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The first comprehensive study in English of one of the most important bodies of verse in European literature.
This ambitious book attempts to rehistoricize the Golden Age of Spain (ca. 1550-1680) by placing literary production in its socio-cultural context. Drawing on theories of cultural materialism and making use of historical analysis, George Mariscal focuses on the ways in which the problem of subjectivity is constructed in the writing of the period, particularly the poetry of Francisco de Quevedo and Cervantes' Don Quixote.
By engaging in dialogue the voices of both male and female writers who participated both in the broader courtly love tradition and in the theatrical production of early modern Spain, this book demonstrates that all representations of desire are gender-inflected.
A new examination of the important theme of conversion in seventeenth-century Spanish drama.
Art historians have often minimized the variety and complexity of seventeenth-century Spanish painting by concentrating on individual artists and their works and by stressing discovery of new information rather than interpretation. As a consequence, the painter emerges in isolation from the forces that shaped his work. Jonathan Brown offers another approach to the subject by relating important Spanish Baroque paintings and painters to their cultural milieu. A critical survey of the historiography of seventeenth-century Spanish painting introduces this two-part collection of essays. Part One provides the most detailed study to date of the artistic-literary academy of Francisco Pacheco, and Part Two contains original studies of four major painters and their works: Las Meninas of Velázquez, Zurbarán's decoration of the sacristy at Guadalupe, and the work by Murillo and Valdés Leal for the Brotherhood of Charity, Seville. The essays are unified by the author's intention to show how the artists interacted with and responded to the prevailing social, theological, and historical currents of the time. While this contextual approach is not uncommon in the study of European art, it is newly applied here to restore some of the diversity and substance that Spanish Baroque painting originally possessed.
A series of essays by Edward M. Wilson, originally published in 1980, and written at various stages of his career.
The Cambridge Introduction to Spanish Poetry comprises an extended survey of poetry written in Spanish from the Middle Ages to the present day, including both Iberian and Latin American writing. This volume offers a non-chronological approach to the subject in order to highlight the continuity and persistence of genres and forms (epic, ballad, sonnet) and of themes and motifs (love, religious and moral poetry, satirical and pure poetry). It also supplies a thorough examination of the various interactions between author, text and reader. Containing abundant quotation, it gives a refreshing introduction to an impressive and varied body of poetry from two continents, and is an accessible and wide-ranging reference-work, designed specifically for use on undergraduate and taught graduate courses. The most comprehensive work of its kind available, it will be an invaluable resource for students and teachers alike.
Announcements for the following year included in some vols.
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In this groundbreaking study, Diana Berruezo-Sánchez recovers key chapters in the history of Afro-Iberian diasporas by exploring the literary contributions and life experiences of black African communities and individuals in early modern Spain. From the sixteenth to the eighteenth centuries, international trade involving chattel slavery led to significant populations of enslaved, free(d), and half-manumitted black African women, men, and children in the Iberian Peninsula. These demographic changes transformed Spain's urban and social landscapes. In exploring Spain's role in the transatlantic slave trade and its effects on cultural forms of the period, Berruezo-Sánchez examines a broad range of texts and unearths new documents relating to black African poets, performers, and black confraternities. Her discoveries evince the broad yet largely disregarded literary and artistic impact of the African diaspora in early modern Spain, expanding the scope of linguistic practices beyond habla de negros and creating space for early modern black poets in the Spanish literary canon. These textual sources challenge established understandings of black Africans and black African history in early modern Spain. They show how black Africans exerted significant cultural agency by collectively contributing to and shaping the literary texts of the period, including those of the popular genre villancicos de negros, and by developing artistic traditions as musicians, dancers, and poets. As both creators and consumers of cultural forms, black African men and women navigated a restrictive, coercive slave society yet negotiated their own physical and cultural spaces.