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The first in-depth study of banda, a Mexican and Mexican American musical practice.
“We, the Barbarians” embarks on a careful and exhaustive reading of three of the most prominent authors in the latest wave of Mexican fiction: Yuri Herrera, Fernanda Melchor, and Valeria Luiselli. Originally published in Mexico in 2021, this work is divided into three parts, one for each author’s narrative production. The book analyzes all of the literary works published by Herrera, Melchor, and Luiselli from the beginning of their writing careers until 2021, allowing for a diachronic interpretation of their respective narrative projects as well as for comparative approaches to their aesthetic and ideological contours. Characterized by the fragmentation of civil society and the decomposition of the myths that accompanied the consolidation of the modern nation, Mexican visual and literary arts have explored a myriad of representational avenues to approach the phenomena of violence, institutional decay, and political instability. The critical and theoretical approaches in “We, the Barbarians” explore a variety of alternative symbolic representations of topics such as nationalism, community, and affect in times impacted by systemic violence, precariousness, and radical inequality. Moraña perceives the negotiations between regional/local imaginaries and global scenarios characterized by the devaluation and resignification of life, both at individual and collective levels. Though it uses three authors as its focus, this book seeks to more broadly theorize the question of the relationship between literature and the social in the twenty-first century.
First book in English to offer a thorough introduction to key concepts and figures in Spanish feminist thought. Major Concepts in Spanish Feminist Theory is the first book in English to offer a substantial overview of Spanish feminist thought. It focuses on six concepts—solitude, personality, social class, work, difference, and equality—and distinguishes Spanish feminist theory from that of other countries. Roberta Johnson employs a chronological format to highlight continuity and polemics in Spanish feminist thinking from the eighteenth century to the present. She brings together arguments from well-known names such as Benito Jerónimo Feijoo, Concepción Arenal, Emilia Pardo Bazán, María Martínez Sierra, Carmen de Burgos, and Carmen Laforet, as well as less familiar figures such as the Countess Campo Alange María Laffitte and Lilí Álvarez, who defied restrictions on feminist activity during the Franco dictatorship to publish feminist books. The topics of difference and equality are explored, and the book recounts the long tension between theorists of each persuasion—a tension that erupted publicly during Spain’s democratic era. Each theorist’s arguments are laid out in straightforward, non-jargonistic prose, making this book a useful classroom tool for courses on Spanish women writers, Spanish culture, and cross-cultural feminist studies. “This book is a significant overview of the theoretical concepts and authors that make up the history of Spanish feminism from the eighteenth century to the present. The organization of the book around concepts is not only its great strength but is also refreshing—a novel approach to a chronological history of Spanish feminism.” — Alda Blanco, San Diego State University
The first collection to bring together well-known scholars writing from feminist perspectives within Critical Discourse Analysis. The theoretical structure of CDA is illustrated with empirical research from a range of locations (from Europe to Asia; the USA to Australasia) and domains (from parliament to the classroom; the media to the workplace).
La Leyenda de la Rosa Blanca Lo cual en mis versos los colores de flores, rojas amarillas O' sean blancas lilas, rosadas, azules como hijo de el arcoíris que pinta en lienzos al amor. Una rosa roja: El corazón del Enamorado Una rosa rosada: El amor de color rosado de la Vida Una rosa amarilla: El sol radiante que alumbra el Existir Una rosa azul: El cielo en su esplendor de Belleza Una rosa blanca: La entrega del remansó de Paz Lo cual les digo en mis versos que pétalos de amoríos, los colmen de la aroma del amor El Pensador
El objetivo de Estereotipos de género en el trabajo es aportar respuestas a la pregunta de por qué no hay igualdad de género en el ámbito laboral, teniendo también en cuenta que la educación secundaria y postsecundaria de las mujeres es igual a la de los hombres. Más específicamente, el objetivo de M. Àngels Viladot y Melanie C. Steffens ha sido analizar los factores y mecanismos que conducen a la discriminación de las mujeres en lo referente a sus carreras profesionales. Las autoras cubren magistralmente los aspectos y enfoques más importantes de la investigación en esta área desde la perspectiva de la psicología social. Concluyen con una metáfora de «la mujer corredora de carreras de obstáculos», una lucha en la que una mujer tiene que superar muchos escollos para tener éxito.
A pesar de los temores que constantemente acechan su mente, el padre Alberto es un empedernido amante de las faldas que se traza la meta de tres mil mujeres por saciar con su inagotable vigor. Juana Morales proviene del inmenso mundo de nosotros los pobres y para alcanzar el éxito pronosticado por su abuela, la anciana que comía tierra, debe recorrer caminos tormentosos. El dulce encanto del infierno es el espejo de un mundillo complejo permeado por paramilitares, guerrilla, dirigentes nocivos, políticos corruptos y una Iglesia llamada a cambios estructurales so pena de desaparecer. Dos de las amantes del padre Alberto, gemelas incluso en sus gustos varoniles, son secuestradas por orden de la otra mujer en el triángulo amoroso del religioso. Allí comienza la historia... El infierno poco a poco se irá consolidando.
A New History of Iberian Feminisms is both a chronological history and an analytical discussion of feminist thought in the Iberian Peninsula, including Portugal, and the territories of Spain - the Basque Provinces, Catalonia, and Galicia - from the eighteenth century to the present day. The Iberian Peninsula encompasses a dynamic and fraught history of feminism that had to contend with entrenched tradition and a dominant Catholic Church. Editors Silvia Bermúdez and Roberta Johnson and their contributors reveal the long and historical struggles of women living within various parts of the Iberian Peninsula to achieve full citizenship. A New History of Iberian Feminisms comprises a great deal of new scholarship, including nineteenth-century essays written by women on the topic of equality. By addressing these lost texts of feminist thought, Bermúdez, Johnson, and their contributors reveal that female equality, considered a dormant topic in the early nineteenth century, was very much part of the political conversation, and helped to launch the new feminist wave in the second half of the century.
Silvia Roig explores the narrative of Aurora Bertrana (1892-1974), an unknown writer today, but a successful and recognized female author in Catalonia and Spain during the 20th century. Aurora Bertrana's works are almost never mentioned in manuals of literature. Her rich, intellectual work has not received the attention it deserves, relegated almost to absolute oblivion. The author reviews and studies twenty-four of Bertrana's novels written in Catalan andSpanish, including: Ariatea (1960), El pomell de les violes (MS), L'inefable Philip (MS), La aldea sin hombres (mn.), La madrecita de los cerdos (MS), Entre dos silencis (1958), La ninfa d'argila (1959), Fracàs (1966) and La ciutat dels joves: reportatge fantasia (1971). She studies her work, published and unpublished, from a feminist approach, taking into account the intellectual history of Spain and Catalonia. Bertana's strong commitment to social issues reveals her association with the Modernist and Noucentists trends of her time. Bertrana's novels reveal a unique interest in non-Western cultures and lifestyles and her work undertakes controversial topics and socio-cultural issues, while she observes and draws special attention to the situation of women in different circumstances and cultural geographies. This book is therefore anchored on interpretive and theoretical parameters that intersect with consideration of gender, such as travel-and-gender and war-and-gender. Roig uses the work of feminists such as Simone De Beauvoir, Shulamith Firestone, Jelke Boesten, Margaret and Patrice Higonnet, Michelle Zimbalist Rosaldo and Julia Kristeva to help assess Bertrana's engagement with gender and socio-political issues. This approach is particularly well suited for a writer like Bertrana, a Catalan and Republican intellectual woman forced into self-exile during the Spanish Civil War and the dictatorship of Francisco Franco. Silvia Roig is a Faculty Member, BMCC Department of Modern Languages, The City University of New York.
In post-Franco Spain, a re-shaping of notions of the masculine has been under way for some time. The authors of "Live Flesh" demonstrate how contemporary Spanish films, during this modern period, have contributed to this process. They do so by visualizing the ways in which Spanish men have been abandoning old self images and adopting new ones, and they explain and explore the complexity and diversity of these fresh cinematic creations of masculine identities. The book's point of focus is Spanish films of the democratic period, both popular and auteur, made by directors of national and international prominence, such as Pedro Almodovar, Alejandro Amenabar, Bigas Luna or Julio Medem, as well as films featuring acclaimed actors who have contributed to the construction of contemporary ideas of the masculine in their country, including Antonio Banderas and Javier Bardem. Using a fresh theoretical framework, embracing queer and feminist theory and concepts of nation, race and class, each chapter examines key films that represent the male body, highlighting notable elements - young, muscular, homosexual, (dis)abled, foreign and so on - and goes on to focus on recent case studies from the early 1990s to the present. An increasingly transnational Spanish cinema is a most promising field in which to explore questions of how male bodies are represented - and mediated - in film. "Live Flesh" more than fulfils this promise and goes further, to reveal how these representations have intervened in the Spanish cultural imagination.