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This book develops the communication and literacy skills of heritage Spanish speakers with exercises that are designed to improve oral and written proficiency in the language. Nuevos mundos uses the cultures and voices of the major Hispanic groups in the United States, as well as those of Latin America and Spain, to familiarize students with a variety of issues and topics, which are sometimes controversial and always thought-provoking.
The Practice of Court Interpreting describes how the interpreter works in the court room and other legal settings. The book discusses what is involved in court interpreting: case preparation, ethics and procedure, the creation and avoidance of error, translation and legal documents, tape transcription and translation, testifying as an expert witness, and continuing education outside the classroom. The purpose of the book is to provide the interpreter with a map of the terrain and to suggest methods that will help insure an accurate result. The author, herself a practicing court interpreter, says: “The structure of the book follows the structure of the work as we do it.” The book is intended as a basic course book, as background reading for practicing court interpreters and for court officials who deal with interpreters.
The book constitutes the first attempt to provide an overview of the reception of foreign drama in Spain during the Franco dictatorship. John London analyses performance, stage design, translation, censorship, and critical reviews in relation to the works of many authors, including Noel Coward, Arthur Miller, Eugene Ionesco, and Samuel Beckett. He compares the original reception of these dramatists with the treatment they were given in Spain. However, his study is also a reassessment of the Spanish drama of the period. Dr London argues that only by tracing the reception of non-Spanish drama can we understand the praise lavished on playwrights such as Antonio Buero Vallejo and Alfonso Sastre, alongside the simultaneous rejection of Spanish avant-garde styles. A concluding reinterpretation of the early plays of Fernando Arrabal indicates the richness of an alternative route largely ignored in histories of Spanish theatre.
A central figure of Spanish culture and an author in many genres, Miguel de Unamuno (1864-1936) is less well known outside Spain. He was a surprising writer and thinker: a professor of Greek who embraced metafiction and modernist methods, a proponent of Castilian Spanish although born in the Basque Country and influenced by many international writers, and an early existentialist who was yet religious. He found himself in opposition to both King Alfonso XIII and the military dictatorship of Miguel Primo de Rivera and then became involved in the political upheaval that led to the Spanish Civil War. Part 1 of this volume, "Materials," gives information on different editions and translations of Unamuno's works, on scholarly and critical secondary sources, and on Web resources. The essays in part 2, "Approaches," offer suggestions for introducing students to the range of his works--novels, essays, poetry, and drama--in Spanish language and literature, comparative literature, religion, and philosophy classrooms.
Examines theater and portraiture as interrelated social practices in seventeenth-century Spain. Features visual images and cross-disciplinary readings of selected plays that employ the motif of the painted portrait to key dramatic and symbolic effect.