Bibliografías temáticas / Spanish Biographical fiction

Literatura académica sobre el tema "Spanish Biographical fiction"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "Spanish Biographical fiction"

1

Blanco Pérez, Manuel. "Nuevos relatos híbridos en el cine de ficción español. El caso de Entre dos aguas de Isaki Lacuesta." Ámbitos. Revista Internacional de Comunicación, n.º 51 (2021): 41–54. http://dx.doi.org/10.12795/ambitos.2021.i51.04.

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At the 2018 San Sebastian Festival the winning film was Entre dos aguas (Isaki Lacuesta, 2018). The Catalan filmmaker constructs a fiction film that, however, is also very much self-referential and biographical and therefore journalistic (all the actors are amateurs who play themselves in the film), and uses a good part of a certain journalistic documentary visual aesthetic. These actors, in turn, had already been protagonists for 12 years before another film by the filmmaker, La leyenda del tiempo (2006). However, the value of Lacuesta’s contribution lies in the fact that these characters play a life they did not live, but could easily have. In his proposal, reality is mixed with fiction in a film where both are equally plausible. The analysis of this footnote will also allow us to identify many of the characteristics of the new contemporary hybrid cinema, such as the cohabitation with objectivity, the deontology of the creator, the breaking of the frontiers between fiction and non-fiction, or the use of a certain ucrony within the script that inserts his characters (with varying degrees of luck) into their natural environment. We intend to analyze how this new hybrid film language allows a different knowledge of the environment, with all the implications that this implies.
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2

Suslova, Inga V. "The “Genuine” History of the Picture in F. Umbral’s Novel “The Young Ladies of Avignon”". World Literature in the Context of Culture, n.º 16 (2023): 97–106. http://dx.doi.org/10.17072/2304-909x-2023-16-97-106.

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The article analyzes the alternative history of the creation of the painting, presented in the novel by the Spanish writer F. Umbral «The Young Ladies of Avignon» (1995). The presence of elements of parody and burlesque in the poetics of the work, an arbitrary combination of historical, biographical information with fiction is noted. The hero-narrator in the novel writes a «saga about the 20th century», claims to be exceptionally authentic. A special place in this «epic» is occupied by the history of the Spanish avant-garde, embodied in Pablo Picasso and his painting «The Young Ladies of Avignon». In the context of the analysis of the theme of the history of the picture, it is concluded that the hero-novelist enters into a creative confrontation with the artist, tries by novel means to overcome the flat vision and the destructive effect of cubism, to return the epic perspective and depth to the models («real Avignon young ladies»).
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3

Rusak, Justyna. "Alienation and Identity Crisis in the Apocalyptic World of Katherine Anne Porter". Athens Journal of Humanities & Arts 11, n.º 1 (2 de octubre de 2023): 49–66. http://dx.doi.org/10.30958/ajha.11-1-2.

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The article explores Katherine Anne Porter’s existential concerns reflected in her fiction. Applying the tools of biographical and historical criticism as well as textual analysis, the study delves into the disintegrating apocalyptic fictional world of the American South in the tumult of the Great War and the Spanish influenza that constitutes a mirror of the author’s own personal tribulations in the context of social and personal upheavals. Strands of Existentialism represented by both Christian and atheist thinkers have been adopted as a background against which Modernist anxieties could be best understood and analyzed. The recurrent motif of time with its elusiveness and relativity tends to combine the seemingly dissimilar voices of selected Existentialists, fictional characters and the author herself in their search for truth, identity and meaning, emphasizing subjectivity as the essential element of cognition. As human anxieties are impossible to be encompassed and cast in the clearly defined borders, spiritual concerns outlined in the article tend to remain a riddle open to a multitude of explanations. However, indirect and implied inclinations towards Christian theology alluded to both in the writer’s works and life suggest the adoption of a Kierkegaardian ‘leap of faith’ by the existential sceptic into an orderly essentialism of the Catholic religion as a solution to all anxieties and uncertainties of life.
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4

Cruz, Anne J. "'Si no fuere tu hija ilustre': Women Writers’ Social Status in Early Modern Spain". Cuadernos de Historia Moderna 44, n.º 2 (11 de noviembre de 2019): 345–62. http://dx.doi.org/10.5209/chmo.66362.

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The numbers of women writers of the early modern Spain currently identified have risen to over five hundred, with their writings catalogued and systematized by the Spanish data base Biblioteca de Escritoras Españolas (BIESES). The data base’s findings demonstrate the kinds of genres women writers selected, and includes archival documents, correspondence, and other kinds of documentation that reveal much more biographical information than previously obtained. What has yet to be studied more in depth, however, is the social status of the writers, as social origins were a crucial means of identifying one’s self, both from a psychological perspective as well as within society. This article examines the social stratification of writers to weigh their contributions, and arrives at the conclusion that while non-noble women tended to dedicate their time to writing literary works, whether poems, theater, or prose fiction; the few women of the titled nobility who wrote instead authored non-literary works such as correspondence and treatises that allowed them to participate significantly in political crises of the time.
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5

Valentová, Kateřina y Marc Macià Farré. "Giving a Voice to the Silenced Women of Francoist Spain". AUC STUDIA TERRITORIALIA 23, n.º 1 (7 de noviembre de 2023): 11–29. http://dx.doi.org/10.14712/23363231.2023.8.

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During the Spanish Civil War and the Francoist dictatorship that followed, women were shielded from the public eye. Their predetermined social role was that of submissive and devoted wives to their husbands as well as homemakers and childcare providers. There are few artistic works that suggest otherwise. However, during the Civil War and after, many women were in fact politically active. They occupied important positions in the resistance and were present along with the men in the trenches. Spanish graphic novels have managed to create many works of fiction based on the Civil War, mainly drawing on (auto)biographical accounts. There are so many significant works dealing with the war and Francoist repression that they represent a genre of their own. Nevertheless, the authors of these works, as well as their main protagonists, are usually men. This is true despite the fact that after the war, during the four decades of the Franco dictatorship, many women suffered from political persecution. The aim of this article is to analyze the role of women outside the domestic space as it appears in selected graphic narratives set in the period of Franco’s regime. Given the extent of the regime’s repression, these works are frequently set in the prisons around Spain where female prisoners were incarcerated and tortured. The narratives we analyze are based on real testimonies from real victims. Their individual experiences are joined together in a collective whose voice has long been silenced until recently.
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6

Bluemel, Kristin. "All the Juicy Pastures: Greville Texidor and New Zealand". Journal of New Zealand Studies, NS29 (18 de diciembre de 2019). http://dx.doi.org/10.26686/jnzs.v0ins29.6274.

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If you type the name Greville Texidor into a Wikipedia search bar, you may be asked if you mean instead ‘grevillea teodor’. Alternatively, you’ll be redirected to biographical websites for Maurice Duggan, one of postwar New Zealand’s most famous short story writers, or Kendrick Smithyman, editor of Greville Texidor’s volume of selected fiction, In Fifteen Minutes You Can Say a Lot. To learn anything about Greville Texidor herself, you need to read All the Juicy Pastures: Greville Texidor and New Zealand, by Wellington-based writer Margot Schwass. Beautifully written, deeply researched, richly illustrated, this critical biography addresses the question of why we should care about the career of a woman writer born in England in 1902, who died by her own hand in Australia in 1964, and who in her lifetime published only seven short stories, a post- Spanish Civil War novella called These Dark Glasses, a few translations of Lorca poems, and a smattering of other non-fiction pieces. Schwass also tackles the question of why we should care about Greville Texidor as a New Zealand writer.
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7

Wojciechowska, Sylwia J. "Pandemic(s), Crisis, and Bibliotherapy". Multidisciplinary Journal of School Education 11, n.º 1 (21) (29 de junio de 2022). http://dx.doi.org/10.35765/mjse.2022.1121.03.

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The Covid-19 crisis has led to a re-definition of our lives and a significant de-stabilization of our mental condition. Research shows that we tend to conceive of challenging realities in terms of war and battle: thus, we have struggled with depression, lower spirits and a lack of human interactions. If so, how can we counteract such depressive tendencies? Although today it seems both writing and reading are efficient in mitigating feelings of loneliness, historical records of the reactions to the Spanish influenza pandemic (1918) reveals that silence and evasion are also possible. Using the method of wide reading, I first examine the divergent responses to crisis. Through close reading, I then explore the manner in which literature may be therapeutic for both writers and readers. Finally, I argue that the literary choices of the reading public, recently re-directed towards auto/biographical fiction, may soon impact on the canon within education. This, in turn, prompts a final hypothesis concerning a generic re-shaping of a future literary canon.
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Libros sobre el tema "Spanish Biographical fiction"

1

The Spanish bride: A novel of Catherine of Aragon. New York: Berkley Books, 2008.

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2

Rangel, Domingo Alberto. Doña Flor y sus barajas. Mérida: Universidad de Los Andes, Ediciones del Rectorado, 2008.

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3

The Spanish queen: A novel of Henry VIII and Catherine of Aragon. Detroit: Thorndike Press, a part of Gale, Cengage Learning, 2014.

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4

Vicent, Manuel. Aguirre, el magnífico. Madrid: Alfaguara, 2011.

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5

ill, Sís Peter, ed. The dreamer. New York: Scholastic Press, 2010.

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6

Hibbert, Eleanor Alice Burford. España para sus soberanos. Barcelona (España): Ediciones B, S.A., 2014.

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7

Forster, E. M. Howards End: Complete, authoritative text with biographical and historical contexts, critical history, and essays from five contemporary critical perspectives. Boston: Bedford Books, 1997.

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8

Coetzee, J. M. Scenes from provincial life. London: Harvill Secker, 2011.

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9

Coetzee, J. M. Escenas de una vida de provincias. Barcelona: Mondadori, 2013.

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10

Shelley, Mary Wollstonecraft. Frankenstein: Complete, authoritative text with biographical, historical, and cultural contexts, critical history, and essays from contemporary critical perspectives. 2a ed. Boston: Bedford/St. Martin's, 2000.

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Más fuentes

Capítulos de libros sobre el tema "Spanish Biographical fiction"

1

Tejerizo, Margaret. "Countess Emilia Pardo Bazán (1851-1921)". En Translating Russian Literature in the Global Context, 281–94. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.16.

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While Countess Emilia Pardo Bazán (1851-1921), a successful novelist, an essayist and a champion of women’s rights in Spain, was not a translator of Russian literature (although she was a very talented linguist and translated from many languages into Spanish), she was the first, and without doubt, the greatest popularizer of Russian literature in Spain and later in Spanish America. Through her three public lectures given in Madrid in 1887, which she later published as a book, she gave, first to her audience and then to Spanish readers in general, an excellent overview of Russian culture and literature––and this in a highly original and creative manner. Wherever possible, Pardo Bazán endeavoured to suggest meaningful and relevant links between the Spanish and Russian literatures; she always provided full and clear biographical materials about the Russian writers she was presenting as well as detailed and lively analyses of their works. Sadly, her valuable contribution to this field has been ignored or, at best, it has been defined as of historical interest only. In 2021, the anniversary of her death, not a single commemorative event in Madrid focussed on her outstanding work as cultural intermediary between Spain and Russia. This essay aims to redress this balance somewhat by showing that Pardo Bazán bequeathed to Spanish readers a well-informed and carefully-researched body of critical studies of Russian literature. Additionally, the influence of certain Russian authors on her own fiction, as I suggest, constitutes an important task for future scholars. Almost entirely due to Pardo Bazán’s pioneering work as the major popularizer of Russian literature in Spain, the first wave of direct translations of Russian writers into Spanish began to appear shortly after the publication of her lectures.
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