Download Free Painting And The Turn To Cultural Modernity In Spain Book in PDF and EPUB Free Download. You can read online Painting And The Turn To Cultural Modernity In Spain and write the review.

Cultural modernity has habitually been defined as a focus on the means of representation themselves, as opposed to art that imitates external reality or expresses its maker's inner life. The crucial moment is usually considered the emergence of Edouard Manet in mid-nineteenth-century France, and the features of French developments have been seen as defining terms in the theory of modernity. However, recent art and cultural history have often spoken of plural modernities, distinct from the pattern set in France. For the first time, this study in cultural history explores how Spanish culture took a radical turn toward the medium of representation itself in the 1850s and early 1860s. It argues that this happened in a way that is critically at odds with many fundamental theoretical suppositions about modernity.
Explores how definitions of Spanish modernisms from 1874 to 1923 were dependent upon the concepts of degeneration and regeneration. Analyzes the relation between these concepts by examining representations of the body in specific spaces.
Pascual de Gayangos (1809-97) celebrated Spanish Orientalist and polymath, is recognised as the father of the modern school of Arabic studies in Spain. He gave Islamic Spain its own voice, for the first time representing Spain's 'other' from 'within' not from without. This collection, the first major study of Gayangos, celebrates the 200th anniversary of his birth.Covering a wide range of subjects, it reflects the multiple fields in which Gayangos was involved: scholarship on the culture of Islamic and Christian Spain; history, literature, art; conservation and preservation of national heritage; formation of archives and collections; education; tourism; diplomacy and politics. Amalgamating and understanding Gayangos's multiple identities, it reinstates his importance for cultural life in nineteenth-century Spain, Britain and North America.It is also argued that Gayangos's scholarly achievements and his influence have a political dimension. His work must be seen in relation to the quest for a national identity which marked the nineteenth century: what was the significance of Spain's Islamic past, and the Imperial Golden Age to the culture of modern Spain? The chapters, informed by post-colonial theory, reception theory and theories of national identity, uncover some of the complexities of the process that shaped Spain's national identity. In the course of this book, Gayangos is shown to be a figure with many facets and several intellectual lives: Arabist, historian, liberal, researcher, editor, numismatist, traveller, translator, diplomat, perhaps a spy, a generous collaborator and one of Spain's greatest bibliophiles.
"A Comparative History of Literatures in the Iberian Peninsula" is the second comparative history of a new subseries with a regional focus, published by the Coordinating Committee of the International Comparative Literature Association. As its predecessor for East-Central Europe, this two-volume history distances itself from traditional histories built around periods and movements, and explores, from a comparative viewpoint, a space considered to be a powerful symbol of inter-literary relations. Both the geographical pertinence and its symbolic condition are obviously discussed, when not even contested.Written by an international team of researchers who are specialists in the field, this history is the first attempt at applying a comparative approach to the plurilingual and multicultural literatures in the Iberian Peninsula. The aim of comprehensiveness is abandoned in favor of a diverse and extensive array of key issues for a comparative agenda."A Comparative History of Literatures in the Iberian Peninsula" undermines the primacy claimed for national and linguistic boundaries, and provides a geo-cultural account of literary inter-systems which cannot otherwise be explained.
A Missionary Nation focuses on Spain's crusade to resurrect its empire, beginning with the War of Africa.
This second volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in British, American and Continental European culture, from the Romantic period through to the Victorian fin de siècle. Here, leading scholars in the fields of literature, theatre, architecture and the history of science and popular entertainment explore the Gothic in its numerous interdisciplinary forms and guises, as well as across a range of different international contexts. As much a cultural history of the Gothic in this period as an account of the ways in which the Gothic mode has participated in the formative historical events of modernity, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From Romanticism, to Penny Bloods, Dickens and even the railway system, the volume provides a compelling and comprehensive study of nineteenth-century Gothic culture.
Madrid on the move illustrates print culture and the urban experience in nineteenth-century Spain. It provides a fresh account of modernity by looking beyond its canonical texts, artworks, and locations and explores what being modern meant to people in their daily lives. Rather than shifting the loci of modernity from Paris or London to Madrid, this book decentres the concept and explains the modern experience as part of a more fluid, global phenomenon. Meanings of the modern were not only dictated by linguistic authorities and urban technocrats; they were discussed, lived, and constructed on a daily basis. Cultural actors and audiences displayed an acute awareness of what being modern entailed and explored the links between the local and the global, two concepts and contexts that were being conceived and perceived as inseparable.
Theorising the Ibero-American Atlantic offers a fresh look at the Atlantic turn in Ibero-American Studies. Taking the criticisms launched at Atlantic Studies as a starting point, contributors query and explore the viability of the Ibero-American Atlantic as a framework of research. Their essays take stock of theories, methodologies, debates and trends in recent scholarship, and set down pathways for future research. As a result, the contributions in this volume establish the historical reality of the Ibero-American Atlantic as well as its tremendous value for scholarship. Contributors are Vanda Anastácio, Francisco Bethencourt, Harald E. Braun, David Brookshaw, Jorge Cañizares-Esguerra, Daniela Flesler, Andrew Ginger, Eliga Gould, David Graizbord, Thomas Harrington, Luis Martín-Cabrera, José C. Moya, Mauricio Nieto Olarte, Joan Ramon Resina, N. Michelle Shepherd, Lisa Vollendorf and Grady C. Wray.
The news media have given us potent demonstrations of the ambiguity of ostensibly truthful representations of public events. Jordana Mendelson uses this ambiguity as a framework for the study of Spanish visual culture from 1929 to 1939--a decade marked, on the one hand, by dictatorship, civil war, and Franco's rise to power and, on the other, by a surge in the production of documentaries of various types, from films and photographs to international exhibitions. Mendelson begins with an examination of El Pueblo Español, a model Spanish village featured at the 1929 International Exposition in Barcelona. She then discusses Buñuel's and Dalí's documentary films, relating them not only to French Surrealism but also to issues of rural tradition in the formation of regional and national identities. Her highly original book concludes with a discussion of the 1937 Spanish Pavilion, where Picasso's famed painting of the Fascist bombing of a Basque town--Guernica--was exhibited along with monumental photomurals by Josep Renau. Based upon years of archival research, Mendelson's book opens a new perspective on the cultural politics of a turbulent era in modern Spain. It explores the little-known yet rich intersection between avant-garde artists and government institutions. It shows as well the surprising extent to which Spanish modernity was fashioned through dialogue between the seemingly opposed fields of urban and rural, fine art, and mass culture.