Bücher veröffentlicht von Bucknell University Press

This book examines the nature and function of the main female characters in the nine novels of Machado de Assis. The basic argument is that Machado had a particular interest in female characterization and that his fictional women became increasingly sophisticated and complex as he matured and developed as a writer and social commentator. This book argues that Machado developed, especially after 1880 (and what is usually considered the beginning of his ';mature' period), a kind of anti-realistic, ';new narrative,' one that presents itself as self-referential fictional artifice but one that also cultivates a keen social consciousness. The book also contends that Machado increasingly uses his female characterizations to convey this social consciousness and to show that the new Brazil that is emerging both before and after the establishment of the Brazilian Republic (1889) requires not only the emancipation of the black slaves but the emancipation of its women as well.

Beyond Civilization and Barbarism examines how various cultural forms promoted competing political projects in Argentina during the decades following independence from Spain. This turbulent period has long been characterized as a struggle between two irreconcilable forces: the dictatorship of Juan Manuel de Rosas (1829-1852) versus a dissident intellectual elite. Most famously, Domingo Faustino Sarmiento described the conflict in his canonical Facundo (1845) as a clash between civilization and barbarism, which has become a catchphrase for the experience of modernity throughout Latin America. Against the grain of this durable script, Beyond Civilization and Barbarism examines an extensive corpus to demonstrate how adversaries of the period used similar rhetorical strategies, appealed to the same basic political ideals of republican government, and were preoccupied with defining and interpellating the pueblo, or people. In other words, their collective struggle was fundamentally modern and waged on a mutually intelligible discursive terrain.

Between 1850 and 1920 women's travel and travel writing underwent an explosion. It was an exciting period in the history of travel, a golden age. While transportation had improved, mass tourism had not yet robbed journeys of their aura of adventure. Although British women were at the forefront of this movement, a number of intrepid Spanish women also participated in this new era of travel and travel writing. They transcended general societal limitations imposed on Spanish women at a time when the refrain ';la mujer en casa, y con la pata quebrada' described most of their female compatriots, who suffered from legal constraints, lack of education, a husband's dictates, or little or no money of their own. Spanish Women Travelers at Home and Abroad, 18501920: From Tierra del Fuego to the Land of the Midnight Sun analyzes the travels and the travel writings of eleven extraordinary women: Emilia Pardo Bazn, Carmen de Burgos (pseud. Colombine), Rosario de Acua, Carolina Coronado, Emilia Serrano (Baronesa de Wilson), Eva Canel, Cecilia Bhl de Faber (pseud. Fernn Caballero), Princesses Paz and Eulalia de Borbon, Sofa Casanova, and Mother Mara de Jess Guell. These Spanish women travelers climbed mountain peaks in their native country, traveled by horseback in the Amazon, observed the Indians of Tierra del Fuego, suffered from el soroche [altitude sickness] in the Andes, admired the midnight sun in Norway, traveled to mission fields in sub-Saharan Africa, and reported on wars in Europe and North Africa, to mention only a few of their accomplishments. The goal of this study is to acquaint English-speaking readers with the narratives of these remarkable women whose works are not available in translation. Besides analyzing their travel narratives and the role of travel in their lives, Spanish Women Travelers includes many long excerpts translated into English for the first time.

Does fiction do more than just represent space? Can our experiences with fictional storytelling be in themselves spatial? In Constructing Spain: The Re-imagination of Space and Place in Fiction and Film, Nathan Richardson explores relations between cultural representation and spatial transformation across fifty years of Spanish culture. Beginning in 1953, the year Spanish space was officially reopened to Western thought and capital, and culminating in 2003, the year of Aznar's unpopular involvement of his country in the second Iraq War, Richardson traces in popular and critically acclaimed fiction and film an evolution in Spanish storytelling that, while initially representative in nature, increasingly engages its audience in spatial practices that go beyond mere perception or conception of local material geographies.In original readings of films by Luis Berlanga, Luis Buuel, Alex de la Iglesia, Alejandro Amenbar, and Julio Medem, and novels by Juan Goytisolo, Antonio Muoz Molina, and Javier Maras, Richardson shows this formal evolution as a necessary response to developments, restorations, and transformations of local landscapes that resulted during these years from various human migrations, tourist-invasions, urban development plans, resurgent nationalisms, and finally globalization. As these changes occur, Richardson traces a shift in the works studied from mere representation of spatial change toward actual engagement with shifting physical and social geographies, as they inch ever closer toward the production of an actual spatial experience for their audiences. In the final chapters of this book, Richardson offers in-depth and highly original readings of the storytelling projects of Medem and Maras in particular, showing how these two artists invite readers to not only reconceive hegemonic notions of space and place, but to practice alternative notions of being-in-place. In these final readings, Constructing Spain, points to the newest developments in contemporary Spanish narrative and film, a rise of new grammars of creation to challenge the ongoing capital-driven creative destruction of globalized Spanish geography.

Legitimizing the Queen deals with a genre particular to the Middle Ages: the specula principum (mirror of prince). Its importance as an object of study may be understood in light of the political instability that wracked the Castilian fifteenth century. The many works written for and dedicated to Isabel I of Castile depict her kingdom as a shipwrecked boat, a wayward realm, and a land of bankrupt people. These works suggest the kingdom's need for redemption through the strong leadership of the Catholic monarchs. These largely propagandistic works were designed to garner power, and once maintained, further Isabel's agenda. This book frames the concept of sovereignty from the theoretical perspective of the speculum principum dedicated to her. It offers a Bourdieuian approach to the more literary specula texts used to legitimize and uphold Isabel's power. This book reveals propagandistic qualities promoting the ideology necessary to legitimize and support Isabel's claims to the throne. Written primarily between 1468 and 1493, these works are literary artifacts that mark the rise to power of a female sovereign. The study discusses the various strategies of legitimation employed by these propagandists whose works circulated within noble and royal courts, and presumably extended into Castile as justification for her sovereign claim to the throne. By analyzing fifteenth century texts from within a modern critical framework, this book reexamines Isabel's position as queen and contributes to the understanding of her shared sovereignty in a period political and social evolution.

Imagining Modernity in the Andes is an interdisciplinary work that deals with the intersection of projects of modernity with constructions of race and ethnicity in the Andes. This book focuses initially on Indigenismo, attempting to recuperate the intellectual energy of writers and artists from the twenties who rewrote political and cultural discourse in an irreversible manner, and concludes with a consideration of the new configurations of indigeneity that are emerging today not only in the Andes but across the globe. The multidisciplinary work of Jos Mara Arguedas occupies a privileged place in this study and his anthropological work is analyzed in the context of an ideological climate. In addition to considering sociological and anthropological accounts, Archibald examines representations of urbanization and social informality by four Peruvian novelists, pointing to the prevalence of the troupe of the grotesque as a metaphor for the unmanageability associated with cities of the South. Finally, Imagining Modernity in the Andes analyzes the implications of the emergence of new visual media in a culture context long defined by the oral-textual divide, and considers the continued relevance of the concept of transculturation in a transnational and post-literary context.

This book explores practices of recollection in contemporary Argentina that helped define the nation's approach to transitional justice in the first decades of the twenty-first century and enhances the critical literature on historical memory and trauma in Latin America by integrating affect theory to cultural representations of state violence.

This book analyzes the literary production of Spanish writers who place the global economic crisis at the center of their writing. This is the first comprehensive study of crisis literature, which is a genre that arose in response to the transformation of the European welfare state by the forces of liquid capital.

This book traces the development of modern ideas of masculinity and the political subject back to the Enlightenment period in Britain to show how the very concept of political agency was shaped by anti-effeminate ideas and beliefs. This study queers our understanding of the political subject, which is still the basis for debate and argument.

Memoir is Rosario Ferre's account of her life both as a writer and as a member of a family at the center of the economic and political history of Puerto Rico during the American Century, one hundred years of territorial "non-incorporation" into the United States.

The Complicity of Friends offers an entirely original perspective within which to appreciate four eminent Victorians: Herbert Spencer, George Eliot, G. H. Lewes, and John Hughlings-Jackson. For the first time, I clarify the nature of Spencer's illness and demonstrate its repercussions in the lives and work of his three gifted friends.

Throughout history, Barcelona and Madrid have competed in practically every aspect of social life, politics, and culture. By delving deep into the myriad of cultural and political complexities that surround these two cities-from the onset of Futurism to the arrival of Surrealism in Spain-a complex social and cultural network is revealed.

Secular Millenialism: The Train of Aesthetics from Baumgarten and Kant to Walt Disney and Hitler by Benjamin Bennett combines the perspectives of intellectual history, literary history, and political history in order to illuminate the operation of the idea of aesthetics, and of the historical actualization of that idea, in the background of twentieth-century totalitarianism.

We all think we know what a dictionary is for and how to use one, so most of us skip the first pagesthe front matterand go right to the words we wish to look up. Yet dictionary users have not always known how English ';works' and my book reproduces and examines for the first time important texts in which seventeenth- and eighteenth-century dictionary authors explain choices and promote ideas to readers, their ';end users.' Unlike French, Spanish, and Italian dictionaries compiled during this time and published by national academies, the goal of English dictionaries was usually not to ';purify' the language, though some writers did attempt to regularize it. Instead, English lexicographers aimed to teach practical ways for their users to learn English, improve their language skills, even transcend their social class. The anthology strives to be comprehensive in its coverage of the first phase of this tradition from the early seventeenth centuryfrom Robert Cawdrey's (1604) A Table Alphabeticall, to Samuel Johnson's Dictionary of the English Language (1755), and finally, to Noah Webster's An American Dictionary of the English Language (1828). The book puts English dictionaries in historical, national, linguistic, literary, cultural contexts, presenting lexicographical trends and the change in the English language over two centuries, and examines how writers attempted to control it by appealing to various pedagogical and legal authorities. Moreover, the development of dictionary and attempts to codify English language and grammar coincided with the arc of the British Empire; the promulgation of ';proper' English has been a subject of debate and inquiry for centuries and, in part, dictionaries and the teaching of English historically have been used to present and support ideas about what is correct, regardless of how and where English is actually used. The authors who wrote these texts apply ideas about capitalism, nationalism, sex and social status to favor one language theory over another. I show how dictionaries are not neutral documents: they challenge or promote biases. The book presents and analyzes the history of lexicography, demonstrating how and why dictionaries evolved into the reference books we now often take for granted and we can see that there is no easy answer to the question of ';who owns English.'

Mina Loypoet, artist, exile, and luminarywas a prominent and admired figure in the art and literary circles of Paris, Florence, and New York in the early years of the twentieth century. But over time, she gradually receded from public consciousness and her poetry went out of print. As part of the movement to introduce the work of this cryptic poet to modern audiences, Poetic Salvage: Reading Mina Loy provides new and detailed explications of Loy's most redolent poems. This book helps readers gain a better understanding of the body of Loy's work as a whole by offering compelling close readings that uncover the source materials that inspired Loy's poetry, including modern artwork, Baedeker travel guides, and even long-forgotten cultural venues. Helpfully keyed to the contents of Loy's Lost Lunar Baedeker, edited by Roger Conover, this book is an essential aid for new readers and scholars alike. Mina Loy forged a legacy worthy of serious considerationthrough a practice best understood as salvage work, of reclaiming what has been so long obscured. Poetic Salvage: Reading Mina Loy dives deep to bring hidden treasures to the surface.

This book argues that Oliver Wendell Holmes Jr., helps us see the law through an Emersonian lens by the way in which he wrote his judicial dissents. Holmes's literary style mimics and enacts two characteristics of Ralph Waldo Emerson's thought: ';superfluity' and the ';poetics of transition,' concepts ascribed to Emerson and developed by literary critic Richard Poirier. Using this aesthetic style borrowed from Emerson and carried out by later pragmatists, Holmes not only made it more likely that his dissents would remain alive for future judges or justices (because how they were written was itself memorable, whatever the value of their content), but also shaped our understanding of dissents and, in this, our understanding of law. By opening constitutional precedent to potential change, Holmes's dissents made room for future thought, moving our understanding of legal concepts in a more pragmatic direction and away from formalistic understandings of law. Included in this new understanding is the idea that the ';canon' of judicial cases involves oppositional positions that must be sustained if the law is to serve pragmatic purposes. This process of precedent-making in a common-law system resembles the construction of the literary canon as it is conceived by Harold Bloom and Richard Posner.

The economic crisis in Argentina in 2001-2002 that spilled over into Uruguay causing fiscal and political problems is the starting point for my research on space and theater, and it demonstrates why we must look at the River Plate in both global and local ways. Connections among monetary policies, industries, and legal, social, and political movements mean that national spaces like Uruguay's are fraught with tensions that come from both within and outside of borders. Recent economic crises like the one that is occurring in Greece, further demonstrate how nation states and trade blocks must constantly negotiate power as they toggle between national and international pressures. Nation states are being prompted to reconceive perspectives on governance that fall away from the parameters of Westphalian autonomy and reconcile their views with trends that instead require thinking about power as a network with shifting centers. The introduction launches the study by addressing these political and economic trends, the spatial turn in theater and performance studies, the rise of multiculturalism, and also examines the Uruguayan historical context of the post-dictatorship and impunity laws that pit national sovereignty against international human rights laws. These crises are enacted on the Uruguayan stage and contextualized through networks and spatial topographies, intertextualties on the page, explorations of history and memory, and ultimately notions of identity in four areas: the postdramatic and economic realm (chapter one: Peveroni), cultural geography and pyschogeography (chapter two: Morena), midrash and questions of human rights and growing fascist trends (chapter three: Sanguinetti), and finally in mapmaking on the stage through mise-en-perf/performise and ';wayfinding' through sites of contested power (chapter four: Calderon). The concluding chapter (Blanco) looks at the reinterpretation of Greek tragedy as a commentary on the messy process of democratization. Here, access to the polis and power are problematized through the lens of international sex trafficking and gendered roles that exclude portions of the populace from participation in the process of self-governance.

Playing the Martyr is a book about the interplay between theater and religion in early modern France. Challenging the standard narrative of modernity as a process of increased secularization Christopher Semk demonstrates the centrality of religious thought and practices to the development of neoclassical poetics. Engaging with a broad corpus of religious plays, poetic treatises, devotional literature, and contemporary theory, Semk shows that religion was a vital interlocutor in early modern discussions concerning the definition of verisimilitude, the nature and purpose of spectacle, the mechanics of acting, and the position of the spectator. Well researched and persuasively argued, Playing the Martyr makes the case for a more complicated approach to the relationship between religion and literature, namely, one that does not treat religion as a theme deployed within literary works, but as an active player in literary invention. Indeed, it makes the case for a serious reconsideration of the role that religion plays in the development of modern, secular literary forms.

Every major Peruvian author of the twentieth century has written a narrative focused on childhood or coming of age. Mining Memory argues that Peruvian narratives of the twentieth century re-imagine childhood not only to document personal pasts, but also to focus on national identity as a dynamic and incomplete process. Mining Memory shows how 20th-century narratives and films reimagine the self and the nation by representing child and adolescent protagonists and their evolution, using the remembrance of childhood as part of a nation-making project. The book demonstrates how, in the context of Peru, fictions focusing on childhood become vehicles for the national reimagining and collective remembering central to much of Latin American literature. The figure of the child, as emblem of both a collective memory and an always deferred utopian project, holds special promise for twentieth-century Peruvian writers as they write from a national context rife with cultural, racial and political conflict. The book intervenes in debates internal to Peruvian cultural studies as well as wider conversations in Latin American Studies and post-colonial studies. Mining Memory provides a new understanding to both the Latin American and Anglo-American traditions regarding the representations of national subjectivities through the voices of the child and adolescent. Such a representational strategy performs a very particular kind of hybridity and temporal balancing act capable of addressing the very issues of cultural memory and fractured identities so relevant to multi-cultural, post-colonial cultural contexts.

An American Teacher in Argentina tells the story of Mary E. Gorman who in 1869 was the first North American woman to accept President Domingo F. Sarmiento's invitation to set up normal schools in Argentina, where she eventually settled. An ordinary historical actor whose life only sometimes enters the historical record, she moved along the fault lines of some of the greatest historical dramas and changes in nineteenth-century US and Argentine history: she was a pioneering child on the US-Indian frontier; she participated in the push for US women's education; she was a single woman traveler at a time when few women traveled alone; she was a player in an Argentine attempt to expand common school education; and a beneficiary of the great primary products export boom in the second half of nineteenth-century Argentina, and thus well positioned to enjoy the country's Belle poque. The book is not a straightforward, biographical narrative of a woman's life. It charts a life, but, more important, it charts the evolving ideas in a life lived mostly among people pushing boundaries in pursuit of what they considered progress. What emerges is a quintessentially transnational life story that engages with themes of gender, education, religion, contact with indigenous peoples in both the US and Argentina, natural history, and economic and political change in Argentina in the second half of the nineteenth century. Because the book tells a good story about one woman's rich and eventful life, it will also appeal to an audience beyond academe.

The Cuban writer Nicols Guillen has traditionally been considered a poet of mestizaje, a term that, whilst denoting racial mixture, also refers to a homogenizing nationalist discourse that proclaims the harmonious nature of Cuban identity. Yet, many aspects of Guillen's work enhance black Cuban and Afro-Cuban identities. Miguel Arnedo-Gomez explores this paradox in Guillen's pre-Cuban Revolution writings placing them alongside contemporaneous intellectual discourses that feigned adherence to the homogenizing ideology whilst upholding black interests. On the basis of links with these and other 1930s Cuban discourses, Arnedo-Gomez shows Guillen's work to contain a message of black unity aimed at the black middle classes. Furthermore, against a tendency to seek a single authorial consciousnessbe it mulatto or based on a North American construction of blacknessGuillen's prose and poetry are also characterized as a struggle for a viable identity in a socio-culturally heterogeneous society.