scispace - formally typeset
Search or ask a question

Showing papers in "Hispanic Review in 2000"


Journal ArticleDOI

697 citations


Journal ArticleDOI
TL;DR: The role of allegory in individual romances has come under scrutiny, although no systematic attempt has been made to analyse its role in the romances as a corpus and this is a first attempt to rectify this lacuna as mentioned in this paper.
Abstract: * U.t EGULA Rohland de Langbehn has stressed the importance of allegory in the initial stage of the development of sentimental romance suggesting that its use may be derived from allegorical decires or coplas; however, although the role of allegory in individual romances has come under scrutiny, to my knowledge no systematic attempt has been made to analyse its role in the romances as a corpus and this is a first endeavour to rectify this lacuna.' Chandlor Rathfon Post compares Juan Rodriguez del Padr6n's Siervo and Dom Pedro, Constable of Portugal's Sdtira de infelice e felice vida but he did not know Triste deleytaid6n; and, whilst a section of Marina Scordilis

54 citations


BookDOI
TL;DR: Ruggles and Ruggles as discussed by the authors described a vision of al-Andalus, would She Return the Greeting: The Nuniyya (poem in N) of Ibn Zaydun Index.
Abstract: List of illustrations Notes on transliteration 1. Visions of al-Andalus Maria Rosa Menocal Madinat al-Zahra' and the Umayyad palace D. F. Ruggles Part I. The Shapes of Culture: 2. Language Consuelo Lopez-Morillas 3. Music Dwight Reynolds 4. Spaces Jerrilynn D. Dodds 5. Knowledge Peter Heath 6. Love Michael Sells The Great Mosque of Cordoba D. F. Ruggles Part II. The Shapes of Literature: 7. The muwashshah Tova Rosen 8. The maqama Rina Drory 9. The qasida Beatrice Gruendler The Aljaferia in Saragossa and Taifa spaces Cynthia Robinson Part III. Andalusians: 10. Ibn Hazm Eric Ormsby 11. Moses Ibn Ezra Raymond P. Scheindlin 12. Judah Halevi Ross Brann 13. Petrus Alfonsi Lourdes Maria Alvarez 14. Ibn Quzman Amila Buturovic 15. Ibn Zaydun Devin J. Stewart 16. Ibn Tufayl Lenn Goodman 17. Ibn 'Arabi Alexander Knysh 18. Ramon Llull Gregory B. Stone 19. Ibn al-Khatib Alexander Knysh The dual heritage in Sicilian monuments D. F. Ruggles Part IV. To Sicily: 20. Poetries of the Norman courts Karla Mallette 21. Ibn Hamdis and the poetry of nostalgia William Granara 22. Michael Scot and the translators Thomas E. Burman Mudejar Teruel and Spanish identity D. F. Ruggles Part V. Marriages and Exiles: 23. The Mozarabs H. D. Miller and Hanna E. Kassis 24. The Arabized Jews Ross Brann 25. The Sephardim Samuel G. Armistead 26. The Moriscos Luce Lopez-Baralt Part VI. To al-Andalus, Would She Return the Greeting: The Nuniyya (poem in N) of Ibn Zaydun Index.

39 citations


MonographDOI
TL;DR: Otto Zwartje et al. as discussed by the authors describe a gramaticas of mapuche, millcayac, and guarani, with a focus on originality and diversidad.
Abstract: Otto ZWARTJES: Introduccion y presentacion. I. Gramaticas de lenguas mesoamericanas. Carlos HERNANDEZ SACRISTAN: Los relatores discursivos en el "Arte de la Lengua Mexicana" de H. Carochi. Thomas C. SMITH STARK: Rincon y Carochi: la tradicion jesuitica de descripcion del nahuatl. Jose Luis SUAREZ ROCA: Tradicion e innovacion en la descripcion de la lengua nahuatl. Yolanda LASTRA: El arte de la lengua otomi de fray Pedro de Carceres. Cristina MONZON: La influencia del espanol en la conjugacion. La Nueva Espana en el periodo de 1547 a 1574. II. Lenguas amerindias de la America del Sur. Julio CALVO PEREZ: Las gramaticas del Siglo de Oro quechua: originalidad y diversidad. Otto ZWARTJES: Modo, tiempo y aspecto en las gramaticas de las lenguas mapuche, millcayac, y guarani de Luis de Valdivia y Antonio Ruiz de Montoya: La categoria de los "tiempos mixtos". III. Epilogo. Lucia BINOTTI: "La lengua companera del imperio". Observaciones sobre el desarollo de un discurso de colonialismo linguistico en el renacimiento espanol. Colaboran. Lista de ilustraciones. Index rerum. Index nominum. Indice de terminos gramaticales y linguisticos.

30 citations



Journal ArticleDOI
TL;DR: The carta epilogo as discussed by the authors is a palabra de amor of Goya and Gomez de Avellaneda, a carta of amor que se atreve a nombrarse:...el que te ama mas de lo que piensas, Paco.
Abstract: PRIMERA PARTE. uno Las cartas sobre la mesa. Prologo. Introduccion. I. Como empezar de nuevo. Como aproximar la intimidad y la immediacion que quiero. 'Cual forma? Una carta, por supuesto. II. Segun el objeto y las circunstancias, todos los generos y todas las ideas tienen cabida en una carta. III. Una carta no es otra cosa que la fiel imagen de una conversacion trasladada al papel. IV. 'Quien puede asegurarnos que una palabra indiscreta que escribimos con entera confianza no sera un documento que sirva despues para nuestra condenacion? V. (Des)atando cabos sueltos. dos Las cartas boca arriba: edicion y recepcion. I. La privatizacion del texto publico: la autoridad del autor o el grado cero de la edicion. II. La historia de un destape: la edicion de las cartas de mujeres. III. Del autorretrato mudo al autorretrato elocuente: la escritura de un pintor. SEGUNDA PARTE. uno Cartas desde Rusia: el viaje entre lo privado y lo publico. I. La carta-prologo: el momento de la conciencia de lo publico. II. La construccion publica de una voz privada. III. De la habitacion en Rusia a la tarima politica madrilena. De Madrid al problema de Espana. IV. El relato de la peregrinacion por los mas raros y la reactivacion del discurso literario. V. Final que puede ser principio: la carta epilogo. dos Las cartas de amor de Gertrudis Gomez de Avellaneda. I. La domesticacion del texto. II. El desafio de las cartas. III. La palabra de la ley vs. la palabra de amor. IV. El embrollo de terminar. tres El sueno de la pintura produce palabras: las cartas de Goya a Martin Zapater. I. Luces y sombras. Imagenes y palabras. II. La historia de la diseminacion de las cartas. III. De autorretrato a caja de Pandora: el desengano de la recepcion. IV. La alianza (in)visible de Goya y Zapater o el Goya de Zapater. V. Un amor que se atreve a nombrarse: ...el que te ama mas de lo que piensas, Paco. Postdata. Bibliografia. Indice onomastico.

13 citations



Journal ArticleDOI
TL;DR: The sixteenth-century Spanish literary landscape is peopled with various forms of autobiography: discoverers', soldiers' or conquistadors' memoirs, administrative reports, travelers' reports, confessional narrations,4 and in a realm less pretentious of "objective truth"picaresque novels as discussed by the authors.
Abstract: Mer q)wl HE sixteenth-century Spanish literary landscape is peopled with various forms of autobiography: discoverers', soldiers' or conquistadors' memoirs,' administrative reports,2 travelers' reports,3 confessional narrations,4 and-in a realm less pretentious of "objective truth"picaresque novels. Though all of these exhibit some literary aspects, all of these various narrations were first and foremost reports; that is, as Gonz ilez-Echevarria emphasizes

10 citations


Journal ArticleDOI
TL;DR: The discovery of the Spanish conqueror Hernin Cort6s' remains in Mexico City in November of 1946,eerily on the very eve of the fourth centennial of his death, caused a stir in the Mexican press, and resuscitated a high-pitched polemic surrounding Cort6's legacy to the American continent as mentioned in this paper.
Abstract: T-~,~ ~p. HE discovery of the Spanish conqueror Hernin Cort6s' remains in Mexico City in November of 1946-eerily on the very eve of the fourth centennial of his death--caused a stir in the Mexican press, and resuscitated a high-pitched polemic surrounding Cort6s' legacy to the American continent. The memories of the conquest occasioned by the disinterment of Cort6s' bones would be similarly invoked in Mexico during the forties and the fifties by a parallel apparition of the body of Cort6s: the textual corpus of the Conquerors' chronicles. As more than 20,000 Spanish exiles arrived on Mexican shores following the end of the Spanish Civil War in 1939, the earlier Spanish voyagers' foundational tales of the discovery of the New World-and the concomitant engendering of the Spanish national identity as the

9 citations


Journal ArticleDOI
TL;DR: In this article, the power of love to transform a simpleton into a woman clever enough to manage her matrimonial interests is explored in OPE de Vega's La dama boba.
Abstract: . g. OPE de Vega's La dama boba offers an example of the power of love to transform a lady simpleton into a woman clever enough to manage her matrimonial interests. The culminating act of this process relates to a case of judicious naming, a stratagem that permits the protagonist to deceive by telling the truth-a convention that Lope underscores in the Arte nuevo1and thus to win the man who has inspired the metamorphosis. In La dama boba, Lope tempers neoplatonism2 with self-promotion and greed on the part of the male love object and with the comeuppance of a sister too bright for her own, or society's, good. The classic discourse of love is recontextualizedearly

8 citations








Journal ArticleDOI
TL;DR: Garcia Gibert as mentioned in this paper studied the relationship between genre and the enigmatic behavior of Don Quijote and found that the humor of the protagonist is rooted in the disproportion between desire and reality, as opposed to the impossibility of attaining what one wants.
Abstract: Cervantes y la melancolia: ensayos sobre el tono y la actitud cervantinos. By Javier Garcia Gibert. Valencia: Alfons el Magnanim, 1997. 299 pages. The first of Garcia Gibert's essays, "Entre triste y alegre," considers genre and the enigmatic behavior of Don Quijote. From a neoarisotelian perspective, this puzzling figure's adventures offered possibilities for mixing genres and styles-laughter, ridicule, the comic, and the tragic; and the synthesis of these modes gave direction to the openness of the modern novelistic form. But to explain the riddles of Don Quijote's demeanor, Garcia Gibert moves on to Bergson and Freud and points to the latter's belief that Don Quijote could not have been as amusing as his contemporary readers thought because the humor of the Quijote is rooted in the disproportion between desire and reality-the will as opposed to the impossibility of attaining what one wants. Further, Cervantes's own words, especially those of the autobiographical Viaje del Parnaso, where he claims, for example, to have desired much but to have accepted little, sustain Don Quijote's ambivalence. In the second essay, "Cervantes y la melancolia," Garcia Gibert builds upon the idea of desire developed in the first essay. He observes that despite melancholic moods, Don Quijote moves freely from one mission to the next using desire as a catalyst. Garcia Gibert surveys the transformations of the definition of melancholy throughout medical history. Although specifically defined before Cervantes' time (most notably by Ficino, who associated melancholy with creativity), melancholy obtained a broader meaning as an attitude or as a customary phase of life during the seventeenth century. Cervantes' melancholy, nevertheless, transcended that of his contemporaries. The text of the Quijote demonstrates, according to Garcia Gibert, that no writer had delved so deeply into the emotional substance of his character as Cervantes. Reacting to the words of 2.44, Don Quijote's most acute manifestations of melancholy, Garcia Gibert concludes that "El sentimineto melancolico, tan magistralmente expuesto por Cervantes en este capitulo, se extenders como una bruma ... hasta el final de la obra." The reader is now prepared for the last chapter, because Don Quijote's life becomes, like that of the symbolic swan (Viaje del Parnaso, 4), a descent into the depths of melancholy. But his renunciation of chivalry has a Humanistic coloring, since he does not fully reject the books but rather the deleterious effects they had on him and others. …

Journal ArticleDOI
TL;DR: In a previous work as discussed by the authors, we have presented a DOCUMENTACION of the TEATRO DE MIGUEL MIHURA, in which we have discussed the relationship between the DRAMATICA DRAMA and MIHURU.
Abstract: ESPOLEADO POR LA INEXISTENCIA DE ESTUDIOS MONOGRAFICOS Y GLOBALES SOBRE EL TEATRO DE MIGUEL MIHURA HE PRETENDIDO INVESTIGAR SU PRODUCCION DRAMATICA ATENDIENDO A TODAS LAS VERTIENTES TEMATICAS Y FORMALES. DEDICO ASI UNA PRIMERA PARTE AL CONOCIMIENTO DEL MUNDO DRAMATICO DE MIHURA (TEMAS Y TRASFONDO IDEOLOGICO Y PSICOBIOGRAFICO DEL AUTOR); LA SEGUNDA PARTE AL ANALISIS DEL HUMOR DRAMATICO DE MIHURA Y LA TERCERA A SU TECNICA DRAMATICA. EN LA PARTE FINAL ESTABLEZCO LAS POSIBLES RELACIONES DEL TEATRO DE MIHURA CON EL DE OTROS AUTORES CONTEMPORANEOS APORTANDO EN LOS APENDICES DIVERSA DOCUMENTACION SOBRE LA VIDA Y EL TEATRO DE MIHURA.


Journal ArticleDOI
TL;DR: Del Siglo de Oro (metodos y relecciones) as mentioned in this paper is a collection of miscellaneous essays on Golden Age literature, written at various times and many of them published before.
Abstract: Del Siglo de Oro (metodos y relecciones). By Jose Lara Garrido. Madrid: U Europea, CEES, 1997. 590 pages. In the Introduction to this erudite if somewhat unwieldy book, Jose Lara Garrido asks the reader not to view the volume as a "colectinea asistemdtica cuando no arbitraria." That is, he wants its various sections and chapters to be taken as parts of a whole and not as discrete, independent studies. Nevertheless, there is no avoiding the fact that this is basically an anthology of miscellaneous essays on Golden Age literature, written at various times and many of them published before. Were this a more thematically unified volume, we might be tempted to complain about the absence of a bibliography, an index, and a clearly-stated purpose or methodology. The author clearly anticipates objections to the book's theoretical eclecticism when he tells us, paraphrasing C. S. Lewis: "me repugna intelectualmente... la obsesion academicista por la metodologia cuando `la propia literatura llega a parecer casi irrelevante'" (15). I am happy to say that the patient reader who sets aside academic obsessions with methodological and thematic coherence will be rewarded with the author's impressive erudition in dealing with Golden Age literature in its multifarious manifestations. The book is divided into two parts: 1) Estudios Panoramicos and 2) Estudios Monograficos. The first section begins with an essay on the historical use and usefulness of the designation "Siglo de Oro." Arguing that the Latin saeculum is not strictly a chronological term meaning "one hundred years" but rather a word that is etymologically equivalent to aetas (edad), Lara Garrido rejects recent attempts to substitute the traditional term with the purportedly more accurate "Edad de Oro." The second essay, subtitled "Perspectiva sobre los menores," is precisely that-a meditation on several minor literary figures and texts. He considers, for example, the Menippean satires of Bartolome Leonardo de Argensola and the work of Miguel de Molinos. This chapter is representative of the most valuable aspect of Lara Garrido's book for it invites readers to examine topics that have been ignored by literary histories and criticism. The third long section (which might have constituted a book in itself) is a panoramic overview of the development of the lyric in Andalusia, with considerations of individual poets. When dealing with well-known figures such as Herrera or Gongora, the text is primarily a summary of what other critics have said; indeed, entire paragraphs seem little more than a threading together of quotes. …

Journal ArticleDOI
TL;DR: In this paper, the author rend compte des acquis de la recherche sur l'imparfait -ie- en vieil espagnol, donning a variante non-etymologique -ie-, dans le contexte de la variation par contact, a travers le mecanisme de la diffusion linguistique propose par Malkiel, avec une reference particuliere au vieils aragonais.
Abstract: L'A. rend compte des acquis de la recherche sur l'imparfait -ie- en vieil espagnol, dont l'interet s'est essentiellement porte sur l'irregularite de la structure, avec deux modifications : a > e et changement de place de l'accent (-ia pour la premiere personne et -ie pour les autres personnes). La presente etude porte sur la variante non-etymologique -ie-, dans le contexte de la variation par contact, a travers le mecanisme de la diffusion linguistique propose par Malkiel, avec une reference particuliere au vieil aragonais. La premiere attestation de l'imparfait -ie en vieil espagnol date de 1044 et apparait dans des documents copies au 13 e siecle. L'influence du preterit aragonais -ie- sur l'imparfait espagnol n'apparait pas clairement. En revanche, il est clair que l'aragonais differencie tres tot les formes et les fonctions du passe simple et que la regularisation de -ie ne semble pas avoir ete effectuee avant le milieu du 13 e siecle

Journal ArticleDOI
TL;DR: This paper found that friendship was a fundamental part of the structure of the Second Eclogue of Garcilaso de la Vega's Second Book of Poetry and found that it provided thematic unity to the entire poem.
Abstract: L E I* .* * * . OVE is a constant theme in the poetry of Garcilaso de la Vega, and several important studies have improved our understanding of what this concept meant to the poet and to his contemporaries in general (Jones, "The Idea of Love"; Parker 43-51). But love, in addition to being an important theme of poetry, was an important topic of philosophical discourse and inquiry, though it was by no means the only one. Friendship was another constant found in many theoretical systems of moral philosophy of the period, but only recently has this topic become the interest of scholars, and relatively few studies that analyze the ways in which Renaissance authors made use of this theme in their works have been published to date. Garcilaso, as a product of his times and as a man of letters, unquestionably was aware of the ebb and flow of the philosophical discourse around him, and one would be surprised to find his work limited to one theme, albeit one as important as love, to the exclusion of all others. If we turn to the poet's Second Eclogue with this idea in mind, we find that the topic of friendship does indeed constitute a fundamental part of the structure of this work because it provides thematic unity to the entire poem. In order to understand how friendship lends itself to poetic cohesion, I must first briefly describe the Renaissance concept of friendship, as well as the means

Journal ArticleDOI
TL;DR: In el epistolario 445, Quevedo as mentioned in this paper dirigues al rey Felipe IV, and al hacer un balance of his escritos le dice: "los mis son del servicio de Dios y de la Iglesia, y de vuestra Majestad and de su monarquia, contra los enemigos della" (Epistolarios 445).
Abstract: . . g. N los afios finales de su vida se dirige Quevedo al rey Felipe IV, y al hacer un balance de sus escritos le dice: "los mis son del servicio de Dios y de la Iglesia, y de vuestra Majestad y de su monarquia, contra los enemigos della" (Epistolario 445). Estas palabras muestran la importancia del Rey y de la Corte en la vida y en la escritura de Quevedo. No debemos olvidar las circunstancias personales de nuestro escritor que, por nacimiento y crianza, fue un cortesano y, por lo tanto, consideraba una de sus obligaciones importantes dar consejo al rey en los asuntos domesticos y politicos que se presentaran; por eso, durante toda su vida se mostr6 muy atento a los problemas de su tiempo.1 Y es en sus obras circunstanciales donde podemos ver mais