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Originally published in 1940 as the first part of a two-volume study, this book examines the Romantic Movement in Spain from its roots in the Spanish Golden Age during the sixteenth and seventeenth centuries, to the Romantic revival in the nineteenth century and the ensuing conflict between Classicists and Romanticists, which abated after 1837. Peers looks at key texts in the history of the Romantic style, as well as external influences on Spanish style in this period of literary upheaval. This book will be of value to anyone with an interest in the history of Spanish literature or the Romantic Period.
Although studies of Modernism have focused largely on European nations, Spain has been conspicuously neglected. As Carol A. Hess argues in this compelling book, such neglect is wholly undeserved. Through composer Manuel de Falla (1876-1946), Hess explores the advent of Modernism in Spain in relation to political and cultural tensions prior to the Spanish Civil War. The result is a fresh view of the musical life of Spain that departs from traditional approaches to the subject and reveals an open and constantly evolving aesthetic climate.
In this book, Faber assesses the long-term impact of the Spanish Civil War on Hispanic Studies as an academic field in the United States and Great Britain. Combining institutional history with biography, the book gives a compelling account of the dilemmas that the war posed for four Hispanists who turned their love of Spain into their life's work.
This work brings together the study of political and literary thought in response to revolution in order to present an alternative view of the strength of liberalism generally and progressivism in particular. It re-examines the achievements of progressive thought about politics, history, nationhood, and literature, investigating the basis of the philosophical dispute between Conservative and left Liberals. The strong presence of progressive thought in Spain is affirmed. The study also underlines the importance for literary historians of understanding more sympathetically the contribution of Conservative Liberal thought to a recognizable Liberal Romanticism.
Besides an Introduction, Bibliography and "Centenary Reappraisal", eighteen original articles by respected Hispanists from Britain, Spain and the United States have been collected in this homage volume. A high proportion of articles reflect Peers’ major interests in mysticism and the Romantic Movement. Part I, From the Middle Ages to the Siglo de Oro, includes essays that deal with Francisco de Osuna’s "higher memory", the "Dark Night" of San Juan de la Cruz, Judaeo-Islamic traditions in Luis de León and Miguel de Molinos’ Spiritual Guide. Part II, From the Dawn of Romanticism to the Twentieth Century, contains articles concerned with writers, works or themes as: Sánchez’s Colección and Percy’s Reliques, Rivas and tragedy, El moro expósito, Gustavo Adolfo Bécquer, Victor Hugo and "La Nonne sanglante". An article, dealing comparatively with Goytisolo and Zorrilla, which provides "A Missing Link in the Dis-affiliation of a Post-Romantic Expatriate in Revolt?" aptly concludes the volume.
Nonfictional Romantic Prose: Expanding Borders surveys a broad range of expository, polemical, and analytical literary forms that came into prominence during the last two decades of the eighteenth century and the first half of the nineteenth. They stand in contrast to better-known romantic fiction in that they endeavor to address the world of daily, empirical experience rather than that of more explicitly self-referential, fanciful creation. Among them are genres that have since the nineteenth century come to characterize many aspects of modern life like the periodical or the psychological case study; others flourished and enjoyed wide-spread popularity during the nineteenth century but are much less well-known today like the almanac and the diary. Travel narratives, pamphlets, religious and theological texts, familiar essays, autobiographies, literary-critical and philosophical studies, and discussions of the visual arts and music all had deep historical roots when appropriated by romantic writers but prospered in their hands and assumed distinctive contours indicative of the breadth of romantic thought. SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
From Napoleon's invasion of Portugal in 1807 to his final defeat at Waterloo, the English theatres played a crucial role in the mediation of the Peninsular campaign. In the first in-depth study of English theatre during the Peninsular War, Susan Valladares contextualizes the theatrical treatment of the war within the larger political and ideological axes of Romantic performance. Exploring the role of spectacle in the mediation of war and the links between theatrical productions and print culture, she argues that the popularity of theatre-going and the improvisation and topicality unique to dramatic performance make the theatre an ideal lens for studying the construction of the Peninsular War in the public domain. Without simplifying the complex issues involved in the study of citizenship, communal identities, and ideological investments, Valladares recovers a wartime theatre that helped celebrate military engagements, reform political sympathies, and register the public’s complex relationship with Britain’s military campaign in the Iberian Peninsula. From its nuanced reading of Richard Brinsley Sheridan's Pizarro (1799), to its accounts of wartime productions of Shakespeare, description of performances at the minor theatres, and detailed case study of dramatic culture in Bristol, Valladares’s book reveals how theatrical entertainments reflected and helped shape public feeling on the Peninsular campaign.
The Late Romantic Era treats the period bounded by the 1848 revolutions and the outbreak of World War I. It examines several musical dimensions of the bourgeois cultural ascendancy of the second half of the 19th century - the growth of independent institutions of music-making, the consolidation of a standard classical repertory and the emergence of increasingly specific repertories of popular music, professional and amateur. Single chapters on particular countries or regions are framed by pairs of chapters on Vienna, Paris and the German cities. In an opening chapter Dr Samson places the later geographical surveys within a thematic context which embraces social and economic change, political ideology and the climate of ideas.