This anthology examines Love's Labours Lost from a variety of perspectives and through a wide range of materials. Selections discuss the play in terms of historical context, dating, and sources; character analysis; comic elements and verbal conceits; evidence of authorship; performance analysis; and feminist interpretations. Alongside theater reviews, production photographs, and critical commentary, the volume also includes essays written by practicing theater artists who have worked on the play. An index by name, literary work, and concept rounds out this valuable resource.
Drawing on the poetry of four major voices in the Spanish lyric of today, Judith Nantell explores the epistemic works of Luis Muñoz, Abraham Gragera, Josep M. Rodríguez, and Ada Salas, arguing that, for them, the poem is the fundamental means of exploring the nature of both knowledge and poetry. In this first interpretive analysis of the epistemic nature of their poetry, Nantell innovatively engages these poets, each of whom has contributed one of their own poems along with a previously unpublished explication of their chosen poem. Each also provides an original biographical sketch to support Nantell’s development of a poetics of epiphany. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Nací en Manicaragua, las Villas, descendiente de una familia humilde. Creo que mi vida comenzó cuando a los siete u ocho años me separaron de mi madre y me llevaron para La Habana, capital de Cuba. Allí mis hermanas mayores residían y empecé a estudiar los grados primarios. Ya cursando grados primarios, a los diez años empecé a escribir mis primeras composiciones e historias así como un diario que siempre cargaba con él para todos lados. Tuve mi primer maestro Juan Marquetti Lastra (de los famosos hermanos Marquetti de Alquízar-Habana, todos negros y profesionales) que marcó pautas excelentes en la que aprendí de él buenas lecciones de moral y cívica. Siempre me llevaba el consejo certero de que "no dejara de escribir...que ya se podía creer todo lo que dijera". A los pocos años me vi en los cementerios donde sentía que allí se enriquecía mis deseos de escribir, en el póstumo silencio que ofrecen los muertos, porque los vivos no dejan concentrar mucho a uno. Estudié en el tecnológico Osvaldo Herrera en Rancho Boyeros y Lombillo Ciudad Habana, estudié telegrafía y operación de larga distancia, teniendo allí el cargo de Resp. de cultura a nivel del plantel. Participé en varios talleres literarios, así como en el Concurso Nacional a la Mujer Trabajadora, auspiciado por la CTC de trabajadores de Cuba donde obtuve el segundo lugar. Participé en encuentros de cultura con poemas míos que fueron mencionados. La Federación Nacional de Mujeres Cubanas auspició un concurso "Te ofrezco mis manos" obteniendo mención. Participé en el concurso "Mario Muñoz Monroy" del ministerio de Comunicaciones en Cuba obteniendo premios y reconocimientos. Siempre seguí escribiendo ya que mi trabajo proporcionaba la posibilidad de seguir incursionando en este ámbito. Fui supervisora de Radio y Tv en Comunicaciones en Cuba hasta que emigré a los Estados Unidos en el año l994 trabajando en varias actividades, hasta el 2008 en que decido ponerme a escribir con más ahinco y desde ahí he continuado hasta el momento en que he recopilado cerca de 5,000 poemas. Publiqué en el año 2011. "Donde nace el Poema" y "Manifiesto de Pasión" en el mismo año. Próximamente saldrá un poemario de sonetos y haikus. Participo activamente en el espacio Poemas del Alma desde el 2009, donde feliz comparto mi actividad como escritora.
Contains alphabetically arranged entries that examine over fifty works of literature from developing nations, each with an introduction to the work and its author, a plot summary, descriptions of important characters, analysis of important themes, a critical overview, and other information.
Aesthetics of Equilibrium is the first book-length comparative analysis of the theoretical prose by two major Latin American vanguardist contemporaries, Mario de Andrade (Brazil, 1893-1945) and Vicente Huidobro (Chile, 1893-1948). Willis offers a comparative study of two allegorical texts, Huidobro's "Non serviam" and Mario's "Parabola d'A escrava que nao e Isaura."
"When the sixteen-year-old Octavio Paz (1914-1998) discovered The Waste Land in Spanish translation, it 'opened the doors of modern poetry'. The influence of T S Eliot would accompany Paz throughout his career, defining many of his key poems and pronouncements. Yet Paz's attitude towards his precursor was ambivalent. Boll's study is the first to trace the history of Paz's engagement with Eliot in Latin American and Spanish periodicals of the 1930s and 40s. It reveals the fault lines that run through the work of the dominant figure in recent Mexican letters. By positioning Eliot in a Latin American context, it also offers new perspectives on one of the capital figures of Anglo-American modernism."
The Spanish poet Juan Ramón Jiménez (1881–1958; Nobel laureate 1956) wrote at a key moment in literary history. Since Jiménez’s lyrical output covers the poetic tradition from Romanticism through Symbolism to the Avant-Gardes, his work can be regarded as a condensation of the modern paradigm. Julio Jensen investigates the lyrical subject appearing in Jiménez’s poetry as exemplary of the notion of modern subjectivity. He does so by assuming a historical correlation between literature and philosophy in the sense that if philosophical discourse conceptualizes the prevailing understanding of the human being at a given moment, literary discourse represents it. Modern thought does not accept any other foundation than subjectivity. At the same time, the awareness of the subject’s finitude engenders pessimism with respect to its status as world-generating principle. One of the primary aims of this study, then, is to show how Jiménez poignantly enacts this vacillation between self-enthronement and self-eradication. With insightful readings of Jiménez’s poetry, the author opens a rich vein in the work of a writer who would serve as a central reference for later Spanish-language poets such as Federico Garcá Lorca, Pablo Neruda and Octavio Paz.
