This book—along with its companion volume Mary I in Writing: Letters, Literature, and Representations—centers on representations of Queen Mary I in writing, broadly construed, and the process of writing that queen into literature and other textual sources. It spans an equally wide chronological and geographical scope, accounting for the years prior to her accession in July 1553 through the centuries that followed her death in November 1558 and for her reach across England, and into Ireland, Spain, Italy, Russia, and Africa. Its intent is to foreground words and language—written, spoken, and acted out—and, by extension, to draw out matters of and conversations about rhetoric, imagery, methodology, source base, genre, narrative, form, and more. Taken together, these volumes find in England’s first crowned queen regnant an incomparable opportunity to ask new questions and seek new answers that deepen our understanding of queenship, the early modern era, and modern popular culture.
The last decade has witnessed a striking upsurge of interest in Iberian hagiography. In painting and the fine arts through to poetic and narrative treatments composed in Castilian and Catalan, the legacies of Christ, Mary, and the saints have been approached from a range of perspectives and subjected to detailed critical scrutiny. This book, which focuses specifically on the application of theoretical and methodological approaches to analysis, asks what scholars of early Iberian hagiography can bring to the analysis of the sacred past and how the study of the discipline can be taken forward innovatively in the future. Its fourteen essays, each focusing on a different aspect of composition, seek in particular to explore interdisciplinary methodologies and the ways in which they intersect with broader discourses in other branches of research. Contributors are Carme Arronis Llopis, Fernando Baños Vallejo, Andrew M. Beresford, Sarah Jane Boss, Sarah V. Buxton, Marinela Garcia Sempere, Ryan D. Giles, Ariel Guiance, Lluís Ramon i Ferrer, Rebeca Sanmartín Bastida, Connie L. Scarborough, and Lesley K. Twomey.
Este libro se basa mayormente en la vida de mi madre. Les relato en palabras sencillas parte de su niñez, su vida con mi padre; cuando se mudó a Puerto Rico con sus hijas; y cómo murió. Aunque comienzo con una parte que es ficción, en “Morelia”, luego paso a la realidad de “María Estela”, donde encontrarás un conglomerado de amor, tristezas y muchas alegrías en la vida de mi madre y nosotras cuando pequeñas. Mi madre es de nacionalidad dominicana, igualmente mi padre. Nacimos en una hermosa isla llamada la Hispaniola, donde nuestro bello país, La República Dominicana, ocupa la tercera parte. De importancia es la realidad de la vida de mi madre; cuando se mudó a la vecina isla de Puerto Rico; donde llegó sola con tres niñas en los brazos y comenzó una vida nueva, con muy pocos ahorros. María Estela siempre sintió mucho agradecimiento por la hospitalidad que recibió de los puertorriqueños. Mami no sabía que yo estaba escribiendo un libro sobre ella. Sin embargo, poco a poco fui recopilando datos mientras la visitaba. Ella me contaba muchas cosas sobre su niñez y su vida. También obtuve mucha información sobre ella, durante conversaciones que mantuve con familiares en Santo Domingo y en los Estados Unidos. En el relato ficticio que comencé a escribir con el nombre de “Morelia”; identifiqué a mami con ese nombre; ya que a ella le gustaba todo lo que era mexicano. Además, “Morelia” es una ciudad en México muy preciosa y auténtica; de mucha historia y colorido, así como fue la vida de mamá. Cuando le dije la verdad; de que escribía sobre su vida pero en una vida “inventada” en Morelia, ella solo se sonrió y me dijo: “¡Mira muchacha, qué mucho tú inventa!”. Le dije: “Mamá es que comencé a imaginarme cosas y te cambié la vida. Todavía no he terminado, ya verás que volveré a tu realidad en el Capítulo de María Estela. Ahí relataré muchas de las cosas que me has dicho y de nuestra vida en Puerto Rico”. Ella seguía escuchándome muy pensativa y con un gran suspiro me dijo: “María Estela, ahora sí que tu historia parece realidad”. Mi madre fue una mujer ejemplar en su propia sencillez. Ella no completó sus estudios, pues comenzó a trabajar a temprana edad. Ella, con mucho esfuerzo y limitaciones, nunca dejó de proveer para sus tres hijas. Con el tiempo, sus fuerzas menguaron, pero su amor, ¡nunca! De este sentimiento surge la inspiración de muchos de mis poemas. También encontrarás algunas estrofas de un poema de mi hermana Tina; quien también es escritora. Incluyo una cronología de eventos importantes de la vida de mamá, parte de su genealogía, y documentos, cartas y fotos importantes sobre ella. Yo no esperaba publicar un libro; solo quería plasmar la vida de mi madre y cómo ella nos crio en Puerto Rico como un recuerdo de amor para mis familiares inmediatos. Escribí con las mejores intenciones de relatar las cosas como transcurrieron. Sin embargo, necesité mi mente creativa para completar algunos detalles; ya que no recuerdo todo como pasó, pero les aseguro que sí vivimos todas esas experiencias ¡y mucho más! Este relato es en memoria a María Estela y como agradecimiento a Puerto Rico, la vecina isla donde mami hizo muchos de sus sueños realidad y donde crecimos rodeadas de mucho cariño, palmeras, sol, arena y mar. Para mí y mis hermanas, la vida de mamá fue siempre un tapiz abierto y de muchas tonalidades. Mamá fue como una manta fuerte que nos cubría de amor y siempre nos protegía. Es un honor para nosotras compartir “María Estela y Sus Tres Hijas” con todos ustedes. Si tienes en tus manos una copia de este libro; espero que sientas el amor incondicional que solo una madre puede ofrecer, y que seas bendecido(a). ¡Gracias por tu interés!
Investigates the application of logic to problem solving and computer programming. Requires no previous knowledge in this field, and therefore can be used as an introduction to logic, the theory of problem-solving and computer programming. Annotation copyrighted by Book News, Inc., Portland, OR
In Spain, the two hundred years that elapsed between the beginning of the early modern period and the final years of the Habsburg Empire saw a profusion of works written by women. Whether secular or religious, noble or middle class, early modern Spanish women actively composed creative works such as poetry, prose narratives, and plays. The Routledge Research Companion to Early Modern Spanish Women Writers covers the broad array of different kinds of writings – literary as well as extra-literary – that these women wrote, taking into consideration their subject positions and the cultural and historical contexts that influenced and were influenced by them. Beyond merely recognizing the individual women authors who had influence in literary, religious, and intellectual circles, this Research Companion investigates their participation in these circles through their writings, as well as the ways in which their texts informed Spain’s cultural production during the early modern period. In order to contextualize women’s writings across the historical and cultural spectrum of early modern Spain, the Research Companion is divided into six sections of general thematic interest: Women’s Worlds; Conventual Spaces; Secular Literature; Women in the Public Sphere; Private Circles; Women Travelers. Each section is subdivided into chapters that focus on specific issues or topics.
María Izquierdo (1902–1955) and Frida Kahlo (1907–1954) were the first two Mexican women artists to achieve international recognition. During the height of the Mexican muralist movement, they established successful careers as easel painters and created work that has become an integral part of Mexican modernism. Although the iconic Kahlo is now more famous, the two artists had comparable reputations during their lives. Both were regularly included in major exhibitions of Mexican art, and they were invariably the only women chosen for the most important professional activities and honors. In a deeply informed study that prioritizes critical analysis over biographical interpretation, Nancy Deffebach places Kahlo's and Izquierdo's oeuvres in their cultural context, examining the ways in which the artists participated in the national and artistic discourses of postrevolutionary Mexico. Through iconographic analysis of paintings and themes within each artist's oeuvre, Deffebach discusses how the artists engaged intellectually with the issues and ideas of their era, especially Mexican national identity and the role of women in society. In a time when Mexican artistic and national discourses associated the nation with masculinity, Izquierdo and Kahlo created images of women that deconstructed gender roles, critiqued the status quo, and presented more empowering alternatives for women. Deffebach demonstrates that, paradoxically, Kahlo and Izquierdo became the most successful Mexican women artists of the modernist period while most directly challenging the prevailing ideas about gender and what constitutes important art.
Arts as intimate as a piece of needlework or a home altar. Arts as visible as decorative iron, murals, and low riders. Through such arts, members of Tucson's Mexican American community contribute much of the cultural flavor that defines the city to its residents and to the outside world. Now Tucson folklorist Jim Griffith celebrates these public and private artistic expressions and invites us to meet the people who create them. Josefina Lizárraga learned to make paper flowers as a girl in her native state of Nayarit, Mexico, and ensures that this delicate art is not lost. Ornamental blacksmith William Flores runs the oldest blacksmithing business in town, a living link with an earlier Tucson. Ramona Franco's family has maintained an elaborate altar to Our Lady of Guadalupe for three generations. Signmaker Paul Lira, responsible for many of Tucson's most interesting signs, brings to his work a thoroughly mexicano sense of aesthetics and humor. Muralists David Tineo and Luis Mena proclaim Mexican cultural identity in their work and carry on a tradition that has blossomed in the last twenty years. Featuring a foreword by Tucson author Patricia Preciado Martin and a spectacular gallery of photographs, many by Pulitzer prize-winning photographer José Galvez, this remarkable book offers a close-up view of a community rich with tradition and diverse artistic expression. Hecho a Mano is a piñata bursting with unexpected treasures that will inspire and inform anyone with an interest in folk art or Mexican American culture.
The Catechism - basically, the "operating instructions" for being a Catholic - isn't just for Catechism class prior to First Communion and Confirmation. It's an amazing collection of Church teachings and rules that cover everything from the basics, like honoring God, to more unusual subjects such as paying just wages and respecting animals. An understanding of the Catechism is key to the daily life of Catholics, and an appreciation of what Catholics believe. In Spanish.
