Showing papers in "Arizona Journal of Hispanic Cultural Studies in 2005"

Commercial Contamination: The Economic Development of the Spanish Publishing Industry, 1960-2000

Abstract: tomar y tirar, una forma mas de consumir el ocio" (281). They are not alone in their gloomy view on the publishing industry. Juan Goytisolo believes that, "La omnipotencia de los medios de informaci?n de masas y la promotion de la mercancfa m?s zafia y vendible contaminan el campo critico al punto en que se confunde el valor de una obra con el griterio que se arma en torno a ella" (qtd. in "Cuestionario" 27). Javier Marias claims that a book's function has been reduced to:

The Devil and the Land of the Holy Cross: Witchcraft, Slavery, and Popular Religion in Colonial Brazil (review)

Abstract: Pseudo-religious fervor also played an important role in the efforts to \"find\" the missing body of Cuauhtemoc, the last Aztec fatoani, tortured and executed by Hernán Cortés. In \"Digging Up Cuauhtemoc,\" Lyman L. Johnson explores the cultural context of nineteenth century Mexico, and the nascent nation's patriotic zeal for its lost indigenous heritage. In this environment, and inspired by an enduring cult of Cuauhtemoc, a young anthropologist, Eulalia Guzman, initiated a life-long obsession with finding the Aztec hero's grave and once done, proving that the bones were legitimately his. The skeleton was subsequendy deemed to be an aggregate of as many as five individuals by several teams of anthropological experts. Although Cuauhtémoc's body remains elusive to this day, Johnson provides a fascinating study ofthe kinds of longing—personal and national—that get mobilized to give dead heroes political meaning. \"Life and the Commodification of Death

Raising the Dead: García Lorca, Trauma and the Cultural Mediation of Mourning

Abstract: tant Professor of Spanish at Indiana University (Bloomington) and has written on theory and politics of critical editing, the work of Garcia Lorca, and gender identity and feminism in 20th-century Spain. Her critical edition of Garcia Lorca's Suites is forthcoming (Cátedra, 2006). Currently she is writing a book on editorial theory and is preparing another on the contemporary cultural construction of Garcia Lorca. The dead embody, and therefore become so much of, what the living are unable to realize. -Sharon Patricia Holland, Raising the Dead

Hispanic American Historical Review, Special Issue: "Can the Subaltern See? Photographs as History" (review)

Abstract: teatro escrito por mujeres como un subgénero. Si es cierto que \"su insuficiente legitimaciÃ3n, ha hecho pensar en la dramaturgia femenina sÃ3lo en términos de ausencia\" (168) el no tan pequeño nÃomero de obras que se mencionan a lo largo de este compendio podrÃ-a promover el interés por su estudio y asÃcomenzar a legitimar esta dramaturgia que todavÃ-a está a la sombra. En tercera persona. CrÃ3nicas teatraks cubanas: 1969-2002 es un itinerario e inventario

An American Place: Victoria Ocampo's Editorial Politics, the Foundation of Sur, and Hemispheric Alliances

Abstract: Review, Profemina, andher current book manuscript is entitled Cosmopolitanism and the Nation in Argentine Literature (1920-1940): Reading die Tower of Babel and Babylon Tropes. In 1927, Argentine painter XuI Solar paints \"Otro horÃ3scopo Victoria (Ocampo).\" This canvas depicts four encircled spaces. The first space depicts a shape that resembles the map of South America. The second space frames a face with the Argentine flag coming out of it. The third space contains another face, which overlaps the previous one. The fourth space resembles a profile, next to which is written \"Victoria.\" I invoke Solar's painting at the beginning of this essay for it visually prefigures the merging of Argentine and continental perspectives that will be announced as programmatic in the first issue of Victoria Ocampo's literary journal. For Ocampo and Solar, as well as for Jorge Luis Borges's early works, national criollismo (manifested in Solar's painting through the representation of the Argentine flag) and internationalism are not opposed notions. In fact, they merge in the paradoxical union to which Beatriz Sarlo has referred as \"national universalism\" {\"Fantastic'). At the beginning of 1931, three years after Solar's painting was made, Victoria Ocampo founded Sur, a literary journal that lasted 45 years and ran for 340 issues. It published Spanish American works and disseminated foreign texts in translation throughout Latin America and the world. Translation, in fact, was one of Ocampo's lifelong interests, to such a degtee that Beatriz Sarlo has referred to the whole production of Ocampo's literary magazine Sur as \"a translation machine\" {La máquina 93-195). Translation is a survival ofthe living after and beyond the life ofthe original text, as Walter Benjamin writes in his 1926 seminal essay on the task

Metaphoric Commerce: The Greguerías novísimas and Their Circumstance

Abstract: ?/Portraits of Excess: Read ing Character in the Mod ern Spanish Novel (Society of Spanish and Spanish American Studies 1999) and is currently working on a book manuscript entitled "Hie Vitality of Things: The Spanish Avant-Garde in Commodity Culture, 1918 1936" where she explores the intersections of econom ics and literature. .. .hubo un momento en que la modernidad hablo por la boca de Gomez de la Serna. (OctavioPaz 187)

The Culture of Tourism, the Tourism of Culture: Selling the Past to the Present in the American Southwest (review)

Abstract: cultural practice. She provides a helpful outline of discussion points for the course to encourage student reflection on the imbrication of popular culture and poetry. Anderson's course, described in \"Cultural Studies and Business Spanish: A Critique of Imperialism,\" is far and away the most subversive of the lot. Taking what could have been the most routine and clichéd course in the curriculum, Anderson turns it into an opportunity to explore contemporary notions of \"globalization.\" His essay describes a curriculum that invites students to \"engage in critical reflection\" rather than simply learn business vocabulary (123). Anderson organizes his course around the connotations that emerge from negocios, the Spanish word for business. In Spanish, negocios may also mean \"negotiations\" and the course provides a framework for students to explore the give and take of cultural interaction from a legal, commercial, and political perspective. His essay is so comprehensive and engaging that readers may find themselves actually looking for the opportunity to teach business Spanish at their own institutions.

A Mulher Na Capoeira

Abstract: Maria José Somerfae Barbosa éprofessera de literatura e cultura brasileiras na Universidade de Iowa. Publicou os seguintes livres: Clarice Lispector: Spinning the Webs of Passion (1996), MutacÃ3es Falseantes / Sparkling Mutations (1997) e Clarice Lispector: Des/ fiando as Teias da Paixâo (2001). Organizou Passo e Compasso: Nos Ritmos do Envelhecer (2003) e tem publicado extensivamente em coletâneas e revistas especializadas no Brasil e nos Estados Unidos. Sua

Una conversación con Elvira Lindo

Abstract: No serÃ-a descabellado afirmar que Elvira Lindo es un claro ejemplo de todo un fenÃ3meno cultural y literario. Su eclecticismo variopinto y su capacidad de abordar diferentes espacios artÃ-sticos se suman al éxito que esta autora española ha renido en todos los campos creativos en los que se ha expresado. NaciÃ3 en Cádiz en 1962. A los doce años se traslada a Madrid y allÃcomienza la carrera de Periodismo. Se dedica a la radio y a la televisiÃ3n y trabaja como locurora y guionista. Su primera novela es uno de sus personajes radiofÃ3nicos, Manolito Gafotas (1994), un niño del barrio madrileño de Carabanchel cuyas peripecias y aventuras atraen tanto a niños como a adultos. Elvira Lindo ha dedicado

Despotic Bodies and Transgressive Bodies: Spanish Culture from Francisco Franco to Jesús Franco (review)

Abstract: hÃ-bridas que combinan nociones medievales del espacio y las emergentes durante el siglo XVI, propias del espacio geométrico renacentista. Los intentos del imperio español por trazar un mapa de América refleja esa tendencia a combinar el espacio como algo lineal y dinámico (tal y como se concebÃ-a el espacio en la Edad Media) y la geometrizaciÃ3n del espacio de la nueva cartografÃ-a renacentista. En el capÃ-tulo 3, "Mapping New Spain," PadrÃ3n deja a un lado los mapas iconográficos para adentrarse en el análisis de las escrituras cartográficas o lo que él denomina los mapas discursivos sobre América. En este capÃ-tulo se examina la Segunda Carta de Cortés desde una perspectiva espacial mostrando cÃ3mo Cortés inventa un lugar llamado "Nueva España" combinando la estructura de los itinerarios

Del valor material al valor simbólico: tensiones y negociaciones con el horizonte de expectativas en el Chile de los 90. El "caso Fuguet"

Abstract: rizon d'attente et strategies dyecriture dans le Chili de la Transition Democra tique." She is currently working on a Franco-Chil ean project on gender and identity in Latin American narrative during the 1920 50 period. Los avatares de la reception de la "Nueva Narrativa Chilena," su auge y decadencia en menos de una decada, asi como sus supuestas "resonancias edito riales" constituyen un terreno privilegiado para observar las complejas leyes que dominan el campo literario chileno de los anos noventa.1 Ya en su tiempo y a proposito del "Boom" de los anos sesenta, Angel Rama apunt? a un fenomeno similar. Percibio que las etiquetas editoriales, al descansar en la relation entre exito de ventas y expresi?n de una voluntad democr?tica consagratoria, r?pidamente entran en tension con otro topico, seg?n el cual el exito comercial guarda rela ciones antin?micas con el reconocimiento del valor literario

Publishing Matters: The Latin American "Boom" and the Rules of Censorship

Abstract: Alejandro HerreroOlaizola is Associate Professor of Spanish at the University of Michigan, Ann Arbor. He is the author o/*Nar rativas hibridas: parodia y posmodernismo en la fic tion contempor?nea de las Americas (Verbum, 2000), and editor of Fragmented Identities: Postmodern ism in Spain and Latin America (JILS, 1995). His most recent publications have appeared in Mosaic, Salina: Revista de Lletres, and MLN. His book The Censorship Files: Latin American Writers and Their Deals with Franco's Spain (forthcoming SUNY Press) examines censorship and the politics of publishing in 1960s and1970s Spain and Latin America. Shortly after the approval of the printing and publishing law of 1966, Manuel Fraga Iribarne, Spain's Minister of Information, reportedly commented: "He dado or den de que los lapices rojos los dejen en el fondo del cajon" (Cisquella 19).1 Fraga's pronouncement echoed not only the letter of the law?articles 1 and 50 allowed for freedom of

Nombres en litigio: Velasco vs. García Márquez

Abstract: Maria Eugenia Mudrovcic is Associate Professor of Latin American literature at Michigan State Univer sity. She is the author of Mundo Nuevo: cultura y guerra fria en la decada del 60 (Beatriz Viterbo 1997) and editor o/'Espejo en el camino (UNAM1988). She has published extensively on Latin American literary and cultural production. She is currently working on a book project on the name in Latin American memoirs. En 1970 Gabriel Garcia Marquez publica Relato de un n?ufrago que estuvo diez dias a la deriva en una balsa sin comer ni beben que fue proclamado heroe de la patria, besado por las reinas de la bellezay hecho rico por la publicidady y luego aborrecido por el gobierno y olvidado para siempre, un reportaje publicado originalmente en entregas quince anos antes en El Espectador de Bogota. La nota introductoria, titulada "La historia de esta historia," termina no sin antes poner de manifiesto el malestar o la falta de conviction que produce a Garcia Marquez la decision de editar el reportaje en forma de libro:

The Art of Being Forgettable: Ray Loriga's Lo peor de todo, the Generación X, and the New Cultural Field

Abstract: sociate Professor of Spanish at Bowling Green State University, Ohio where he teaches Spanish literature, cinema, and International Studies. He is author of Postmodern Paletos: Im migration, Democracy, and Globalization in Span ish Narrative and Film, 1950-2000 (Bucknell UP, 2002) as well as articles on contemporary Spanish narrative and film. His research currently focuses on Galician culture, rep resentations of Franco in the democracy, and the intersection of cultural and material constructions of home and homeland in contemporary Spain. In the spring of 2000, Tele 5 introduced the reality program Gran Hermano with the line, "Diez personas, noventa dias, un solo ganador." The idea was not original to Spain and since has come and gone in the United States. Its details need little elaboration. The program swept Spain, becoming the most watched show of all time and a national phenomenon. The finale of the Gran Hermano fiesta coincided with a spate of ETA terrorism as well as the 35 th congress of the PSOE in which the man who would eventually become Spain's next prime minister was named. Still, as Lluis Bassets wrote on the day following the show's finale in El Pals, the run-off between Ismael, Ania and Ivan of Gran Hermano?as well as elections for the Madrid and Barcelona football club

From Tourism Studies to the Next Left: Manuel Vázquez Montalbán's Running Critique

Abstract: Justin Crumbaugh is As sistantProfessor of Spanish at Mount Holyoke College. He has authored articles on topics such as the aes thetics of urban planning in Bilbao, mass culture icons of the Franco dictator ship, and the consumerist reinscription of Basque heritage. He is currently preparing a book-length manuscript on the cultural and political dimensions of Spain's tourism boom of the 1960s and early 70s. Shortly before his death, Vazquez Montalb?n declared, "Bankok es una metafora," an assertion that has since taken

Crítica de la singularidad cultural (review)

Abstract: como Carmen Conde, Õ ngela Figuera, MarÃ-a Beneyto y Angelina Gatell, que escribÃ-an poemas intimistas; y cÃ3mo ellas mismas, tras la contienda, cambian el lenguaje, y en sus poemas aparece plasmado el brutal despertar, no sÃ3lo a la realidad, sino a un replanteamiento del papel histÃ3rico que ha tenido la mujer desde el comienzo, es decir, desde Eva. La mujer es la eterna desterrada, la que no tiene acceso al ParaÃ-so por ser la culpable. El lenguaje bÃ-blico en la poesÃ-a de los exilios españoles de 1939 es un libro imprescindible en el estudio de la temática de los poetas de la posguerra, tanto para los que se quedaron en España, que denuncian la incomunicaciÃ3n y el aislamiento que sufrieron, el exilio interior, como para los que abandonaron España, la \"peregrina.\

El Narcotraficante: Narcocorridos and the Construction of a Cultural Persona on the U.S.-Mexican Border (review)

Abstract: The study of cross-dressing on the early modern Spanish stage has been a fertile field for many years—especially in terms ofthe popular mujer vestida de hombre device—while scholarship on non-traditional sexuality in sixteenthand seventeenth-century Spanish literature, drama, and culture has likewise seen a boom in recent years. Sidney Donnell's impressive book Feminizing the Enemy both builds upon and challenges previous studies on transgressive gender and desire in the comedia by focusing on plays in which men dress as women as well as the context in which they were written, performed, and interpreted. In this insightful and engaging analysis of dramatic texts and performances the author takes conservatism in Comedia Studies to task over gender ambiguities by investigating the essentialized understandings of identity as it relates to masculinity, femininity, sexuality, class, and ethnicity in early modern transvestite drama. Chapter one, for example, proves informative and engaging details of the early sixteenth-century conflict over who would play feminine roles—men, boys, or women. The author adeptly demonstrates die conditions and consequences of how the all-male casts in the mid-sixteenth century slowly integrated female actresses and how by the end ofthe seventeenth century only women played the female roles. The remaining chapters continue the investigation of how transvestite drama developed and changed in the late sixteenth and seventeenth centuries, as Donnell relies heavily on the theoretical framework of Judith Butler in Gender Troubh to expose the naturalization of gender identity in Habsburg Spain. The plays selected for in-depth analysis include Lope de Rueda's Comedia Medora, Alonso de Morales's Comedia de, los amores y hcuras del conde loco, Lope de Vega's ElparaÃ-so de Laura y florestas del amor, CristÃ3bal Monroy y Silva's El caballero dama, and CalderÃ3rÃ-s La pÃorpura de L· rosa. Perhaps one ofthe most impressive aspects of Donnell's study is found in his ability to draw connections between his textual analyses, the performance of diese plays within their social and historical context, and the relevance of late-twentieth century gender theory and cultural studies. While the author convincingly demonstrates what Judith Buder would call the performative act of gender, as I read I couldn't help wondering how DonneU would apply Butler's recent reconsideration of her previous theories on transgressive gender and sexuality (in Undoing Gender) and perhaps even the claims of some transgendered individuals today who argue that, for them, non-traditional gender identity feels more \"natural\" and therefore not as performative as would traditional mainstream expectations. In fact, these gender complexities create a fascinating dialogue with the author's reading of the transgendered Catalina de Erauso, as weU as the interpretations and performances of her life in the seventeenth century. Of course, my desire to continue discussion ofthe issues elucidated by Donnell is proof that this erudite, weU-argued, and innovative study is as provocative as the material of investigation.

Humoring Resistance: Laughter and the Excessive Body in Contemporary Latin American Women's Fiction (review)

Abstract: One ofthe most important documents in contemporary feminist cultural theory is Hélà ̈ne Cixous's \"The Laugh of the Medusa.\" In it Qxous develops rhe proposition that an effective écriture feminine is characterized by the in-your face defiant, resistance, indeed, repudiational laughter. Since it is held as a maxim of social grace never to laugh uproariously, a maxim adhered to in particular by a lady, Cixousian laughter is clearly uncivilized and unfeminine, in ways that it becomes necessary for feminism (or queer action) to endorse as a form of deconstructing social norms that regulate—and repress—inconvenient forms of social behavior. One recalls the cartoon in The New Yorker in the early days of feminism, in which a woman is flashed by the prototypic Man in a Raincoat. Rather than reacting in Freudian hysteria, the woman doubles over, laughing and pointing. The five Spanish American authors examined here—unfortunately, not really Latin American, since Brazil is excluded: Patricia Galváo, Clarice Lispector, Hilda Hilst could profitably have been included—are all notable as examples of women writers who have not only used laughter as an instrument of resisting patriarchal feminine civility as a way of challenging the restrictions of civilized behavior as that civility understands them, but who have also used bodily excess as a basis for provoking that laughter. It is an excess grounded in the display of the body—the ridiculization of the masculine norm and the underscoring of what that norm may find repulsive in the female body; the discovery of hitherto unheeded manifestations and use of the female body; the body as a sociopolitical ground; the body as a site of the grotesqueries deriving from historical forces. The five authors showcased, each with an in-depth chapter, are Laura Esquivel, Ana Lydia Vega, Luisa Valenzuela, ArmonÃ-a Sommers and Alicia Borinsky. Certainly one can think of many other candidates for inclusion (I particularly regretted the absence of Mayra Santos Febres and Ana Maria Shua; the latter is mentioned twice in passing). But what is valuable is precisely the decision not to construct a laundry list of the healthy array of possible inclusions, but rather, via the detailed analysis of judiciously chosen texts, to provide a model for work on other pertinent authors. Moreover, Niebylski opens with a solid introduction in which she surveys issues relating to laughter and the body and demonstrates a sensitivity for the need simply not to apply Cixous or American feminist theory uncritically to Latin American texts. There are few limitations to this intel-

Chicana/o Identity in a Changing U.S. Society (review)

Abstract: esta obra se expone la literatura como \"juego\" en una lÃ-nea impalpable entre la realidad y la ficciÃ3n, la memoria y la imaginaciÃ3n. Los ensayos de la colecciÃ3n aportan temas vigentes en el debate sobre cuestiones de género, la construcciÃ3n de la subjetividad, la lengua, la nacionalidad y la memoria. Los primeros ensayos se centran en los cuentos de la autora. Ana Rueda presenta la figura del doble y su conexiÃ3n con el GÃ3tico literario. Maryellen Bieder estudia la cuestiÃ3n de la identidad nacional dentro del postulado posmoderno de la representaciÃ3n como una construcciÃ3n polÃ-tica y cultural. Nancy Vosburg destaca la importancia del espacio y la naturaleza contradictoria de lo misterioso. A su vez, se presenta el tema unitario del deseo de ser otro. Elizabeth Scarlett se enfoca en el significado del Islam y las culturas de Oriente Medio como estÃ-mulo hacia lo fantástico. Akiko Tsuchiya estudia el problema de la subjetividad y su representaciÃ3n en el lenguaje a través de un acercamiento psicoanalÃ-tico. Los ensayos de la segunda parte del libro se enfocan en las novelas, la obra de teatro y el libro de memorias. Catherine Bellver estudia la novela El año de Gracia

P/Herversions. Critical Studies of Ana Rossetti (review)

Abstract: Con la publicaciÃ3n de Los Devaneos de Erato en 1980 se inaugura la inclasificable obra literaria de Ana Rossetti. Erotismo, provocaciÃ3n, subversiÃ3n, trasgresiÃ3n de cÃ3digos socialmente aceptados, hibridismo formal, parecen haber sido algunas de las señas de identidad de una obra que se resiste a caer en el encorsetamiento, en la univocidad. Con todo, el aislamiento de algunas de estas caracterÃ-sticas por parte de la sesuda crÃ-tica literaria ha asfixiado, en ocasiones, la polisemia de una obra en lucha constante por alcanzar esa absoluta independencia creativa que la define. Desde la poesÃ-a hasta el cuento, pasando por la novela, la Ã3pera, sus textos para catálogos de moda, o sus colaboraciones en el campo de las artes visuales, Ana Rossetti ha conseguido tejer con el paso de los años una obra tanto formal como temáticamente plural. Similar afirmaciÃ3n podrÃ-a hacerse con respecto a su pÃoblico: su obra no se dirige exclusivamente al lector adulto, sino que sus incursiones en la literatura juvenil e infantil han ampliado considerablemente las posibilidades de recepciÃ3n de sus trabajos. Se mire por donde se mire, Ana Rossetti es una escritora interdisciplinar, con cierto halo de controversia, que ha sabido flirtear con la ambigÃ1⁄4edad y con la indeterminaciÃ3n (histÃ3rica, de género, de identidad sexual) a lo largo y ancho de su ya dilatada andadura literaria para provocar reacciones opuestas entre sus lectores. Por tanto, el objetivo principal de JiIl Robbins en la ediciÃ3n del presente volumen sobre la obra de Ana Rossetti resultarÃ-a, de esta manera, doble: por un lado, los trabajos recogidos mantienen esa perspectiva plural que caracteriza la propia trayectoria de Rossetti, puesto que se enfocan no sÃ3lo en la poesÃ-a, sino en los diferentes géneros literarios (novela, cuento, literatura juvenil) y demás textos hÃ-bridos (colaboraciones en catálogos de moda y en el terreno de las artes visuales). Por otro lado, P/Herversions consigue a su vez evitar los encasillamientos en los que tan frecuentemente ha caÃ-do el estudio de la obra de

Introduction: Market Matters

Abstract: Christine HenseUr, Associate Professor of Spanish (Union College), and Alejandro Herrero-Olaizola, Associate Professor of Spanish, (University of Michigan, Ann Arbor) are the guest editors of this special section, Market Matters. Their respective research investigates the significance of the book market and the commodity exchanges that govern it. In this collection they present a gamut of perspectives to examine Hispanic publishing inside and outside the literary as the intertwined manifestation of both commercial and aesthetic values. Why does the market occupy such a prominent position in literary and cultural studies? Is it possible to talk about literary production today without addressing the market forces in our global economy? This collection throws light on these questions by offering a wide-ranging reflection on the market in Spanish and Latin American literature from the turn of the twentieth century onwards. It is a timely topic particularly if we take into account that mega-mergers like the mighty Bertelsmann media group (which comprises publishing firms such as Random House, Knopf, Sudamericana, Planeta, and Seix Barrai, to name a few) have reshaped the world of publishing and transformed it to meet the expansionary practices that are now commonplace in our global economy. In recent years, several works have looked into the cultural market's economic forces in an effort to explain how new literary trends come about and establish and impose "new" literary canons in the book market. It is worth mentioning André Schiffrin's critically acclaimed The Business of Books: How International Conglomerates Took Over Publishing and Changed the Way We Read (2000), which also appeared in Spanish translation as La ediciÃ3n sin editores (2000). Schiffrin argues that in this age of mass media consumerism publishers worldwide have succumbed to the demands of the global market and thus abandoned the loftier goals of traditional publishers as guarantors of cultural production. His dire predictions for the global book market are particularly troubling for small presses that compete with media conglomerates like the Bertelsmann group. In the field of Hispanism scholarly works have recently picked up some

Feminizing the Enemy: Imperial Spain, Transvestite Drama, and the Crisis of Masculinity (review)

Abstract: The study of cross-dressing on the early modern Spanish stage has been a fertile field for many years—especially in terms ofthe popular mujer vestida de hombre device—while scholarship on non-traditional sexuality in sixteenthand seventeenth-century Spanish literature, drama, and culture has likewise seen a boom in recent years. Sidney Donnell's impressive book Feminizing the Enemy both builds upon and challenges previous studies on transgressive gender and desire in the comedia by focusing on plays in which men dress as women as well as the context in which they were written, performed, and interpreted. In this insightful and engaging analysis of dramatic texts and performances the author takes conservatism in Comedia Studies to task over gender ambiguities by investigating the essentialized understandings of identity as it relates to masculinity, femininity, sexuality, class, and ethnicity in early modern transvestite drama. Chapter one, for example, proves informative and engaging details of the early sixteenth-century conflict over who would play feminine roles—men, boys, or women. The author adeptly demonstrates die conditions and consequences of how the all-male casts in the mid-sixteenth century slowly integrated female actresses and how by the end ofthe seventeenth century only women played the female roles. The remaining chapters continue the investigation of how transvestite drama developed and changed in the late sixteenth and seventeenth centuries, as Donnell relies heavily on the theoretical framework of Judith Butler in Gender Troubh to expose the naturalization of gender identity in Habsburg Spain. The plays selected for in-depth analysis include Lope de Rueda's Comedia Medora, Alonso de Morales's Comedia de, los amores y hcuras del conde loco, Lope de Vega's ElparaÃ-so de Laura y florestas del amor, CristÃ3bal Monroy y Silva's El caballero dama, and CalderÃ3rÃ-s La pÃorpura de L· rosa. Perhaps one ofthe most impressive aspects of Donnell's study is found in his ability to draw connections between his textual analyses, the performance of diese plays within their social and historical context, and the relevance of late-twentieth century gender theory and cultural studies. While the author convincingly demonstrates what Judith Buder would call the performative act of gender, as I read I couldn't help wondering how DonneU would apply Butler's recent reconsideration of her previous theories on transgressive gender and sexuality (in Undoing Gender) and perhaps even the claims of some transgendered individuals today who argue that, for them, non-traditional gender identity feels more \"natural\" and therefore not as performative as would traditional mainstream expectations. In fact, these gender complexities create a fascinating dialogue with the author's reading of the transgendered Catalina de Erauso, as weU as the interpretations and performances of her life in the seventeenth century. Of course, my desire to continue discussion ofthe issues elucidated by Donnell is proof that this erudite, weU-argued, and innovative study is as provocative as the material of investigation.

Lost in the Supermarxist: The Appeal of Pepe Carvalho

Abstract: tant Professor of Spanish at the University of Richmond, where he teaches Spanish and Basque, His research focuses on politics, litera ture and culture in contem porary Spain, particularly the impact of the Spanish Civil Wan He has published articles on the autobiog raphy of Dolores Ibdrruri and on nonviolence in the Sintel labor conflict and is currently completing an oral history of a Spanish Republican family exiled in Mexico. The 1972 novel Yo mate a Kennedy launched a liter ary character, the detective Pepe Carvalho, which by 1990 made Manuel Vazquez Montalban (1939 2003) Spain's most widely read novelist. The Carvalho series later grew to 25 releases, and a new installment was usually only outsold by a new book by the likes of Gabriel Garcia M?rquez. Commercial success aside, the series also garnered much critical attention, thus assuring its place in the literary history of post-Franco Spain. Contemporary Spanish litera ture has been characterized by its marketability, aided by its broad appeal and its frequent adherence to popular genres. Yet critics of the Carvalho series have thus far overlooked the

Marroquíes en la guerra civil española: Campos equívocos (review)

Abstract: the intense exploitation of workers by Chile's capitalist elite and continued by the Concertacian governments. Undoubtedly, the center-left governments have postponed the needs and expectations of labor law reform in order to not jeopardize the political transiciÃ3n, but unfortunately, the book presents insufficient discussion for this. A binominal system—including some institutional representatives—determines Chile's legislative decisions, however the articles do not amply explore the presence of private (the employer) interest in the making of these decisions. Evidently, contributors and interviewees share similar perspectives regarding inequality and abuses; but it may also be interesting to consider the responsibility ofthe capitalist elite—the Chilean employers—in the imposition of the model and in current Chilean politics. Nevertheless, this is an excellent source to study recent Chilean history, and I would especially recommend chapters 1 and 2 for their historical contribution. Now it will be the responsibility of the first female president—and the fifth of the Concertacian governments—to pay a debt that Chile still owes to its workers.

Picasso's Celestina Etchings: portrait of the Artist as Reader of Fernando de Rojas

Abstract: William J. Nowak received his MA. and Ph.D. in Spanish Literature from Princeton University. His area of specialization is early modern Spanish literature, with particular interests in Fernando de Rojas's Celestina, the picaresque novel and the interplay of visual and literary representation. Currently he teaches Spanish language, literature and culture at the University of Houston—Downtown. We all know that Art is not truth. Art is a lie that makes us