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Spanish Literature Series | Product Tags | Dalkey Archive Press

Frankfurt, Vervuert, pp. Gabriela Cor- formula and examines it beyond the liter- done and Victoria Beguelin-Armigon, Madrid, ary realm, by extending it to other artistic Visor, , pp. Tensiones en el campo explores the influences and sources of inspir- cultural vasco, ed. Instead of using the queer the role of new technologies relates to these category, Bonatto prefers to provide descrip- themes. Chapter 4 pp. The fifth chapter pp. Her analysis spans the work Chile with the following literary texts from of a variety of authors, including H.

Accord- 20, —, who sees the suitcase as a ing to Carrera, a literary text that can gener- defining object of contemporary aeromobility. Carrera points out the possible factors, rigid security measures. This volume focuses lyses various ways of constructing ontological on discursive modes and forms of publica- objects in recent Hispano-American and Pen- tion which question traditional national cat- insular Spanish literature.

Mora discusses the egories without denying their relevance. It meanings and effects of two categories of onto- centres around three types of transnational- logical foundation in contemporary poetry and ism: the experience of exile, tensions between narrative: auratic things and projected objects. The volume reflects and expands on the Javier Moreno, among others. Pilar ones at the end of the century. Articles by Nieve de la Paz 91— examines the moral Miguel Galanes 73—84 and Raquel Lanseros dilemmas faced by women in the theatre of 85—98 , contend that the history of Span- Itziar Pascual.

Julio E.

Chapters On Spanish Literature

Manuel Rico 99— considers ation of women in contemporary Spanish the relationship between the poets of the theatre. Diana Castilleja — Cabrera, — Pedro Larrea — takes a transat- lantic perspective, analysing Spanish poetry 2 Poetry through the prism of the United States. The introduction offers an extensive years, as well as their contributions to poetry, analysis of poems and poets within the con- and compares the similarities and differences text of the year period in which they were between the two groups.

Focusing on their poetry, of silence, the epic, and the poetry of crit- Lanseros analyses the literary creation, aes- ical awareness, visual poets, and experimental- thetic features and sources of inspiration of ists. The interviews with 12, —32, charts the development of a the authors in the appendix — provide key poetic group in contemporary Spanish valuable reference material. According to Borra, their poetry dis- in the millennium.

Mora uses the metaphor —, examines the origins of these two of the forest to define the postmodern identity groups at the end of the 20th c. He charts various critical theor- sequent development. The book focuses on conflict and contradiction—to the poetic sub- language and its connections with biological ject of contemporary Spain.

The monograph life, its relationship with reality, its symbolic employs the motif of the mirror to reflect on limitations, and its link to the narrow bound- concepts such as duality, image, identity, sym- ary which separates it from the animal world. Starting with the concept of poetry as porary poetics of the same time period, includ- a specific historical document of a particular ing the various responses that poets have given era, the essays included in this volume ana- to the meaning of their writing, their aesthetic, lyse contemporary Spanish poetry in relation and their position in society and with respect to two seemingly incongruent themes: self- to the market.

Sobolczyk sees these poems as pertain- tual relationships that literary texts establish ing to the camp aesthetic and suggests that with other art forms and cultural discourses. One of the key themes is the representation of the Spanish Civil War 3 Prose in the Spanish novel of the 21st c. The final chapter focuses on different vuert, pp.

The Anne L. The third section, which to democracy and compares how this period focuses on literature of the crisis, spans a vari- is reflected in a range of Spanish narratives ety of topics. Walsh examines ure of the crisis, especially when applied to his the parallels between these two time periods own work. Jochen Mecke — discusses in order to evaluate what they reveal about literary representations of the crisis in relation contemporary Spain and to show how these to the tensions between ethics and aesthetics. Susanne Walsh demonstrates how fiction and imagin- Hartwig — refers to precariousness as ation complement and animate historical fact a symbol of the crisis in Yo, precario by and stresses the cathartic nature of storytelling.

The article also compares by the Mexican author of Catalan origin, Jordi and contrasts how fiction writers have written Soler.


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Victoria Ketz 17—37 looks at how including the erotic ones could be under- Almudena Grandes employs narrative voice stood as representations of the violence which and rhetorical strategies to validate the pre- characterised the Franco dictatorship and its viously silenced reality of the Spanish Civil aftermath.

Maureen Tobin Stanley 47— cultural y escritura, vida virtual y texto vital, 67 applies theories on postmemory, prosthetic Madrid, Verbum, , pp. The article exam- such as Kafka, Dostoevskii, Orwell, Cervantes, ines the disappearing world represented in this and Lorca, among others. Carmen T.

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Sotomayor 2— ary corpus, paying specific attention to one of 16 explores the transmission of memory in his later novels, Mae West y yo Luis H. The who feel at odds with their identity and soci- writers studied in this collection fit into at least ety, try to reinvent themselves. David K. Herzberger, lective desires.


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    5. As Herzber- ences of these texts. Spain, in par- hend the past and present consequences of ticular the Civil War. The chapter focuses matic serial novel genre and shows how it has on how Riera uses language to describe a pho- developed and transformed over time to suit tograph of her father in her memoir, and how different contexts and aims. Cornejo-Parriego she uses an epistolary style that is both highly exemplifies this through her analysis of five subjective and paradoxical in her novel.

    As Cornejo-Parriego demon- past, by examining artefacts such as the fam- strates, these narratives, which portray the Civil ily album, personal letters, and photographs. Rather than representing brano in relation to trauma and his- strict Manichean viewpoints, her texts convey torical memory.

    However, she ends with a ideal of equal distribution of wealth. Although caveat that by overcoming ideologisation and this commitment is palpable in her writing, polarisation, Mayoral may run the risk of his- she avoids political diatribes and does not use torical erasure and depoliticisation. Catherine artistic creation for utilitarian aims. As well G.

    Half of the mono- received sufficient critical attention. Men of letters began again to study abroad, discovering how far Spain had diverged from the intellectual course of western Europe. New inquiries into the national heritage led scholars to unearth forgotten medieval literature. Another major encyclopaedic talent, Gaspar Melchor de Jovellanos , produced streams of reports, essays, memoirs, and studies on agriculture, the economy, political organization, law, industry, natural science, and literature, as well as ways to improve them, in addition to writing Neoclassical drama and poetry.

    Torres Villarroel experimented with all literary genres, and his collected works, published —99, are fertile sources for studying 18th-century character, aesthetics , and literary style. Several women writers emerged during the Enlightenment and were active from onward in the male-dominated Spanish theatre. They wrote Neoclassic drama: comedias lacrimosas tearful plays , zarzuelas musical comedies , sainetes , Romantic tragedies, and costumbrista comedies. Early 19th-century Spanish literature suffered as a result of the Napoleonic Wars and their economic repercussions.

    Spain experienced soaring inflation, and manpower across the peninsula was at low ebb as a result of emigration and military service. These problems were further aggravated by the loss of its American colonies. Some, however, recognize Cadalso and several lesser cultivators of Gothic fiction as 18th-century Spanish antecedents.

    Spanish Literature

    Romanticism in Spain was, in many respects, a return to its earlier classics, a continuation of the rediscovery initiated by 18th-century scholars. Important formal traits of Spanish Romantic drama—mingling genres, rejecting the unities, diversifying metrics—had characterized Lope de Vega and his contemporaries, whose themes reappeared in Romantic garb. Spanish Romanticism, typically understood as having two branches, had no single leader. Prolific , facile , and declamatory, Zorrilla produced huge numbers of plays, lyric and narrative verse collections, and enormously popular rewrites of Siglo de Oro plays and legends; he was treated as a national hero.

    One major Romantic theme concerned liberty and individual freedom. Rimas influenced more 20th-century Spanish poets than any other 19th-century work. A number of notable women writers emerged under Romanticism. Her poems sounded many feminist notes, although she in later life became conservative. She also wrote 16 full-length original plays, 4 of which were major successes.

    While poetry and theatre claimed the major honours, Spanish Romanticism also produced many novels—but none that rivaled those of Scottish contemporary Sir Walter Scott. Costumbrismo began before Romanticism, contributing to both Romanticism and the later realism movement through realistic prose. Such writings, realistically observing everyday life and regional elements, bridged the transition to realism.

    Early revival novels are of interest more for their powers of observation and description a continuation of costumbrismo than for their imaginative or narrative quality. He was a prolific writer, his works ranging from poetry and newspaper articles to critical essays and memoirs. Included among these many novels is his masterpiece, Fortunata y Jacinta —87; Fortunata and Jacinta , a paradigm of Spanish realism. The novel has been seen as an allegory of the sterility of the upper classes, but its complexity transcends facile summary.

    His later works represent naturalism or reflect turn-of-the-century spiritualism. He also wrote more than 20 successful and often controversial plays. Realistic drama in Spain produced few masterpieces but established a bourgeois comedy of manners further developed in the 20th century.

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    In poetry, realistic trends produced little of note. He used a realistic approach to treat contemporary moral, religious, and political conflicts in his works, although his work also shows Romantic and medieval themes. The novel acquired new seriousness, and critical, psychological, and philosophical essays gained unprecedented importance. A provocative, somewhat unsystematic thinker, Unamuno aimed at sowing spiritual disquiet. An artistic critic and sensitive miniaturist, he excelled in precision and ekphrasis description of a visual work of art.

    In his later works he experimented with Impressionism and Surrealism. The three stages of his literary evolution exhibit radical aesthetic change, beginning with exquisite , sometimes decadent , erotic Modernista tales, as in his four Sonatas —05; Eng.