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The Cultural Politics of Twentieth-Century Spanish Theater argues that twentieth-century artists used the Golden Age Eucharist plays called autos sacramentales to reassess the way politics and the arts interact in the Spanish nation’s past and present, and to posit new ideas for future relations between the state and the national culture industry. The book traces the phenomenon of the twentieth-century auto to show how theater practitioners revisited this national genre to manifest different, oftentimes opposing, ideological and aesthetic agendas. It follows the auto from the avant-garde stagings and rewritings of the form in the early twentieth century, to the Francoist productions by the Teatro Nacional de la Falange, to postmodern parodies of the form in the era following Franco’s death to demonstrate how twentieth-century Spanish dramatists use the auto in their reassessment of the nation’s political and artistic past, and as a way of envisioning its future.
Five Senses- a Beautiful work of art and words! a fascinating collection of reflections, poems and artwork by the author spotlights the five human senses, which are often taken for granted: sight, hearing, touch, smell and taste. Maria Perry's book is a fusion of A thought provoking personal persuasive informational and inspirational and inspiring book for the young and adult readers.
The Vampire Fairy Tale Trilogy concludes with TONE Afterlife for vampire Hope Havergale becomes an awfully big adventure. She discovers that her immortal teenage, beloved Christian has taken a cure and turned human again. Peculiar visions and unpredictable abilities have set a new tone for Hope and force her to reassess her place in their perfect paradise on Perish Key in Southern Florida. Realizing that her family legacy includes witchcraft, Hopes becomes endowed with more power than she knows what to do with. Deeper down the rabbit hole she flees, only to find herself apprenticing for a familiar, old witch. Her skills are tested as an onslaught for new-world-order vampires plan to destroy the life she's come to love. Hope and her motley brood have until the clock strikes twelve to prevent the irrevocable shattering of their chance at a real happily ever after.
FORGET EVERYTHING YOU KNOW ABOUT THE INTRANQUIL SPIRIT. From "The Magic Island" of the West Indies, this famous spell is notorious for its ability to return a lost lover... but at what cost?
This bilingual panoramic book presents the songs that are the life's work of Cipriano Frederico Vigil, the most important performer of traditional Nuevomexicano folk music in the late twentieth and early twenty-first centuries.
Cipriano Frederico Vigil is the most important performer of traditional Nuevomexicano folk music in the late twentieth and early twenty-first centuries. This bilingual panoramic book presents the songs that are his life’s work, spanning half a century of listening, playing, composing, and singing ritual, social, and dance music. New Mexican Folk Music includes much traditional material that has never been seen before or studied by scholars or students. Renowned as a composer, Vigil works in traditional genres such as the romance, the décima, the cuando, and corrido. Like the Mexican group Los Folkloristas with which he apprenticed in the late 1970s, his goal has been to research and master local styles, to introduce new listeners to traditional music, and to build on tradition by creating new compositions that address contemporary social themes. An audio CD accompanies this comprehensive study on the work and music of Cipriano Frederico Vigil.
European exploration and conquest expanded exponentially in the late fifteenth and sixteenth centuries, and as the horizons of imperial experience grew more distant, strategies designed to convey the act of witnessing came to be a key source of textual authority. From the relación to the captivity narrative, the Hispanic imperial project relied heavily on the first-person authority of genres whose authenticity undergirded the ideological armature of national consolidation, expansion, and conquest. At the same time, increasing pressures for religious conformity in Spain, as across Europe, required subjects to bare themselves before external authorities in intimate confessions of their faith. Emerging from this charged context, the unreliable voice of the pícaro poses a rhetorical challenge to the authority of the witness, destabilizing the possibility of trustworthy representation precisely because of his or her intimate involvement in the narrative. In Knowing Fictions, Barbara Fuchs seeks at once to rethink the category of the picaresque while firmly centering it once more in the early modern Hispanic world from which it emerged. Venturing beyond the traditional picaresque canon, Fuchs traces Mediterranean itineraries of diaspora, captivity, and imperial rivalry in a corpus of texts that employ picaresque conventions to contest narrative authority. By engaging the picaresque not just as a genre with more or less strictly defined boundaries, but as a set of literary strategies that interrogate the mechanisms of truth-telling itself, Fuchs shows how self-consciously fictional picaresque texts effectively encouraged readers to adopt a critical stance toward the truth claims implicit in the forms of authoritative discourse proliferating in Imperial Spain.