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La vida está llena de pasajes que terminan por conformar toda una poesía, el autor consciente de ello, ha querido expresar sus vivencias a su propio estilo poético. Este libro contiene poemas donde el autor fuerza a rimar los versos en una estructura clásica, alcanzando en su gran mayoría el estilo de los grandes poetas del pasado. Un corazón poético encuentra su centro de inspiración y nuestro autor encontró el suyo en la expresión más sublime de la mujer, a la que claramente le dedica su obra. Sin implicar una división explícita, los poemas en la obra se encuentran diferenciados conforme a las distintas formas de expresión de sus sentimientos como lo es la juventud, el amor, decepción, tristeza, toque erótico, el homenaje, unos cuantos de reflexión y muy pocos de género macabro. El autor nos aclara el porqué el título de esta obra incluye la expresión "algo más", al decirnos que incluyó textos que motivan a la reflexión, sobre dos asuntos que angustian su corazón de poeta y siente la necesidad de darlos a conocer. Actualmente como profesor jubilado de la Universidad de Guadalajara, vive en la ciudad del mismo nombre en Jalisco, México. Email: [email protected]
This volume springs from that fruitful project of scientific cooperation between the humanities departments of Università di Firenze and University of Arizona which was the Forum for the Study of the Literary Cultures of the Southwest (2000-2007). Tri-cultural, at least (Native, Hispanic and Anglo-American), and multi-lingual, today's Southwest presents a complex coexistence of different cultures, the equal of which would be hard to find elsewhere in the United States. Of this virtually inexhaustible object of study, the essays here collected tackle an ample range of themes. While the majority of them are concerned with the literatures of the Southwest, still a good third falls into the fields of history, art history, ethnography, sociology or cultural studies. They are partitioned in four sections, the first three reflecting the chronology of the stratification of the three major cultures and the fourth highlighting one of the most sensitive topics in and about contemporary Southwest - the borderlands/la frontera
This volume features approximately 600 entries that represent the major writers, literary schools, and cultural movements in the history of Mexican literature. A collaborative effort by American, Mexican, and Hispanic scholars, the text contains bibliographical, biographical, and critical material--placing each work cited within its cultural and historical framework. Intended to enrich the English-speaking public's appreciation of the rich diversity of Mexican literature, works are selected on the basis of their contribution toward an understanding of this unique artistry. The dictionary contains entries keyed by author and works, the length of each entry determined by the relative significance of the writer or movement being discussed. Each biographical entry identifies the author's literary contribution by including facts about his or her life and works, a chronological list of works, a supplementary bibliography, and, when appropriate, critical notes. Authors are listed alphabetically and cross-referenced both within the text and the index to facilitate easy access to information. Selected bibliographical entries are also listed alphabetically by author and include both the original title and English translation, publisher, date and place of publication, and number of pages.
María Izquierdo (1902–1955) and Frida Kahlo (1907–1954) were the first two Mexican women artists to achieve international recognition. During the height of the Mexican muralist movement, they established successful careers as easel painters and created work that has become an integral part of Mexican modernism. Although the iconic Kahlo is now more famous, the two artists had comparable reputations during their lives. Both were regularly included in major exhibitions of Mexican art, and they were invariably the only women chosen for the most important professional activities and honors. In a deeply informed study that prioritizes critical analysis over biographical interpretation, Nancy Deffebach places Kahlo’s and Izquierdo’s oeuvres in their cultural context, examining the ways in which the artists participated in the national and artistic discourses of postrevolutionary Mexico. Through iconographic analysis of paintings and themes within each artist’s oeuvre, Deffebach discusses how the artists engaged intellectually with the issues and ideas of their era, especially Mexican national identity and the role of women in society. In a time when Mexican artistic and national discourses associated the nation with masculinity, Izquierdo and Kahlo created images of women that deconstructed gender roles, critiqued the status quo, and presented more empowering alternatives for women. Deffebach demonstrates that, paradoxically, Kahlo and Izquierdo became the most successful Mexican women artists of the modernist period while most directly challenging the prevailing ideas about gender and what constitutes important art.