Thematische Bibliographien / Spanish American Ballads

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Auswahl der wissenschaftlichen Literatur zum Thema „Spanish American Ballads“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 29. Juli 2025

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Zeitschriftenartikel zum Thema "Spanish American Ballads"

1

Alegria, Diego. "Modernismo or Transatlantic Romanticism: José Martí and William Wordsworth." Essays in Romanticism: Volume 28, Issue 1 28, no. 1 (2021): 43–56. http://dx.doi.org/10.3828/eir.2021.28.1.5.

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In this essay, I argue that Spanish American modernismo (1880-1917) constitutes an affirmation and negation of Romanticism: it is a manifestation of Romanticism’s critical reason and self-definition as literature in the Spanish American sphere, and it is a denial of Romanticism as a European cultural period and as a metropolitan literary model. To explore this contradiction, I contrast the allegories of literature in William Wordsworth’s “Preface” to Lyrical Ballads (1802) and José Martí’s “Prólogo al Poema del Niágara de Juan A. Pérez Bonalde” (1882). Both texts have been considered as pivota
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Morris, Nancy. "Canto Porque es Necesario Cantar: The New Song Movement in Chile, 1973–1983." Latin American Research Review 21, no. 2 (1986): 117–36. http://dx.doi.org/10.1017/s0023879100015995.

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“Para el camino” Canto a la angustia y a las alegrias. Canto porque es necesario can tar para ir dejando una huella en los dias, para ir diciendo cosas prohibidas.“For the Road” I sing of anguish and joy. I sing because it's necessary to sing to leave my mark on time, to say forbidden things.Latin American New Song is distinct from the usual stereotypes of Latin American popular music. Songs such as “Para el camino” do not fit into the common categories of salsa, ballads, Spanish-language versions of U.S. hit songs or popularized traditional styles such as the ranchera and cumbia. Although New
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3

Martinez, Ana. "Social Definition and Clothing: A Study of English and American Ballads and Spanish Romances." International Journal of Interdisciplinary Social Sciences: Annual Review 5, no. 1 (2010): 115–26. http://dx.doi.org/10.18848/1833-1882/cgp/v05i01/53066.

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4

MARCUS, KENNETH H. "Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players." Journal of the Society for American Music 9, no. 1 (2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continu
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Vasvári, Louise O. ""A megcsalt férj", or Cunningly Lingual Wives in Hungarian Ballad Tradition." Hungarian Cultural Studies 2 (January 1, 2009): 48–57. http://dx.doi.org/10.5195/ahea.2009.16.

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The European ballad, an orally-performed narrative song, developed in the medieval period with many cross-fertilizations among ballad types in various language areas. Nevertheless, to date there have appeared only a handful of comparative studies of these pan-european themes, with investigations dominated by the Finnish geographical school, whose primary interest is in finding genetic archetypes. In this study, my aim is, rather, to do a typological and stylistic analysis of one wide-circulating song-type, known in many variants throughout the continent, some in comic and others in tragic vers
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Hawthorn, Ainsley. "Wherefore Art Thou Juanita?" Names 70, no. 1 (2022): 9–18. http://dx.doi.org/10.5195/names.2022.2377.

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The name Juanita should have been an unlikely candidate for popularity in a place like Newfoundland, where only 0.1% of the population of half a million speaks Spanish as a mother tongue and 0.4% identifies as having Spanish, Latin American, Central American, or South American ethnic origins. Nonetheless, the name is a well-established member of the Newfoundland onomasticon. Drawing on archival research, census data, and other primary source materials, this study seeks to uncover how Juanita was introduced to Newfoundland and what determinants precipitated its widespread acceptance. The author
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Ramirez-Barradas, Herlinda. "El corrido del narcotráfico como descendiente del folclor popular hispano / The drug trafficking ballad and its link to the Spanish popular poetry." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 26 (July 25, 2017): 143–62. http://dx.doi.org/10.17398/1988-8430.26.143.

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Resumen: El artículo es una revisión de los corridos sobre el narcotráfico que en las últimas décadas han invadido el mercado nacional de México y algunas partes de Estados Unidos. En primer lugar se presenta dimensión sensacionalista de la poesía popular y, a partir de los estudios de Julio Caro Baroja. Después, se hacen conexiones entre el romance vulgar y los narcocorridos que, a pesar de los siglos que los separan, presentan una visión similar del delincuente común a quien el pueblo admira por sus despliegues de bravura y coraje. El rastreo permite concluir que el narcocorrido no surge com
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Martínez García, Ana Belén. "The Sin of Pride in Dressing Bodies in Spanish and Anglo-American Ballads." CLCWeb: Comparative Literature and Culture 19, no. 3 (2017). http://dx.doi.org/10.7771/1481-4374.3017.

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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont
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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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 From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha
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Bücher zum Thema "Spanish American Ballads"

1

Limón, José Eduardo. Mexican ballads, Chicano poems: History and influence in Mexican-American social poetry. University of California Press, 1992.

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2

Herrera-Sobek, María. Northward bound: The Mexican immigrant experience in ballad and song. Indiana University Press, 1993.

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3

Allan, Poe Edgar. Cuentos imprescindibles. 2nd ed. Editorial Popular, 2010.

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4

Allan, Poe Edgar. Maxon's Poe: Seven stories and poems. Cottage Classics, 1997.

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5

Allan, Poe Edgar. Tales of Mystery and Horror: Vol. III. Ulverscroft, 2012.

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6

Allan, Poe Edgar. Tales of Terror. Alfred A. Knopf, 2005.

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Allan, Poe Edgar. Tales of Terror. Prentice-Hall, 1985.

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8

Allan, Poe Edgar. Mystery Writers of America presents In the shadow of the master: Classic tales. Harper, 2010.

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Allan, Poe Edgar. Tales of Mystery and Terror. Penguin Group UK, 2010.

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10

Allan, Poe Edgar. Tales of Mystery and Terror. Puffin Books, 1994.

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Buchteile zum Thema "Spanish American Ballads"

1

Miles, Laura Saetveit. "Notes from the North." In The Ballad of the Lone Medievalist. punctum books, 2018. https://doi.org/10.21983/p3.0205.1.30.

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We have arrived in Norway. On the trip I began Mary Woll-stonecraft’s 1796 Letters Written during a Short Residence in Swe-den, Norway, and Denmark (Broadwell, excellent edition) and have been inspired to write you real letters on real paper about our big adventure moving abroad and my new (first, real, per-manent) job. I am now officially associate (!!!) professor or the much more delicious title “førsteamanuensis” of English litera-ture in the Institute for Foreign Languages at the University of Bergen, Norway. The other languages in our department include French, Spanish, German, Arabic, Ch
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2

"“The Ballad of Gregorio Cortez”." In Schlager Anthology of Hispanic America. Schlager Group Inc., 2023. https://doi.org/10.3735/9781935306856.book-part-055.

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“The Ballad of Gregorio Cortez” belongs to the European border ballad tradition, which dates to the Middle Ages. When the Spanish colonized the lower Rio Grande region, they brought the hero ballad with them. Over time, the Mexicanization of the ballad produced the style commonly referred to as a corrido. In this form, the hero ballad morphed from one that simply recounts the exploits of social bandits who steal from the rich, to one that offers socio-political commentary concerning race, class, and political injustice. This ballad is better known by its Spanish name, “El Corrido de Gregorio C
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Lozano, Rosina. "Epilogue." In An American Language. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297067.003.0012.

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This epilogue briefly identifies some of the major changes in Spanish language politics since World War II. These include community shifts in activism. For example, the Chicano Movementreclaimed the language and advocated for culturally affirming bilingual education programs. The epilogue also turns to federal support for Spanish instruction with the 1968 Bilingual Education Act and with the 1975 extension to the Voting Rights Act that provides federal protection for ballots in languages other than English. Spanish is no longer a language of just the Southwest and there are major populations o
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Rogers, Gayle. "Negro and Negro." In Incomparable Empires. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231178563.003.0006.

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Examines the reception of black US writing in Spain in order to contextualize and defamiliarize it as literatura negra norte-americana. By studying the translations, anthologies, and bilingual Spanish-English texts in which works by Hughes and Claude McKay appeared alongside works by leading figures of the Afro-Caribbean negrismo movement (Nicolás Guillén and Emilio Ballagas), this chapter reveals the ways in which black diasporic writing was given a unique new genealogy. Moving away from the Francophone négritude movement and reducing Africa to a source of a remote cultural past, figures like
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Martínez, Miguel. "Popular Balladry in Colonial Latin America." In The Rise of Spanish American Poetry 1500-1700. Modern Humanities Research Association, 2019. http://dx.doi.org/10.2307/j.ctv16kkz3k.8.

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Castro, Rafaela G. "G." In Chicano Folklore. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195146394.003.0007.

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Abstract A derogatory term used to describe Anglo or white Americans. The word was originally used by the Spaniards when referring to the French and comes from the Spanish word gave, meaning “a current of water” from a mountain torrent in the Pyrenees. It is an insulting term that can be found in decimas (ballads similar to the corrido) that expressed extreme hostility against Maximilian’s French troops in the 1860s. By the 1930s it was found to be used for Anglo Americans by Mexican Americans in El Paso, San Antonio, and Los Angeles. America Paredes stated that it was not until the 1960s that
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Meglin, Joellen A. "The Remaking of the Choreographer." In Ruth Page. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.003.0013.

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The turn that Page took away from ballet Americana and toward European opera with her “opera-into-ballet” La Revanche (Revenge, 1951) was a pragmatic and strategic one, related to postwar politics, anti-American sentiment in French cultural circles, and indirectly the cosmopolitan climate of the Marshall Plan for European recovery. She and Fisher understood that a political as well as an artistic choreography was required for their cosmopolitan project. With her adaptation of Giuseppe Verdi’s 1853 opera, Il Trovatore, Page turned to European Romanticism and timeless themes of obsession, reveng
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