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This volume contains thirty-four original research-articles, dealing with varied themes, authors, periods and preoccupations in Hispanic literature, society and culture: More's Utopia and an early Spanish translation, Lope de Vega and Shakespeare, Calderon, Cervantes, Cafes in fortunata y Jacinta, Unamuno, Machado, Baroja and the modernist aesthetic, realism in the post war novel, death and resurrection in Lorca, play into film, Juan Ramon Jimenez, language and cultural identity, reading Valente, Salvador Espriu and Narcis Oller, Eca de Queiroz, Jose Regio and Peruvian poet-novelists.
This volume contains thirty-four original research-articles, dealing with varied themes, authors, periods and preoccupations in Hispanic literature, society and culture: More's Utopia and an early Spanish translation, Lope de Vega and Shakespeare, Calderon, Cervantes, Cafes in fortunata y Jacinta, Unamuno, Machado, Baroja and the modernist aesthetic, realism in the post war novel, death and resurrection in Lorca, play into film, Juan Ramon Jimenez, language and cultural identity, reading Valente, Salvador Espriu and Narcis Oller, Eca de Queiroz, Jose Regio and Peruvian poet-novelists.
Between 1881 and 1897, Benito P rez Gald s, generally acknowledged as Spain's greatest nineteenth-century novelist, composed some twenty "contemporary" novels, which Geoffrey Ribbans characterizes as the peak of his achievement. This monumental study traces the evolution of the many strands that make up one of them: the long and complex novel Fortunata y Jacinta. Ribbans examines the various stages of composition, not only the earlier, reconstructed Alpha version but also subsequent revisions in the much corrected handwritten text and in the printer's galleys. He treats these tentative drafts as part of the process of reaching out toward the coherent definitive text. Ribbans's analysis of such devices as the ambiguous role of the narrator, the use of free indirect style and direct dialogue, and the construction of distinctive ideolects leads to the heart of his study, the development of Gald s's characters.
This volume offers a detailed chronological account of the history of Spanish cinema.
Published in honour of one of the most renowned scholars in the field of Late Medieval Literature in Spain, this book aims to bring together 19 original contributions from some of the leading international academics. It is suitable for those studying the vein of Spanish literature.
Mist (Niebla), published in 1914, is one of Miguel de Unamuno's key works; a truly Modernist work of Europe-wide significance which aims to shatter the conventions of fiction, using the novel as a vehicle for exploration of philosophical themes. The plot revolves around the character of Augusto, a wealthy, intellectual and introverted young man and his love affair with Eugenia, which eventually ends in heartbreak. Augusto decides to kill himself, but decides that he needs to consult Unamuno himself, who had written an article on suicide which Augusto had read. When Augusto speaks with Unamuno, the truth is revealed that Augusto is actually a fictional character whom Unamuno has created. Augusto is not real, Unamuno explains, and for that reason cannot kill himself. Augusto asserts that he exists, even though he acknowledges internally that he doesn't, and threatens Unamuno by telling him that he is not the ultimate author. Augusto reminds Unamuno that he might be just one of God's dreams. Augusto dies and the book ends with the author himself debating to himself about bringing back the character of Augusto. He establishes, however, that this would not be feasible. Following on from his translation of Abel Sanchez , John Macklin's edition provides a much needed new English translation, alongside the Spanish text, together with a substantial introduction.
Spanish cinema is emerging as one of the most exciting, fascinating, and special cinemas in the world. Not only are others viewing Spanish films, but they are adopting Spanish producers and Spanish actors as their own. While Spanish cinema has been maturing for a long time and has been producing excellent directors, actors, and films for decades_including during the dark times of the Franco regime_only now is it winning numerous fans not only at home but also abroad. And with directors like Pedro Almod-var, actors and actresses like Javier Bardem and PenZlope Cruz, and films such as Abre los ojos and Alatriste to build upon, the outlook for Spanish Cinema appears brighter than ever. The Historical Dictionary of Spanish Cinema provides a better understanding of the role Spanish cinema has played in film history through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced dictionary entries on producers, directors, film companies, actors, and films.