroom in order to provide educational materials to deal with the problem of racism in Puerto Rico. Here, we describe the research carried out with third graders, teachers, and parents in two elementary schools. We discuss the findings and elucidate the challenges faced in conceptualizing and designing an anti-racist intervention in one of the schools.

The influences of language of literacy instruction and vocabulary on the spelling of Spanish–English bilinguals

The relation of language of instruction and vocabulary to the English spelling of bilingual first graders receiving either English or Spanish literacy instruction and of monolinguals in English literacy instruction was explored. Only bilingual students in Spanish literacy instruction (SLI) exhibited Spanish-influenced spelling, indicating a powerful effect of language of literacy instruction. SLI without English literacy instruction (ELI) may be a prerequisite for the appearance of Spanish influences in English spelling. Spanish-influenced spelling appears to be a normal developmental phenomenon only for those bilingual first graders who have received no ELI. The students in ELI, on average, wrote more orthographically plausible English pseudowords than students in SLI, indicating that the students in SLI simply had not yet learned conventional spelling patterns in English. In addition, children with good Spanish vocabulary showed more Spanish-influenced spelling, while English vocabulary predicted more orthographically plausible English spellings. The relationship between English vocabulary and English spelling was similar for children instructed in Spanish and English. English vocabulary and literacy instruction both made unique, positive contributions to English pseudoword␣spelling, while Spanish literacy instruction played a more important role than Spanish vocabulary in the production of Spanish-influenced spelling in English.

Cine: Spanish Influences on Early Cinema in the Philippines

Cine: Spanish Influences on Early Cinema in the Philippines

Tamales or Timbales: Cuisine and the Formation of Mexican National Identity, 1821–1911

Mexican writers of the twentieth century have often imagined cuisine to be a symbol of their national identity, a mestizo blend of Native American and Spanish influences. Salvador Novo, for example, a member of theAcademia Mexicana de la Lenguaand official chronicler of Mexico City, traced the beginnings ofmestizajeto the “happy encounter” between corn tortillas and pork sausage that produced the first taco. The most common culinary metaphor for the Mexican nation wasmole poblano(turkey in deep-brown sauce). Authors in the 1920s began attributing the origins of this dish to the convents of colonial Puebla, and in particular to Sor Andrea de la Asunción of the Dominican Santa Rosa cloister. About 1680 she supposedly combined seasonings from the Old World with chile peppers from the New in honor of Viceroy Tomás Antonio de la Cerda y Aragón.Molethus represented Mexico’s “cosmic race,” created by divine inspiration and served up for the approval of the Spanish crown.

Geoffrey Hill's ‘the Pentecost Castle’, with special reference to Spanish influences

Geoffrey Hill's ‘the Pentecost Castle’, with special reference to Spanish influences

Benedetto Croce's Changing Attitude toward the Relevance of Spanish Influences in Italy

Benedetto Croce's Changing Attitude toward the Relevance of Spanish Influences in Italy