ABSTRACT Exploring Questions of Spanish National Identity In
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Spanish Nationalism Diego Muro, Alejandro Quiroga
Spanish nationalism Diego Muro, Alejandro Quiroga To cite this version: Diego Muro, Alejandro Quiroga. Spanish nationalism. Ethnicities, SAGE Publications, 2005, 5 (1), pp.9-29. 10.1177/1468796805049922. hal-00571834 HAL Id: hal-00571834 https://hal.archives-ouvertes.fr/hal-00571834 Submitted on 1 Mar 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ARTICLE Copyright © 2005 SAGE Publications (London,Thousand Oaks, CA and New Delhi) 1468-7968 Vol 5(1): 9–29;049922 DOI:10.1177/1468796805049922 www.sagepublications.com Spanish nationalism Ethnic or civic? DIEGO MURO King’s College London ALEJANDRO QUIROGA London School of Economics ABSTRACT In recent years, it has been a common complaint among scholars to acknowledge the lack of research on Spanish nationalism. This article addresses the gap by giving an historical overview of ‘ethnic’ and ‘civic’ Spanish nationalist discourses during the last two centuries. It is argued here that Spanish nationalism is not a unified ideology but it has, at least, two varieties. During the 19th-century, both a ‘liberal’ and a ‘conservative-traditionalist’ nationalist discourse were formu- lated and these competed against each other for hegemony within the Spanish market of ideas. -
The Tragic Sense of Life by Miguel De Unamuno
The Project Gutenberg EBook of Tragic Sense Of Life, by Miguel de Unamuno This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Tragic Sense Of Life Author: Miguel de Unamuno Release Date: January 8, 2005 [EBook #14636] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK TRAGIC SENSE OF LIFE *** Produced by David Starner, Martin Pettit and the PG Online Distributed Proofreading Team TRAGIC SENSE OF LIFE MIGUEL DE UNAMUNO translator, J.E. CRAWFORD FLITCH DOVER PUBLICATIONS, INC New York This Dover edition, first published in 1954, is an unabridged and unaltered republication of the English translation originally published by Macmillan and Company, Ltd., in 1921. This edition is published by special arrangement with Macmillan and Company, Ltd. The publisher is grateful to the Library of the University of Pennsylvania for supplying a copy of this work for the purpose of reproduction. Standard Book Number: 486-20257-7 Library of Congress Catalog Card Number: 54-4730 Manufactured in the United States of America Dover Publications, Inc. 180 Varick Street New York, N.Y. 10014 CONTENTS INTRODUCTORY ESSAY AUTHOR'S PREFACE I THE MAN OF FLESH AND BONE Philosophy and the concrete man—The man Kant, the man Butler, and the man Spinoza—Unity and continuity of the person—Man an end not a means—Intellectual necessities -
NYU Madrid ARTH-UA.9417 Art and Social Movements in Spain 1888- 1939
NYU Madrid ARTH-UA.9417 Art and Social Movements in Spain 1888- 1939 Instructor Information ● Name: Julia Doménech ● Office hours: Tuesdays: 7.30-8.30pm ● Email address: [email protected] Course Description This survey examines the major artists and institutions that shaped the development of modern art in Spain from 1888, the date of Barcelona's Universal Exposition, to the end of the Spanish Civil War in 1939. The course takes as its working model the complex question of art's relation to social movements, including: the rising tides of cultural and political nationalism in the Basque and Catalan regions; the Colonial Disaster of 1898 and the question of national regeneration; the impact of fin-del-siglo anarchist and workers’ movements; the rise of authoritarian politics with the Dictatorship of Primo de Rivera; and the ideological struggles and social violence unleashed during the Spanish Civil War. Class sessions examine the complex roles played by some of Spain's most prominent artists and architects -- Antoni Gaudí, Pablo Picasso, Joan Miró, Luis Buñuel, Josep Lluís Sert, and Salvador Dalí -- and their multivalent responses to modernization, political instability, and social praxis. ● Co-requisite or prerequisite: N/A ● Class meeting days and times: Tuesdays 4.30-7.20 pm Desired Outcomes Upon Completion of this Course, students will be able to: ● Providing students with a working knowledge of the development of modern art in Spain. Page 1 ● Exploring the complex and highly mediated relations that obtain between art and politics in relation to both progressive and conservative/reactionary social movements. Assessment Components Assignment 1: Group Presentations on a temporary exhibition. -
Imperial Emotions
Imperial Emotions LUP, Krauel, Imperial Emotions.indd 1 21/10/2013 12:57:14 Contemporary Hispanic and Lusophone Cultures Series Editor L. Elena Delgado, University of Illinois at Urbana-Champaign Richard Rosa, Duke University Series Editorial Board Jo Labanyi, New York University Chris Perriam, University of Manchester Lisa Shaw, University of Liverpool Paul Julian Smith, CUNY Graduate Center This series aims to provide a forum for new research on modern and contemporary hispanic and lusophone cultures and writing. The volumes published in Contemporary Hispanic and Lusophone Cultures reflect a wide variety of critical practices and theoretical approaches, in harmony with the intellectual, cultural and social developments that have taken place over the past few decades. All manifestations of contemporary hispanic and lusophone culture and expression are considered, including literature, cinema, popular culture, theory. The volumes in the series will participate in the wider debate on key aspects of contemporary culture. 1 Jonathan Mayhew, The Twilight of the Avant-Garde: Contemporary Spanish Poetry 1980–2000 2 Mary S. Gossy, Empire on the Verge of a Nervous Breakdown 3 Paul Julian Smith, Spanish Screen Fiction: Between Cinema and Television 4 David Vilaseca, Queer Events: Post-Deconstructive Subjectivities in Spanish Writing and Film, 1960s to 1990s 5 Kirsty Hooper, Writing Galicia into the World: New Cartographies, New Poetics 6 Ann Davies, Spanish Spaces: Landscape, Space and Place in Contemporary Spanish Culture 7 Edgar Illas, Thinking -
La Influencia De Antonio Machado En La Obra
Influencias de Antonio Machado en la obra de Octavio Paz José Ricardo Dordron de Pinho1 Resumen: Este trabajo tiene por objetivo analizar posibles influencias del escritor español Antonio Machado, más específicamente a partir del poema “Alerta”, en la obra del escritor mexicano Octavio Paz, observada, por ejemplo, en el poema “Los viejos”. Octavio Paz fue a España a participar en un congreso; ahí conoció a Antonio Machado y mantuvo contacto con sus textos. Ambos compartieron la experiencia de una guerra (cada uno en su país) y, por lo tanto, todas las consecuencias negativas de tal situación: expresan, en su obra poética, el lamento de tener que pasar por ella y todas las pérdidas decurrentes de esa situación. Palabras clave: Antonio Machado, Octavio Paz, Guerra Civil Española, Revolución Mexicana. Resumo: Este trabalho tem por objetivo analisar possíveis influências do escritor espanhol Antonio Machado, mais especificamente a partir do poema “Alerta”, na obra do escritor mexicano Octavio Paz, observada, por exemplo, no poema “Los viejos”. Octavio Paz foi à Espanha participar em um congresso; lá conheceu Antonio Machado e manteve contato com seus textos. Ambos compartilharam a experiência de uma guerra (cada um em seu país) e, portanto, todas as consequências negativas de tal situação: expressam, em sua obra poética, o lamento de ter de passar por ela e todas as perdas decorrentes dessa situação. Palavras-chave: Antonio Machado, Octavio Paz, Guerra Civil Espanhola, Revolução Mexicana. Introducción El objetivo de este trabajo es presentar influencias del escritor español Antonio Machado en la obra del mexicano Octavio Paz. Antonio Machado vivió durante la Guerra Civil Española, guerra que trajo recuerdos a los mexicanos, por lo tanto, también a Octavio Paz. -
The Educational Regenerationism in Spain
Universal Journal of Educational Research 9(3): 540-548, 2021 http://www.hrpub.org DOI: 10.13189/ujer.2021.090313 The Educational Regenerationism in Spain Rafael Salinas, Isabel Alvarez* Department of Systematic and Social Pedagogy, Autonomous University of Barcelona, Spain Received January 5, 2021; Revised February 7, 2021; Accepted March 6, 2021 Cite This Paper in the following Citation Styles (a): [1] Rafael Salinas, Isabel Alvarez, "The Educational Regenerationism in Spain," Universal Journal of Educational Research, Vol. 9, No. 3, pp. 540-548, 2021. DOI: 10.13189/ujer.2021.090313. (b): Rafael Salinas, Isabel Alvarez (2021). The Educational Regenerationism in Spain. Universal Journal of Educational Research, 9(3), 540-548. DOI: 10.13189/ujer.2021.090313. Copyright©2021 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The aim of this paper is to show how the Institution of Education (FIE), 1876, and The National Spanish Pedagogical Conferences between 1882 and 1908 Pedagogical Museum, 1882. While the FIE is constituted influenced the promotion of innovative teaching at that as a response to the coercion of academic freedom time. Pedagogical Conferences were the only forum represented by the Orovio sentence, the Museum is the through which both rural and urban schoolteachers were organ whereby all the advances in primary education have able to implement new educational ideas. Books were not been already verified in other countries and introduced in available, so at that time schoolteachers would write their Spain, in collaboration with the mission of the Normal own textbooks to use in their schools. -
The Solemnity of Shadows: Juan Laurent's Vision of Spain
The Solemnity of Shadows: Juan Laurent’s Vision of Spain National Gallery of Art November 7–December 30, 2011 Checklist of the exhibition Unless otherwise noted, all photographs are by Juan Laurent and are albumen silver prints made from wet collodion negatives; dates are those of the collodion negatives. 1 Entrance to Toledo by way of the Alcántara 3 Plaza de la Constitución, Valencia, 1870 Bridge, c. 1864–1870 Recent research suggests that this photograph, previously Toledo is the ancient capital of Castile. Dominating the attributed to Juan Laurent, was actually taken by Julio skyline in this photograph is the sixteenth-century Alcázar Ainaud (1837–1900), a French-born photographer working on the site of old Roman, Visigoth, and Moorish citadels. for the Laurent Company in the eastern Spanish provinces The Puente de Alcántara, the most famous of the city’s in 1870–1872. The two churches in the background are the bridges, was begun in 1259 and rebuilt several times. In Basílica de la Virgen de los Desamapardos (begun in 1652) 1870, Laurent began printing a catalogue number at the and the Seu, or Cathedral of Valencia (consecrated 1238). bottom of each photograph in a distinctive label that Between them is a 1566 addition to the cathedral known as included the name of the city or art collection, the title of the Obra Nueva, a tribunal gallery for viewing ecclesiastic the subject, and his trade name. At first, the trade name on spectacles. José Martínez Sánchez, with whom Laurent the labels was simply J. Laurent, but in 1875 it became J. -
Paintodayspain
SPAINTODAYSPAINTODAYSPAINTODAYSPAIN- TODAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- ALLIANCE OF CIVILIZATIONS PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- 2009 DAYSPAINTODAYSPAINTODAYSPAINTODAYS- Spain today 2009 is an up-to-date look at the primary PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- aspects of our nation: its public institutions and political scenario, its foreign relations, the economy and a pano- 2009 DAYSPAINTODAYSPAINTODAYSPAINTODAYS- ramic view of Spain’s social and cultural life, accompanied by the necessary historical background information for PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- each topic addressed DAYSPAINTODAYSPAINTODAYSPAINTODAYS- http://www.la-moncloa.es PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- SPAIN TODAY TODAY SPAIN DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAIN- TODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- DAYSPAINTODAYSPAINTODAYSPAINTODAYS- PAINTODAYSPAINTODAYSPAINTODAYSPAINTO- -
Antonio Machado Y Su Tiempo
ANTONIO MACHADO Y SU TIEMPO INTRODUCCIÓN Antonio Machado Ruiz es, sin lugar a dudas, la voz lírica que alcanza el sitial más alto en la generación del 98. El ha visto la vida en sus múltiples facetas, expresando esta visión en versos únicos por su sinceridad y elegancia de contenido y forma. La poesía se hace en él un medio para desvelar, no sólo sus sueños y esperanzas, sino también su visión del mundo y de la vida. Por esta razón su poesía se mueve en planos singulares, pues se adentra en las zonas del sueño, o retrata la angustia escatológica del hombre perdido en el "mezzo del cammin di nostra vita", que dijo Dante. Machado revi ve en su lírica el mundo y su propia vida, resultando así una obra, con la tercera dimensión del tiempo. Este es, sin lugar a dudas, el terna central en la obra del poeta, pues el hombre es el único ser de la creación que vive en el tiempo, esto es, teniendo la vida toda hecha recuerdo a lo largo de todo su ser. La poesía de Machado es un desvelar de sueños, esperanzas y angustias de un hombre que vive desde y para su espíritu, descaminado entre caminos. Valora da así su poesía, adentrémonos un poco en ella para otear breve mente el impacto que en él tuvo el mundo que le tocó vivir. PERFIL AUTOBIOGRÁFICO La vida de un hombre posee dos vertientes, una exterior, (su devenir en el medio histórico en que se encuentra ubicado), y otra 106 Rafael Antonio González Torres interior, o si se quiere anímica. -
Antonio Machado: Paisaje Más Allá Del Paisaje
View metadata, citation and similar papers at core.ac.uk brought to you byCORE provided by Academica-e Antonio Machado: paisaje más allá del paisaje Armando López Castro "cualquierpaisaje es un estado de alma" Ami el El concepto de paisaje, desde su aparición por primera vez en la China del siglo IV, unido a la poesía, y después en la Europa del Renacimiento, discurre entre la repre sentación del entorno y el entendimiento como obra de arte. Esta construcción mental del paisaje, en la que intervienen elementos estéticos y emocionales, alcanza su punto culminante en el Romanticismo y entra en crisis con las vanguardias. A partir de entonces, la ambivalencia entre el saboreo de los sentidos y la verdad de la ciencia no ha dejado de estar presente en la sensibilidad paisajística del arte moderno, que valora lo que está lejos, no lo que está cerca y es fácilmente reconocible, donde la conciencia no se adhiere al realismo de los fe nómenos, sino que permanece abierta a su dimen sión virtual, cuya alusión se presta más a una larga búsqueda interior. Como si se preo cupara de preservar esta resonancia lejana, manteniendo cierto desapego ante lo real, la escritura poética de Machado, con más frecuencia que en Unamuno, trata de conju gar el espíritu y la naturaleza, encarnando en el paisaje las situaciones anímicas y ahon dándose en una atmósfera de ausencia, que confiere al lenguaje un aura de soledad y melancolía. El tono melancólico es precisamente el que unifica los poemas de Soleda des (1903), libro inserto en el marco modernista, pues Antonio Machado había conoci do a Rubén Darío en 1899 durante su estancia en París, y en el que trató de eliminar lo conceptual en beneficio de lo intuitivo. -
Actas X. AIH. Antonio Machado Y Francia. BERNARD SESÉ
ANTONIO MACHADO Y FRANCIA BERNARD SESÉ Universidad de París X «Tengo un gran amor a España y una idea de España completamente negati- va. Todo lo español me encanta y me indigna al mismo tiempo». Estos sentimientos que manifiesta Antonio Machado hacia España, en una nota biográfica de primeros de 1913, tienen la misma ambigüedad que los senti- mientos que experimenta hacia Francia. Francia, en el espíritu y en la vida de Antonio Machado, siempre parece es- tar marcada por el sello de la ambivalencia. «Tengo una gran aversión a todo lo francés, con excepción de algunos de- formadores del ideal francés, según Brunetiére —escribe Machado en el mismo texto. Recibí alguna influencia de los simbolistas franceses, pero ya hace tiem- po que reacciono contra ella».' En 1913, respecto a Francia, Antonio Machado quema lo que había adorado. Antonio Machado es ciertamente un poeta y un escritor profundamente arraigado en su patria. Más exactamente, en las dos patrias de su alma, Andalu- cía y Castilla, que componen la tierra, el terruño, el suelo donde echa raíces. Ni Cataluña ni Levante, donde lo llevó el destino, son su verdadera patria. Y me- nos aún contrariamente a la afirmación errónea de Rubén Darío, se puede consi- derar a Antonio Machado como un escritor cosmopolita, aunque su conciencia se inscriba en un horizonte cultural universal. Pues bien, a pesar de todo esto, se puede decir que hay un lazo invisible que une a Machado con Francia. Ni andaluz-andalucista, ni castellano-castellanista, 1. Bibliografía, PC II, p. 1.524 (todas las referencias a obras de Antonio Machado con la indi- cación PC remiten a I —Poesías completas— y II —Prosas completas—, Edición, crítica de Oreste Macrí con la colaboración de Gaetano Chiappini, Madrid, Espasa-Calpe/Fundación Antonio Macha- do, 1988. -
Translations from Antonio Machado Charles Tomlinson
New Mexico Quarterly Volume 34 | Issue 3 Article 4 1964 Translations from Antonio Machado Charles Tomlinson Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Tomlinson, Charles. "Translations from Antonio Machado." New Mexico Quarterly 34, 3 (1964). https://digitalrepository.unm.edu/ nmq/vol34/iss3/4 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. Tomlinson: Translations from Antonio Machado 252 TRANSLATIONS FROM ANTONIO MACHADO BY CHA1u.Es TOMLINSON PORTRAIT Recollections of a patio in Seville, a lucid, lemon-ripening garden-my infancy. The years of my youth? Twenty on soil of Casble; a plotlessness I shall not recall, my history. Neither a seducer like Maiiara, nor a BIadomfn, -you know already the incompetence of my dress but I took the arrow that Cupid had assigned, and in the women I loved, I loved their hospitableness. My verse comes up from an untroubled spring, despite, in my veins, the drops of Jacobin blood; and, more than the man who lived by mere doctrine, I, in the good sense of the word, am good. I adore beauty and in modem aesthetics merely cut ancient roses from Ronsard's garden: I dislike the glare of contempoIary cosmetics, and the nest of new singing birds has too gay a burden. I disdain those ballads for the tenor, sonorous, hollow, " and the choir of the crickets singing at the moon, I stop to distinguish the voices from the echo and I listen among the voices to one alone.