Bøger udgivet af StockCERO

In spite of the precedent of Bartolomé Hidalgo's "Cielitos y Diálogos patrióticos" -that defined the " cielito" as the tone of voice for the "gauchesca" genre- it is Hilario Ascasubi who should be considered the first of the "gauchi-poetas", as his works opened the roads to Estanislao del Campo's "Fausto" (1866) and José Hernández's "Martin Fierro" (1873).Santos Vega o los mellizos de la Flor was started in 1850, and published for the first time in 1851 in Montevideo as two deliveries of just 10 chapters spanning 1,080 versesIt is just in 1872 that Ascasubi, during his stay as diplomat in París, completes the sixty five chapters and more than 13,000 verses.In the author's own words: "the canevas of the Mellizos de la Flor, is a favourite subject of the argentine gauchos, it is the story of a maverick capable of every conceivable crime that gave the justice a handful. By referring his deeds and criminal life through Santos Vega, the wandering troubadour and country folk myth I also wanted to consecrate, the opportunity is happily fit to sketch the daily life of the Estancia and its inhabitants, as well as to describe the countryside most peculiar customs along with some traces of the city life".Based on the original 1872 complete text first published in Paris and printed by Imprenta de Paul Dupont, our edition adds to the author's own to complete no less than 803 lexicographic notes, conveniently placed at the bottom of the pages and intended to help the modern reader grasp the exact meaning of the text without obtrusive lengthy interruptions.These notes were made after a careful research work that includedRamón R. Capdevila 1700 refranes, dichos y modismos (región central bonaerense), Ed. Patria, Bs. As. 1955; Emilio Solanet Pelajes Criollos, Ed. Kraft, Bs. As. 1955; Tito Saubidet Vocabulario y refranero criollo, Ed. Kraft, Bs. As. 1943 Eleuterio F. Tiscornia Edición crítica de Poetas Gauchescos, , Ed. Losada, Bs. As, 1940 José Gobello Ascasubi lexicógrafo, , Marcelo Oliveri Editor, Bs. As. 2003 Juan Carlos Guarnieri, Diccionario del leguaje campesino rioplatense, Editorial Florencia & Lafon, Montevideo 1968 Daniel Granada, Vocabulario rioplatense razonado, Imprenta Rural, Montevideo 1890

La gaviota, the great Fernan Caballero Spanish novel, in a US printed edition Fernán Caballero is one of the great XIX Century Spanish novelist, considered the first to introduce the realist novel in Spain. That alone would have granted the author a place among Spanish writers, but the fact that Caballero is a pseudonim behind which stands a woman, transforms the author into a novelistic character in her own right. Cecilia Böhl de Faber's life is as fascinating as her characters. Born in Switzerland, educated in France, Cecilia Böhl became a highly successful woman writer in Spain, even regarded as the Spanish answer to Walter Scott, not a minor feat in the Spanish society of that time. La gaviota is her first novel. Originally written in French it was translated into Spanish with the author's own supervision, and immediately caught the demanding Spanish literary circles attention. Even though this is the type of books reserved to Spanish studies readings, in this edition we took care to include just the necessary annotations as to help the modern reader sail through the novel without any obstrusive lengthy interruptions. If you enjoy reading in Spanish, and admire brilliant prose, this is a book to read.

Echeverria's classic poem La cautiva in a new, annotated editionThough critisized by the Martin Fierro supporting authors such as Leopoldo Lugones as a romantisized vision of the Pampa, Echeverria's poem is still considered a cornerstone of the Latin American poetry, depicting the human drama of the Southern cone frontier life.

The '90s have proved a frustrating experience for Latin America. More so to those who consider Liberalism to be the fairest political system. After a seemingly positive start, a series of unclear administrative practices ensued, plagued by lack of control and a steep growth of government expenditure, most for corrupt and clientelistic reasons. This situation -of high expectations about a Truth victory frustrated by political manouvers- immediately recalls Juan Bautista Alberdi's book "Peregrinación de Luz el Día, o Viajes y aventuras de la Verdad en el Nuevo Mundo"*. As a sharp publicist Alberdi identified his villains with thos most easily identifiable at his time: Tartufo, don Basilio de Sevilla, Gil Blas de Santillana. Regrettably nowadays hipocrisy, bad faith and vile are common political practices, thus loosing their stealth. Today's state of the art political trap comes disguised as "pragmatism" or "idealism". These are much more difficult to detect, as their evil lurks behind the acromegalia of their positive characteristics. Thus, the return to the sources, and the understanding of how it is in the ideas of Kant and Hegel were the justification of totalitarism hides, of how the Jean Jaques Rousseau conception materialized the transformism by means of which the Lord's word became replaced by the Will of the People in order to avail absolutism and the choking of individual liberties. In this sense Dr. Armando Ribas' analysis enlightens and allows to undertand the new intellectual traps setup by the "industry of politics" in front of the Latin American citizen of good faith. Published by STOCKCERO ISBN 987-1136-05-6

Very far from being one of those "tales attributed to the fantasy of the old ladies", and very close to being "almost a book of moral philosophy for its concept, almost a book of politics and the world for its maxims and observations »in the words of its author,« Daylight Pilgrimage »is a masterpiece of socio-political thought and observation.Dated in London, in 1871, (the moment is inserted in the interval of public ostracism between 1862 and 1880) at the time of writing Juan Bautista Alberdi had already passed through the satisfaction of seeing his «Bases and starting points for the national organization of the República Argentina »turned into the axis of the Argentine constitution of 1853, with the unrestricted and fundamental support of personalities as diverse as Justo José de Urquiza, Bartolomé Miter and Sarmiento, and for the bitterness of seeing these last two converted into virulent critics of root of his diplomatic activity in Europe aggravated by an anti-war posture in the heat of the Paraguayan War.Gone were the epistolary battle with Sarmiento (masterfully overturned by both in their respective Letters Quillotanas and Las Ciento y Una), and also the eternal fury of Miter, who had opposed the will of President Julio A. Roca to appoint him diplomatic representative in Paris.Far from being condescending, Alberdi's vision seemed too bitter for the time the play was written: with the presidency of Sarmiento Argentina, a period of peace and order began based on the rule of law (Rule of Law, so claimed by the Alberdi himself), and was heading towards one of the most impressive social and economic growths in world history.Alberdi's toughness for many years was attributed to his bad character, exacerbated by public marginalization. However, in light of the events that marked the deviation of that policy from the 20th century (especially after 1930), today's reader cannot help but wonder to what extent Alberdi failed to see in the rejection of his person the Sleeping monster prohijador of Latin American failure.The cynical concepts put into the mouth of Tartufo, Basilio and Gil Blas, as well as the description of the absurd society of "Quijotanía" have a much clearer validity today than at the time of the first edition.Thus, the Conference that dictates Luz del Día, is an alert cry of astonishing news at a time when all of Latin America seems to depart violently from the liberal project, devalued not only by those who never shared it but, unfortunately, also by the actions of those who Proclaiming themselves liberals, they banned policies, cynically dubbed "neoliberals", and which only resulted in a new way of approaching the "industry of politics."

Walter Seymour's polished and accurate prose is full of sharp and witty remarks that make him a perfect example of the travelling gentleman of the Victorian era, a sort of real life Phileas Fogg whose hand does not tremble when writing down impressions on the ways, manners, morals and South American politics -little has changed since--. Born on the 9th December, 1838, at Kinwarton, in Warwickshire, Walter was one of the five sons of Richard Seymour,a Canon of Worcester in charge of the Rectory. Italy and Palestine, and then Argentine -where his brother was attempting to set as "estanciero" surrounded by the indian's threat- were his first escapades. Back in England, Walter's wandering urges lead to an hilarious stay at Paraguay where "a complication turned up - one of those natural epidemics in South America, a revolution". Venezuela, Portugal, Spain, mingle with socialite stints at Dinard (France),escapades to Italy and Egipt and even a long stay at the US rubbing elbows at Bar Harbor with none less than Mr Pulitzer himself, who when once at London "wanted some Englishman to come with him." "...My experiences of life in South American republics have shown me that a republican government means a scramble for power, and for the money that clings to that power. In the Argentine tranquillity and turmoil - called revolution - are alternative states of government... ...The population of the Southern Republics was drawn from countries almost despotically governed, so anarchy and despotism were the natural alternate outcome. The United States Republic so far does not acknowledge the Divine right of revolution. They had a serious attempt at it, but since it failed they have not repeated it...." Ups & Downs is a "must" reading to render the latest Latin American events into proper perspective, with a pinch of old victorian salt.

Clorinda Matto de Turner's classic novel in a new, annotated edition.First published in 1889, Aves sin nido drew fiery protests for its unsparing expose of small town officials, judicial authorities, and priests who oppressed the native peoples of Peru. Matto de Turner was excommunicated by the Catholic Church, burned in effigy, and forced to emigrate to Argentina.In 1904, the novel was published in an English translation as with a modified ending. Successive English editions restored the original ending and translator's omissions.This edition follows the original version in Spanish, but comprises no less than 332 notes, adding more than 270 to the author's own 58 lexicographic annotations on Quecha and Spanish unusual terms, so necessary to grasp the real power of her prose.This annotated edition constitutes an important reading for all students of the indigenous cultures of South America.

First published in 1884 "La gran aldea" is the author's attept at exposing and synthesizing the transformation process undertaken by Buenos Aires and its inhabitants during the thirty years that followed Rosas' overthrow.The novel was feverishly written as a serialized column, and from the same desk where he prepared his political articles, a situation that explains some style faults typical of haste writing.Lucio Vicente López, grandson of de Vicente López y Planes and son of Vicente Fidel López received, along a classical education, a political upbringing that allowed him to characterize the argentine society as "beotian", in the intuition that the pampa's feracity and easy richess would most probably determine political imperfections -as happened in Beotia- rather than a new Athens, as the economic push of the young country seemed to announce.Member of the '80's generation, columnist of "El Nacional", the newspaper directed by Domingo F. Sarmiento, and afterwards avid supporter of Juarez Celman, who was the paradigm of the optimism at those times, Lucio Vicente López's mental clarity gave him the necessary balance to understand the need of a regenerative civilian movement, that at the time seemed to be incarnated by the Unión Cívica of Leandro Alem.La gran aldea is a "clue novel" (roman a clef). In it some of the players of the argentine politics are easily discovered under loose disguises: Don Buenaventura is Bartolomé Mitre; Bonifacio de las Vueltas, Bernardo de Irigoyen; don Benito, Juan Carlos Gómez (the Uruguayan publicist of old liberal affiliation that polemized with Mitre on the Paraguay war issue), etc.The plot is romantic, and the intention edifying, following the trend at that time. Evil, be it paired up with revolting ugliness or seductive beauty is always punished at the end.This novel's value is set in the fresco drawn about the local customs, highlighting certain traits of the argentine society still aparent to the observant eye.

The "Lazarillo." offers a sound and credible vision of the colonial life between 1771 and 1773, as well as practical details of the trip from Montevideo up to Lima, through Buenos Aires, Córdoba, Salta, Potosí, Chuquisaca and Cuzco.According to José Luis Busaniche, the argentine born historian, "through its pages flows a new feeling about nature, far apart from the previous letters and documents of the colonial era"Its first edition circulated in a clandestine way in America. The text is the transcription of don Alonso Carrió de la Vandera's writings during his royal commission of fixing the postal system between Montevideo and Lima. The author is mentioned as "Don Calixto Bustamante Carlos Inga, also known as 'Concolorcorvo', who went along the commissioner in said journey and wrote the extracts"Calixto Bustamante Carlos Inca existence is proven, as well as documented the commission and trip of "visitador" Carrió, however "Concolorcorvo" shows a curiously remarkable erudition for a man of his extraction.According to Bartolomé Mitre the book "was written by an erudite person, knowledgeable of the Spanish America customs". Don Alonso Carrió de la Vandera spent most of his life in Mexico and Peru, and was in Buenos Aires in 1749. His letters are written in a far from vulgar prose and full of classics quotations. It would not be strange that he had authored "El Lazarillo" himself.There is a letter from Lima addressed to the postal service administrator in Buenos Aires, don Domingo de Basavilbaso, asking him to receive and protect a don Calixto Bustamante Carlos Inca, who was starting his journey to the Río de la Plata. Abandoned and in need due to the death of "his master Señor don Antonio Guill y Gonzaga, President of the Realm of Chile", he wished to change his fortune "because the temperament of Lima had proven contrary to his health". There is no proof of Bustamante's appearance in Buenos Aires, but had it been so he would have stayed at the same time as Carrió prepared his trip to Peru. It might have happened that following Basavilbaso's request the visitador found in Concolorcorvo an able secretary and the best travel company.During the trip the visitador writes confidential reports, complaining about those who surreptitiously paralyze his work. Besides him the witty Bustamante suggests invectives y scathing jokes. The visitador might have been aware of the perils involved in signing such writings. And Bustamante, who admired the visitador, might have taken care, with or without permission, to see that the events did not go unpublished. Thus could have been the "El Lazarillo" conceived: a mixture of travel book, official reports and strong sarcasm. A most simple and possible explanation that in no way diminishes a bit its amusing quality.

In Estanislao del Campo's Fausto, a truly "gauchesca" work, the vocabulary, the simplicity of its plot and the nature of it's metaphores cannot be of a more unencumbered and jocose "criollo" tone, or more camp flavoured.It is known that during the representation of Gounod's opera Faust at the old Colon theatre in Buenos Aires, Del Campo improvised for the benefit of Ricardo Gutiérrez -phisician, poet and friend- some short "gaucho" remarks about what they were seeing.Encouraged by the amused Gutierrez, Del Campo decided to put his "gauchipoéticas" remarks by written, and in little more than a month the book became a huge literary success.Its hilarity lies in the fact that the gaucho is a peasant, and through his point of view the actions take the graphic simplicity of the camp world, blithely distorting the medieval drama.Reading Fausto today is as much fun as it was a hundred and forty years ago, reason enough to do it without the need of considering that it also integrates, along Hilario Ascasubi's Santos Vega and José Hernández Martín Fierro, the gauchesca poetry ultimate trio.The lexicographic notes included in this edition are the result of a research work based on the following sources:Eleuterio F. Tiscornia "Edición crítica de Poetas Gauchescos", Ed. Losada, Bs. As, 1940; Emilio Solanet "Pelajes Criollos", Ed. Kraft, Bs. As. 1955; Tito Saubidet "Vocabulario y refranero criollo", Ed. Kraft, Bs. As. 1943; Juan Carlos Guarnieri "El habla del boliche", Editorial Florencia & Lafon, Montevideo 1967; Juan Carlos Guarnieri "Diccionario del leguaje campesino rioplatense", Editorial Florencia & Lafon, Montevideo 1968; Daniel Granada, "Vocabulario rioplatense razonado", Imprenta Rural, Montevideo 1890; y Ramón R. Capdevila "1700 refranes, dichos y modismos (región central bonaerense)", Ed. Patria, Bs. As. 1955.