Bücher veröffentlicht von Bucknell University Press

Encountering China addresses the responses of early modern travelers to China who, awed by the wealth and sophistication of the society they encountered, attempted primarily to build bridges, to explore similarities, and to emulate the Chinese, though they were also critical of some local traditions and practices.

Blighted Beginnings: Coming of Age in Independent Ireland offers a much needed examination of the manner in which narratives of emerging selfhood were used persistently by authors in order to critique and reform problems that have plagued post-independence Ireland.

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.

Espectros is a collection of original scholarly studies on contemporary literature and film in Spanish and by authors of Latin American descent. Contributors contemplate ghosts, haunting, the spectral, and absence as central motifs in narratives that deal with the aftermath of collective or individual trauma.

The process of shaping and asserting cultural identity in viceregal Spanish America occurred as much through the medium of pictures as through the medium of writing. Focused on writing that references visual texts (ekphrasis), Visions of Empire in Colonial Spanish American Ekphrastic Writing examines the way words about pictures in the writing of three Spanish American CreolesHernando Domnguez Camargo, Juan de Espinosa Medrano, and Sor Juana Ines de la Cruznegotiate the challenges that confronted the American-born ruling elite in Spanish America during the contentious transitional period between the Conquest and Independence.In Spanish America, pictures have long served as a crucial medium for cultural communication. In vast rural and urban regions where print culture is not deeply rooted and being ';cultured' is not synonymous with being ';literate,' visual texts ranging from pre-Hispanic pictographic codices to Baroque architectural surfaces to postmodern painted murals have played an essential role in shaping and asserting cultural identity. During the viceregal era, texts that referenced such visual texts proliferated in Latin America, particularly among Creole elites, who found themselves trapped in an ambiguous political and social position between Spain and America. At the level of content, Creole ekphrases bear little obvious connection to categories of social privilege. On the level of form, however, these ekphrases engage conventions of representation that reveal the social contingencies of the poetic gaze. They refract the visual object through an ideologically-charged language that invokes differentials of race, class, gender, sexuality, nationality, and position within the colonial power structure. Visions of Empire brings recent scholarship on visuality and ekphrasis to bear on twenty first-century reexaminations of criollismo to explore how cultural productions of the Spanish American Creole elite exercised relations of power, mediated social differences, and presented symbolic organizations of social space. Focusing on the way Creole adaptations of Gongoran ekphrases placed the Creoles in a position of epistemological, economic, or moral authority over peninsular Spaniards and Amerindian and casta majorities around them, this book illustrates how Creole words about pictures propose alternate visions of empire, symbolically reordering Spain's empire in the Americas around the figure of the Creole.

This book is about Susan Howe's poetry from the perspective of space. Howe reshapes cultural configurations of space through her drive to infiltrate interstitial areas of "third" spaces: the silences of history, the margins of the page, the placeless migrants, and the uncharted lands. Nuances, frontiers, thresholds, edges, fuzzinesses, ambiguities, pauses, singularities, margins: these are the spaces where her poetry occurs, places that lie between two states. Rather than absences, therefore, the space of this poetry is a place of being, of what Gilles Deleuze and Félix Guattari refer to as becoming. Third space is contested because it must also call itself into question in reimagining itself; in questioning its condition and rethinking itself, it contradicts itself repeatedly, setting up the form of an ever-present yet ever-shifting paradox of self-presencing. This site is also, however, the place of no frames or boundaries, a place that is all margins and singularities, that site of displacement, where migration is eternal and violence is perennial. Nomadism becomes an emblem in Howe's poetry for the twentieth-century condition as it represents the continual movement through space of the body, that never-ending, always-perpetuated sense of loss of place, but that equally charged coming into being regardless of the space within which that loss/becoming occurs.

This is the first full-length book on the work of La Monte Young and Marian Zazeela. It explores the recurring themes that have influenced and organized their ongoing engagement with sound and light.

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.

Catastrophic Bliss contemplates the longing to understand connections and disconnections within a world ever more fragmented yet interdependent. With allusions to Dante, Stevie Wonder, Fernando Pessoa, Persephone and Marianne Moore, these poems move from the tumultuous to the sublime: a pit bull killing an invading thief, two people on a New York City subway playing chess, Billy Eckstine recording in Rio de Janeiro, to an imagined Barack Obama writing poems to his father. Myronn Hardy's third collection comprises war, place, love, and history all yearning to be reconciled.

Darwinism in Argentina: Major Texts (1845-1909) brings together essays, letters, short-stories, and public lectures by travelers, scientists, writers, and politicians about Darwin and the theory of evolution in nineteenth century Argentina. This selection of texts provides a thorough overview of the socio-ideological implications of the theory of evolution in South America, as well as the intellectual debate this scientific theory promoted in the discourses of fiction, law, history, and medicine in the formation of modern Argentina. Some writers in this book considered the theory of evolution to be Argentinean because Darwin first conceived his theory traveling in the Beagle, across ';the big cemetery of glyptodont and megatherium fossils' on the pampas and in Patagonia. This anthology includes texts from William H. Hudson, Francisco Muiz, Florentino Ameghino, Eduardo Holmberg, Domingo F. Sarmiento, Hermann Burmeister, the Perito Moreno, Leopoldo Lugones, Jose Mara Ramos Meja, and Jose Ingenieros, among others. Many of these texts have not been translated to English or reprinted until this edition, which was originally published with fewer texts in Spanish in 2008. Leila Gomez's introduction reconstructs the historical-scientific contexts of the Darwinist debate in Argentina, the role of paleontology as modern discipline in South American countries, and the tensions between metropolitan and local scientific knowledge. Both the anthology and the introduction present a panorama of Darwin and evolution in Argentina, and the complex mechanism of inclusion and exclusion of indigenous, African descendants, mestizos, and immigrants in the modern nation. Darwinism in Argentina provides critical perspectives on evolutionism in South America that will interest students and specialists in literature, history, and science.

Masculinity, Senses, Spirit brings together current work by leading scholars in the fields of gender studies, religion, history, and cultural studies to examine the complex interrelationship between gender, sexuality, and the realms of the spirit and the senses in the Atlantic world from the Eighteenth century to the present.

The Lazarillo Phenomenon addresses a fundamental question in Hispanic Studies, why do we continue studying La Vida de Lazarillo de Tormes? As a classic literary text, Lazarillo's destiny depends on the relations it establishes over time with individuals and institutions responsible for literary, commercial, and ideological matters. This book brings together nine literary scholars from different critical approaches who address this question and reconsider the state of Lazarillo studies.The Lazarillo Phenomenon directs the reader's attention away from traditional concerns and toward different areas such as the complexities surrounding the production, transmission, and reception of the novel across time, and the wide-ranging social, historical, political, literary, economic, and religious circumstances in which it was written, banned, censured, and finally re-circulated. Contributors include Reyes Coll-Tellechea, María V. Jordán Arroyo, Ismene Kansí, Sean McDaniel, Joseph V. Ricapito, Theresa Ann Sears, Benjamín Torrico, Anthony Zahareas, and Oscar Pereira Zazo.

The author confronts the idea of responsibility by mapping the work of J. L. Austin onto the criminal law. Doing so entails considering the extent to which the language of criminal law can be reconciled with ordinary language, a project that entails considering whether the language of criminal law is ordinary language.

This book is a study of signs in American literature and culture. It is mainly about electric signs, but also deals with non-electric signs and related phenomena, such as movie sets. The 'sign' is considered in both the architectural and semiotic senses of the word. It is argued that the drama and spectacle of the electric sign called attention to the semiotic implications of the 'sign.' In fiction, poetry, and commentary, the electric SIGN became a 'sign' of manifold meanings that this book explores: a sign of the city, a sign of America, a sign of the twentieth century, a sign of modernism, a sign of postmodernism, a sign of noir, a sign of naturalism, a sign of the beats, a sign of signs systems (the Bible to Broadway), a sign of tropes (the Great White way to the neon jungle), a sign of the writers themselves, a sign of the sign itself. If Moby Dick is the great American novel, then it is also the great American novel about signs, as the prologue maintains. The chapters that follow demonstrate that the sign is indeed a 'sign' of American literature. After the electric sign was invented, it influenced Stephen Crane to become a nightlight impressionist and Theodore Dreiser to make the 'fire sign' his metaphor for the city. An actual Broadway sign might have inspired F. Scott Fitzgerald's The Great Gatsby. In Manhattan Transfer and U.S.A., John Dos Passos portrayed America as just a spectacular sign. William Faulkner's electric signs are full of sound and fury signifying modernity. The Last Tycoon was a sign of Fitzgerald's decline. The signs of noir can be traced to Poe's 'The Man of the Crowd.' Absence flickers in the neons of Raymond Chandler's Los Angeles. The death of God haunts the neon wilderness of Nelson Algren. Hitler's 'empire' was an non-intentional parody of Nathanael West's California. The beats reinvented Times Square in their own image. Jack Kerouac's search for the center of Saturday night was a quest for transcendence. This book will interest readers who want to learn more about the city, the history of advertising, electric lighting, nightlife, architecture, and semiotics. In contrast to other cultural studies, however, Signs of the Signs is primarily a work of literary criticism. Lovers of literary light will appreciate this book the most.

Transatlantic Mysteries presents a comparative study that brings together authors Paco Ignacio Taibo II and Manuel Vzquez Montalbn from two specific political contexts: post-1968 Mexico and post-Franco Spain who both work in one specific genrenoir detective fiction. In this so called age of globalization, Spain and Mexico have witnessed an explosion in the production of noir detective fiction which these authors choose purposefully in order to infiltrate the market with formulaic popular literature while simultaneously critiquing the effects of the neoliberal strategies embraced by their countries. By locating themselves at the crossroads where literature meets the market, they not only underscore the effects of capital on literary and cultural production but also explore the possibility for their writing to resist the influences of capital and question the role of an intellectual in an era of globalization. At the core of their writing Taibo and Vzquez Montalbn examine the revolutionary possibilities of literature and popular culture to offer a new kind of Marxist project that revitalizes the Left by redefining the role of socially engaged literature in a globalized landscape.

Sub-Versions of the Archive: Manuel Puig's and Severo Sarduy's Alternative Identities analyzes recent theories of the archive to examine how Manuel Puig and Severo Sarduy reformulate the Latin American literary tradition. This study focuses on eclectic theories of the archive as both repository and danger, drawing from an array of sources both within and outside the Hispanic literary tradition: from Borges, Foucault, Arrom, Derrida, Gonz_lez Echevarr'a, and Guillory to digital media and biotechnology. This book also applies theories of cultural contamination (Maria Lugones) and symbolic capital (Pierre Bourdieu) to the novels of Puig and Sarduy to explore the representation of marginal cultures within a body of literature that previously altered or elided these subaltern cultures from the tradition. Through close readings and critical theoretical applications, this book demonstrates how archival fiction continues to be one of the most popular strategies among Latin American novelists and, most importantly, how they have successfully managed to find new ways to inscribe their alternative fictions within this tradition. Puig's and Sarduy's novels reproduce discourses-popular culture and the mass media-that lack prestige within the traditional archive. These discourses mirror realities of marginal groups-gay people, children, the poor, the illiterate, women, and racial minorities. Their cultural variants, sub-versions of hegemonic masterstories, are endowed with truth-bearing power for them, but were previously left out of the archive as legitimate novelistic models. To date, this is the only study of contemporary Latin American fiction that puts current theories of the archive-especially that of Roberto Gonz_lez Echevarr'a-to practice in such a systematic way. Riob-'s analysis of how Puig and Sarduy reformulate the Latin American canon is both a necessary complement of Gonz_lez Echevarr'a's work and an intelligent answer to the first of his projected masterstories. Riob-'s multidisciplinary approach offers a deep understanding and analysis of both the archive and of some of the Spanish language's most innovative and complex fiction.

Encountering China addresses the responses of early modern travelers to China who, awed by the wealth and sophistication of the society they encountered, attempted primarily to build bridges, to explore similarities, and to emulate the Chinese, though they were also critical of some local traditions and practices.

Elena Garro and Mexicos Modern Dreams uses Elena Garro's eccentric life and work as a lens through which to examine mid-twentieth-century Mexican intellectuals desire to reconcile mexicanidad with modernidad. The famously scandalous first wife of Nobel Prize winner poet Octavio Paz, and an award-winning author in her own right, Garro constructed a mysterious and often contradictory persona through her very public participation in Mexican political conflicts. Herself an anxious and contentious Mexican writer, Elena Garro elicited profound political and aesthetic anxiety in her Mexican readers. She confused the personal and the public in her creative fictions as well as in her vision of Mexican modernity. This violation of key distinctions rendered her largely illegible to her contemporaries. That illegibility serves as a symptom of unacknowledged desires that motivate twentieth-century views of national modernity. Taken together, Garros public persona and critical perspective expose the anxieties regarding ethnicity, gender, economic class, and professional identity that define Mexican modernity. Blending cultural studies and detailed literary analysis with political and intellectual history, Mexicos Modern Dreams argues that, in addition to the intriguing gossip she elicited in literary and political circles, Garro produced a radical critique of Mexican modernity. Her critique applies as well to the nations twenty-first-century crisis of globalization, state power, and pervasive violence.

This book is a critical study of the work of Gregory Rabassa, translator of such canonical novels as Gabriel Garca Mrquezs Cien aos de soledad, Jose Lezama Limas Paradiso, and Julio Cortzars Rayuela. During the past five decades, Rabassa has translated over fifty Latin American novels and to this day he is one of the most prominent English translators of literature from Spanish and Portuguese. Rabassas role was pivotal in the internationalization of several Latin American writers; it led to the formation of a canon and, significantly, to the most prevalent image of Latin American literature in the world. Even though Rabassas legacy has been widely recognized, the extent of his works influence and the complexity of the sociocultural circumstances surrounding his practice have remained largely unexamined. In Gregory Rabassas Latin American Literature: A Translators Visible Legacy, Mara Constanza Guzmn examines the translators conceptions about language, contextualizes his work in terms of the structures and conditions that have surrounded his practice, and investigates the role his translations have played in constructing collective narratives of Latin American literature in the global imaginary. By revisiting and historicizing the translators practice, this book reveals the scale of Rabassas legacy. The translator emerges as an active subject in the inter-American literary exchange, an agent bound to history and to the forces involved in the production of culture.

Out of the mainstream but ahead of the tide, that is Scottish Science Fiction. Science Fiction emphasizes ';progress' through technology, advanced mental states, or future times. How does Scotland, often considered a land of the past, lead in Science Fiction? ';Left behind' by international politics, Scots have cultivated alternate places and different times as sites of identity so that Scotland can seem a futuristic fiction itself. This book explores the tensions between science and a particular society that produce an innovative science fiction. Essays consider Scottish thermodynamics, Celtic myth, the rigors of religious ';conversion,' Scotland's fractured politics yet civil society, its languages of alterity (Scots, Gaelic, allegory, poetry), and the lure of the future. From Peter Pan and Dr. Jekyll to the poetry of Edwin Morgan and the worlds of Muriel Spark, Ken Macleod, or Iain M. Banks, Scotland's creative complex yields a literature that models the future for Science Fiction.

Afro-Cuban Identity in Post-Revolutionary Novel and Film examines the changing discourse on race as portrayed in Cuban novels and films produced after 1959. Andrea Easley Morris analyzes the artists' participation in and questioning of the revolutionary government's revision of national identity to include the unique experience and contributions of Cuban men and women of African descent. While the Cuban revolution brought sweeping changes that vastly improved the material condition of many Afro-Cubans, at the time overrepresented among Cuba's poor and marginalized, the government's official position was that racial inequities had been resolved as early as 1962. Although a more open dialogue on race was cut short, the work of several novelists and film directors from the late 1960s and 70s expresses the need to explore what was gained and lost by Afro-Cubans in the early years of the revolution, among them Manuel Granados, Miguel Barnet, Nivaria Tejera, Sara Gomez, Cesar Leante, Toms Gutierrez Alea, Sergio Giral, and Manuel Cofio. Their works participate in the process of redefining Cuban national identity that took place after the revolution and, more specifically, they explore the place of Afro-Cuban identity within a broader notion of revolutionary ';Cubanness.' This occurs through an emphasis on Afro-Cuban cultural practices that have constituted forms of resistance to colonial and neo-colonial oppression. This book examines the identity conflicts portrayed in these works and takes into account the artists' negotiation of their own status within the revolutionary context by looking at the narrative strategies used to address racial issues within the constraints placed on cultural production in Cuba after 1962.

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.

Combining queer theory with theories of affect, psychoanalysis, and Foucauldian genealogy, Romanticism, Gender, and Violence: Blake to George Sodini theorizes performative melancholia, a condition where, regardless of sexual orientation, overinvestment in gender norms causes subjects who are unable to embody those norms to experience socially expected (';normal') gender as something unattainable or lost. This perceived loss causes an ambivalence within the subject that can lead to self-inflicted violence (masochism, suicide) or violence toward others (sadism, murder). Reading a range of Romantic poetry and novels between 1790-1820, but ultimately moving beyond the period to show its contemporary cultural relevance through readings of Eliot's The Mill on the Floss, Virginia Woolf's Mrs. Dalloway, Andrew Holleran's Dancer from the Dance, and George Sodini's 2009 murder-suicide case, this study argues that we need to move beyond focusing on bullying, teens, and LGBT students and look at our cultural investment in gender normativity itself. Doing so allows us to recognize that the relationship between non-normative gender performance and violence is not simply a gay problem; it is a human problem that can affect people of any sex, sexuality, age, race, or ethnicity and one that we can trace back to the Romantic period. Bringing late 18th-century novels into conversation with both canonical and lesser-known Romantic poetry, allows us to see that, as people whose performance of gender occasionally exceeds the normal, we too often internalize these norms and punish ourselves or others for our inability to adhere to them. Contrasting paired chapters by male and female authors and including sections on failed romantic coupling, melancholic femininities, melancholic masculinities, failed gender performance and madness, and ending with a section titled After Romanticism, this study works on multiple levels to complicate previous understandings of gender and violence in Romanticism while also offering a model for contemporary issues relating to gender and violence among people who ';fail' to perform gender according to social norms.

The essays in this volume portrays the public debates concerning freedom of speech in the 18th century in France and Britain as well as Austria, Denmark, Russia, and Spain and its American territories. The economic integration of Europe and its offshoots over the past three centuries into a distinctive cultural product, 'the West,' has given rise to a triumphant universalist narrative that masks these disparate national contributions to freedom of speech and other liberal rights.

This first volume in the new Stories of the Susquehanna Valley series describes the Native American presence in the Susquehanna River Valley, a key crossroads of the old Eastern Woodlands between the Great Lakes and the Chesapeake Bay in northern Appalachia. Combining archaeology, history, cultural anthropology, and the study of contemporary Native American issues, contributors describe what is known about the Native Americans from their earliest known presence in the valley to the contact era with Europeans. They also explore the subsequent consequences of that contact for Native peoples, including the removal, forced or voluntary, of many from the valley, in what became a chilling prototype for attempted genocide across the continent. Euro-American history asserted that there were no native people left in Pennsylvania (the center of the Susquehanna watershed) after the American Revolution. But with revived Native American cultural consciousness in the late twentieth century, Pennsylvanians of native ancestry began to take pride in and reclaim their heritage. This book also tells their stories, including efforts to revive Native cultures in the watershed, and Native perspectives on its ecological restoration.While focused on the Susquehanna River Valley, this collection also discusses topics of national significance for Native Americans and those interested in their cultures.

Forth and Back broadens the scope of Hispanic trans-Atlantic studies by shifting its focus to Spain's trans-literary exchange with the United States at the end of the twentieth century. Santana analyzes the translation ';boom' of U.S. literature that marked literary production in Spain after Franco's death, and the central position that U.S. writing came to occupy within the Spanish literary system. Santana examines the economic and literary motives that underlay the phenomenon, as well as the particular socio-cultural appeal that U.S. ';dirty realist' writerswhich in Spain included authors as diverse as Charles Bukowski, Raymond Carver, and Bret Easton Ellisheld for Spaniards in the 1980s. Santana also studies the subsequent appropriation of this writing by a polemic group of young Spanish writers in the 1990s whoself-consciously and insistently associated themselves with the U.S. Forth and Back illustrates that literary movements do not unilaterally spread; rather, those that flourish take root in fertile soil and are transformed in their travel by the desires, creative choices, and practical constraints of their differing producers and consumers. It is precisely in the crossing of these currents that plots thicken. The translation of dirty realism, its reception in Spain, and its cultural legacy as appropriated by the young Spanish writers, serve to interrogate a perceived U.S. hegemony. If Spanish realismo sucio has been said to be symptomatic of the globalization of literature, Forth and Back argues that the Spanish works in question posed a subtle reaffirmation of Spanish literature's strong ties to realist fiction, a gesture of continuity in a decade that seemed to presence the undoing of much of Spain's ';Spanish-ness.' Ultimately, this project asks an ambitious pair of questions at the heart of human culture: how do we ';read' each other, quite literally, across geography and language? How do we construct others and ourselves vis--vis those readings?

Regarding Santayana it has been claimed that he lacks a system while contradicting himself in outrageous ways. An attentive analysis of his complete uvre, however, reveals something else entirely. It is not easy to classify a thinker as a Platonic materialist, an ironic nihilist, a spiritual atheist, and a conservative without political commitment, but, if one respects his own language, one discerns an astonishing, little-known Santayana, whose philosophical leitmotif consists in: 1) detecting the numerous ';false steps,' logical and moral, supplied by the imagination when it confuses things with the names that designate them, or the world with the feelings that it provokes in the human animalthese errors assume diverse faces: pantheism, moralism, egotism, subjectivism, transcendentalism, Platonism, Puritanism, and utopianism; 2) avoiding these illusions in such a way as to keep the spiritual door open as a form of life to be lived out in an honest fashion; 3) recognizing the natural origin of these temptations and asking oneself what moves humans to succumb imperceptibly to these mistakes, at times tragic, at others comical, and what precautions one can take to remain cognizant of the deceitful leaps that can hijack one's life; and 4) proposing as an alternative the radical distinction between essence and existence, which leads him to distinguish four realms of being: the realm of essence, the realm of matter, the realm of truth, and the realm of spirit. Essence as logical identity, matter as contingent existence, truth as frozen history, and spirit as the flames that part from contingency and approximate the eternal. An attempt has been made in this book to expand on and clarify these questions.

The Cultural Politics of Twentieth-Century Spanish Theater argues that twentieth-century artists used the Golden Age Eucharist plays called autos sacramentales to reassess the way politics and the arts interact in the Spanish nation's past and present, and to posit new ideas for future relations between the state and the national culture industry. The book traces the phenomenon of the twentieth-century auto to show how theater practitioners revisited this national genre to manifest different, oftentimes opposing, ideological and aesthetic agendas. It follows the auto from the avant-garde stagings and rewritings of the form in the early twentieth century, to the Francoist productions by the Teatro Nacional de la Falange, to postmodern parodies of the form in the era following Franco's death to demonstrate how twentieth-century Spanish dramatists use the auto in their reassessment of the nation's political and artistic past, and as a way of envisioning its future.