Bøger i Purdue Studies in Romance Literatures serien

Grounded in his disciplinary experience in both literary and mathematical studies, Vargas attempts to unearth the overlaps and connections between science and art, thus offering a new critical apparatus with which scholars can study Jose Lezama Lima's works.

The analysis of the three authors' proverbs through comparisons with classical, medieval, and early modern collections of maxims and sententiae provides insights on the fluidity of such expressions, and illustrates the tight relationship between proverbs and sociocultural factors.

Don Quixote continues to inspire and to challenge its readers. The universal appeal of the novel, however, has distanced its hero from its author and its author from his own life. This discussion of the novel's Catholic identity, therefore, returns Cervantes's hero to Cervantes's text and Cervantes to the events that shaped his life.

Charts Brazil's evolving and often conflicted relationship with the idea of Latin America through a detailed comparative investigation of four crucial Latin American essayists: Uruguayan critic Jose Enrique Rodo, Brazilian writer-diplomat Joaquim Nabuco, Mexican humanist Alfonso Reyes, and Sergio Buarque de Holanda, one of Brazil's preeminent historians.

Based on extensive oral history and archival research, this book sheds new light on the important role female staff and faculty played in improving the quality of life for rural women during the first half of the twentieth century. It is also a fascinating story, engagingly told, of two very different personalities united in a common goal.

Argues that the portrayal in poetry of the modern city as a disintegrated, ruined space is part of a critique of the visions of progress and the historical process of modernization that developed during the nineteenth century and the first half of the twentieth century.

Whereas all texts produced in Iberia during the early modern period reflect the distinct social, political, and cultural realities sweeping across the peninsula to some degree, Portuguese literature written in Spanish offers a unique vantage point from which to see these converging landscapes.

Este libro intenta mostrar la representacin textual de las islas Galpagos desde su descubrimiento hasta nuestros das. El argumento principal sugiere que la descripcin de este espacio crucial para la modernidad, dada la retrica de los escritores de viajes y ficcin, transforma el rea insular para concebir formas alternativas del proyecto de construccin nacional en Amrica Latina. Como resultado de las empresas coloniales, excursiones cientficas, crnicas periodsticas o expediciones, la escritura de viaje de las Galpagos condiciona la formacin del estado y su imaginario nacional. Esto ocurre por el capital simblico que posee archipilago y por el deseo de los intelectuales latinoamericanos de pertenecer a un territorio cosmopolita.El espacio insular funciona como un significante vaco donde los viajeros pueden comunicar su propio significado al narrar las experiencias de sus viajes. Este fenmeno crea una divisin conceptual y poltica entre la identidad de las islas y la nacin ecuatoriana. Dichas ambigedades narrativas crearon una ruptura que condujo a variaciones fundamentales en la forma en que los habitantes locales y entidades extranjeras interpretan las Galpagos hoy en da, ya que su literatura refleja una tensin particular de cara a las tendencias migratorias en las islas, as como los intereses globales que prevalecen en la apropiacin del espacio. This book, written in Spanish, takes a literary and cultural studies model to explain the textual representation of the Galpagos Islands since their discovery until present day. The main argument suggests that the depiction of this crucial space for modernity in Western thought, given the rhetoric of travel and fiction writers, transforms the insular area with the intention of conceiving disparate forms of political displacement. Specifically, these depictions show several conflicts that arose from the seeking of identity in Ecuador during the nation-building project that took place at the time. As a result of colonial enterprises (scientific excursions, exile, tourism, journalistic pieces, expeditions, etc.), travel writings of the Galpagos condition the formation of the state and its national imagery because of the extreme symbolic capital of the archipelago and the desire of Latin American intellectuals to belong to a cosmopolitan territory.

Hombres en movimiento: Masculinidades espanolas en losexilios y emigraciones, 1939-1999, de Iker Gonzlez-Allende, es el primer estudio detallado de cmo elexilio y la emigracin influyen en la masculinidad de los hombres espaoles,tanto heterosexuales como homosexuales, que se ven obligados a abandonar supas. En el libro, Gonzlez-Allende analiza la literatura producida porescritores espaoles que desde 1939 hasta finales del siglo XX hanexperimentado el exilio o la emigracin, cubriendo tres momentos histricos: ellargo exilio republicano como consecuencia de la Guerra Civil Espaola (1936-1939),la emigracin a Europa durante la dcada de 1960 debido a la crisis econmicaen Espaa y la reciente emigracin de intelectuales a los Estados Unidos afinales del siglo XX. Revelando experiencias recurrentes de aislamiento,inseguridad, discriminacin y feminizacin en el pas de acogida,Gonzlez-Allende sostiene que el exilio y la emigracin causan un sentido decrisis, impotencia e inestabilidad en la masculinidad de los hombresdesplazados. El autor tambin examina como tendencia compensatoria que elexilio y la emigracin pueden ofrecer a estos hombres una mayor sensacin delibertad y una mejora de su situacin econmica. Cada uno de los sietecaptulos analiza una variedad diferente de las masculinidades en el exilio ola emigracin: el adolescente, el hombre en crisis, el hombre ocioso, el hombreque retorna a Espaa, el hombre trabajador, el hombre onanista y el hombreacadmico. Los autores estudiados son asimismo diversos: Luis de Castresana,Juan Jos Domenchina, Juan Gil-Albert, Max Aub, Francisco Ayala, PatricioChamizo, Vctor Canicio, Terenci Moix, Antonio Muoz Molina y Javier Cercas.Men in Motion: Spanish Masculinities in Exiles and Emigrations, 1939-1999 by Iker Gonzlez-Allende delivers the first sustained study of how the Spanish masculine identity, of both homosexual and heterosexual men, is impacted when men are compelled to leave their country. In it, Gonzlez-Allende examines the literary output of Spanish male authors over three periods of emigration and exile: the long Republican exile from Spanish Civil War (1936-1939), the emigration to Europe during the Spanish economic crisis of the 1960s, and the recent period of emigration of intellectuals to the United States through the end of the twentieth century. Revealing and unpacking recurring patterns of isolation, insecurity, discrimination, and feminization in the host country, Gonzlez-Allende argues that exile and emigration cause a crisis of powerlessness that can have a destabilizing effect on one's masculinity. Gonzlez-Allende also examines a countervailing trend among Spanish exiles and migrs of these periods; that from the same crisis some achieve a greater sense of freedom and improve their socioeconomic standing. Each of the seven chapters analyzes a different Spanish male exile or migr: the adolescent, the man at a crossroad, the idle man, the returning man, the working man, the onanist, and the academician. Works studied are likewise from a range of authors: Luis de Castresana, Juan Jos Domenchina, Juan Gil-Albert, Max Aub, Francisco Ayala, Patricio Chamizo, Vctor Canicio, Terenci Moix, Antonio Muoz Molina, and Javier Cercas.

Regardant les questions de tmoignage, de confession, detraumatisme, de sexualit et de violence dans les A uvres (semi-)autobiographiques,ce livre explore la co-construction d'identits personnelles et collectives pardes femmes crivains l're des mdias et de l'autoreprsentation. unepoque o la littrature franaise est souvent accuse d'tre gocentrique ettrop narcissique, Mercds Baillargeon avance que l'autofiction des femmes at reue avec controverse depuis le tournant du millnaire parce qu'elleperturbe les ides reues propos des identits nationale, de genre et de race,et parce qu'elle questionne la distinction entre fiction et autobiographie. Eneffet, ces crivaines se distinguent du reste de la production franaiseactuelle, car elles cultivent une relation particulirement tumultueuse avecleur public, cause de la nature trs personnelle, mais galement politique deleurs textes semi-autobiographiques et cause de leurs performances comme personnalit publique dans les mdias. On y examine donc simultanment lafaon dont les mdias stigmatisent ces crivaines ainsi que la manire dont cesdernires manipulent la culture mdiatique comme une extension de leur A uvrelittraire. Ce livre analyse ainsi simultanment les implications textuelles etsociopolitiques qui sous-tendent la (d)construction du sujet autofictionnel,et en particulier la faon dont ces crivains se redfinissent constamment travers la performance rendue possible par les mdias et la technologie. Deplus, ce travail soulve des questions importantes par rapport la relationcomplexe qu'entretiennent les mdias avec les femmes crivains, en particuliercelles qui discutent ouvertement de traumatisme, de sexualit et de violence,et qui remettent galement en question la distinction entre ralit et fiction. Cet ouvrage contribue une meilleure comprhension des rapports de pouvoir misen jeu dans l'autofiction, tant au niveau de la production que de la rceptiondes A uvres. Privilgiant l'autofiction comme phnomne principalement franais,cet ouvrage s'intresse la valeur politique de ce genre semi-autobiographiquepar-del sa mort annonce avec la disparition de la littrature engage del'aprs-guerre et des avant-gardes des annes 50-60, dans le contexte franaiset francophone actuel, travers par une crise des identits, lemulticulturalisme et une redfinition du nationalisme travers l'criture.The Personal Is Political: Media, Aesthetics and Politics in the Autofiction of Christine Angot, Chlo Delaume and Nelly ArcanLooking at questions of testimony, confession, trauma,sexuality, and violence in (semi-) autobiographical works, this book explores the co-construction of personal and collectiveidentities by women writers in the age of self-disclosure and mass media. In a time when literature is accused of being self-centeredand overly narcissistic, women's autofictionin France since the turn of the millennium has been received with controversybecause it disrupts readily accepted ideas about personal andnational identities, gender and race, and fiction versus autobiography. Through the study of polemical writersChristine Angot, Chlo Delaume, and Nelly Arcan, Mercds Baillargeon contendsthat, by recounting personal stories of trauma and sexuality, and thus opposing themselves in opposition to social convention, and by refusing to dispel doubtsregarding the fictional or factual nature of their texts, autofiction resists and helps redefine categories of literary genreand gender identity. This book analyzes concurrently the textual andsociopolitical implications that underlie the (de)construction of the autofictional subject, and particularlyhow these writers constantly redefine themselves through performance andself-fashioning made possible by media and technology. Moreover, this workraises important questions relating to the media's complicated relationshipwith women writers, especially those who discuss themes of trauma, sexuality,and violence, and who also question the distinction between fact and fiction. Proposing a new understanding of autofictionas a form of littrature engage, this work contributes to a broader understanding of the French publishingestablishment and of the literary field as a cultural institution, as well asnew insight on shifting notions of identity, the Self, and nationalism intoday's ever-changing and multicultural French context.

Explores how Emilia Pardo Bazan (1851-1921) imagines and engenders the Spanish nation in her theatrical production staged and/or published between 1898 and 1909. In the aftermath of Spain's colonial losses, Pardo Bazan generated a series of theatrical proposals to revitalize the nation.

Examines the practice of philanthropy in modern Spain. Through detailed studies of popular music, collective readings, dramas, working-class manuals, and fiction, Vialette reveals how depictions of urban philanthropic activities can inform our understanding of interactions in the economic, cultural, religious,and educational spheres, class power dynamics, and gender roles in urban Spanish society.

Historically a source of emigrants to Northern Europe and the New World, Italy has rapidly become a preferred destination for immigrants from the global South. Marvelous Bodies by Vetri Nathan explores thirteen key full-length Italian films released between 1990 and 2010 that treat this remarkable moment of cultural role reversal through a plurality of styles.

Argues that the concept of evil is central to the psychology of secularism. Scott M. Powers draws on notions of secularization as a phenomenon of ambivalence or dualism in which religion continues to exist alongside secularity in exerting influence on modern French thought.

This work explores the use of the grammatical figure called the chiasmus in the work of Miguel de Unamuno. He explores concepts, usually considered opposites, such as mind and body or spirit and matter. Olson's readings lead to observations on Spanish history and events in Unamuno's life.

The importance of fashion in the construction and representation of gender and the formation of modern society in nineteenth-century Spanish narrative is the focus of Dorota Heneghan's Striking Their Modern Pose. The study moves beyond traditional interpretations that equate female passion for finery with symptoms of social ambition and the decline of the Spanish nation, and brings to light the manners in which nineteenth-century Spanish novelists drew attention to the connection between the complexities of fashionable female protagonists and the shifting limits of conventional womanhood to address the need to reformulate customary ideals of gender as a necessary condition for Spain to advance in the process of modernization. The project also sheds light on an area largely unexplored by previous studies: men's pursuit of fashion. Through the analysis of the richness of sartorial subtleties in Benito Perez Galdos's and Emilia Pardo Bazan's portraits of their male characters, this book brings forward these writers' exposure of the much-denied bourgeois men's love for self-adornment and the incoherencies and contradictions in the allegedly monolithic, stable concept of nineteenth-century Spanish masculinity. While highlighting the ways in which the art of dressing smartly provided nineteenth-century Spanish novelists with effective means to voice their critique of conventional gender order, the book also lends insight into these authors' methods of manipulating sartorial signs to explore and to envision (as in the case of Pardo Bazan and Jacinto Octavio Picon) alternative models of masculinity and femininity. Threading through all chapters of the study is the idea propagated by all three of these writers that Spain's full integration into modernity required not only the redefinition of the feminine role, but the reconfiguration of the masculine one as well.

En las ultimas decadas-especialmente a partir de los noventa-ha habido una visible reemergencia del siglo XIX en la cultura del Cono Sur. Figuras decimononicas tipicas (indios, gauchos, letrados y cautivas) han reaparecido en la escena literaria de Argentina, Chile y Uruguay. Heroes como San Martin y Artigas se han convertido en protagonistas principales de la literatura, el cine y el teatro. Generos fundantes de la identidad nacional (el relato de viaje, la poesia gauchesca, el romance nacional) se han reciclado y transformado. Textos canonicos como La cautiva, el Martin Fierro y el Facundo han sido reescritos una vez mas en diferentes campos artisticos. Y controvertidos eventos historicos (las guerras civiles, las masacres de las comunidades indigenas) han sido revisados y vueltos a narrar. Combinando el analisis textual con una perspectiva mas abarcadora anclada en la teoria cultural, este libro responde a dos preguntas interrelacionadas: por que el siglo XIX ha resurgido de manera tan fuerte en las ultimas decadas? Cuales son las implicaciones ideologicas de esta reemergencia?A traves de una comparacion transnacional de Argentina, Chile y Uruguay, y de una lectura de la ficcion producida por figuras prominentes en los tres paises (activistas politicos, intelectuales publicos y autores canonicos), Crisis y reemergencia contribuye a dilucidar como el campo cultural del Cono Sur ha cambiado desde los noventa: como la etica intelectual, las identidades nacionales y las estrategias discursivas que fueron funcionales a la consolidacion del liberalismo en el siglo XIX han sido reformuladas, transformadas y repensadas en las ultimas decadas. Apoyandose en el marxismo cultural, el analisis del discurso y la teoria poscolonial, el libro apunta a una triple contribucion: definir los componentes ideologicos y discursivos que estan en el corazon del siglo XIX, mostrar su continuidad hasta los noventa (y aclarar asi las conexiones entre liberalismo y neo-liberalismo) y exponer su reciente transformacionuna transformacion que abrio el camino a lo que se ha llamado el "e;retorno de lo politico"e; en la region.In the last decades-and especially since the 1990s-there has been a noticeable reemergence of the nineteenth century in Southern Cone culture. Popular nineteenth-century figures (indios, gauchos, letrados, and cautivas) have reentered the national literary scene in Argentina, Chile, and Uruguay. Nineteenth-century heroes such as San Martin and Artigas are again the main protagonists of Southern Cone theater, film, and literature. Canonical nineteenth-century texts (La cautiva, Martin Fierro, Facundo) are being rewritten one more time in different artistic fields. Foundational nineteenth-century genres (travel narratives, gauchesque poems, and national romances) are being transformed and recycled. Controversial nineteenth-century events (the civil wars, the massacre of indigenous communities) are being revisited and explored. Through a combination of close textual analysis and a broader perspective rooted in cultural theory, this book answers two interrelated questions: Why did the nineteenth century resurface so strongly in the last decades? What are the ideological implications of this reemergence?Based on a transnational comparison of Argentina, Chile, and Uruguay, and a survey of narratives that were mostly produced by well-known figures (political activists, public intellectuals, and canonical authors), Crisis y reemergencia helps to elucidate how the Southern Cone cultural field has changed since the 1990s: how intellectuals' ethics, national identities, and discursive strategies that were functional to the consolidation of liberalism in the nineteenth century have been challenged, transformed, and rethought in the last decades. Borrowing from cultural Marxism, discourse analysis, and postcolonial theory, the book pursues a triple contribution: to define the discursive and ideological components that were at the core of the nineteenth century, to show their continuity up to the 1990s (and thus clarify the connections between liberalism and neoliberalism), and to expose their recent transformation-a transformation that paved the way for the "e;return of the political"e; to the region.

This book is the first full-length study to examine Moliere's evolving (and at times contradictory) authorial strategies, as evidenced both by his portrayal of authors and publication within the plays and by his own interactions with the seventeenth-century Parisian publishing industry. Historians of the book have described the time period that coincides with Moliere's theatrical activity as centrally important to the development of authors' rights and to the professionalization of the literary field. A seventeenth-century author, however, was not so much born as negotiated through often acrimonious relations in a world of new and dizzying possibilities.The learning curve was at times steep and unpleasant, as Moliere discovered when his first Parisian play was stolen by a rogue publisher. Nevertheless, the dramatist proved to be a quick learner; from his first published play in 1660 until his death in 1673, Moliere changed from a reluctant and victimized author to an innovator (or, according to his enemies, even a swindler) who aggressively secured the rights to his plays, stealing them back when necessary. Through such shrewdness, he acquired for himself publication privileges and conditions relatively unknown in an era before copyright.As Moliere himself wrote, making people laugh was "e;une etrange entreprise"e; (La Critique de L'Ecole des femmes, 1663). To an even greater degree, comedic authorship for the playwright was a constant work in progress, and in this sense, "e;Moliere,"e; the stage name that became a pen name, represents the most carefully elaborated of Jean-Baptiste Poquelin's invented characters.

On Emerging from Hyper-Nation represents Ronald W. Sousa's attempt to answer the question, "e;Why do I smile on reading one of Saramago's 'historical' novels?"e; Why that reaction of emotional release? To answer the "e;smile question"e; the book engages in a critical mode that could be described as "e;discourse analysis."e; It combines several critical strains and relies on basic concepts from Freudian and Lacanian psychoanalysis, Adlerian psychology, and contemporary cognitive psychology for their discourse-analytical value rather than as entrees into psychoanalytical reading per se. The introductory chapter presents some of the concepts that underlie that compound analytical modality and sets out an overview of twentieth-century Portuguese social and economic history. Then, with an eye to answering the "e;smile question,"e; the book reads Nobel Laureate Jose Saramago's three novels, Baltasar and Blimunda (1982), The Year of the Death of Ricardo Reis (1984), and The History of the Siege of Lisbon (1989). Or, better, it seeks to read Sousa's own reading of the three works, since focus falls on how each novel seeks to construct both its own reading and also Sousa as its reader. The discussion brings to light a number of textual phenomena that bear upon the "e;smile question."e; Among them are that the novels invoke, often subtly, the fascist hermeneutical heritage remaining from before the revolution of 1974 as a constituent part of their communication with the reader; that they summon up historical trauma; that they function as Freudian-style "e;tendentious jokes"e;; and that, through these various invocations, they seek to constitute a postrevolutionary Portuguese subject. The reading of Sousa's reading, then, ends up being a reading of some of the cultural forces at work in postrevolutionary Portugal.