Literatura académica sobre el tema "Hispano-American theory"
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Artículos de revistas sobre el tema "Hispano-American theory"
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Putney, Dani. "Sino-Filipino Artistic Collaboration". Athanor 39 (22 de noviembre de 2022): 35–52. http://dx.doi.org/10.33009/fsu_athanor130974.
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The Hispano-Philippine style of ivory sculpture production in colonial Manila is almost synonymous with the growth of Spain’s global empire from the sixteenth century onward. These sculptures have been studied by historians and art critics alike in terms of Latin American consumer demand, marketability, Catholic devotion and conversion, and “Chineseness,” among other veins of inquiry. Common across these investigations is discussion of the significance of Chinese immigrants within the Spanish colony, who have been consistently identified as the creators of these sculptures. One community of artisans important to Philippine sculpture-making, however, has been understudied: the native Filipinos of colonial Manila, by far the largest group in the city. Why has the role of native Filipinos, despite being documented as painters and sculptors contemporaneous with the Chinese immigrants, been disregarded in the art-historical record of ivory sculpture production? In this article, I address these “silences” within the Hispano-Philippine sculptural archive by historicizing the sociocultural milieu of colonial Manila, performing visual analysis informed by postcolonial theory, and interrogating commonly referenced sources and narratives, an endeavor I maintain will enable art historians to contextualize these sculptures within a larger imperial, intercultural, and intersubjective framework of artistic creation.
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Caballero Wangüemert, María. "Al hilo de la literatura latinoamericana: estudios literarios/estudios culturales / To the thread of Latin American literature: literary studies / cultural studies". Kamchatka. Revista de análisis cultural., n.º 9 (31 de agosto de 2017): 121. http://dx.doi.org/10.7203/kam.9.9932.
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Resumen: El presente trabajo constituye un recorrido bibliográfico por la crítica y la teoría literaria hispanoamericana de los últimos 50 años, sin afán de exhaustividad, como tarea colectiva (congresos etc) y personal. Sus hitos más significativos son: cómo se formó y fue derivando el canon literario en Hispanoamérica. Las teorías postcoloniales y su aplicación al Nuevo Mundo. Las orientaciones de la crítica y la teoría literaria en / sobre Latinoamérica. La irrupción y pervivencia de los estudios culturales. Nuevas modas críticas: estudios transatlánticos, tecno escritura, ecocrítica, crítica genética... Palabras clave: canon, crítica literaria, teoría literaria, teorías postcoloniales, estudios culturales.Abstract: The present work constitutes a bibliographical route by the criticism and the Hispano-American literary theory of the last 50 years. Its author did not pretendan exhaustiveness, but a collective task of congresses etc. Its most significant milestones are: how the literary canon was formed and was derived in Spanish America. Postcolonial theories and their application to the New World. The orientations of the critic and the literary theory in / on Latin America. The irruption and survival of cultural studies. New critical fads: transatlantic studies, tecno writing, ecocritics, genetic criticism …Keywords: Canon, literary criticism, literary theory, postcolonial theories, cultural studies.
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Giraldo, Efrén. "Apuntes para una estética del ensayo colombiano del siglo XX". Estudios de Literatura Colombiana, n.º 25 (9 de agosto de 2011): 107–22. http://dx.doi.org/10.17533/udea.elc.9799.
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Resumen: este artículo presenta los hallazgos de una investigación sobre los valores literarios y estéticos del ensayo colombiano del siglo xx. Se da a conocer el estado del arte y se cuestionan algunos equívocos surgidos en el contexto de las discusiones más recientes acerca del estatuto artístico y literario del ensayo hispanoamericano. Descriptores: ensayo; ensayo colombiano del siglo xx; ensayo y estética;autonomía ensayística. Abstract: This article shows findings related to a research on the literary and aesthetical values of 20th century Colombian essay. It intends to socialize the state of the art and to question some misunderstandings coming from the context of the most recent discussions on Hispano-American essay´s artistic and literary statute. Key words: Literary essay; 20th century Colombian essay; essay and aesthetics; essayistic autonomy.
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Bretón, Alejandra. "De voz emprendedora. Entrevista a Simone Fojgiel". Dixit, n.º 17 (18 de septiembre de 2012): 44–48. http://dx.doi.org/10.22235/d.v0i17.356.
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Simone Fojgiel no pasa desapercibida. Su parecido a la cantante estadounidense Cher y su fuerte personalidad no dejan a nadie indiferente. Pero es su voz la que se ha convertido en su sello distintivo. Fojgiel se ha ganado un nombre en el medio radial uruguayo, después de trece años detrás del micrófono. Hoy despliega su talento desde los Estados Unidos en el campo de la locución comercial para el mercado hispano. En una de sus escapadas a Uruguay, se refirió al papel de los comunicadores, al teletrabajo y al emprendedurismo, entre otros temas.Simone Fojgiel does not go by unnoticed. Her resemblance with American singer Cher and her strong personality leave no one indifferent. However, it is her voice that has become her distinctive trademark. Fojgiel has earned a name for herself in Uruguayan radio, after thirteen years behind the microphone. Today, she shows her talent from the United States, in the field of commercial radio broadcasting for the hispanic market. In one of her travels to Uruguay, she talked about the role of communicators, teleworking and entrepreneurship, among other topics.
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Sigaut, Nelly. "[SPA] "ÉSTE QUE VES, ENGAÑO COLORIDO…"" // “THIS THAT YOU SEE, COLORFUL DECEPTION…”". Librosdelacorte.es, n.º 5 (29 de mayo de 2017): 27–46. http://dx.doi.org/10.15366/ldc2017.9.m5.002.
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Este trabajo gira en torno a dos conceptos: las redes y la distancia. Paraanalizar cómo se organizan las redes complejas en el ámbito de la monarquía hispana,presento el problema del uso progresivo de materiales como la grana cochinilla y delas fuentes grabadas, ambos comunes en la práctica de la pintura del extendidocampo cultural hispano americano. En relación con la distancia, trato el problema delefecto de la representación en el ámbito de la fiesta, considerando éste uno de losespacios donde se generan las imágenes que se convertirán en insumos para lasartes visuales. PALABRAS CLAVE: fuentes, pintura, fiesta, grabados, redes complejas *** This article addresses two concepts: networks and distance. To analyze andillustrate how complex networks operated across the territories of the Spanishmonarchy, I focus on the evolving uses of materials such as cochineal and prints, bothof which were commonly employed in the practice of painting throughout what we cancall the broad Hispanic American cultural field. In relation to the issue of distance, Iexamine the impact of representation in world of the festival and especially painting,and consider the potential that the ephemeral arts and performances had to generatemore permanent images. KEY WORDS: sources, painting, festivities, prints, complex networks
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Lámbarry, Alejandro. "“Los nuevos retos del viejo género de la crítica biográfica: el caso de Augusto Monterroso”". Revista Valenciana, estudios de filosofía y letras, n.º 22 (11 de julio de 2018): 81. http://dx.doi.org/10.15174/rv.v0i22.375.
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ResumenEl género de la crítica biográfica ha logrado reposicionarse en el espacio de convergencia entre las ciencias sociales y la literatura, con una metodología interdisciplinaria rigurosa que obedece a los criterios de veracidad de la historia. En este artículo nos interesa, primero, exponer los postulados teóricos de la nueva crítica biográfica; y segundo, desarrollar algunas conclusiones sobre la vida y obra de Augusto Monterroso, resultado de una investigación de archivo (en la Universidad de Princeton y Oviedo) de fuentes orales, bibliográficas y hemerográficas. Nuestro objetivo es asentar la importancia de la crítica biográfica (en teoría y práctica) para la crítica literaria hispanoamericana. AbstractBiographical criticism is located in the crossroads between literature and social sciences; it has a strict historical methodology and a penchant for narrative. In this article we want, firstly, to revise its theoretic grounding and, secondly, its application in the life and works of Augusto Monterrosso. Due to various reasons, including fear of anachronism, hispano-american academy followed, from its consolidation in the half of the XXth century, the new trends of European theory –semiotics, estructuralism and post-estructuralism– while rejecting Biographical criticism as old fashioned. It is the goal of this article to reestablish its theoretical importance and remark its potential.
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Batllori, Montserrat y Assumpció Rost. "ORDEN DE PALABRAS Y POSICIÓN DE LOS CLÍTICOS PRONOMINALES EN LAS CONSTRUCCIONES IMPERATIVAS DE LAS LENGUAS ROMÁNICAS MEDIEVALES | WORD ORDER AND PRONOMINAL CLITIC POSITION IN THE IMPERATIVE CONSTRUCTIONS OF OLD ROMANCE LANGUAGES". Estudos Linguísticos e Literários, n.º 58 (11 de junio de 2017): 155. http://dx.doi.org/10.9771/ell.v0i58.26810.
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<p>Esta investigación aporta evidencias acerca del hecho de que el español medieval y también otras lenguas románicas antiguas (portugués e italiano, por ejemplo) son claros exponentes de la clase II de Rivero y Terzi (1995: 301, e.g. 1) en que el imperativo no presenta una sintaxis diferenciada de la de las oraciones matrices, mientras que, como mínimo, el español actual formaría parte de las lenguas de la clase I, cuyos imperativos tienen una sintaxis propia. Se muestra, asimismo, que los cambios correspondientes al orden de palabras de las construcciones imperativas corresponden a un proceso de sintactización que ha desvinculado las estructuras de imperativo de la morfología verbal (y, por consiguiente, de la sintaxis de las oraciones matrices) y ha comportado un cambio hacia un tipo de estructura con requisitos sintácticos específicos. Además, por otra parte, nuestros datos permiten profundizar en la teoría del contacto lingüístico y en las condiciones necesarias para que se dé la transferencia de estructuras arcaicas del español medieval al español atlántico. De acuerdo con ellos, podemos afirmar que el mantenimiento de estructuras medievales en Hispanoamérica se debe supeditar al hecho de que las lenguas indígenas de adstrato posean construcciones que faciliten la transferencia lingüística y, por tanto, revitalicen un patrón que ya se encontraba en retroceso en el español peninsular. </p><p>Abstract<em>: This research provides evidence in favour of the fact that Old Spanish, as well as other Old Romance languages (Portuguese and Italian, for example) accommodate to Rivero and Terzi’s (1995: 301, e.g. 1) pattern II in which imperative structures of the languages do not display a different syntax from the one exhibited by main clauses, whereas Modern Spanish should be classified as belonging to pattern I, the imperative constructions of which present their own specific syntax. We put forward that the changes undergone by the word order of imperative sentences through time should be attributed to a syntactization process that tended to detach imperatives from a specific verbal morphology (and also from the syntax of main clauses) and brought about new specific syntactic requirements for them to be licensed. Furthermore, our data allow us to shed light on the theory of linguistic change and the necessary conditions to have transference phenomena from Old Spanish to Hispano-American Spanish. Our data show that, so as to posit that Old Spanish constructions of any sort have been transferred to Hispano-American Spanish, there should be similar configurations in the indigenous languages that enable this transference through language contact and can bring about an increasing use of the structures that already were receding in Peninsular Medieval Spanish.</em></p>
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Bolaños, Álvaro Félix. "Hispanismo y violencia: reflexión sobre lecturas de textos coloniales en nuestra época (Segunda parte)". Estudios de Literatura Colombiana, n.º 15 (23 de agosto de 2013): 25–49. http://dx.doi.org/10.17533/udea.elc.16432.
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Resumen: En esta segunda parte Bolaños reflexiona sobre el concepto de hispanismo en el siglo XIX en relación con intelectuales como Rufino José Cuervo, Andrés Bello y José Enrique Rodó. En un interesante viraje, el autor explica que el manejo de este concepto ha justificado, ayer y hoy, la exclusión de las comunidades indígenas de los proyectos de nación en América latina, y que lecturas hispano-centristas contemporáneas de textos coloniales fundamentales reafirman ideológicamente esa exclusión. Como ejemplo examina las lecturas que hacen William Ospina y Javier Ocampo López de Elegías de varones ilustres de Indias de Juan de Castellanos e Historia general y natural de las Indias de Gonzalo Fernández de Oviedo, respectivamente. Descriptores: Hispanismo; Elegías de varones ilustres de Indias; De Castellanos, Juan; Historia general y natural de las Indias; Fernández de Oviedo, Gonzalo; Colonialismo. Abstract: In this second part, Bolaños reflects on the concept of Hispanism as developed by 19th-century intellectuals such as Rufino José Cuervo, Andrés Bello and José Enrique Rodó. In an interesting turn, the author explains how this concept has facilitated the exclusion of indigenous communities from Latin American nation building projects, an exclusion ideologically ratified by current readings of fundamental colonial texts. As examples, Bolaños examines William Ospina's and Javier Ocampo López's readings of Elegías de varones ilustres de Indias by Juan de Castellanos and Historia general y natural de las Indias by Gonzalo Fernández de Oviedo, respectively. Key Words: Hispanism; Elegías de varones ilustres de Indias; De Castellanos, Juan; Historia general y natural de las Indias; Fernández de Oviedo, Gonzalo; Colonialism.
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Bernd, Zilá. "Revisitando a história literária hispano-americana". Alea: Estudos Neolatinos 25, n.º 1 (enero de 2023): 357–62. http://dx.doi.org/10.1590/1517-106x/202325120.
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Lunardi, Silvia. "Twice American: Hispanic Writers in the United States". 44 | 116 | 2021, n.º 116 (7 de diciembre de 2021). http://dx.doi.org/10.30687/ri/2037-6588/2021/17/009.
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Taking as a starting point the most traditional experience of exile, this paper encourages a debate about the expatriation experience that has affected many Latin American intellectuals residing in and producing their works in the United States of America. Most have decided to write in Spanish in a country that, according to the dominant narrative, is based on a pluralist and tolerant society. But racism and discrimination are still rooted there, and all those who do not ‘belong’ are literally treated as ‘aliens’, especially if they are part of the Latino/Hispano community. This study aims to emphasise the cultural and literary impact that this wave of transnational and extraterritorial writers may have in the future. Moreover, it highlights the use of Spanish language as a political stance in a context which, in a not-so-distant future, will be increasingly influenced by Spanish-speaking people, who are still wrongly considered a minority.
Tesis sobre el tema "Hispano-American theory"
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Uribe, Flores Eduardo. "Le discours théorique sur la poésie en Amérique hispanique entre 1819 et 1919 : Andrés Bello, José María Heredia, Manuel González Prada et Ricardo Jaimes Freyre". Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030034.
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L’objectif général de cette thèse est d’étudier le discours théorique sur la poésie entre 1819 et 1919, à partir de quatre auteurs fondamentaux de cette période. Une fois remise en cause la poétique néoclassique et manquant d’une théorie d’ensemble de la littérature, ces auteurs ont proposé des approches théoriques de la chose littéraire dans des textes d’ordre divers : des traités, des manuels, mais aussi des articles, des comptes rendus ou des paratextes auctoriaux. Nous proposons de lire ce corpus hétérogène comme les réalisations d’un discours théorique sur la poésie, dans lequel la théorie a un statut, une épistémologie, une portée et une formalisation variables. En même temps, la formation de leurs théories réactive des savoirs et des connaissance hérités de la culture classique. Il s’agit d’une dialectique entre les acquis et le besoin de nouvelles connaissances dont nous faisons l’archéologie. La recherche propose aussi une relecture des théories poétiques du XIXe siècle en Amérique hispanique à partir des œuvres de Bello, Heredia, González Prada et Jaimes FreyreThe general objective of this study is to analyse the theoretical discourse on poetry between 1819 and 1919, based on four fundamental authors of this period. Once neoclassical poetics was called into question and lacking an overall theory of literature, these authors proposed theoretical approaches to poetics in texts of various kinds : treatises, manuals, but also articles, reviews or auctorial paratexts. We propose to read this heterogeneous corpus as realizations of a theoretical discourse on poetry, in which theory has a variable status, epistemology, scope and formalization. At the same time, the conception of their theories reactivates knowledge and insights inherited from classical culture. We present an archaeology of this dialectic between what has been learned and the need for new knowledge. The research also proposes a rereading of the poetic theories of the 19th century in Hispanic America, based on the works of Bello, Heredia, González Prada and Jaimes Freyre
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Baixeras, Borrell Ricardo. "Análisis pluridisciplinar de Tres Tristes Tigres para el estudio de la poética de Guillermo Cabrera Infante". Doctoral thesis, Universitat Pompeu Fabra, 2007. http://hdl.handle.net/10803/7434.
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La tesis "Análisis pluridisciplinar de Tres tristes tigres para el estudio de la poética de Guillermo Cabrera Infante" ofrece un panorama inicial desde el cual situar la complejidad de la escritura creativa de Cabrera Infante, incorporando toda la bibliografía existente sobre esta novela. Se propone una lectura gráfica y escenográfica de Tres tristes tigres, que es leída aquí como si de un espectáculo se tratara. Se explica a qué se refiere cuando se habla de Tres tristes tigres como escena, es decir, como espacio textual y como espacio hablado. La oralidad y la escritura a la que se hace referencia en este estudio son comprendidas en términos de una articulación de registros. Se trata de un entrecruzamiento de distintas formas de representación, donde el discurso, asociado a un locus de enunciación específico, se diluye en el proceso de articulación de lenguajes. Decir que la oralidad es una forma de representación supone aceptar que las diferentes tramas, personajes y temas se constituyen gracias a distintas (per)versiones, es decir, a un constante e ilimitado proceso de redefinición, de reescritura y de repetición que es otro de los hallazgos que esta tesis pretende mostrar.
The thesis " Multidisciplinary Analysis of Three Trapped Tigers to study the poetry of Guillermo Cabrera Infante " offers an initial overview from which to pinpoint the complexity of the creative writing of Cabrera Infante, including the entire existing bibliography on this novel.
A graphic and descriptic reading of Three Trapped Tigers is set out, read here as if it where a play. It is explained what is meant when Three Trapped Tigers is referred to like a scene, or to say, like textual space and spoken space. The orality and literacy referred to in this section becomes understood in terms of a articulation of registers. One is a crossing between different forms of representation, where the speech, associated to a locus of specific enunciation, is diluted in the process of articulation of languages. To say that the orality in Three Trapped Tigers is a form of representation supposes to accept that the different plots, characters and subjects constitute themselves because of different (per)versions, or to say, to a constant and limitless process of redefinition, of rewriting and repetition that is another one of the findings that this thesis tries to show.
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Torres, Perdigón Andrea. "La littérature obstinée : l’idée et la forme du roman chez Juan José Saer, Ricardo Piglia et Roberto Bolaño". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040066.
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Une idée particulière de littérature est née au cours des XVIIIe et XIXe siècles, période qui coïncide avec la naissance du genre romanesque moderne. L’idée de roman moderne issue de ces transformations à cette époque-là configure un champ virtuel de caractéristiques qui a marqué aussi bien la théorie littéraire du XXe siècle que la production de textes. Cette recherche pose la question de la vitalité de cette idée de roman moderne et, par voie de conséquence, de la notion de littérature qu’elle suppose. Nous proposons donc une étude de l’idée de roman au sein des poétiques de trois auteurs hispano-américains contemporains : Juan José Saer, Ricardo Piglia et Roberto Bolaño. Cette étude tient compte autant d’aspects théoriques que formels et se concentre sur les essais et les entretiens des auteurs, ainsi que sur trois romans : La grande, La ciudad ausente et 2666. Nous postulons ainsi une lecture comparée à partir de l’indétermination, du rapport à l’expérience et de la réflexivité, considérés comme traits principaux de l’idée de roman moderne, ainsi qu’une analyse des trois romans à partir de leurs formes narratives, réflexives et hybridesA particular idea of literature was born during the 18th and 19th centuries, a period that corresponds with the rise of the modern novel genre. The idea of the modern novel, which came about during this time period, constitutes a virtual field of characteristics that has left its mark on both 20th century literary theory and on textual production. This research questions the vitality of this particular idea of the modern novel and, therefore, of the notion of literature it withholds. Our aim then, is to study the idea of the novel as it is expressed in the poetics of three contemporary Latin American writers: Juan José Saer, Ricardo Piglia and Roberto Bolaño. This study considers theoretical aspects as well as formal ones, focusing on essays and interviews of the three authors, as well as on three novels: La grande, La ciudad ausente and 2666.It presents a comparative reading of these poetics according to three main concepts: indetermination, relation to experience and reflexivity, which we think to be central to the idea of the modern novel. In addition, this study analyzes the three novels in terms of their narrative, reflexive and hybrid forms
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Dufault, Mylène. "La traduction de la littérature hispano-américaine au Québec : de l'intégration immigrante à la mondialisation éditoriale". Thèse, 2013. http://hdl.handle.net/1866/9830.
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En 2012, la traduction au Québec d'ouvrages littéraires d'auteurs issus de l'Amérique hispanique est encore un phénomène marginal. Pourtant, les entreprises de traduction de tels ouvrages se sont faites plus nombreuses au cours des vingt dernières années, et deux maisons d'édition québécoises leur ont fait la part belle : Les Écrits des Forges et Les Allusifs. La première a publié en français de nombreux canons de la poésie mexicaine tandis que la seconde possède à son catalogue (maintenant chez Leméac) bon nombre d'auteurs hispano-américains. Les efforts de ces éditeurs ont été précédés d'un premier mouvement d'accueil de la littérature hispano-américaine, mouvement principalement lié à la venue au Canada d'auteurs hispano-américains immigrants, souvent des réfugiés qui avaient fui la guerre ou la dictature dans leur pays d'origine. À partir de la théorie des champs de Pierre Bourdieu et de l’application de cette théorie à l’espace littéraire international par Pascale Casanova, ce mémoire cherche à expliquer plus en détail les conditions et logiques qui sous-tendent la traduction et l’édition des littératures hispano-américaines au Québec. Pour ce faire, il analyse la trajectoire de trois auteurs dont chacun a vu au moins un de ses titres publié en français. Ces auteurs sont le Salvadorien Horacio Castellanos Moya, dont le roman intitulé Le Dégoût a été publié aux Allusifs en 2003, le Mexicain Jaime Sabines, dont Poemas del peatón/Poèmes du piéton a été publié aux Écrits des Forges en 1997, et la Colombienne québécoise Yvonne América Truque, dont le recueil de poèmes Proyección de los silencios/Projection des silences a été publié au CÉDAH en 1986.
Chacune des trajectoires illustre un modèle de production et de diffusion particulier de la littérature hispano-américaine en traduction qui s’est manifesté durant les vingt dernières années. Ensemble, elles permettent de dégager le parcours évolutif de l’édition vers une intégration de plus en plus mondialisée des mécanismes de diffusion des biens symboliques.In 2012, the translation of Hispanic American literary works in Québec is still marginal. However, the translation of such works has been increasing over the last twenty years and two Québec publishers have shown a keen interest in them: Les Écrits des Forges and Les Allusifs. The first has published in Spanish/French versions many canons of Mexican poetry while the latter has a good number of Hispanic American writers in French translation in its catalogue (now part of Leméac). This wave of interest was preceded by an initial movement of integration of Hispanic American literature in Québec, a movement mainly caused by the arrival in Canada of Hispanic American authors fleeing from a war or a dictatorial regime in their country of origin or having other reasons. Based on Pierre Bourdieu’s field theory and its subsequent application to the international literary space by Pascale Casanova, this thesis seeks to explain the conditions and processes that underlie the translation and publishing of Hispanic American literature in Québec. To this end, it analyzes the trajectory of three authors, each of whom has had at least one of his or her books published in French in Québec. These authors are the Salvadoran Horacio Castellanos Moya, whose novel titled Le Dégoût was published by Les Allusifs in 2003, the Mexican Jaime Sabines, whose Poemas del peatón/Poèmes du piéton was published by Les Écrits des Forges in 1997, and the Colombian Quebecer Yvonne América Truque, whose Proyección de los silencios/Projection des silences was published by the CÉDAH in 1986. Each of these trajectories illustrates a particular model of production and distribution of Hispanic American literature in translation which appeared during the last twenty years. Together, these case studies highlight the progressive move towards an increased globalization in Québec publishing structures as well as in the distribution and reception of symbolic goods.
Libros sobre el tema "Hispano-American theory"
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García, Nasario. Pláticas: Conversations with Hispano writers of New Mexico. Lubbock, TX: Texas Tech University Press, 2000.
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El conflicto entre la letra y la escritura: Legalidades/contralegalidades de la comunidad de la lengua en hispano-América y América-Latina. Santiago, Chile: Fondo de Cultura Económica, 2013.
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The Routes of Modernity: Spanish American Poetry from the Early Eighteenth to the Mid-Nineteenth Century (The Bucknell Studies in Latin American Literature and Theory). Bucknell University Press, 2002.
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(Editor), Santa Arias y Mariselle Melendez (Editor), eds. Mapping Colonial Spanish America: Places and Commonplaces of Identity, Culture, and Experience (Bucknell Studies in Latin American Literature and Theory.). Bucknell University Press, 2002.
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Civantos, Christina E. Argentina and Hispano-America. Editado por Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.33.
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This chapter examines the main trends and themes found across the novels of the Hispano-American mahjar (place of exile and immigrant life), with particular emphasis on Argentina. It considers the Arab Hispano-American novel in the context of the local, national, and regional cultural spaces that the authors or their families left behind, as well as the ones they now inhabit. It analyzes Arabic-language novels and proto-novels (most of which fit within so-called “exile literature”) and Spanish-language novels produced by Arab immigrants to Argentina during the first half of the twentieth century. It also discusses works published in the latter half of the twentieth century across Hispano-America. Hispanic mahjar novels that tackle the theme of spirituality as a means to make sense of migration; the issue of language used by writers to tell the story of the Arab immigrant experience; and Arab heritage as a source of narrative creativity.
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Murgia, Mario. Either in Prose or Rhyme. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198754824.003.0016.
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This chapter explores how the importation of Milton’s Protestant discourse answered Hispano-America’s post-Independence need to disseminate a notion of the modern epic and its libertarian principles. The first Latin American translations of Paradise Lost developed in surprising succession: a verse El Paraíso perdido in 1858 from Mexico, followed by a prose version in 1868 and another verse translation in 1896 from Colombia. The texts and translators’ prefaces of these versions display their clear intentionality and postcolonial stakes. While these translations cooperate to affirm a regional and cultural statement, they are distinctive. Murgia demonstrates the cultural and aesthetic aims of the Mexican translator and his intellectual milieu, as well as the pious objectives of the Colombian translators.
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Ferrer, Guillermo, Niklas Schmich y Sergio Pérez Gatica, eds. Phänomenologie in Spanien und Hispanoamerika. Verlag Karl Alber, 2022. http://dx.doi.org/10.5771/9783495999059.
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This anthology offers the German audience for the first time selected texts by Spanish and Hispano-American philosophers who have taken up Husserlian phenomenology and creatively integrated it into their own thinking. The selected texts bear witness to an intercultural dialogue that is of the utmost importance for the history of 20th century philosophy. They bring to light the names of authors who are considered classics in Spain and Latin America. The comprehensive introductory study reconstructs the philosophical context of the original appropriation of phenomenology in its first phase, as well as the questions it raised that can still claim relevance today. The anthology thus sees itself as a previously unpublished historical document in German and as a contribution to intercultural philosophy.
Capítulos de libros sobre el tema "Hispano-American theory"
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Cortez, Enrique E. "Marcelino Menéndez Pelayo: The Colonial Matrix and the Latin American Literatures". En Transatlantic Studies, 432–42. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620252.003.0036.
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This chapter examines Marcelino Menéndez Pelayo’s literary history, which describes the literatures of Latin America as an extension of Spain. Menéndez Pelayo proposed, in the Antología de poetas hispano-americanos, a narrative that was primarily aimed to recover the literary production of the colonial times. This recovery was not only limited to archival research, but also included the symbolic redistribution of the Spanish cultural capital, assigning texts to the new Latin American literatures that had previously been exclusive parts of the Spanish literature. The consequence was a broadening of Latin American literary canons to embrace the colonial tradition as a foundational moment in their cultural production. But what did Latin Americans have to gain by embracing a cultural discourse like Menéndez Pelayo’s, not without colonial anxieties? Alongside Spanish efforts to achieve cultural hegemony over the new national realities of Latin America, we also find a local quest, one that attempted to formulate a foundational discourse for the cultural production of each of the young countries. Through Hispanism the Creole elites renewed their arguments to establish their own national hegemony against the less Hispanicized sectors of the population.
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Lamas, Carmen E. "Introduction". En The Latino Continuum and the Nineteenth-Century Americas, 1–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198871484.003.0001.
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In May of 1892, the Cuban exile Nestor Ponce de León (1837–99) delivered a lecture titled “Los primeros poetas de Cuba” (1892, 385) (The First Cuban Poets) at a meeting of the Sociedad de Literatura Hispano-Americana in New York City. Despite the name of the society and the ostensible focus of Ponce de León’s talk, this meeting was not simply a gathering of friends and visiting authors from Latin America who found themselves in the vicinity of New York and who happened to love Cuban literature and the wider culture of belle lettres in the Americas. Ponce de León was surrounded by fellow exiles planning revolution. In the audience sat one of the founders and a former president of the Sociedad, José Martí (1853–95), who had stepped down from leading the New York literary society in order to organize the Partido Revolucionario Cubano. As was so often the case among nineteenth-century Latina/o intellectuals (and their Latin American counterparts), literary and political practices were mutually informing and hard to separate into neat categories of their own....