La función social de la historia (Brevarios) (Spanish Edition)

Genoese Trade and Migration in the Spanish Atlantic, 1700–1830
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Memorias reviewed in Hispania , Or, to use his own analogy, at almost the moment philosophers discovered the new continent of human life in the non-biological sense they turned their backs on it rather than explore it. For centuries philosophers have considered the human person as a variety of things, as one kind of being among other beings. Now we can recognize human life as another form, a distinct form, of reality, irreducible to other forms because of its freedom.

As a synthesis of Marias's own philosophical thinking for over half a century, this book is a rarity.

ISBN 13: 9786071611062

Seldomly do philosophers pause to recapitulate or integrate their previous books. The first is his theory of human life on earth, any and each human person, while the second is his theory of a particular form of social life. Each synthesizes his previous works on its theme and acts as a source for elaboration in further studies.

Particularly interesting to me at this point in my own teaching and research is Marias's use of Ortega's distinction between ideas and creencias , for the distinction throws more light on many misunderstandings in history and on the origin and continuation of various social conflicts than does any other theory of which I am aware. Unos pocos son realmente comentarios de textos.

This volume represents a welcome addition to two expanding bodies of textual material: literature by women writers and dramatic works by Latin American playwrights, two areas of growing interest to scholars and professors both here and abroad. Specifically, Dramaturgas latinoamericanas is a direct response to the chronic scarcity of texts by Latin American female dramatists, particularly in published anthologies of Latin American theater.

As Andrade and Cramsie note, the aim of this anthology is not to analyze the range or content of feminine or feminist theatrical discourse but to make that discourse the plays available to readers. They hope that the availability of materials will promote interest in those plays and lead to more analytical studies on Latin American women dramatists until the latter are studied as frequently as Latin American women who write either poetry or prose.

Thus, while the playwrights represented in this anthology may have little in common other than the Spanish language , the selected works all have very specific historical referents as their common denominator; in each, the author is concerned with the sociopolitical issues of her country, one but only one of which is the role of women in contemporary society. Because the editors have sought a balance among the various Spanish American countries as well as representation of both established playwrights and less-noted ones, familiar works and the unfamiliar, they have included an eclectic assortment of seven plays.

Four of them are fairly well-known, written by playwrights whose names are likely to be recognized: Retablo de Yumbel , published in by Isidora Aguirre Chile, b. In it, Andrade and Cramsie acknowledge the wide range of thematic, formal and ideological positions that have been taken by women writers in general and dramatists in particular, and recognize that the very attempt to speak of a specifically feminine discourse theatrical or otherwise is problematic at best.

They further remind the reader that although all the playwrights represented here are women, the particular social position of the individual writer necessarily produces significantly different personal, artistic concerns -thus the wide range of thematic and stylistic focuses among the plays included.

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In addition, the editors provide a brief review of women, Latin American and others, who have made names for themselves in the field of theater in spite of the fact that women are more frequently excluded from this genre than from others. In addition the editors have included the playwrights' individual responses to a series of ten [67] questions. Those questions address the dramatist's perception of a specifically female dramaturgy in terms of themes, techniques, or discourse and her individual concerns in regard to both her work in general and the specific play included in this anthology.

In the case of the deceased Parrado, in lieu of answers to the questions, the editors have reproduced a dramatized prologue, written by David Camp , to her Teatro. Unquestionably, any of the criteria one might use to select works for inclusion in an anthology is open to challenge. In this particular case, one could object to the blatant Marxism of the Parrado work or the truncated form of the Buitrago play as it is reproduced here. On the other hand, I find La malasangre a particularly good selection to represent the work of such an important playwright as Gambaro, who, outside of a small group of specialists, is often known only for her early El campo.

Both playwrights and their works are relatively unknown and inaccessible outside of Puerto Rico and Costa Rica, respectively, but both are definitely worthy of further study. In sum, the choice of works here seems neither better nor worse than any other. In conclusion, Andrade and Cramsie have made these plays available in anthology form, and have provided perceptive introductions to the lives and works of the various playwrights, as well as thought-provoking interviews.

Some of the autobiographical profiles included in this encyclopedia possess an appealingly intimate literary quality and offer engrossing insights into some of the authors' perspectives regarding what has motivated them to write. A number of the biographical entries on some authors provide extensive details on their fives, their politics, and their literary corpus, yet other entries on some major figures are all too brief. The entry on Jorge Luis Borges is one of the most distressing and culpable cases in point.

However, when Borges is thus slighted, it becomes necessary once again to hold accountable any literary history or dictionary of this type for facile dismissals of many important literary figures who preceded the Boom. A more recent critical bibliography covering the last fifteen or twenty years of Borges criticism would have been extremely helpful for any reader interested in what the more recent critical and theoretical approaches have added to our understanding of Borges.

The reader may also find problematic the fact [68] that the dictionary contains novelists and poets of the twentieth century, but claims not to cover short story writers and dramatists.

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Add to cart. Catala Comercial I Administratiu. SJR uses a similar algorithm as the Google page rank; it provides a quantitative and qualitative measure of the journal's impact. Do I forget that beam of light, the white-handed daughter of kings? Escala Parte Iii. Manolo Une Climatizacion.

One of the most egregious omissions in the dictionary is that of Horacio Quiroga. Perhaps the dictionary should be titled, Spanish American Poets and Novelists so as to inform purchasers of exactly who is included, although it would have been well worth the effort to expand the dictionary to include theater and short prose fiction. The exclusion of dramatists is surprising in light of the fact that some of the most important Spanish American writers of the past thirty years are dramatists. Notwithstanding its omissions and favoritism with regard to Boom novelists, this book is extremely useful and fascinating.

It includes dozens of Spanish American women writers although Alfonsina Storni is another unfortunate omission who have frequently been overlooked in literary histories.

Visor de obras.

For the most part, the critical bibliographies are very helpful guides, and this book provides an unending source of surprising and illuminating anecdotes and accounts of great writers' lives. Also included is Kiss of the Spider Woman , which -in spite of the fact that it is based on Puig's novel- can only marginally be classified as an example of Argentine cinema.

Foster provides incisive commentaries throughout, especially relating the films to Argentine history and literature. Given the excellent quality of the most recent Argentine cinema such as Aristarain's Un lugar en el mundo , readers who enjoy Contemporary Argentine Cinema will look forward to further studies on the subject.

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This book is an augmented, revised edition of the work originally published by the Universidad de Salamanca in As the title indicates, the work does not purport to be a study of the development of the essay either in a historical perspective or as a literary genre, but rather an analysis of the essential characteristics that define the essay and distinguish it from other literary and non-literary kinds of narrative forms. The works of both Latin American and Spanish writers are used as representative examples of essay forms.

Each of the two sections carries an extensive bibliography. From among the multiple chapters of the first part, a few may be cited. Indeed, the essayist may be subtler, less direct than the treatise writer, but no less desirous of convincing the reader of the validity of his own views. I would think just the opposite, that there is rarely a course in Spanish literature, even a survey course, that does not include one of his essays.

Furthermore, in undergraduate courses in philosophy at American universities, there are generally just two Hispanic names: one is Unamuno, the other is Ortega. While it is true that the purpose of the essay is not to establish proof of something in the same way that a treatise does, in its own subjective way it certainly tries to have the reader concur with the ideas or points of view presented. The attractive edition unfortunately has, at least in the copy at hand, two typographical errors: the transposition of pages 46 and 47, and the duplication of the last line of page The University of Texas at Austin provided the setting for a symposium in honoring the centenary of Oswald de Andrade, certainly a major figure in the cultural life of twentieth-century Brazil.

Poet, novelist, playwright, and ever dynamic critic of his times, Oswald de Andrade and his legacy doubtless provided a lively topic of discussion for the twenty scholars listed in this volume, which includes thirteen of their presentations. In addition, there are three introductory pieces, including an overview by the editor, who has also compiled a useful bibliographical appendix listing the prolific writer's works. It follows from Oswald de Andrade's prominent role as a leader of Brazil's cultural avant-garde that each paper examines the modernist perspective as it appears in his works and in the works of other Latin Americans intent on creating a distinctive cultural expression for the twentieth century.

Variation of a different sort concerns D. Manfio, who relates the daunting task implied in the preparation of a critical edition of Oswald de Andrade's poetry. Manfio acknowledges the poet's careful scholarship and historical acumen, which may surprise some given his reputation as an irreverent iconoclast.

Also focused on a specific genre is V. Chalmers' piece dealing with de Andrade's satirical journalism spanning two decades, from O Pirralho in to the short lived O Homem do Povo in The political lampoons of the former, written in a patois of Italian and Portuguese under the pseudonym Annibale Scipione, fared better in the face of censorship than the more doctrinaire Marxism of the latter, whose pressroom was sabotaged by infuriated right wing law students.

Almost as controversial was his play, A Morta, which V. Rounding out the papers devoted specifically to the works of Oswald de Andrade are R. Antelo's comments on the author's and Murilo Mendes' pastiches of Brazilian history. More tangential is an illuminating comparison by H.

Olea, who notes the similarities between the rhetoric of de Andrade's manifestos and the diction employed by Portuguese futurists. In addition to literature, other art forms have been shaped by the views and techniques of the Oswaldian avant-garde, as C. Perrone carefully shows in his chapter concerning Brazilian popular music in recent years. Amaral in a translated essay regarding the visual arts.

In this regard, K. One Hundred Years of Invention presents a few problems. One wonders why, for example, a piece by A. Amaral required a rather poor translation in a volume containing chapters in both English and Portuguese, including a second contribution by Amaral that appears in the original Portuguese. Also, S. A more technical problem stems from the large number of typographical errors that are disconcerting and at times impede comprehension though Oswald de Andrade would find amusing.

Such qualifications, however, do not seriously detract from the volume's worth as an appreciation of the writer's place in the Latin American avant-garde.

07 función social del arte

The bibliography on Modernism in Brazil is enhanced by this centenary celebration of Oswald de Andrade. One of Chile's most prominent men of letters, Ariel Dorfman has distinguished himself as essayist, novelist, poet, dramatist, and writer of short stories. Perhaps because his works are often complex and difficult to interpret, the bibliography on Dorfman is hardly extensive.

For this reason Salvador Oropesa's monograph will be especially welcome to those interested in contemporary Spanish American literature. Oropesa has divided his book into six major chapters, four dealing with Dorfman's four novels, one treating a selection of his short stories, and one discussing his writings on pop culture. In his introduction Oropesa presents an overview of Dorfman's life and work and, in addition, alludes to the major influences on his literary formation, including Borges, Kundera, Marx, Barthes, and Jakobson.

Oropesa also sees it as a Brechtian work whose preoccupation with the narrative process makes the reader more conscious of its ideological content. Moros en la costa stands out as a strong statement, with Marxist overtones, on Chile under Salvador Allende. Laconic in its prose and more traditional in structure, Viudas contrasts sharply with its predecessor. Here Dorfman has invented an allegory about his homeland under General Pinochet's military regime, the setting of which is a Greek village Longa suffering from Nazi oppression during World War II.

Oropesa sees in this tragic novel a Manichean struggle between good and evil, the widows of the village embodying good and their German oppressors, evil. Also pointed out by the critic are resonances of Borges in the narrative technique. The two protagonists are militant Allende supporters in the process of writing a satirical film script about Augusto Pinochet. But this work [72] has multiple narrative voices and at least three plot threads, one of which involves fetuses refusing to be born into a society suffering from the abuses of power a major theme.

Among the possible influences on this text are Brecht and modernist fiction writers, who emphasize estrangement techniques, and Barthes and Jakobson, whose ideas on deconstruction are plainly discernible.

Hispania. Volume 77, Number 1, March 1994

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