Hispanic Research Journal-iberian and Latin American Studies
About: Hispanic Research Journal-iberian and Latin American Studies is an academic journal published by Routledge. The journal publishes majorly in the area(s): Poetry & Art. It has an ISSN identifier of 1468-2737. Over the lifetime, 631 publications have been published receiving 2371 citations.
Papers published on a yearly basis
TL;DR: Gonzalez as mentioned in this paper surveys the Picaresque tradition in Brazil and proposes alternative sociaf projects that substitute for the contradictory eagerness on the part of the antiheroes to enter the corrupt society that they denounce.
Abstract: points made by his colleagues when he states that 'the novel's aggression against the epic is, in part, an aggression against the classical sense of genre that is to say, against the ancient mode of identitying a literature with a people [gens]' (149). The pIcaresque shares with the novel an identity based on disjunction. Christensen links Don Juan -neither epic nor novel, and published anonymously for reasons allegorized in the text with the picaro, who is never master of his fate. The notion that 'Don Juan disintegratively stages its own disintegration' (160) may easily make one think of the Spanish novels ana. their narrator / protagonists. Mario Gonzalez surveys the picaresque tradition in Brazil. Mario de Andrade's Macunaima, 0 heroi sem nenhum carater (1928), which Gonzalez sees as a mixture of the picaresque and the quixotic, receives the most attention. Other texts under scrutiny inc1ude Ariano Suassuna's A Pedra do Reino (1971), Marcio de Souza's Galvez, imperador do Acre (1976), Paulo de Carvalho Neto's Meu Tio Atahualpa (1978), Moacir Scliar's Os Voluntarios (1979), and Napoleao Saboia's 0 Cogitario (1984). For Gonzalez, as for Vogeley in the colonial context, these neopicaresque narratives break from the classic picaresque by proposing 'alternative sociaf projects that substitute for the contradictory eagerness' on the part of the antiheroes to enter the corrupt society that they denounce (173). The Picaresque is a well-crafted and valuable collaboration and a fitting tribute to Michael Zappala, who died in 1991 at the age of forty-three.
TL;DR: The rise of Iberian cultural studies as the latest phase in the long struggle for status and prestige that has marked the institutional history of Hispanism in the American academy is analyzed in this article.
Abstract: This essay analyses the rise of Iberian cultural studies as the latest phase in the long struggle for status and prestige that has marked the institutional history of Hispanism in the American academy. I argue that Iberian cultural studies can in part be seen as an attempt to reinvent and reinvigorate a field that had long found itself marginalized, and to overcome the disciplinary ideologies and practices that contributed to that marginalization. The focus on prestige allows me to highlight the dynamics that help determine the institutional status of different fields: their cultural capital, their power and presence in terms of funding and personnel, as well as the level of their autonomy or dependence vis-a-vis other disciplines. Hispanists in the United States have been quite aware of the precarious institutional status of their field, and concerns about the status of the discipline, as well as efforts to boost it, have long been the explicit focus of discussions and debates in Hispanist journa...
TL;DR: In this article, Montero et al. analyzed the role of Melibea's role in the persuasion of the girl and how she persuades herself and oscillates between reason and emotion.
Abstract: reflects her state of mind and her passions (pp. 29-66). He also analyses Celestina's role in the persuasion of the girl, but more importantly he shows how she persuades herself and oscillates between reason and emotion. Some readers may take issue with his dismissal of the witchcraft theme as unimportant, but will find the rest of his argumentation convincing. I particularly likea the analysis of her prayer in Act x, a passage which has received little attention from critics to date. Melibea is also the focus for analysis in Eukene Lacarra Lanz's 'El erotismo en la relaci6n de Calisto y Melibea'(pp. 127-46), which comes to the significant conclusion that Melibea can only reoel against society at the cost of her death; only in the final moments of her life when she has renounced it can she affirm herself both as a faithful lover and a sexual being. The. re is a female emphasis as well in Carmen Parrilla's 'El convite de los \"locos porfiados'\" (pp.67-76), when it is the attack on Melibea by Elicia and Areusa which attracts the most attention, along with Celestina's own interventions and the imitation by the servants of the rhetorical and dialogic techniques of the upper classes. Feminine rhetoric is also the focus of Pilar Garda Mouton's 'El lenguaje femenino en La Celestina' (pp. 89-108), which points out the use of folk wisdom, old saws, and diminutives by Celestina, although an analysis of each of the female characters does show a better-educated use oflanguage by Melibea which seems to have rubbed off on Lucrecia as ~ell. Celestina herself 18 the main protagonist in another of the essays, Miguel Angel Perez Prie~o' s 'El conjuro de Celestina' (pp.77-88), which is attentive to the extremely literary traditions behind her famous magic spell (Mena and Lucan), and how the spell itself differed from contemporary magical practice. Three more essays are dedicated to a lin&:1isticanalysis of the work, Emilio Montero Cartelle 'La Celestina y el tabu sexual' (pp. 109-26), Antonio M. l\\1eilan Garda 'La oraci6n compleja en La Celestina' (pp.147-84), and Miguel Angel Esparza Torres, 'La lingilistica espanola en tiempos de Fernando de Rojas: idea, autores, obras' (pp. 185-220). The first of these 18 an extremely interesting piece on the variety of sexual euphemism in Celestina and the reluctance of most of the characters to use explicitly sexual words, again a topic which has gone unnoticed in most criticism. The second article is a fong surveX of syntaticaI usa~e in the work, and the third relates its language to treatises like Nebrija's Gramatica de la leng-uacastellana, a topic of especial interest and utility for linguistic srecialists. This extremely stimulating collection is rounded off by Jose Mondejar s 'Cultismo y popularismo en la Segunda Celestina', when Don Qirijxote's old favourite Feliciano de Silva is given a special airing. I recommend this book unreservedly for the libraries of Celestina specialists.
TL;DR: Falla's treatment by music critics and journalists back in Spain had been engaging in a strategy which aimed to present Falla as sympathetic to the Francoist cause and as an incarnation of those values which the regime considered the very core of national identity.
Abstract: On 14 November 1946, the composer Manuel de Falla died in Alta Gracia, in the Argentinean province of Cordoba. He had last seen his Spanish homeland in September 1939, only five months after the end of the Spanish Civil War. Ever since his departure, music critics and journalists back in Spain had been engaging in a strategy which aimed to present Falla as sympathetic to the Francoist cause and — most importantly — as an incarnation of those values which the regime considered the very core of national identity. It is the aim of this article to analyse this strategy, which was not only a reflection of the ways in which Francoism shaped Spanishness, but also a continuation of conceptions of national identity which predate Franco. The treatment of Falla across a range of periodical publications (from the music criticism sections of newspapers to specialized music periodicals), from his departure to Argentina in September 1939 to his funeral in Cadiz on 9 January 1947, will be analysed, focusing on th...