Presents a diverse sample of twentieth century Latin American poems from eighty-four authors in Spanish, Portuguese, Ladino, Spanglish, and several indigenous languages with English translations on facing pages.
Through a collection of critical essays, this work explores twelve keywords central in Latin American and Caribbean Studies: indigenismo, Americanism, colonialism, criollismo, race, transculturation, modernity, nation, gender, sexuality, testimonio, and popular culture. The central question motivating this work is how to think—epistemologically and pedagogically—about Latin American and Caribbean Studies as fields that have had different historical and institutional trajectories across the Caribbean, Latin America, and the United States.
An intriguing collection of more than 70 Latin American essays, some never before translated into English, gives us the whole spectrum of concerns that have animated some of the greatest writers of our time--from Andres Bello, Pablo Neruda, and Alfonso Reyes to Carlos Fuentes, Gabriel Garcia Marquez, and Rosario Ferre--an assembly confident, ingenious, aware.
This spellbinding literary travel guide gathers poetry, nonfiction, and fiction about Spain by forty English and American writers. Here are letters and memoirs from Lord Byron, Edith Wharton, and Henry James; a poem about Picasso by E. E. Cummings; and a comic tale by Anthony Trollope in which two Englishmen mistake a Spanish duke for a bullfighter. W. H. Auden, George Orwell, and Langston Hughes record their experiences in the Spanish Civil War, Ernest Hemingway takes on bullfighting, Richard Wright is beguiled by gypsy flamenco dancers, and Calvin Trillin pursues an obsession with Spanish peppers. From Chris Stewart’s memoir of his rural retreat in Driving Over Lemons to Barbara Kingsolver’s idyllic portrait of the Canary Islands in “Where the Map Stopped,” the glimpses of another world in Spain in Mind will enchant you. From the Trade Paperback edition.
Authors Rory O'Neill Schmitt and Rosary O'Neill share the NOLA life of Kate Chopin, the first great American woman novelist. In this epic story, Chopin becomes a Phoenix rising amidst the disgrace, death, and abandonment in the romantic desperate setting of post-Civil War Louisiana. This book, a follow up to Edgar Degas in New Orleans, presents Chopin, who lived in the same neighborhood as the Degas family during that time. Chopin celebrated in New Orleans' great homes and mansions up River Road with their wonderland of oaks, columns, balconies. She had lived in the Garden District, watched New Orleans trolleys with their big windows roll past the Gothic mansions and Greco-Roman houses on St. Charles Avenue, strolled languidly through Audubon Park with its oak tree wonderland full of swa mps and lush Louisiana foliage.
"A consistently informative and often impressively detailed analysis of Anglo-Saxon heroic stories (especially Beowulf, Brunanburh, Maldon), this study pulls them out from under the pall of pseudo-mystical Germani-schism that has shrouded them for generations and returns them to something of their own historical, and especially political, origins."--R. A. Shoaf, University of Florida Anglo-Saxon poems and fragments seem to preserve a long-standing Germanic code of heroic values, but John Hill shows that these values are probably not much older than the poems that record and advance them. In the first book-length application of anthropological research to Old English heroic literature, Hill demonstrates that the loyalties and values celebrated in "The Battle of Brunanburh," "The Battle of Maldon," and numerous other heroic episodes in Old English literature are not aspects of an archaic or ancient ethical life but instead political models serving the interests of West Saxon kingship and hegemony. Using the much more complicated Beowulf as an illuminating counterpoint, Hill works out the development in the heroic literature of these new ideals. Employing anthropological and psychoanalytic perspectives, Hill reopens for study an important subject of Old English literature long thought settled, and he provides a window onto the process of Anglo-Saxon state formation that should appeal to medievalists in both literary studies and history. John M. Hill is professor of English at the U.S. Naval Academy and author of several books, including Chaucerian Belief and The Cultural World in Beowulf.
Contributions by Carrie Bernhard, Scott Bernhard, Marilyn R. Brown, Richard Campanella, John P. Clark, Joel Dinerstein, Pableaux Johnson, John P. Klingman, Angel Adams Parham, Bruce Boyd Raeburn, Ruth Salvaggio, Christopher Schaberg, Teresa A. Toulouse, and Beth Willinger Much has been written about New Orleans's distinctive architecture and urban fabric, as well as the city's art, literature, and music. There is, however, little discussion connecting these features. Sweet Spots--a title drawn from jazz musicians' name for the space "in-between" performers and dancers where music best resonates--provides multiple connections between the city's spaces, its complex culture, and its future. Drawing on the late Tulane architect Malcolm Heard's ideas about "interstitial" spaces, this collection examines how a variety of literal and represented "in-between" spaces in New Orleans have addressed race, class, gender, community, and environment. As scholars of architecture, art, African American studies, English, history, jazz, philosophy, and sociology, the authors incorporate materials from architectural history and practice, literary texts, paintings, drawings, music, dance, and even statistical analyses. Interstitial space refers not only to functional elements inside and outside of many New Orleans houses--high ceilings, hidden staircases, galleries, and courtyards--but also to compelling spatial relations between the city's houses, streets, and neighborhoods. Rich with visual materials, Sweet Spots reveals the ways that diverse New Orleans spaces take on meanings and accrete stories that promote certain consequences both for those who live in them and for those who read such stories. The volume evokes, preserves, criticizes, and amends understanding of a powerful and often-missed feature of New Orleans's elusive reality.
The grit and grandeur of New Orleans helped give rise to an icon of French Impressionism. Edgar Degas's mother was from New Orleans and from the time he buried her, he pined for Louisiana. In 1872, when he arrived, he found New Orleans wracked with devastation. He struggled with the conflict of helping his family' bankrupt cotton business, while pursuing his passion to paint. Amidst this turmoil, blossomed a tragic friendship with his blind sister-in-law, his beautiful muse. Edgar nearly went mad when he discovered his brother had gone through all the family money, and was having an affair with his wife's best friend. This book rips open the divide between Edgar and his brother that kept them from speaking for ten years, and led Edgar to start a new direction in his work: Impressionism.
"Translations of eight plays by acclaimed women playwrights: Isidora Aguirre (Chile), Sabina Berman (Mexico), Myrna Casas (Puerto Rico), Teresa Marichal (Puerto Rico), Diana Raznovich (Argentina), Mariela Romero (Venezuela), Beatriz Seibel (Argentina), and Maruxa Vilalta (Mexico). Introductory essay and bio-bibliographical notes on each author offer ample contextualization supplemented by a useful bibliography of primary and secondary sources. Lively translations by editors and Kirsten Nigro produce stageworthy scripts. Outstanding collection highly recommended for classroom and dramatic use"--Handbook of Latin American Studies, v. 58.