Showing papers in "Hispania in 1963"
TL;DR: After collapsing from an illness while attending a business meeting, a dying Artemio Cruz, a rich and powerful land owner in modern Mexico, is driven by conscience to recall his corrupt life as mentioned in this paper.
Abstract: After collapsing from an illness while attending a business meeting, a dying Artemio Cruz, a rich and powerful land owner in modern Mexico, is driven by conscience to recall his corrupt life.
33 citations
TL;DR: In the fifteenth century, the interchange of vos and ti was much more frequent and the d of the verbal forms of the second person plural was already falling, vayaes for vayades, soes for sodes, etc. Since all these forms were used promiscuously, many present day American-Spanish voseo forms derive from this confusion.
Abstract: In the fifteenth century, the interchange of vos and ti was much more frequent and the d of the verbal forms of the second person plural was already falling, vayaes for vayades, soes for sodes, etc. There was also a fusion of the contiguous e's in verbs of the second conjugation, iredes > irees > irds, avedes > avees > avis, debedes > debees > debes. Since all these forms were used promiscuously, many present day American-Spanish voseo forms derive from this confusion.
19 citations
17 citations
TL;DR: Castafieda, en el prólogo a su edición del texto de Lope, base para nuestro trabajo, cita como ŭltima obra en la que se aborda el conflicto la tragedia de Lázaro Montero de la Puente Doña Fermosa, escrita en 19552 as discussed by the authors.
Abstract: La primera manifestación dramática que encontramos de la leyenda creada en tomo a los amores de Alfonso VIII y una judía, llamada Fermosa por el cronista, residente en Toledo la hallamos, como en tantas otras ocasiones, en una comedia de Frey Félix Lope de Vega. Ya antes había tomado el Fénix como motivo de inspiración el tema tratándolo en el libro XIX de su JerusaMn conquistada, en el cual otorga a la protagonista de los hechos el nombre de Raquel, nombre con el cual ha pasado a la mayor parte de las manifestaciones dramáticas posteriores. Lope, tomando, cosa bastante general en él, un argumento de la Tercera Crónica General, la de Ocampon-, se convierte en el iniciador de un asunto teatral que había de tener amplias manifestaciones dentro del género aun hasta nuestros días. James A. Castafieda, en el prólogo a su edición del texto de Lope, base para nuestro trabajo, cita como ŭltima obra en la que se aborda el conflicto la tragedia de Lázaro Montero de la Puente Doña Fermosa, escrita en 19552.
TL;DR: A workable point of reference for a survey of Rodolfo Usigli's three decades of dramatic production is his own unusually modest self-evaluation as "an author whose greatest merit lies in his eagerness, never satisfied, to express Mexico" as discussed by the authors.
Abstract: A workable point of reference for a survey of Rodolfo Usigli's three decades of dramatic production is his own unusually modest self-evaluation as "an author whose greatest merit lies in his eagerness, never satisfied, to express Mexico. ...."1 But the Mexico which Usigli wants to express, abstracted from the restless, heterogeneous urban classes, is not easily characterized with its intermixture of different political and professional backgrounds and of sharply varying convictions according to a traditional or non-traditional orientation.
Abstract: 1 Patricia O'Connor and Ernest F. Haden. Oral Drill in Spanish (Boston: Houghton Mifflin, 1957). 2 Bolinger, et al. Modern Spanish (New York: Harcourt, Brace, 1960). 3 This remark is only partly to be interpreted as a criticism, since these books were designed to teach, not to test. To the extent that their drill sequences fail to provide contrastive practice where contrastive practice is necessary, owever, the critical overtone is not denied. 4 I wish to acknowledge the yeoman work done by David Foster in preparing several of these tests as well as in preparing keys and supervising the task of scoring.