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Peruvian author Ricardo Palma (1838-1919) was one of the most popular and imitated writers in Latin America during the late nineteenth and early twentieth centuries. As head of the National Library in Lima, Palma had access to a rich source of historical books and manuscripts. His historical miscellanies, which he called "traditions," are witty anecdotes about conquerors, viceroys, corrupt and lovelorn friars, tragic loves and notorious characters. Humor, irony and word play characterize his collection of over five hundred traditions written between 1872 and 1906, whether describing violent deeds or amorous misadventures. Unlike many of his contemporaries in the second half of the nineteenth century, Palma did not write transparent didactic fictions and defend elite cultural forms. Rather, he reveled in ironic approaches to written sources, political authorities and church institutions as well as popular speech and knowledge. Both fiction and history, Palma's delightful Peruvian Traditions represents a hybrid literary form that constructs historical memory distinct from the dominant literary trends of the time.
The figure of Ricardo Palma still looms large in Spanish American literature because he preserved Peru's past in delightful narratives that he called "tradiciones," a new genre he invented. His "tradiciones" are widely read in the original language in university and college literature classes throughout the United States; however they are relatively unknown to those who do not read Spanish. This collection makes some of his "tradiciones" available to readers of the English language. Why read them? Because of Palma, Peru and especially Lima, its capital city, will live forever. His "tradiciones" are the door to a fascinating world that the author has portrayed with unusual skill and verve. What is it in the "tradiciones" which explains their popularity? First, they are interesting. There are duels, love affairs, miracles, excommunications and blood shed because of a concept of honor which permeated their lives. Second is Palma's style, which is irreverent, ironic, and light in tone. Many have tried to imitate it. No one has succeeded. Finally, he portrays colonial society in great detail. One might say that if someone wishes to see how society functioned in real life in Peru's past he should read the "tradiciones."
This book examines the modes of representation of the East in Argentinean literature since the country’s independence, in works by canonical authors such as Esteban Echeverría, Juan B. Alberdi, Domingo F. Sarmiento, Lucio V. Mansilla, Pastor S. Obligado, Eduardo F. Wilde, Leopoldo Lugones, and Roberto Arlt. The East, which has always fascinated intellectuals and artists from the Americas, inspired the creation of imaginary elements for both aesthetic and political purposes, from the depiction of purportedly despotic rulers to a genuine admiration for Eastern history and millennial cultures. These writers appropriated the East either through their travels or by reading chronicles, integrating along the way images that would end up being universalized by the Argentinean dichotomy between civilization and barbarism, all the while assigning the negative stereotypes of the exotic East to the Pampa region. With time, the exoticism of the Eastern world would shed its geopolitical meaning and was ultimately integrated into the national literature, thus adding new elements into the Argentinean imaginary.
Ricardo Palma’s Tradiciones is the first full-length account of Ricardo Palma informed by theories of cultural criticism. Elisa Sampson Vera Tudela sheds new light on important aspects of Palma’s work. She offers a fresh interpretation of the relations between history and literature – perhaps the most discussed aspect of Palma’s work – engaging with new critical thinking on historicism and examining the significance of the marginal and the anecdotal in Palma’s work. By using the tools of postcolonial cultural criticism, Vera Tudela considers Palma’s encounter with modernity, arguing that his recuperation of colonial history plays a crucial part in imagining the modern future. Most innovatively, Vera Tudela examines the multiple and contradictory notions of femininity in nineteenth-century Latin America and in Palma’s writing, showing how a historical consideration of the sexual politics of cultural production transforms our understanding of many of the assumptions about this period. Finally, by applying the insights of cultural geography in analysing the racial, sexual and political identity of domestic, urban and national space in Palma’s writing, Vera Tudela demonstrates that Palma’s literary maps and topographies are uniquely revelatory of questions of power and agency. In its exploration of sexual politics and nationhood, Ricardo Palma’s Tradiciones presents Palma as a proto-modernist who paved the way for many of the experiments of twentieth-century Latin American narrative fiction.
In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding “truths” by which to define the permanent “meaning” of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
The Cambridge History of Latin America is a large scale, collaborative, multi-volume history of Latin America during the five centuries from the first contacts between Europeans and the native peoples of the Americas in the late fifteenth and early sixteenth centuries to the present. A Cultural History of Latin America brings together chapters from Volumes III, IV, and X of The Cambridge History on literature, music, and the visual arts in Latin America during the nineteenth and twentieth centuries. The essays explore: literature, music, and art from c. 1820 to 1870 and from 1870 to c. 1920; Latin American fiction from the regionalist novel between the Wars to the post-War New Novel, from the 'Boom' to the 'Post-Boom'; twentieth-century Latin American poetry; indigenous literatures and culture in the twentieth century; twentieth-century Latin American music; architecture and art in twentieth-century Latin America, and the history of cinema in Latin America. Each chapter is accompanied by a bibliographical essay.
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