Showing papers in "Hispanic Review in 1988"

Historia de las bibliotecas

Abstract: Cinco mil anos de historia de la humanidad pueden recorrerse en las bibliotecas, creadas por todos los pueblos civilizados como baluarte de la paz y del progreso de las diferentes culturas. Esta "Historia" es, por tanto, una pagina clave de la historia global del ser humano. Los profesionales de la biblioteconomia encontraran en esta obra un manual indispensable de estudio y consulta; los lectores en general, un apasionante relato de los afanes creativos de los talentos de todos los tiempos.

"Alboroto y motín de México": una noche triste criolla

Abstract: * pl *C ). NTRE los especialistas de literatura colonial hispanoamericana, es ya casi un lugar comfin decir que la crisis ret6rica engendrada por el descubrimiento de Am6rica obligaba a los que escribirian "historia" a emplear antiguas figuras de una manera nueva.' Historiografia y ret6rica juntas se transforman porque la verdad que habia que narrar era nueva, y de un mundo nuevo. Durante la 6poca colonial el caricter est6tico de la escritura de Indias entraba a menudo en conflicto con la historiografia, y es precisamente esta tensi6n la que crea los textos literarios que leemos hoy dia. Una manera posible de aproximarnos a este dilema seria la lectura de un solo texto, con el prop6sito de desatar los varios discursos y estrategias ret6ricas que lo componen. Otro enfoque, el que desarrollo en el presente trabajo, abarca una dialectica mas amplia: la de la literatura criolla del siglo xvII novohispano en dialogo a su vez con las cr6nicas de la conquista. A trav6s de un analisis en estos textos de la ret6rica literaria contrastada con la hist6rica, veremos c6mo la literatura mexicana cambiaba a lo largo de dos siglos de colonizaci6n espaniola, y c6mo se preparaba para narrar la pr6xima nueva historia del siglo xviii.

The Spanish Sleuth: The Detective in Spanish Fiction

Abstract: A history of Spanish detective fiction from Alarcon's \"El clavo,\" published twelve years after Poe's \"Murders in the Rue Morgue,\" up to the present. The presentation of the highly entertaining sleuth characters is based on a detailed examination of the works and, in many cases, personal interviews with the writers.

Guaman Poma: Writing and Resistance in Colonial Peru

Abstract: Acknowledgments Introduction to the Second Edition: Contextualizing the Nueva coronica y buen gobierno Guaman Poma in the Documentary Record The Production and Facsimile Reproduction of the Autograph Manuscript Recent Advances in the Study of Guaman Poma's Visual and Verbal Art Guaman Poma in the 1590s The Expediente Prado Tello Guaman Poma in the Expediente Prado Tello Guaman Poma versus Don Domingo Jauli and the Chachapoyas The Conclusion of the Land-Title Litigation Guaman Poma in 1600: The Sentence of Exile from Huamanga Chupas and the Chachapoyas in the Nueva coronica y buen gobierno Mestizaje in the Nueva coronica y buen gobierno Guaman Poma's Biography Reconsidered Writing and Religion: The Visita Report An Anticipated Glimpse into the Artist's Studio Introduction History Writing and Polemic Challenging the Canon l. Contradicting the Chronicles of Conquest Guaman Poma's Exploitation of Written Histories Respect for History The Dominican Philosophy of Conquest The Dramatization of a Hypothesis The Present Overwhelms the Past 2. Searching for a Heroic Conception Historical Truth and Moral Vision Biographies of Incas and Kings The Prologue Always Comes Last The Nueva Coronica as Epic Story 3. From Story to Sermon Granadine Strategies On Moving the Reader's Affections The Literature of Conversion A Theory of Cross-Cultural Communication The Privileged Role of Invention The Simile of Lucifer The Voice and Character of the Preacher The Sermon Overtakes the Story 4. Icons in Space: The Silent Orator Baroque Sensibilities Visual Representation and Suppression The Symbolic Values of Pictorial Space Lines of Authority and Hierarchy Disorder on the Horizontal Axis Paradigms Lost: The Reversed Diagonal and the Empty Center 5. Mediating among Many Worlds Allegory, Satire, and the Sermon Of Caciques and Coyas Inside the Coya's Chamber The Present in the Past The Author as Hero Guaman Poma's Final Critique Notes Bibliography Index

The emergence of afro-hispanic poetry: some notes on canon formation

Abstract: ,s i N 1942, Arturo Torres Rioseco announced the * t o definitive arrival of a new component of Latin , American literature: "Without assuming the role U of an augur, it is permissible to point out a new movement which is encouraging for the future of Spanish American poetry. This is the emer'* : gence in the last few years of a highly original genre: Negro verse. That is to say, poetry on Negro themes, using Negro rhythms, and composed by members of both the African and the European races" (127). Throughout the forties Torres Rioseco's dictum was to be repeated in the pages of major anthologies, scholarly journals, and textbooks by Pedro Henriquez Urefia (196), Jose Juan Arrom (391-408), Jorge Carrera Andrade (94-95), and others. During the next three decades, as the Spanish American literary canon underwent a gradual reevaluation, Torres Rioseco's terminology was to be modified.' "Negro" was replaced by a series of overlapping labels-Negroid, Negrista, Afro-Cuban, mulattoculminating in the late seventies with the choice of the term "AfroHispanic" to refer broadly to that literature "by, about and written to but not just for people of African descent in the Spanish speaking world" (Lewis 3).

The play of power: Calderon's "Fieras afemina Amor" and "La estatua de Prometeo"

Abstract: U D in a three-century oblivion one major portion of his work-the group of mythological court plays which Calder6n began writing as early as the 1630s and which took the place of the comedia as his secular dramatic expression after his ordination in the 1650s. They were part of-and in many senses a culmination of-an explosion of spectacular court entertainment which occurred throughout Europe in the sixteenth and seventeenth centuries. Until very recently, however, most critics have agreed with Men6ndez y Pelayo, who called the mythological dramas "g6neros inferiores," and said of them:

Maxi and teh signs of madness: reading as creation in "Fortunata y Jacinta"

Abstract: Verdaderamente-decia el-, por que ha de ser una cosa mas real que la otra? iPor que no ha de ser sueiio lo del dia y vida efectiva lo de la noche? Es cuesti6n de nombres y de que dieramos en Ilamar dormir a lo que llamamos despertar, y acostarse al levantarse ... . Qu raz6n hay para que no diga yo ahora mientras me visto: 'Maximiliano, ahora te estas echando a dormir. Vas a pasar mala noche, con pesadilla y todo, o sea con clase de Materiafarmacdutica animal'? (1: 462)