Innovaciones Sufijales En El Espanol Centroamericano (Juan De LA Cuesta Hispanic Monographs. Series Estudios Linguisticos ; No. 2) (Spanish Edition)

Literature & Fiction

Gary Eugene A. Scavnicky

History & Criticism

Juan de la Cuesta-Hispanic Monographs

E.C. Riley puts Cervantes's theory of prose fiction into critical and historical context by setting it against those of contemporary and earlier writers. First published in 1962 by the Oxford University Press, this work by E. C. Riley, the esteemed Cervantes scholar and former Chair of Hispanic Studies at the University of Edinburgh, has undergone a number of updated editions. This is the most current edition, based on the 1968 revision, and emended in 1992 by the author.

Cervantes's Theory of the Novel (13)

Comics & Graphic Novels

RILEY, E. C.

Graphic Novels

Students and scholars alike will welcome this carefully prepared edition of one of Calderón's most impassioned plays. Professor Valbuena's edition offers a biography of Calderón, a study of the psychological behavior of the principal characters, the versification and style of the text, a background of earlier editions of the tragedy, a selected bibliography, and the three jornadas of the play. Five hundred footnotes show variants, rhetorical devices, and historical and literary allusions. The text is followed by an index of names, themes, phrases, titles, and stylistic techniques that include valuable definitions for students. This is the authoritative edition by the master of the Spanish Golden Age whose themes of love, jealousy, possessiveness, and murder are timeless. The text is based on the princeps edition, authorized by Calderón, and published in the Second Part of the Comedias. This book should be on the list of every advanced-level class dealing with the 17th-century comedia. The book is written in Spanish. Do you know what el mayor monstruo refers to?

El mayor monstruo del mundo (Spanish Edition)

CALDERÓN DE LA BARCA,PEDRO

Dramas & Plays

Don Quijote de la Mancha: El ingenioso hidalgo don Quijote de la Mancha (Parte I)

Miguel de, Cervantes Saavedra

Genre Fiction

Teoría y técnicas de traducción: primeras etapas (second edition, by Cash & Murray) is an advanced undergraduate textbook to teach the theory and techniques of Spanish/English-English/Spanish translation to students who are interested in becoming translators or who might need to translate in their chosen careers. It presents an historic overview of Spanish translation, the theory, methods and techniques for producing accurate and idiomatic translations, and lexical and grammatical problems encountered in translation.

Teoría y técnicas de traducción: primeras etapas, 2nd edition

James C. Murray

Annette Grant Cash

Ramón María del Valle-Inclán (1866-1936), one of early twentieth-century Spain's most celebrated authors, wrote short stories, novels, plays, and poetry, as well as sui generis works that he called esperpentos, or theater of the grotesque. In much the same way that he cultivated style in his literary creations, he invented a distinctive persona when, having left his native Galicia, he appeared in Madrid in long hair, flowing beard, and pince-nez secured by a black ribbon, and in dress that was picturesque, eccentric, and, by some standards, outlandish. The Sonatas are stages in the life of the Marquis of Bradomín, a man whose very aunt calls him (in Winter) "[t]he most admirable of Don Juans: ugly, Catholic, and sentimental." The four appeared between 1902-05 and produced a mild sensation in Spain, a cause célèbre of sorts, on account of the then daring treatment of forbidden loves. Each recounts the marquis's pursuit of a woman: Spring, of María Rosario, in Italy; Summer, of Niña Chole, in Mexico; Autumn, of Concha, in Spain, mostly in a Galician palace; and Winter, of María Antonieta, in Spain, in and around the Navarrese city of Estella. The prose is lush, evocative, and descriptions abound; and since the marquis's celebration of woman is single-minded and steadfast, fantasies also abound. While each becomes a self-contained episode, as well as a passage in the inexorable march of the marquis's encounters with Eros and Thanatos, they intersect through thematic unity as an aging Don Juan's fixation on woman proves to be an inquiry into love and the pursuit of love. In addition to encounters with death and the pervasive presence of religion (which means Catholicism), there are brushes with cruelty, homosexuality, satanism, and Carlism. Robert M. Fedorchek (the translator) is a professor emeritus of modern languages and literatures at Fairfield University. He has published eighteen books of translations of Spanish literature. This is his second translation for Juan de la Cuesta Hispanic Monographs. John C. Wilcox (Introduction) is a professor of Spanish at the University of Illinois, Urbana-Champaign. He has published widely on late nineteenth- and twentieth-century Spanish literature, with particular emphasis on poetry.

The Memoirs of the Marquis of Bradomin: Spring, Summer, Autumn, and Winter Sonatas

Valle-Inclán, Ramón Del

Literary

When Jos Zorrilla completed Don Juan Tenorio in 1844 little did he know that he had just written what would become the most popular Spanish play of all time. While the opening performance was a modest one, Zorrilla's interpretation of the legendary Don Juan myth was so well-liked by the public that, in a very short time, its success was overwhelming. Shortly after, Don Juan Tenorio became not only the most popular play in Spain, but in the entire Spanish-speaking world, and to this day it is considered the chief representative of Spanish Romantic theater and the masterpiece of all Don Juan adaptations. This new translation of Zorrilla's classic play is unique in mirroring not only the content, but also the way in which an audience would experience a performance of the most famous of libertines in Spanish. As such, it strives to keep the essence of each stanza intact, while reflecting the rhyme and stress-pattern of the original. Although the exigencies of meter and rhyme entail making some minor concessions when it comes to rendering the content, the way in which the play was written is such a crucial aspect that, without its playful octosyllabic lines, its easy rhymes, and its carefully-studied meter, we cannot speak of Don Juan Tenorio. Intended for a wide variety of readers, the translation is preceded by an introduction in which several key aspects of the play are addressed, and the main text is complemented with footnotes clarifying key passages, or offering additional information about the characters, the time-period, or the literary history of the Don Juan character.

Don Juan Tenorio: A Religious-Fantasy Drama in Two Parts

Jos Zorrilla

As part of the ongoing multi-volume series, Folk Literature of the Sephardic Jews, Vol. VI is devoted to an in-depth study of two Judeo-Spanish ballads from Eastern Mediterranean and North African Sephardic communities. These narrative ballads, The Birth of Montesinos and Rosaflorida and Montesinos, were based on a now-lost medieval epic poem derived from the Old French chanson de geste, Aïol et Mirabel. The Montesinos ballads were first printed in 16th-century Spanish ballad broadsides and later reprinted in various early ballad collections published during Spain's Golden Age. They continued to be sung, especially in the Judeo-Spanish oral tradition, down to the early 20th century. There are also Castilian, Galician, and Sephardic versions of the hero's birth in the wilderness, while Montesinos' amorous relationship with Rosaflorida was remembered until fairly recently in Catalonian ballads. This narrative came to be known not only in Spain, but also in Portugal, the Canary Islands, and Cuba. Chapter 15 concerns the The Birth of Montesinos, the epic hero whose birth, upbringing, and early adventures mirror those of the early 13th-century French hero, Aïol. Before exploring in detail the exact relationship between Montesinos and Aïol, all available versions of the Hispanic ballad are identified and studied, starting with 16th-century versions printed in pliegos sueltos and cancioneros and followed by texts collected from the modern Sephardic oral tradition in Greece and Morocco, and from rural Peninsular communities in Santander, Burgos, and Galicia. We study the possible influence of other Old French, Medieval Italian, Old Spanish, and Old Norse narratives (Doon de la Roche [Reali di Francia], Enrrique fi de Oliva, Olif ok Landre) on the lost Medieval Spanish epic poem that was the immediate ancestor of the Hispanic ballad. The chapter concludes with a study of the epic catalog of the Twelve Peers of France, which figures not only in the Montesinos ballad, but also in numerous other Carolingian romances and epic narratives. Chapter 16 concerns the ballad of Rosaflorida and Montesinos. Though Montesinos is one of the protagonists, this romance cannot be traced to any known epic ancestor. We study the relatively numerous 15th- and 16th-century versions of Rosaflorida-one of the earliest Spanish ballads documented-together with their various modern Judeo-Spanish, Catalan, Asturian, Castilian, Galician, and Portuguese avatars. Chapter 16 concludes with a study of early Spanish printings and modern Eastern Sephardic versions of the erotic ballad, Tiempo es el caballero (It's Time to Leave), whose surprise dénouement must have influenced the concluding verses of the Moroccan form of Rosaflorida. In Appendix I, we study a third ballad, the rare and enigmatic Cabalgada de Peranzules (Peranzules' Raid), because of its probable Carolingian origin. We were never able to collect this romance during our fieldwork; very probably it became extinct in the oral tradition long before we began collecting. Here we attempt to bring Peranzules into the Romancero's Carolingian corpus by suggesting that it may be based on a particularly dramatic episode in the late 12th-century Chanson d'Aliscans, the most popular of all the chansons de geste in the cycle of Guillaume d'Orange. Each chapter is accompanied by Israel J. Katz's insightful ethnomusicological studies of the ballad tunes. For the first time in the series, we now also include URLS so that readers may listen to the audio recordings of versions studied in the text, at the website of our ballad archive (http://sephardifolklit.illinois.edu/). The volume closes with an extensive bibliography, eight different indices, and an etymological glossary of Arabic, Hebrew, Persian, Turkish and other loan words, Old Spanish and Judeo-Spanish archaisms and dialect forms.

Judeo-Spanish Ballads from Oral Tradition/III. Carolingian Ballads (2): Conde Claros (Folk Literature of the Sephardic Jews)

Samuel G. Armistead

Ecos góticos en la novela del Cono Sur analyzes a wide range of gothic allegories in relation to their social contexts. Olmedo interprets latent motifs from the past and present-including the metaphorical presence of vampires, ghosts, monstrous figures, and houses in ruins-and expounds upon them, examining transformations and reinventions of the genre while offering new and original categorizations of Southern Cone Gothic. Chapter one explores the dissemination of gothic figures and forms from their eighteenth-century Nordic and European origins to arrival to Latin America, emphasizing this trajectory especially in the context of those countries located in the south of the southern hemisphere. Chapter two discusses how gothic æsthetic was used at the beginning of the twentieth-century to comment on the effects of modernization and scientific/psychological discoveries in the region through the study of works by Atilio Chiápori and Horacio Quiroga. Chapter three analyzes the gothic as a powerful feminist discourse for female authors of the first half of the twentieth century, such as María Luisa Bombal and Armonía Somers. Chapter four focuses on the way the gothic æsthetic was employed as a mechanism to communicate social and moral decay in works by José Donoso and Beatriz Guido. Chapter five explores how gothic was used to question political-social repression and a dictatorship by Alejandra Pizarnik. Finally, the conclusion demonstrates that while the Gothic æsthetic maintains certain constants throughout the twentieth-century, its underlying meaning shifts to reflect the dominant political-social themes of each era, thus ensuring its continued appeal to popular audiences.

Ecos Goticos En La Novela del Cono Sur (Spanish Edition)

Olmedo, Nadina

Pedro Calderon de La Barca's La Vida Es Sueno: Philosophical Crossroads

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