DOCSLIB.ORG

ARS Interior

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ARS Interior ESSENTIAL GUIDE TO SPANISH READING 2 ESSENTIAL GUIDE TO SPANISH READING ESSENTIAL GUIDE TO SPANISH READING: LIBRARIAN’S SELECTIONS ISBN 13: 978-0-9796067-0-0 ISBN 10: 0-9796067-0-5 Edited by Lluís Agustí Translated by Eduardo de Lamadrid Revised by Alina San Juan © 2007, AMERICA READS SPANISH © Federación de Gremios de Editores de España (FGEE) © Instituto Español de Comercio Exterior (ICEX) Con el patrocinio de All rights reserved. No part of this book may be reproduced in any form, or incorporated into any information retrieval system, electronic or mechanical, without the written permission of the copyright owner. This is a non commercial edition and is not for sale. For free copies of this book, contact the Trade Commission of Spain in Miami at: TRADE COMMISSION OF SPAIN 2655 LeJeune Rd, Suite 1114 CORAL GABLES, FL 33134 Tel. (305) 446-4387 e-mail: [email protected] www.americareadsspanish.org America Reads Spanish is the name of the campaign sponsored by the Spanish Institute for Foreign Trade and the Spanish Association of Publishers Guilds, whose purpose is to increase the reading and use of Spanish through the auspices of thousands of libraries, schools and booksellers in the United States. Printed in the United States of America www.americareadsspanish.org 3 ESSENTIAL GUIDE TO SPANISH READING INTRODUCTIONS & ACKNOWLEDGEMENTS www.americareadsspanish.org 4 ESSENTIAL GUIDE TO SPANISH READING www.americareadsspanish.org 5 ESSENTIAL GUIDE TO SPANISH READING INTRODUCTIONS The enhancement of cultural relations with the U.S. should constitute a priority and a developing line of action for Spanish foreign policy with this country. The richness and diversity which characterize contemporary Spanish culture is widely recognized in the U.S., apart from the traditional esteem enjoyed by our linguistic and historical- artistic patrimony, from which derives the prestigious and powerful school of Anglo-American Hispanists. For said reasons, the diffusion, visibility and knowledge of the Spanish language in the U.S. constitutes a very powerful instrument of influence in diverse spheres of American society, including and prominently so, the political and business sectors, apart from the manifestly social and educational sectors. As Thomas Jefferson recommended to a nephew in 1787, «Spanish. Bestow great attention on this, and endeavor to acquire an accurate knowledge of it. Our future connections with Spain and Spanish America will render that language a valuable acquisition.» In the present situation of clear opportunities, to which the growing impact of Americans of Hispanic origin on the national life must be added, it is imperative that we take full advantage of the tools at our disposal to reflect the dynamism of Hispanic letters in a perspicacious manner. Consequently, an important first step in that direction is attention to the diffusion of books in Spanish, a language whose use grows yearly in this country and which has been the foreign language most in demand in university curriculums for more than 25 years, even before the consolidation of Hispanics as the largest minority in the U.S. Carlos Westendorp y Cabeza Ambassador of Spain to the U.S. www.americareadsspanish.org INTRODUCTIONS 6 ESSENTIAL GUIDE TO SPANISH READING INTRODUCTIONS It is a great pleasure for me to present this Essential Guide to Spanish Reading. We have been working on this project for more than a year with the invaluable collaboration of the Spanish Association of Publishers Guilds and the Cervantes Institute of New York. For several years now, the Spanish Institute for Foreign Trade has been involved in promoting the cultural field by means of its internationalization plan covering industries in the publishing, audiovisual, music and educational service sectors, all of which share a common denominator in the Spanish language. In the United States, this support has crystallized in the promotional plan America Reads Spanish. This campaign has consolidated itself as an element of continuous communication about all innovations and news relative not only to books in Spanish in the United States, but also to authors, events, opinions and selections by those professionals who have contributed to the publication of this book. It is for us a source of great pride to be able to offer all this information on the web portal www.americareadsspanish.org, flagship of the campaign. Our objective is to contribute to the promotion of reading in Spanish, which is nothing if not a unifying link for the transmission of Hispanic culture throughout the world. We are deeply grateful for your participation in this project, and we trust that we can count on you for the improvement and updating of subsequent editions. But above all, we hope that the Essential Guide to Spanish Reading will prove to be a useful resource for the compilation and expansion of your book collections in Spanish. Angel Martín Acebes Executive Vicepresident / ICEX INTRODUCTIONS www.americareadsspanish.org 7 ESSENTIAL GUIDE TO SPANISH READING INTRODUCTIONS The Spanish Association of Publishers Guilds, which is also an association of exporters, among other attributes, has had since its inception a patently American focus, conjoined and collaborating with all the professional associations in the region, and stimulating the Spanish presence throughout the American continents. From that perspective, one of its traditional objectives has been the American market, not only because of its character as the leading market in the world, in which participation is a necessity, but also because of the historical Spanish presence in said market, reinforced in recent years by significant Hispanic-American emigration, which has fomented the use and import of that extraordinary integrative element of the Hispanic-American community which is the Spanish language. The efforts and labors to strengthen the presence of Hispanic culture and the Spanish language, incumbent on all of us, should prove beneficial to all Hispanic-Americans, particularly in this magnificently creative period for Hispanic culture and literature in Spanish. The Essential Guide to Spanish Reading, created under the sponsorship of the Spanish Institute fof Foreign Trade (ICEX, acronym in Spanish), the Spanish Association of Publishers Guilds (FGEE, acronym in Spanish), and the Trade Commission of Spain, in conjunction with the Ministry of Culture and the Cervantes Institute, is an excellent example of those efforts to increase the presence of Spanish in the modern American market. We trust that the Guide presented here, essentially developed by American professionals and whose participation we gratefully acknowledge, will prove to be a useful working tool for all professionals associated with the book trade. At least that was our objective in launching and publishing the work. We are convinced that the objective will be fulfilled. Jordi Úbeda President / FGEE www.americareadsspanish.org INTRODUCTIONS 8 ESSENTIAL GUIDE TO SPANISH READING INTRODUCTIONS This guide to essential works in Spanish, created on the initiative of America Reads Spanish (ARS) is aimed at librarians in the United States and responds to a need which required urgent address: to advise professionals regarding which titles to select, given the voluminous and vast publishing production of Spain and Latin America. In one sense, this is an eminently practical guide, which aspires to remedy a situation requiring immediate attention, since the number of Spanish speaking readers in the United States is growing at a sustained pace. In another sense, this is also an eclectic guide. The selection of the 500 titles included herein reflects a strikingly open and democratic process, given that the results are extremely broad and inclusive. The idea which informs it is an undertaking to represent the most varied possible spectrum of works and authors. It is notable that numerous contributors of very diverse backgrounds have collaborated in its preparation. That has allowed the selection to attain an expansive typology, representative of sundry affinities for genres, themes and styles. To give just one example, the field of narrative includes both highly demanding titles, from the perspective of accessibility and artistic exigencies, and titles of a popular nature, which in conjunction fulfills the important objective of addressing a highly heterogeneous public. It is simply a matter of reaching the greatest number of readers possible. The guide has the rare advantage of offering librarians works which transcend the strictly academic sphere. That same spirit of inclusion encompasses works destined not only for the usual adult readership but also for young readers and children. Also worth mentioning are the genres covered by this bibliographical selection: in a flexible manner, and with a considerable breadth of outlook, it incorporates representative titles from the multiform genres of imaginative literature, as well as essays, poetry, theater, and—something which is fundamental in a guide addressed to librarians—reference works. Coordinated at the behest of its sponsors at the Cervantes Institute of New York, and accomplished thanks to the INTRODUCTIONS www.americareadsspanish.org 9 ESSENTIAL GUIDE TO SPANISH READING generosity and commitment of its Head Librarian, Lluís Agustí, many friends, professors as well as writers, readers at large and representatives of the most diverse professions, have contributed summaries which highlight the plural and participatory nature of the guide. The differences in
Load more

Recommended publications
  • Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America
    Juan E. De Castro. Mario Vargas Llosa. Public Intellectual in Neoliberal Latin America. Tucson: University of Arizona Press, 2011. Print. 179 Pp. ──────────────────────────────── CARLOS AGUIRRE UNIVERSITY OF OREGON Mario Vargas Llosa, one of Latin America’s most important writers and intellectuals and the recipient of, among numerous other awards, the 2010 Nobel Prize in literature, is not only the author of an admirable corpus of novels, theater plays, and essays on literary criticism, but also somebody that has been at the center on countless political and literary controversies ever since he came into the literary and political spotlight in 1962 when he won the Biblioteca Breve award for his novel Time of the Hero at the age of twenty-six: the novel was received with great hostility in his home country, Peru, where prominent members of the military accused him of being a Communist and a traitor; in 1967, when he won the Rómulo Gallegos prize for his novel The Green House, he engaged in a dispute (at that time private) with Cuban officials such as Haydeé Santamaría who allegedly wanted him to make a fake donation of the cash prize to Che Guevara’s guerrilla movements; in 1971, he publicly and loudly denounced the Cuban government after the imprisonment and public recounting of Heberto Padilla and other writers accused of counter-revolutionary activities; in 1974, he criticized the confiscation of media in Peru by a military regime that he had hitherto supported and became the subject of a fierce polemic in his country; in 1976, he was
    [Show full text]
  • Antología Poética Del Curso 2020-2021
    ÍNDICE Carmen de Abajo……………. 2 Maite Aguado………………. 5 Teresita Ávila………………... 8 Carmen Corsino……………... 9 M.ª Ángeles Fiz………………12 Ángelica García………………16 José M.ª García……………… 19 Regina López…………………22 Ana M.ª Rodríguez Platón……24 Carmen Sánchez………………27 1 Selección: Carmen de Abajo LITERATURA O AUTOSERVICIO EPISTOLAR Durante muchos años recibí una gran copia de cartas en cierto modo alentadoras, dotadas de un autosuficiente aparejo estilístico y un fogoso y regular acopio de compensaciones. Eran cartas anónimas: no supe hasta mucho después de dónde provenían, quién me las enviaba. Tal vez desde que tuve certeza minuciosa de que ese gusto epistolar me convertía en un terco suplente de escritor, adquirí también ese hábito de atribuirme la paternidad de esos papeles de tan ambigua procedencia. Al menos entendí lo más palmario: que la literatura se parece a una carta que el escritor se manda sin cesar a sí mismo. José Manuel Caballero Bonald, de Diario de Argónida (1997) 2 Selección: Carmen de Abajo COMO UN NAIPE Como un naipe, mi mano está marcada. No soy yo quien la hace ganar, perder sus desafíos: ama, parte el pan, acaricia, recoge el lienzo de la vanidad, mide el rasante de la muerte, recibe el precio de la vida. Mas no soy yo quien la hizo a su imagen, virtud y crimen juntos con idénticas armas en la pugna. Bajo su piel vuelca el azar sus oscuros triunfos, juega mi propio corazón a desbancarme. José Manuel Caballero Bonald, de Poesía amatoria (1999) 3 Selección: Carmen de Abajo JUICIO TEMERARIO El erotismo de las cremalleras desempeña un papel más bien preponderante cuando la insumisa doncella no virgen atraviesa la oscuridad con gesto de rasgarla y usa una mano metódica de mártir para abrir su vestido como quien se va abriendo lentamente una herida.
    [Show full text]
  • The Cambridge Companion to Mario Vargas Llosa Edited by Efraín Kristal and John King Frontmatter More Information
    Cambridge University Press 978-0-521-86424-4 - The Cambridge Companion to Mario Vargas Llosa Edited by Efraín Kristal and John King Frontmatter More information the cambridge companion to mario vargas llosa One of the major novelists in world literature over the last five decades, Mario Vargas Llosa (b. 1936) is also one of Latin America’s leading public intellectuals, a critic of art and culture, and a playwright of distinction. This Companion’s chapters chart the development of Vargas Llosa’s writings, from his rise to prominence in the early 1960s to the award of the Nobel Prize in Literature in 2010. The volume traces his literary trajectory, and the ways in which he has reinvented himself as a writer. His vast output of narrative fiction is the main focus, but the connections between his concerns as a creative writer and his rich career as a cultural and political figure are also teased out in this engaging, informative book. efraı´n kristal is Professor and Chair in Comparative Literature at UCLA. john king is Professor of Latin American Cultural History at the University of Warwick. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86424-4 - The Cambridge Companion to Mario Vargas Llosa Edited by Efraín Kristal and John King Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86424-4 - The Cambridge Companion to Mario Vargas Llosa Edited by Efraín Kristal and John King Frontmatter More information THE
    [Show full text]
  • A Book Lover's Journey: Literary Archaeology and Bibliophilia in Tim
    Verbeia Número 1 ISSN 2444-1333 Leonor María Martínez Serrano A Book Lover’s Journey: Literary Archaeology and Bibliophilia in Tim Bowling’s In the Suicide’s Library Leonor María Martínez Serrano Universidad de Córdoba [email protected] Resumen Nativo de la costa occidental de Canadá, Tim Bowling es uno de los autores canadienses más aclamados. Su obra In the Suicide’s Library. A Book Lover’s Journey (2010) explora cómo un solo objeto —un ejemplar gastado ya por el tiempo de Ideas of Order de Wallace Stevens que se encuentra en una biblioteca universitaria— es capaz de hacer el pasado visible y tangible en su pura materialidad. En la solapa delantera del libro de Stevens, Bowling descubre la elegante firma de su anterior dueño, Weldon Kees, un oscuro poeta norteamericano que puso fin a su vida saltando al vacío desde el Golden Gate Bridge. El hallazgo de este ejemplar autografiado de la obra maestra de Stevens marca el comienzo de una meditación lírica por parte de Bowling sobre los libros como objetos de arte, sobre el suicidio, la relación entre padres e hijas, la historia de la imprenta y la bibliofilia, a la par que lleva a cabo una suerte de arqueología del pasado literario de los Estados Unidos con una gran pericia literaria y poética vehemencia. Palabras clave: Tim Bowling, bibliofilia, narrativa, arqueología del saber, vestigio. Abstract A native of the Canadian West Coast, Tim Bowling is widely acclaimed as one of the best living Canadian authors. His creative work entitled In the Suicide’s Library. A Book Lover’s Journey (2010) explores how a single object —a tattered copy of Wallace Stevens’s Ideas of Order that he finds in a university library— can render the past visible and tangible in its pure materiality.
    [Show full text]
  • A Novel, Notes to Self, and an Extended Essay on That Work By
    Mature Poets Steal: a novel, Notes to Self, and an extended essay on that work By James Horrocks School of English, Faculty of the Arts, Drama and Media Birmingham City University A thesis submitted in partial fulfilment of the requirements of Birmingham City University for the degree of Doctor of Philosophy May 2017 Abstract This thesis consists of a novel, Notes to Self, and an extended essay examining the composition of that work, its processes and contexts. Notes to Self is the fictional autobiography of my pseudonym, Ted Bonham. It has been assembled from textual fragments of differing lengths, including many that derive from found texts from both literary and non-literary sources. These fragments are written in a diverse range of styles and set in a variety of geographical locations and historical periods, from Neanderthal tribe story to contemporary lab report and from nineteenth century novel to amateur internet polemic. Taken together, these disparate textual fragments reveal Ted's life story. The narrative tells this story approximately chronologically, but within this broad structure fragments are also organised by associative and thematic principles more often discussed in relation to poetry or visual collage. The essay examines the assemblage composition of Notes to Self and its use of the fragment as a unit of composition. It uses analogies to collage and montage to extend critical discourse around the assemblage-text, helping to provide both a vocabulary for practitioners to discuss their work and the theoretical basis to defend it. It also examines how Notes to Self, as the notional autobiography of my pseudonym Ted Bonham, addresses themes of identity and self-narrative and how its fragmentary structure creatively explores and represents our experiences of consciousness and how we construct our narratives of selfhood.
    [Show full text]
  • Revising the World with Speech in Franz Kafka, Robert Walser and Thomas Bernhard
    Monologue Overgrown: Revising the world with speech in Franz Kafka, Robert Walser and Thomas Bernhard by Paul Joseph Buchholz This thesis/dissertation document has been electronically approved by the following individuals: Schwarz,Anette (Chairperson) Gilgen,Peter (Minor Member) McBride,Patrizia C. (Minor Member) MONOLOGUE OVERGROWN: REVISING THE WORLD WITH SPEECH IN FRANZ KAFKA, ROBERT WALSER AND THOMAS BERNHARD A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Paul Joseph Buchholz August 2010 © 2010 Paul Joseph Buchholz MONOLOGUE OVERGROWN: REVISING THE WORLD WITH SPEECH IN FRANZ KAFKA, ROBERT WALSER AND THOMAS BERNHARD Paul Joseph Buchholz, Ph. D. Cornell University 2010 My dissertation focuses on unstable, chronically unpublished prose texts by three key 20th century prose writers, quasi-novelistic texts whose material instability indicates a deep discomfort with the establishment of narrative authority qua narrative violence. I argue that Franz Kafka, Robert Walser and Thomas Bernhard, radically refunctionalized the device of interpolated “character monologue,” turning characters' speech from a narrative function, into a site where a text can be rewritten from within. In the Bildungsroman tradition, extended oral interpolations serve as an engine for the expansion and exposition of the plotted work, deepening the epic narrative world and exhaustively presenting a perspective that will be incorporated into biographical trajectory. I locate an estrangement of this practice: moments when oral monologues of fictional interlocutors “overgrow,” becoming an interventionary force that doubles, disrupts and re-frames the narrative discourse out of which it first sprouted. In showing how the labor of ‘world-making’ is split and spread across different competing layers of these texts, my dissertation contributes to the study of the narrative phenomenon of metalepsis.
    [Show full text]
  • In Praise of Reading and Fiction the Nobel Lecture
    In Praise of Reading and Fiction The Nobel Lecture Mario Vargas Llosa Route 1 First Published in 2011 by Route www.route-online.com [email protected] The text included here is used with kind permission from the Nobel Foundation. Text © The Nobel Foundation 2010 Further presentations and lectures by Nobel Prize recipients can be found on the website www.nobelprize.org Full details of the Route programme of books can be found on our website www.route-online.com All Rights Reserved No reproduction of this text in any other form of publication is allowed without written permission 2 Contents Telephone Interview 5 In Praise of Reading and Fiction 10 Biobibliographical notes 26 3 The Nobel Prize in Literature for 2010 is awarded to the Peruvian author Mario Vargas Llosa ‘for his cartography of structures of power and his trenchant images of the individual’s resistance, revolt, and defeat’. 4 Telephone Interview Telephone interview with Mario Vargas Llosa following the announcement of the 2010 Nobel Prize in Literature, 7 October 2010. The interviewer is Adam Smith, Editor-in-Chief of Nobelprize.org. [Mario Vargas Llosa] Hello? [Adam Smith] Oh, hello, is that Mario Vargas Llosa? [MVL] Yes, speaking? [AS] Oh, hello, my name is Adam Smith. I’m calling from the Nobel Prize website in Stockholm. My congratulations on the news of the award. [MVL] Well, so, is it true then? Ha ha! [AS] Ha, ha! It most certainly… [MVL] Because, I received a call from the Secretary General of the Academy, and I was wonder if it was true or joke of a friend! [AS] Well, I can confirm that it has just been announced to the public in Stockholm.
    [Show full text]
  • Adam Floridia, Middlesex Community College
    Teaching American Literature: A Journal of Theory and Practice Spring/Summer 2010 (3:3/4) Unconsciously Completing the Canon: An Argument for The Original of Laura Adam Floridia, Middlesex Community College Perhaps the most impressive aspect of Nabokov’s prolific career— spanning six decades and numerous languages—is the fact that there is surprisingly remarkable consistency to his canon. The casual Nabokov reader will certainly notice the leitmotifs of chess, light and color, lepidoptery and various word games; the more acute Nabokov scholar, however, will note a theme, at times obvious, at times latent, always pulsing beneath the surface of his stories. Operating as the life force of his literature, sometimes this particular theme becomes obvious to both readers and characters alike, for example when all of Krug’s emotional anguish is lifted at the end of Bend Sinister thanks to the epiphany that he is merely a character. Krug’s epiphany, the overriding concern of all of Nabokov’s work, is the concept of consciousness. In Speak, Memory Nabokov begins, “The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness.”1 It is this mystery of the relatively brief moment of consciousness that is one’s life that so harasses and fascinates the author and so informs his writing. He continues, “Over and over again my mind has made colossal efforts to distinguish the faintest of 1 Teaching American Literature: A Journal of Theory and Practice Spring/Summer 2010 (3:3/4) personal glimmers in the impersonal darkness on both sides of my life”1 and concedes, “Initially, I was unaware that time, so boundless at first blush, was a prison.”2 It was early in his own life that Nabokov came to this realization that life is a mere flickering of consciousness between the vast, dark voids at both ends of a human’s time on earth.
    [Show full text]
  • Antonio Gamoneda Lobón
    Antonio Gamoneda Lobón Nació en Oviedo el 30 de mayo de 1931. Su padre, poeta modernista en cuyas páginas Gamoneda probablemente aprende a leer, muere en 1932. En 1934 se traslada a León con su madre, cuya presencia como refugio ante la alienación del trabajo, el horror y la miseria de la guerra y la postguerra, es recurrente en toda su poesía. En León sigue residiendo, y tras un brevísimo y limitado aprendizaje académico, que completó a través de sus lecturas personales, desempeña varios oficios, como empleado de una entidad financiera (1945-1969) o gestor de los servicios culturales de la Administración provincial (1969-1977). Colaborador de las revistas Espadaña y Claraboya, se ocupó durante unos pocos años de los servicios culturales de la Administración provincial leonesa, desde donde creó y dirigió la colección "Provincia" de poesía. Antonio Gamoneda es, en la actualidad, además de escritor y poeta, crítico de arte, asesor cultural de la Diputación de León y Director de la Fundación Sierra-Pambley de León, proyección de la Institución Libre de Enseñanza dirigida a la educación de campesinos y obreros. Autodidacta y no integrado en movimiento alguno, nunca ha participado en agrupaciones generacionales y su obra se caracteriza por un extremado rigor y calidad. Se dio a conocer con la publicación, en 1960, de Sublevación inmóvil, que supuso una ruptura con las tradicionales reglas realistas, al que siguen Descripción de la mentira (1977), León de la mirada (1979), Blues castellano (1982) y Lápidas (1987). En 1988 se publicó el libro recopilatorio Edad, galardonado con el Premio Nacional de Literatura, que incluye, además de los libros anteriores, los poemas escritos por Gamoneda entre 1947 y 1960.
    [Show full text]
  • “Copies Without Originals”: Manipulation, Mediation, and Mediatization in Performance and Recording Practices
    \Copies Without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording Practices by Alyssa Michaud Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements for the M.A. degree in Musicology School of Music Faculty of Arts University of Ottawa c Alyssa Michaud, Ottawa, Canada, 2012 Abstract This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of \copies without orig- inals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its de- velopment in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth-century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momen- tum today, including Bj¨ork's Biophilia app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.
    [Show full text]
  • The Twilight of the Avant-Garde: Spanish Poetry 1980–2000
    The Twilight of the Avant-Garde: Spanish Poetry 1980–2000 LUP_Mayhew.indd 1 28/3/09 14:33:11 LUP_Mayhew.indd 2 28/3/09 14:33:11 The Twilight of the Avant-Garde: Spanish Poetry 1980–2000 jonathan mayhew liverpool university press LUP_Mayhew.indd 3 28/3/09 14:33:11 First published 2009 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2009 Jonathan Mayhew The right of Jonathan Mayhew to be identified as the author of this book has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication data A British Library CIP record is available ISBN 978-1-84631-183-3 Typeset in Borges by Koinonia, Manchester Printed and bound by the MPG Books Group LUP_Mayhew.indd 4 28/3/09 14:33:11 Contents Acknowledgments page 7 Preface 9 Part One: The Avant-Garde and its Discontents: The Place of Poetry in Contemporary Spanish Culture 1 Aesthetic Conservatism in Recent Spanish Poetry 17 2 Three Apologies for Poetry 32 3 Poetry, Politics, and Power 49 Part Two: Valente, Gamoneda, and the “Generation of the 1950s” 4 In Search of Ordinary Language: Revisiting the “Generation of the 1950s” 65 5 José Ángel Valente’s Lectura de Paul Celan: Translation and the Heideggerian Tradition in Spain 83 6 Antonio Gamoneda’s Libro
    [Show full text]
  • La Voz De Jaime Sabines
    LA NOCHE DE LOS LIBROS Presentación del audiolibro La voz de Jaime Sabines El próximo viernes 23 de abril, a las nueve de la noche, tendrá lugar en la Residencia de Estudiantes la presentación del audiolibro La voz de Jaime Sabines, editado por Publicaciones de la Residencia de Estudiantes gracias al patrocinio de la Fundación Autor de la Sociedad General de Autores y Editores. En el acto intervendrán los poetas Esperanza López Parada y Tomás Segovia, así como Eduardo Bautista, Presidente del Consejo de Dirección de la SGAE. Esta presentación forma parte del programa de La noche de los libros que por quinto año consecutivo organiza la Consejería de Cultura y Deporte de la Comunidad de Madrid. La voz de Jaime Sabines es el volumen 14 de la colección Poesía en la Residencia y recoge la lectura de poemas que el autor ofreció en la Residencia de Estudiantes el 12 de diciembre de 1997. Sabines recorre en orden cronológico los distintos registros de su extraordinaria obra, desde el poema «Lento, amargo animal», al que considera su tarjeta de presentación, hasta algunos de la serie dedicada a su padre «Algo sobre la muerte del Mayor Sabines» —leídos por primera vez en público, según su propia confesión—, pasando por composiciones de casi todos sus libros. El volumen incluye un disco compacto con la grabación de la lectura, junto a su transcripción, una breve reseña biográfica acerca de la vida y obra del poeta y un índice de procedencia de los poemas. Jaime Sabines (Chiapas, 1926 - Ciudad de México, 1999) comenzó a estudiar Medicina, pero abandonó esta carrera para cursar Letras en la Universidad Nacional Autónoma de México (UNAM), donde se licenció en Lengua y Literatura Española.
    [Show full text]