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El Barroco ha experimentado una naturalización, no solo como arte y estilo, sino como una forma de vivir la unidad-diversidad del mundo. Este proceso de naturalización prolonga el Barroco y lo recrea más allá de la Contrarreforma. De nuevo, el Barroco histórico se anuncia, de manera profética y sorprendente, con los conflictos actuales del mundo. Para mostrar la permanencia del Barroco en la literatura hispanoamericana actual, nos parece necesario recorrer el Barroco literario español desde su contexto histórico, social y cultural y de ahí mostrar la evolución de este, su rechazo por casi tres siglos y su revaloración progresiva en el siglo XX. Para ello, hemos seleccionado tres autores: Alejo Carpentier, José Lezama Lima y Severo Sarduy como exponentes de la evolución de las influencias barrocas de la Contrarreforma y el absolutismo en las nuevas tendencias en la literatura hispanoamericana. De igual forma, nos ha parecido necesario ilustrar esos valores y temas expresados en sus estudios críticos con una obra clave de su trabajo de ficción. Estas visiones se hacen patentes en novelas como Concierto barroco de Carpentier, Paradiso de José Lezama Lima y Cobra de Severo Sarduy. Finalmente, en el último capítulo “Discurso barrocos latinoamericanos actuales” se muestra la tendencia contemporánea hacia una modernidad barroca relacionada con las nuevas teorías sobre la imagen y la visión.
This collection offers for the first time criticism, biographical essays, analysis, translation studies, and reminiscences of Ezra Pound’s extensive interaction with Spain and Spanish culture, from his earliest visits to Spain in 1902 and 1906 and his study of significant Spanish writers to the dedication of the first monument erected anywhere to Pound in the small Spanish village of Medinaceli in 1973. Divided into two sections, Part One: “ON EZRA POUND AND THE SPANISH WORLD” includes a general introduction on Pound’s lifelong involvement with Spain, together with chapters on Pound’s study of classical Spanish literature, the Spanish dimension in The Cantos, Pound’s contemporary Spanish connections, and his legacy in contemporary Spanish letters. Part Two: “EZRA POUND AND THE SPANISH WORLD: A READER,” then gathers for the first time Pound’s own writings (postcards, letters, and essays) concerning Spain and Spanish writers, as well as his correspondence with Spanish poets Miguel de Unamuno and Juan Ramón Jiménez and with José Vázquez Amaral, the first Spanish translator of The Cantos in its entirety. The volume includes reminiscences by Spanish Novísimos poets, Antonio Colinas and Jaime Siles, written explicitly for this collection. Besides providing a thorough exploration into Pound’s engagement with Spain, this volume pays homage to Pound’s considerable influence on Spanish culture.
A Deleuzian reading of Whitehead and a Whiteheadian reading of Deleuze open the possibility of a critical aesthetics of contemporary culture. In Without Criteria, Steven Shaviro proposes and explores a philosophical fantasy: imagine a world in which Alfred North Whitehead takes the place of Martin Heidegger. What if Whitehead, instead of Heidegger, had set the agenda for postmodern thought? Heidegger asks, “Why is there something, rather than nothing?” Whitehead asks, “How is it that there is always something new?” In a world where everything from popular music to DNA is being sampled and recombined, argues Shaviro, Whitehead's question is the truly urgent one. Without Criteria is Shaviro's experiment in rethinking postmodern theory, especially the theory of aesthetics, from a point of view that hearkens back to Whitehead rather than Heidegger. In working through the ideas of Whitehead and Deleuze, Shaviro also appeals to Kant, arguing that certain aspects of Kant's thought pave the way for the philosophical “constructivism” embraced by both Whitehead and Deleuze. Kant, Whitehead, and Deleuze are not commonly grouped together, but the juxtaposition of them in Without Criteria helps to shed light on a variety of issues that are of concern to contemporary art and media practices.
Esta colección de estudios críticos se ha compilado con el propósito de revalorar al genial comediógrafo del siglo XVII, Luis Vélez de Guevara (1579-1644), y, posiblemente, restablecerlo como figura de importancia en la historia del teatro español.
Ibero-American Letters in a Comparative Perspective is an analysis of various aspects of Ibero-American letters and comprises of the proceedings of the Tenth Annual Comparative Literature Symposium held on 26 to 28 January 1977.
Vols. for 1969- include ACTFL annual bibliography of books and articles on pedagogy in foreign languages 1969-
Analyzes the evolution of contemporary art in Chile from 1973 to 2007. This edition reproduces more than 500 color images of works by 74 contemporary artists (selected by editor Mosquera) including names such as: Juan Downey, Carlos Arias, (Santiago, Chile, 1964); Juan Castillo, (Antofagasta, 1952); Eugenio Dittborn, (Santiago, Chile, 1943); Paz Errzuriz, (Santiago, Chile, 1944); Volupsa Jarpa, (Rancagua, 1971); Carlos Leppe, (Santiago, Chile, 1952); and Carolina Ruff, (Santiago, Chile, 1973), as well as younger generation artists. The artists are presented in alphabetical order with brief introductory texts. Each reproduced work is rigorously documented with a caption that, in addition to providing the technical data offers the reader a description of the work for better comprehension. Six essays by noted critics and art historians: Guillermo Machuca, Mar̕a Berr̕os, Justo Pastor Mellado, Catalina Mena, Nelly Richard y Adriana V̀lads (description provided by vendor).