DOCSLIB.ORG

Catalog 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalog 2019 CATALOG 2019 Valparaíso USA POB 1729 Clayton, GA 30525 USA Valparaíso Ediciones was born in Granada Spain in 2012. Our original mission was to translate the finest poetry on the planet and introduce it to the Spanish-speaking world. Authors such as Jericho Brown, Carolyn Forché, Juan Felipe Herrera, Yusef Komunyakaa, Philip Levine, Mary Oliver, Charles Simic, Natasha Trethewey and the Nobel Laureate Derek Walcott became available in translation to our readers in Spain. Our success spread like wildfire, and soon Valparaíso appeared in Colombia, Mexico and Central America. Valparaíso USA is the newest edition of this publishing enterprise. Our mission is to offer readers in the United States the most relevant Spanish language poetry available in a bilingual format. Our first publication is the remarkable New York Notebook by the Cervantes Prize laureate José Hierro. Other works in the collection are by highly respected poets not only from Spain, but also from Argentina, Bolivia, Colombia, Costa Rica, Cuba, Ecuador, El Salvador, Italy, Mexico and the United States. Our long-term goal is to be the best in the business and an enduring resource for readers in the United States who would like to remain in a dialogue with other souls from other continents. Works by our authors are in fine bookstores, on Amazon and on our website. We hope that you will consider our collection for your personal library. Gordon E. McNeer Director JOSÉ HIERRO (Madrid, Spain, 1922 – Madrid, Spain, 2002) José Hierro was a boy of fourteen such as Book of Hallucinations. In when the Spanish civil war broke 1990 he published Agenda, which out. When the war ended in 1939, received the National Prize for he spent four years in prison for Literature, and in 1998 he was “aiding and abetting the enemy”. awarded Spain’s highest literary During the 1950’s and 1960’s, he honor, the Cervantes Prize, for New established himself as one of York Notebook. Spain’s leading poets with works New York Notebook Translation: Gordon E. McNeer POETRY COLLECTION ISBN: 978-0-9909241-0-4 193 pages Paperback $14.95 When the dust clears in the fields Hierro. Hierro’s New York Notebook of twentieth-century poetry, three and Lorca’s Poet in New York should icons will remain in the form the cultural bookends of any consciousness of the English American Hispanist’s cultural speaking world: Federico García bookshelf. Lorca, Pablo Neruda and José RAQUEL LANSEROS (Jerez de la Frontera, Spain, 1973) Raquel Lanseros is one of the most Little for which she received the significant voices in contemporary Jaen Poetry Prize, and a translation Spanish poetry. Among her most of Edgar Allan Poe’s love poetry, prominent books of poetry are Poemas de amor, in Valparaíso Legends from the Promontory Editions Spain. Her last book is (2005), Diary of a Spark (2006), The Matria, published in 2018. Red Acacia (2008), The Eyes of the She has been awarded the Adonáis Fog (2008) and Croniria (2009). Her Prize (second place), the Unicaja poetry has been included in the Poetry Prize and the Antonio anthology Poetry Facing Uncertainty Machado Prize in Baeza. Her books (2011). In 2014 she published both have been translated into English a book of poetry, Little Thorns are and French. Croniria Translation: Gordon E. McNeer POETRY COLLECTION ISBN: 978-0-9909241-1-1 97 pages Paperback $14.95 Croniria is a work that echoes the reflects the poet’s multifaceted life words of Antonio Machado - who as poet, scholar, translator and defined poetry as “the word in lover. They are playful, ironic and time.” By redefining poetry as “love erudite poems that encompass in time,” Croniria is an intense a cultural panorama from the and intimate treatise on love that classics to the Rolling Stones. XAVIER OQUENDO TRONCOSO (Ambato, Ecuador, 1972) Xavier Oquendo is a journalist and has as its guiding principle the Ph. D. in Literature and Linguistics. return of poetry to the people. He He has become one of the most is one of the poets who figures in relevant voices in the poetic tradition the international movement Poetry of Ecuador. In his native country, Facing Uncertainty. His poems have his author is the most significant been translated into Italian, French, representative of an esthetic that English and Portuguese. Poems That Love Me Translation: Gordon E. McNeer POETRY COLLECTION ISBN: 978-0-9909241-3-5 157 pages Paperback $14.95 Poems That Love Me is a personal with nostalgia and irony, his poems anthology of poetry that draws on are emotionally charged and the author’s family, his readings direct. They connect very well with of the classics and the scriptures, contemporary readers. his friends and his lovers. Imbued DAVID CRUZ (San José, Costa Rica, 1982) David Cruz is a poet and journalist and has overflowed into Japanese, from Costa Rica. He has published Portuguese and French. His poetry two other poetry books: Nocturnal is one of the most recognized among Swimming and Trans-Atlantic. His the new generations of Costa Rican work is also collected in numerous poets. His style combines a deep anthologies and collective volumes and urban language, between the of Costa Rica and Latin America, experimental and the traditional. She likes to cry while listening to The Beatles Translation: Natasha Cline POETRY COLLECTION ISBN: 978-0-9909241-4-2 103 pages Paperback $14.95 All the stories and all the characters memories of a time marked by have their side B, just like an old the shadow of many wars and the vinyl, today almost disappeared. liberation of thought. We live in a Any situation can be seen from present of new technologies that another perspective, from another can make critical thinking unique. angle that gives new light to what She likes to cry while listening to The has been lived. The generation Beatles is the other side of those that was born at the end of the memories, the B side whose songs 20th Century moves among the we often do not stop to listen to. DANIEL RODRÍGUEZ MOYA (Granada, Spain, 1976) Graduated in Theory of Literature won the International City of Burgos and Comparative Literature by Poetry Prize. Defender of a poetry the University of Granada, in 2001 betting on clarity and simplicity he won the Federico García Lorca without neglecting the language Poetry Prize for the book Oficina de and literary rigor, he is one of the sujetos perdidos. In addition, he has members of the movement Poesía published El nuevo ahora (2003) and ante la incertidumbre (Visor, 2011) Cambio de Planes (2009). His most that brings together Spanish and recent book of poems Las cosas que Latin American poets. se dicen en voz baja (Visor, 2013) has Words Spoken Softly Translation: Gordon E. McNeer POETRY COLLECTION ISBN: 978-0-990 9241-7-3 145 pages Paperback $14.95 These poems by Daniel Rodríguez everything.” But also they expect Moya speak to us in a low voice. our complicity: someone who What are they saying? It would be speaks to us in a low voice asks us more pertinent to ask what these to listen to him, to get closer to him. poems expect of us. They expect To participate in the communion us to feel the fear in things, the that good poems always offer us. eternal murmuring, “enveloping GUEST AUTHORS (Emory University, Atlanta, GA, 2015-2017) This book gathers poems of the have shown the diversity and richness authors who during the semesters of Spanish, sharing their ideas of 2015-2017 have visited the about creation with the students of Poetry Course in Casa Émory as Emory University, who have had the part of the cultural programming opportunity to converse and discuss of the Department of Spanish and with some of the most significant Portuguese. Writers from all latitudes contemporary poets. Poetry in Casa Émory Coordinated by Fernando Valverde POETRY COLLECTION ISBN: 978-0-9909241-8-0 145 pages Paperback $14.95 This book reflects the efforts that it makes us inhabit their world have been made by the Spanish and and imagine new possibilities. To Portuguese Department of Emory celebrate poets and poetry helps Univeristy to put our students in us to construct the foundation contact with the present and future of tolerance and diversity upon of poetry in the Spanish language. which knowledge and social Poetry places us in another’s space; harmony are built. LUIS CORREA DÍAZ (Santiago de Chile, Chile) Luis Correa-Diaz, member of the “Muestrario de poesía digital Academia Chilena de la Lengua, latinoamericana” (AÉREA, Revista poet and professor of Digital Hispanoamericana de Poesía, Humanities and Human Rights 2016); “Poesía e imagen” (Editorial at the University of Georgia. A Contracorriente, 2018) and “La Author of several books, articles futuridad absoluta de Vicente and special dossiers. Among Huidobro” (2018). Member on them: “Latin American, Spanish editorial boards of European, Latin & Portuguese Literatures in the American and USA journals and Digital Age. New technologies and Visiting Professor at universities in the Literary” (Arizona Journal of Latin America and Europe. Hispanic Cultural Studies, 2010); Cosmological Me Translation: Heather Cleary Wolfgang POETRY COLLECTION ISBN: 978-0-9909241-9-7 98 pages Paperback $14.95 It has been suggested that poets are technologies, offering a different, hypertextual writers avant la lettre sometimes startling, way of because of their superior ability perceiving the traditional themes of to explore the multiple meanings poetry, where, for example, muses and sonorous affinities of individual become pixelated sirens and “hyper words. Luis Correa-Díaz, in his beings.” Such comparisons are collection Cosmological Me, takes not just clever conceits, however. this several steps further.
Load more

Recommended publications
  • HAIKU in SPAIN Susana Benet
    HAIKU IN SPAIN Susana Benet At the beginning of the 20th century, when haiku were first introduced to Spanish readers, another strict form of short poetry already existed in our language and was immensely popular among our people; it is called seguidilla. Apart from being the name of a traditional literary form, this word also describes a certain kind of Andalusian gypsy or flamenco songs.Seguidilla is a 5-7-5-7 verse; here is an example of it, a seguidilla written by the famous Federico García Lorca: Hacia Roma caminan Two pilgrims are walking dos peregrinos, to Rome a que los case el Papa, to be married by the Pope, porque son primos. because they are cousins. — (Federico García Lorca. Los peregrinos) There were several factors that contributed to the development of the haiku genre in Spain. First of all, our poets have always been in a close contact with their French colleagues. France was the first country where an attempt was made to adopt this Japanese genre, making it suitable for Western readers. This was the age of modernism and symbolism, the two artistic movements that opposed realism and had as their utmost goal the quest for pure beauty, also assimilating elements of some exotic cultures, not only in architecture and decorative arts, but in literature, as well. Another interesting phenomenon was the development of haiku in South America. In 1919, the first book of haiku in Spanish was published; it was titled One day, and its author, the Mexican poet José Juan Tablada, used the words haikai and “synthetic poems” to describe this particular type of poetry.
    [Show full text]
  • Spanish Women's Poetry of the 1980S and 1990S
    PERIPHERAL VISIONS: SPANISH WOMEN’S POETRY OF THE 1980S AND 1990S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Tracy Manning Muñoz, B.A., M.A. ***** The Ohio State University 2006 Dissertation Committee: Professor Stephen J. Summerhill, Adviser Approved by Professor Rebecca Haidt _____________________________ Adviser Professor Elizabeth Davis Graduate Program in Spanish and Portuguese Copyright by Tracy Manning Muñoz 2006 ABSTRACT This dissertation examines the use of vision (the sense of sight) and visuality (social seeing) in four women poets of the 1980s and 1990s in Spain: Ana Rossetti, Maria- Mercè Marçal, Aurora Luque, and Montserrat Abelló. All four combine the use of vision and visuality with questions of gender performance and identity as a challenge to normative and culturally constructed gender(ed) behavior. The very fact that the majority of the lyric voices in their poems does not have a defined gender, as many of the people that they view do not, permits them to move from subjectivation to subjectification. Through the manifestation of gender “difference,” the various lyric voices leave behind their status as marginalized members of Western gendered culture. Although not all of the lyric voices are ungendered or ambiguously gendered, sufficient questions of, and challenges to normative gendered behavior exist to warrant including these four poets in the same study, despite their ostensible differences. The theoretical framework for this study focuses on Freudian ideas of voyeurism and exhibitionism as well as pleasurable and unpleasurable looking (scopophilia and scopophobia), Foucauldian ideas of power, and Lacanian ideas of the mirror stage and subjectivity.
    [Show full text]
  • Spanish Poetry
    The Cambridge Introduction to Spanish Poetry D. GARETH WALTERS University of Exeter published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C D. Gareth Walters 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typefaces Bembo 11/12.5 pt and Univers System LATEX2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Walters, D. Gareth. The Cambridge introduction to Spanish poetry / D. Gareth Walters. p. cm. Includes bibliographical references and index. ISBN 0 521 79122 7 (hardback) – ISBN 0 521 79464 1 (paperback) 1. Spanish poetry – History and criticism. 2. Spanish American poetry – History and criticism. I. Title PQ6076 .W35 2002 861.009 – dc21 2002025670 ISBN 0 521 79122 7 hardback ISBN 0 521 79464 1 paperback Contents Preface page ix Introduction 1 1 Poets and readers 18 2 The interrelationship of texts 39 3 The epic and the poetry of place 63 4 The ballad and the poetry of tales 85 5 Songs and sonnets – popular and learned poetry 108 6Love poetry 132 7 Religious and moral poetry 155 8 Satire, burlesque and poetry as celebration 178 Appendix.
    [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]
  • The Intergenerational Transmission of Catalan in Alghero Chessa, Enrico
    Another case of language death? The intergenerational transmission of Catalan in Alghero Chessa, Enrico For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/2502 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Another case of language death? The intergenerational transmission of Catalan in Alghero Enrico Chessa Thesis submitted for the qualification of Doctor of Philosophy (PhD) Queen Mary, University of London 2011 1 The work presented in this thesis is the candidate’s own. 2 for Fregenet 3 Table of Contents Abstract .................................................................................................................................... 8 Acknowledgements .................................................................................................................. 9 Abbreviations ......................................................................................................................... 11 List of Figures ........................................................................................................................ 12 List of Tables ......................................................................................................................... 15 Chapter 1: Introduction .........................................................................................................
    [Show full text]
  • Children of the Mire: Modern Poetry from Romanticism to the Avant-Garde
    Children of the Mire The Charles Eliot Norton Lectures, 1971-1972 Children of the Mire Modern Poetry from Romanticism to the Avant-Garde OCTA VIO PAZ Translated by Rachel Phillips Harvard University Press Cambridge, Massachusetts, and London, England © Copyright 1974 by the President and Fellows of Harvard College All rights reserved Second printing 197 5 Library of Congress Catalog Card Number 73-88498 ISBN 0-6 74-116 25-9 (cloth) ISBN 0-674-11626-7 (paper) Printed in the United States of America Preface In El area y Ia lira (Mexico, 1956), published many years ago, I tried to answer three questions about poetry. What is a poem? What do poems say? How do poems communicate? This book is an amplification of the response I tried to make to the third of these questions. A poem is an object fashioned out of the language, rhythms, beliefs, and obsessions of a poet and a society. It is the product of a defi nite history and a definite society, but its historical mode of existence is contradictory. The poem is a device which produces anti-history , even though this may not be the poet's intention. The poetic process inverts and converts the passage of time; the poem does not stop time­ it contradicts and transfigures it. Whether we are talking about a baroque sonnet, a popular epic, or a fable, within its confines time passes differently from time in history or in what we call real life. Contradiction between history and poetry is found in all societies, but only in the modern age is it so manifest.
    [Show full text]
  • A Poetic Response to the Spanish Civil War: an Analysis of the Earth-Related Imagery in Pablo Neruda's
    A POETIC RESPONSE TO THE SPANISH CIVIL WAR: AN ANALYSIS OF THE EARTH-RELATED IMAGERY IN PABLO NERUDA'S by Lucia Hoess E.A., Simon Fraser University, A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS (SPECIAL ARRANGEMENTS) in the Departments of English and Languages, Literature, and Linguistics LUCIA HOESS 1984 SIMON FRASER UNIVERSITY May 1984 All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. APPROVAL Name: Lucia Hoess Degree : Master of Arts Title of Thesis: A Poetic Response to the Spanish Civil W: An Analysis of the Earth-Related Imagery in Pablo Neruda's Espana -en -el Corazon. Examining C- ttee : Chairperson: Marilyn l3aman UtEge Garcia Senior Supervisor Jerald Zaslove Antonlo urreuo External Examiner Associate Professor Department of Hispanic & Italian Studies University of British ColWia PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission.
    [Show full text]
  • Spanish Poetry of the Twentieth Century: Modernity and Beyond
    University of Kentucky UKnowledge Spanish Literature European Languages and Literatures 1995 Spanish Poetry of the Twentieth Century: Modernity and Beyond Andrew Debicki University of Kansas Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Debicki, Andrew, "Spanish Poetry of the Twentieth Century: Modernity and Beyond" (1995). Spanish Literature. 31. https://uknowledge.uky.edu/upk_spanish_literature/31 STUDIES IN ROMANCE LANGUAGES: 37 John E. Keller, Editor Spanish Poetry of the Twentieth Century Modernity and Beyond ANDREW P. DEBICKI THE UNIVERSITY PRESS OF KENTUCKY Publication of this book was made possible by a grant from the Program for Cultural Cooperation between Spain's Ministry of Culture and United States Universities. Copyright © 1994 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Club, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial and Sales Offices: Lexington, Kentucky 40508-4008 Library of Congress Cataloging-in-Publication Data Debicki, Andrew Peter. Spanish poetry of the twentieth century : modernity and beyond / Andrew P. Debicki p. cm. — (Studies in Romance languages ; 37) Includes bibliographical references and index.
    [Show full text]
  • Translation of Álvaro Figueredo's “Naked” and Other
    Reading the Williams(-Amaral) Translation of Álvaro Figueredo's “Naked” and Other “Carlos” Personae of the Late Years Jonathan Cohen STONY BROOK UNIVERSITY “Don’t just read for meaning, but for language too; appreciate the formal features of the translation.” —Lawrence Venuti, “How to Read a Translation” “It looks as though our salvation may come not from within ourselves but from the outside.” —William Carlos Williams, “An Informal Discussion of Poetic Form” William Carlos Williams produced a significant number of translations of both Spanish and Latin American poetry during the course of his literary career, starting in the decade of the First World War, and continuing through his final years in the late 1950s. Many of these translations were published in his collections of poetry and/or in little magazines, while others remained in manuscript until published with the rest gathered in By Word of Mouth: Poems from the Spanish, 1916–1959. Williams’s translation work includes magnificent poems that demonstrate the force of his creative effort to bring Spanish-language poetry into American (Anglo) literature and to expand its bounds. Concerning form, he believed one good influence that Spanish could “have on us who speak a derivative of English in North America” was “to shake us free for a reconsideration of the poetic line,” as he stressed in his talk at the First Inter-American Writers’ Conference held in Puerto Rico in 1941 (“Informal Discussion” 43). As a translator, Williams 1 recognized that “a translation into another language involves in the first place a choice of the language into which the translation is to be made” (“Robert Lowell’s Verse Translation”).
    [Show full text]
  • LATIN and VERNACULAR in RENAISSANCE SPAIN Editedby
    CANADA BLANCH MONOGRAPHS, 3 LATIN AND VERNACULAR IN RENAISSANCE SPAIN editedby BARRY TAYLOR & ALEJANDRO COROLEU MANCHESTER MANCHESTER SPANISH & PORTUGUESE STUDIES MCMXCIX Joaquin Pascual Bilingual cultures: the learned language and the vernacular in Renaissance Seville and ancient Rome In the humanistic circles ofSeville, as in other cities of Europe, the relationship be tween Latin and vernacular poetry was constant throughout the sixteenth century. School education at that time was based mainly on the imitation of Latin authors, whether direcdy from classical works or through contemporary Latin poetry, which Spanish poets also used to write, at least during their formative years. Many genres, subjects, techniques, images, phrases, and words of Spanish Golden Age Uterature were translated and adapted from this contemporary Latin poetry. Moreover, the vernacular poetry of educated writers was also based on the precepts and examples of Latin poetics. Therefore the influence of Latin was decisive in the development ofa cultivated Spanish poetry in the Renaissance. It is interesting to note the numerous similarities between the influence of an cient and modem Latin poetry on the revival of vernacular poetry in the sixteenth century, and the influence of Greek authors and of Greek poems written by Romans on the birth of a cultured Latin poetry in antiquity. The same procedures of emulation in a foreign language as well as of translation and adaptation of genres, subjects, motifs, and techniques into the vemacular can be easily shown in both periods. Just as ancient Rome had been captivated by the literary arts of con quered Greece, so Spain was captivated by the Renaissance literature of the con quered lands of Italy, insofar as the kingdoms of Naples and Sicily, belonging to the kings of Aragon and later to the kings of Spain, were the starting point of this influence in the Iberian peninsula.
    [Show full text]
  • Byron in Romantic and Post-Romantic Spain María Eugenia Perojo Arronte University of Valladolid
    1 1 BYRON IN ROMANTIC AND POST-ROMANTIC SPAIN MARÍA EUGENIA PEROJO ARRONTE UNIVERSITY OF VALLADOLID The title of this paper seems to require a definition of Spanish Romanticism and post-Romanticism. What the terms Romanticism and post-Romanticism might mean in relation to Spanish literature has been a permanent debate among scholars. Spanish Romanticism as an aesthetic movement has been insistently questioned by many literary historiographers, adducing diverse and even opposed reasons and causes to support their albeit common agreement on its “failure” It is generally assumed that it flourished late and had “too short a lease”. Spanish nineteenth-century literature, poetry in particular, is fascinating because of its complexity for the literary historian, its resistance to be reduced to limits, to be encapsulated and easily digested in pill form. An overview of the debate through the voices of reputed scholars of the period may illustrate the controversy. The first usual reference when dealing with the development of Spanish Romanticism is to Edgar Allison Peers’ A History of the Romantic Movement in Spain . Peers considered that political causes are not a sufficient explanation for the “failure” of Spanish Romanticism. The problem, he argued, lay in the weakness of Romantic ideas among Spaniards. What he called the “Romantic revival” was “in the main a native development, and foreign influences upon it have often been given more than their due importance” .2 Sharing this idea of a failure of the movement, Vicente Llorens put his emphasis upon the persistence of Neoclassicism in the first decades of the nineteenth century. Thus, he began his study El romanticismo español 3 with the debate on Calderón’s drama which was initiated in 1814 between Johann Nikolas Böhl von Faber and José Joaquín de Mora.
    [Show full text]
  • Medieval and Early Modern Spanish Literature*
    1 MA READING LIST SPANISH LITERATURE Department of Spanish and Portuguese Vanderbilt University MEDIEVAL AND EARLY MODERN SPANISH LITERATURE* I. MEDIEVAL A basic understanding of what the jarchas are. (See manual of Spanish literature.) Poema de mio Cid. Ed. Colin Smith (Madrid: Cátedra) Gonzalo de Berceo, Milagros de Nuestra Señora (Prologue, Milagros 1, 2, 6, 8, 16). Juan Ruiz, Arcipreste de Hita, Libro de buen amor. Don Juan Manuel, El conde Lucanor (Prologue, Ejemplos 2, 11, 35, 41, 46). Jorge Manrique, “Coplas por la muerte de su padre.” II. RENAISSANCE / BAROQUE Fernando de Rojas, Celestina. A basic understanding of the Romancero and Cancionero traditions; a look at different type of romances (“El conde Arnaldos,” “Doña Alda,” “La jura en Santa Gadea,” “Abenámar”). A general idea of pre-Lope drama (Margaret Wilson, Spanish Drama of the Golden Age [London: Pergamon, 1969] (1-38). Juan del Encina, “Égloga de Plácida y Vitoriano.” Lope de Rueda, “Las aceitunas” Lazarillo de Tormes. Francisco de Quevedo, La vida del buscón. A general idea of idealistic forms of narrative: the pastoral romance (Jorge de Montemayor, La Diana), sentimental romance (Diego de San Pedro, Cárcel de amor), and the romance of chivalry (Amadís de Gaula). Miguel de Cervantes, Don Quijote (Ed. Martín de Riquer, Luis Murillo, John J. Allen, or Tom Lathrop.) Miguel de Cervantes, La fuerza de la sangre. María de Zayas, La inocencia castigada. Lope de Vega, Fuenteovejuna. Tirso de Molina, El burlador de Sevilla. Pedro Calderón de la Barca, La vida es sueño. A general idea of the structure of Lope de Vega‟s Arte nuevo.
    [Show full text]