Showing papers in "Hispania in 1968"
35 citations
TL;DR: The behind spanish american footlights that we provide for you will be ultimate to give preference as discussed by the authors This reading book is your chosen book to accompany you when in your free time, in your lonely.
Abstract: The behind spanish american footlights that we provide for you will be ultimate to give preference. This reading book is your chosen book to accompany you when in your free time, in your lonely. This kind of book can help you to heal the lonely and get or add the inspirations to be more inoperative. Yeah, book as the widow of the world can be very inspiring manners. As here, this book is also created by an inspiring author that can make influences of you to do more.
TL;DR: In this paper, the authors attempt to explain the symbolic green as a cultural phenomenon by tracing its continuity in Spanish literary tradition, but instead focus on the more important and more interesting examples which best show variety, evolution, and continuity.
Abstract: T HE national dictionaries of Spain, France, Italy, and Portugal all confirm the fact that the color green has a special and important connotative value-amorous desire-in Latin countries that does not exist in today's English-speaking world, though at one time it was clearly present in English literature.' Because any marked difference in cultural symbols merits investigation, the present study attempts an explanation of symbolic green as a cultural phenomenon by tracing its continuity in Spanish literary tradition. No claim is made to completeness, but instead the focus is upon the more important and more interesting examples which best show variety, evolution, and continuity.
TL;DR: This paper found that temor a or de is more common with live objects, i.e., Tengo temor de los feros animales, but does occur with things.
Abstract: and en coche, en avion (in contrast to a letter or package sent por avidn.). A study of other Romance languages suggests that this construction had a common origin. Cf. French a pied, also a flotte (English a-float), and Italian a piedi, a pid pari, but (It.) in piede ("standing") and Spanish en pie. One is tempted to add a whole host of English phrases with the prefix a(from Anglo-Saxon an, on), such as a-horse, a-foot, a-live, a-bed, a-fire, ahunting, a-hungry, and so on. Two constructions which employ de and a, which do not appear in Prof. Dowdle's article, and which ought to be mentioned, are the following: (1) temor a or de. The first (a) seems to be more common with live objects, i.e., Tengo temor a los feros animales, but does occur with things. (2) The other is hacer caso de as opposed to hacer caso a. Intensive study (on the writer's part) has failed to turn up any real distinction in use, although a seems to be more likely in No me hizo caso, "He paid no attention to me, paid me no heed." No hizo caso de mi ight be considered "He didn't give two hoots for me," or "He didn't consider me worth notice."
TL;DR: In this paper, the author has stated that it is the duty of the novelist to express his own concept of the world through his characters and works, and that it has become apparent that she has chosen a limited number of symbolic situations and types as the best means of conveying her message.
Abstract: ALTHOUGH ANA MARIA MATUTE varies her subject matter and experiments with style in her novels, she remains consistent in the expression of a uniquely personal world; she herself has stated that it is the duty of the novelist to express his own concept of the world through his characters and works.' Those who have followed this author's career are constantly delighted by her inexhaustible originality of form, but it has become apparent that she has chosen a limited number of symbolic situations and types as the best means of conveying her message. Among the basic themes of paramount importance in her novelistic production, Eugenio de Nora has noted (1) loneliness or lack of communication, (2) a mixture of love and hatred between brothers, lovers or friends, and (3) the necessity of escaping from life.2 I would add to these the inno-