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The book gathers the work of two eminent writers with a view to making a window on Spain and Latin America as they were at the beginning of the Twentieth Century. These were two very different writers; but they knew and admired each other's writing. The Nicaraguan was a little older (born in 1967, while A.M. was born in 1875), and since he got an early start as a writer, his work was available to Machado. They belong together partly because they are so very different--together they give an idea of what was happening in the literary and intellectual worlds of Spain and Latin America. Included here are "Colloquy of the Centaurs" and "Epistle", two long poems by Daro; and "The Land of Alvargonzalez", by Machado, perhaps his best known work, and his longest in the poetic form. The translations are from Spanish into English free verse, which is rather nicely adapted to this purpose, being noticeably not prose, yet not heavily burdened with prosodic enterprises. The attempt is to offer some good things by these authors, thus encouraging readers to take up the originals, which are very nice, very nice.
This book explores the reasons behind the many failed attempts to build stable democracies in Latin America.
A long overdue examination of Rubén Darío's multilingual work and influences alongside the contexts and politics of canonization in world literature. Rediscovering Rubén Darío through Translation addresses the peculiar obscurity of Darío by asking these questions: How can one of the most important writers of a major world language be almost entirely unknown in the English-speaking world? How is it that other writers of the same language (e.g., Lorca or García Márquez) achieve widespread recognition in the anglophone world, while he remains unnoticed? What role does translation play in this? What can it tell us about the way in which world literature is articulated? Carlos F. Grigsby approaches Darío's oeuvre through translation. In doing so, he explores not only the place of Darío in the translation of Spanish American literature into English, but also the place of translation in Darío's own writing. The result is a double-sided painting, as it were: the recto is titled “Translation in Darío” and the verso “Darío in Translation.” This book challenges the field of world literature by revealing some of the biases present in its representation of Spanish American literature. It adopts a multilingual framework – chiefly using English, Spanish, French, and to a lesser degree Latin and Catalan – in analyzing Darío's writing alongside that of his contemporaries. As a result, it reveals the multilingualism of Darío's own writing, opening new avenues for the study of his work and of Spanish American modernismo more generally.
Arturo J.Cruz, Jr argues that political learning, trust-building, and institutional innovation by political elites broke Nicaragua's post-colonial cycle of anarchy and petty despotism, leaving in its place an increasingly inclusive oligarchic democracy that made possible state-led economic development for the next thirty years. Subsequent economic development gave rise to new social groups and localist power centres that remained politically disparate, and in turn forged an outsiders' coalition to bring down the Republic.
The book tells the story of an investigator whose views change dramatically as his knowledge of Spain quite dramatically grows in the course of a few years. He comes under the influence of the Catholic Church, very directly, as an experience that repeats itself in certain holy Spanish places. This is a personal reaction. But it is a religious reaction. He accepts it as such. He comes to a better sense of the Royalist tradition in both politics and living, he feels the strength of it in Spain, and its usefulness in the day-to-day of the country. Above all, he comes to realize the beautiful way the Spanish miracle is conducting itself. The Republican Cause is everywhere triumphant. There's a new Democracy out there. As peacetime flowers, Spain is flowering. in a democracy of an ideal type. There is a benevolent king. The old country has decreed some novelty in old vessels and fabrics still stained with the blood of savage conflict, and ventured into the domain of the New, as well. The investigator plunges into all this strangeness, and is charmed by what he finds. In this book, the study of poets is in collaboration with the doings of a Participant Observer as in Cultural Anthropology. At all times a true report is attempted, and editing has been drastically limited, mostly to correcting obvious solecisms or mis-steps. The principal bias will be noticeable to any reader, it is a love of Spain and of the Spanish language and of some Spanish people. The book tells a story--but the author of the book is not the author of the story. That comes from the way things are, in Soria and Baeza, in Seu de Orgell and Madrid, in the mountains and on the plains, and in the language left behind by the genius of this wonderful people