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In Spanish Books in the Europe of the Enlightenment (Paris and London) Nicolás Bas examines the image of Spain in eighteenth-century Europe, and in Paris and London in particular. His material has been scoured from an exhaustive interrogation of the records of the book trade. He refers to booksellers’ catalogues, private collections, auctions, and other sources of information in order to reconstruct the country’s cultural image. Rarely have these sources been searched for Spanish books, and never have they been as exhaustively exploited as they are in Bas’ book. Both England and France were conversant with some very negative ideas about Spain. The Black Legend, dating back to the sixteenth century, condemned Spain as repressive and priest-ridden. Bas shows however, that an alternative, more sympathetic, vision ran parallel with these negative views. His bibliographical approach brings to light the Spanish books that were bought, sold and ultimately read. The impression thus obtained is likely to help us understand not only Spain’s past, but also something of its present.
In mid seventeenth-century Venice, opera first emerged from courts and private drawing rooms to become a form of public entertainment. Early commercial operas were elaborate spectacles, featuring ornate costumes and set design along with dancing and music. As ambitious works of theater, these productions required not only significant financial backing, but also strong managers to oversee several months of rehearsals and performances. These impresarios were responsible for every facet of production from contracting the cast to balancing the books at season's end. The systems they created still survive, in part, today. Inventing the Business of Opera explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios established Venice as the operatic capital of Europe. Drawing on extensive new documentation, the book studies all of the components necessary to opera production, from the financial backing of various populations of Venice, to the commissioning and creation of the libretto and the score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes, and, the nature of the audience; and, finally, the issue of patronage. Throughout the book, the problems faced by impresarios come into new focus. The authors chronicle the progress of Marco Faustini, the impresario most well known today, who made his way from one of Venice's smallest theaters to one of the largest. His companies provide the most personal view of an impresario and his partners, who ranged from Venetian nobles to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception. The authors examine the challenges faced by four separate Venetian theaters during the seventeenth century: San Cassiano, the first opera theater, the Novissimo, the small Sant'Aponal, and San Luca, established in 1660. Only two of them would survive past the 1650s. Through close examination of an extraordinary cache of documents--including personal papers, account books, and correspondence -- Beth and Jonathan Glixon provide a comprehensive view of opera production in mid-seventeenth century Venice. For the first time in a study of opera, an emphasis is placed on the physical production -- the scenery, costumes, and stage machinery -- that tied these opera productions to the social and economic life of the city. This original and meticulously researched study will be of strong interest to all students of opera and its history.
Runner-up for the 2017-18 AHGBI-Spanish Embassy Publication Prize This book examines how anxieties about colonial power and national identity are reflected in Spanish literature, journalism, and photography of Moroccan Muslim and Jewish cultures during the Spanish colonisation of Northern Morocco from 1909 to 1927. This understudied period, known as the Rif War, is highly significant because of its role in shaping the identities that came into conflict in the Spanish Civil War (1936-39). Furthermore, the book makes a key contribution to Spanish colonial studies by offering a comparative analysis of Spanish representations of the Iberian Peninsula's cultural and historical relationship with Moroccan Muslims and Jews in this context, showing how conflicting visions of Spanish identity are portrayed through and in relation to them.
"The Star of Seville" is frequently cited as the best example of the Spanish honor play, a form popular during that country's Golden Age of drama and related to similar productions in France and England during the sixteenth and seventeenth centuries. Sancho IV, king of Castile, is delighted with his welcome to Seville, and he is especially charmed by a black-haired beauty he catches sight of on a balcony. The alcaldes of the city identify her as Estrella Tabera, the Star of Seville. King Sancho whispers orders to his confidant, Arias, telling him to arrange for the monarch to visit Estrella the next evening. He also sends for Estrella's brother, Don Bustos Tabera, in the hope of winning his agreement to the royal suit.Félix Lope de Vega y Carpio (25 November 1562 – 27 August 1635) was a Spanish playwright and poet. He was one of the key figures in the Spanish Golden Century of Baroque literature. His reputation in the world of Spanish literature is second only to that of Cervantes, while the sheer volume of his literary output is unequalled, making him one of the most prolific authors in the history of literature.
Unraveling the Voynich Codex reviews the historical, botanical, zoological, and iconographic evidence related to the Voynich Codex, one of the most enigmatic historic texts of all time. The bizarre Voynich Codex has often been referred to as the most mysterious book in the world. Discovered in an Italian Catholic college in 1912 by a Polish book dealer Wilfrid Voynich, it was eventually bequeathed to the Beinecke Rare Book and Manuscript Library of Yale University. It contains symbolic language that has defied translation by eminent cryptologists. The codex is encyclopedic in scope and contains sections known as herbal, pharmaceutical, balenological (nude nymphs bathing in pools), astrological, cosmological and a final section of text that may be prescriptions but could be poetry or incantations. Because the vellum has been carbon dated to the early 15th century and the manuscript was known to be in the collection of Emperor Rudolf II of the Holy Roman Empire sometime between 1607 and 1622, current dogma had assumed it a European manuscript of the 15th century. However, based on identification of New World plants, animals, a mineral, as well as cities and volcanos of Central Mexico, the authors of this book reveal that the codex is clearly a document of colonial New Spain. Furthermore, the illustrator and author are identified as native to Mesoamerica based on a name and ligated initials in the first botanical illustration. This breakthrough in Voynich studies indicates that the failure to decipher the manuscript has been the result of a basic misinterpretation of its origin in time and place. Tentative assignment of the Voynichese symbols also provides a key to decipherment based on Mesoamerican languages. A document from this time, free from filter or censor from either Spanish or Inquisitorial authorities has major importance in our understanding of life in 16th century Mexico. Publisher's Note: For the eBook editions, Voynichese symbols are only rendered properly in the PDF format.
Covers 1,200 authors from 1870 to the present; general articles on each of the literatures, including Catalan, Icelandic, Flemish, and Turkish; and recent intellectual and cultural trends.