Journal articles: 'Hispanic writers'

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McDermott, Annella. "Hispanic Women Writers." Women: A Cultural Review 11, no. 3 (January 2000): 298–300. http://dx.doi.org/10.1080/09574040050505565.

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Stanton, Edward F. "Introduction: Hispanic Writers and American Literature." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 10, no. 2 (January 1997): 3–7. http://dx.doi.org/10.1080/08957699709602263.

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GEORGE, DAVID. ""Hispanic Writers", ed. Bryan Ryan (Book Review)." Bulletin of Hispanic Studies 72, no. 4 (October 1995): 415. http://dx.doi.org/10.3828/bhs.72.4.415a.

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Field, Douglas, and Miriam DeCosta-Willis. "Daughters of the Diaspora: Afra-Hispanic Writers." African American Review 38, no. 2 (2004): 341. http://dx.doi.org/10.2307/1512298.

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Gold, Hazel, Noel Valis, and Carol Maier. "In the Feminine Mode: Essays on Hispanic Women Writers." Hispanic Review 61, no. 4 (1993): 587. http://dx.doi.org/10.2307/474285.

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Labanyi, Jo, Noel Valis, and Carol Maier. "In the Feminine Mode: Essays on Hispanic Women Writers." Modern Language Review 90, no. 2 (April 1995): 473. http://dx.doi.org/10.2307/3734625.

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Nichols, Geraldine Cleary, Noel Valis, and Carol Maier. "In the Feminine Mode: Essays on Hispanic Women Writers." South Atlantic Review 56, no. 4 (November 1991): 129. http://dx.doi.org/10.2307/3200541.

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Brown, Joan Lipman, Noël Valis, Carol Maier, and Noel Valis. "In the Feminine Mode: Essays on Hispanic Women Writers." Hispania 74, no. 3 (September 1991): 676. http://dx.doi.org/10.2307/344208.

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Irving, Evelyn Uhrhan, and Ian Smart. "Central American Writers of West Indian Origin: A New Hispanic Literature." World Literature Today 59, no. 2 (1985): 250. http://dx.doi.org/10.2307/40141497.

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Jesús, Amarilis Hidalgo de, Elba D. Birmingham-Pokorny, and Warren Hampton. "An English Anthology of Afro-Hispanic Writers of the Twentieth Century." Chasqui 26, no. 1 (1997): 118. http://dx.doi.org/10.2307/29741331.

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Aleman, J. "Wars of Rebellion: US Hispanic Writers and Their American Civil Wars." American Literary History 25, no. 1 (November 23, 2012): 54–68. http://dx.doi.org/10.1093/alh/ajs059.

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Ramirez Gentry, Victoria. "Bordered Writers: Latinx Identities and Literacy Practices at Hispanic-Serving Institutions." Rhetoric Review 40, no. 2 (April 3, 2021): 203–5. http://dx.doi.org/10.1080/07350198.2021.1898844.

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Díaz Ortiz, Pedro. "Palma epistológrafo." Aula Palma, no. 18 (December 30, 2019): 171–82. http://dx.doi.org/10.31381/ap.v0i18.2601.

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ResumenEntre los más diversos géneros literarios cultivados por Ricardo Palma, los menos conocidos son el periodístico, el epistolar y la traducción literaria. En Palma epistológrafo tratamos, en líneas generales, sobre las cartas enviadas por Ricardo Palma a escritores peruanos, hispanoamericanos y españoles,y, asimismo, sobre las cartas de escritores peruanos, hispanoamericanos y españoles enviadas a Ricardo Palma.Palabras claves: Ricardo Palma, cartas, tradición, crónicas. Abstract:Ricardo Palma has cultivated many literary genres. Journalism, epistolary, and literary translation are the least known of them. In general, this paper is about the letters sent by Ricardo Palma to Peruvian, Hispanic-American and Spanish writers, and, likewise, with the letters sent by Peruvian, Hispanic American and Spanish writers to Ricardo Palma.Keywords: Ricardo Palma, letters, tradition, chronicles

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KEVANE, BRIDGET. "The Hispanic Absence in the North American Literary Canon." Journal of American Studies 35, no. 1 (April 2001): 95–109. http://dx.doi.org/10.1017/s0021875801006545.

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I recently completed a book of interviews (Latina Self-Portraits: Interviews with Contemporary Women Writers, co-edited with Juanita Heredia, University of New Mexico Press, 2000) with ten of the most prominent Latina writers in the US; Julia Alvarez, Denise Chávez, Sandra Cisneros, Rosario Ferré, Cristina García, Nicholasa Mohr, Cherríe Moraga, Judith Ortiz Cofer, Esmeralda Santiago and Helena María Viramontes. These women, Cuban, Dominican, Mexican and Puerto Rican Americans, raised issues that ranged from the craft of writing to the inherent problems of national identities. The themes generated in our conversations with these women – their doubled ethnic identities, their complicated relationship to their communities, their difficulties in representing their communities and, finally, their work as part of the larger American canon – revealed a powerful discourse about what it means to be Latina American in the United States. After spending two years talking with these women, it is evident to me that Latina literature is a vital part of American literature and should be included in any study of comparative American literatures.

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Durán, Manuel. "The Nobel Prize and Writers in the Hispanic World: A Continuing Story." World Literature Today 62, no. 2 (1988): 214. http://dx.doi.org/10.2307/40143530.

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Paravisini-Gebert, Lizabeth. "Unchained Tales: Women Prose Writers from the Hispanic Caribbean in the 1990s." Bulletin of Latin American Research 22, no. 4 (October 2003): 445–64. http://dx.doi.org/10.1111/1470-9856.00088.

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Johnson, Harvey L., Nicolás Kanellos, and Nicolas Kanellos. "Biographical Dictionary of Hispanic Literature in the United States. The Literature of Puerto Ricans, Cuban Americans, and Other Hispanic Writers." Hispania 73, no. 4 (December 1990): 1003. http://dx.doi.org/10.2307/344288.

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Johnson, Harvey L., Nicolás Kanellos, and Nicolas Kanellos. "Biographical Dictionary of Hispanic Literature in the United States. The Literature of Puerto Ricans, Cuban Americans, and Other Hispanic Writers." Hispania 74, no. 1 (March 1991): 87. http://dx.doi.org/10.2307/344559.

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19

Starčević, Elizabeth. "In the Feminine Mode: Essays on Hispanic Women Writers. Noël Valis , Carol Maier." Modern Philology 90, no. 2 (November 1992): 323–26. http://dx.doi.org/10.1086/392080.

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Velasco Gómez Gutiérrez, Dolores. "La dualidad en el poema "El Dios ibero" de Antonia Machado." Acta Hispanica 20 (January 1, 2015): 21–28. http://dx.doi.org/10.14232/actahisp.2015.20.21-28.

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The Generation of ’98 was the name of a group of Spanish writers born between 1864 and 1875 whose common feature was the influence caused by the Hispanic crisis of 1898. Most of these authors tried to propose solutions through their writings. Antonio Machado’s poem “The Iberian God” was placed in this context. The poet, through a game of dualities, describes the unsettled God that determines the religiosity of the Hispanic man and suggests the god he yearns for, a firm and grim god, shaped by the Iberian man in a piece of Castilian oak, symbol of Spanish unity.

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Bauer, Beth Wietelmann. "Noël Valis and Carol Maier, eds.In the Feminine Mode: Essays on Hispanic Women Writers." Romance Quarterly 39, no. 1 (February 1992): 125–27. http://dx.doi.org/10.1080/08831157.1992.10543873.

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Bermúdez, Andrea B., and Doris L. Prater. "Examining the Effects of Gender and Second Language Proficiency on Hispanic Writers' Persuasive Discourse." Bilingual Research Journal 18, no. 3-4 (July 1994): 47–62. http://dx.doi.org/10.1080/15235882.1994.10162667.

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REYNOLDS, GUY. "“Sketches of Spain”: Richard Wright's Pagan Spain and African-American Representations of the Hispanic." Journal of American Studies 34, no. 3 (December 2000): 487–502. http://dx.doi.org/10.1017/s0021875851006462.

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At the start of Pagan Spain (1957), Richard Wright recalled a 1946 conversation with Gertrude Stein; she encouraged him to visit Spain: “ ‘You'll see what the Western world is made of. Spain is primitive, but lovely. ’ ” Wright meditated on his fascination with that country, an obsession rooted in the Civil War's political upheaval: “The fate of Spain hurt me, haunted me; I was never able to stifle a hunger to understand what had happened there and why” (PS, 10). Wright wrote as a leftist, as a political writer who had published anti-Franco articles. In his interest in Spain, and especially in his “hunger to understand” its fate after the fall of the Republic, Wright kept company with many mid-century American artists. Hemingway is the most famous instance of a writer engaged with Spanish affairs, but forms of Hispanophilia have marked the lives of many writers and painters. In his account of a trip to Madrid in 1947, Saul Bellow recalled: “ ‘And then of course I had followed the Spanish Civil War and knew as much about what had gone on in Spain between 1936–8 as a young American of that time could learn.’ ” At around that time, the Abstract Expressionist Robert Motherwell was creating his series of Elegies to the Spanish Republic, a parade of largely black canvases dominated by oblique representations of archetypal Spanish subjects such as bullfighting. As Arthur Danto has written of these images: “ ‘Spain’ denotes a land of suffering and poetic violence and political agony, and ‘Elegy’ carries the literary weight of tragedy and disciplined lamentation. ”

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Oropesa, Salvador A. "Obscuritas and the Closet: Queer Neobaroque in Mexico." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 172–79. http://dx.doi.org/10.1632/pmla.2009.124.1.172.

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During the Baroque period, Luis De GÓngora y Argote (1561–1627) wrote the first Spanish-language closeted literature. Some three hundred years later, the challenging originality of his closet verse, openly studied and appreciated by a cultured, intellectual elite, played a pivotal role in the development of homosexual literature in the early-twentieth-century avant-garde movements of Spain and Latin America. This essay will briefly explore how twentieth-century Mexican avant-garde writers expressed the closet using baroque models. The thesis is that the rhetorical strategies of obscuritas provided Góngora an ideal instrument for representing the closet, which in literature is defined as a symbolic space that allows writers to represent and readers to recognize homosexuality in a heterosexual context. The pertinent OED definition of closet as an adjective reads, “secret, covert, used esp. with reference to homosexuality” (“Closet”). This recognized use of obscuritas is validated further in the observations of the Peruvian colonial writer Espinosa Medrano, one of Góngora's seventeenth-century commentators, who epitomizes the consolidation of baroque aesthetics in Hispanic America by the criollo elite. The final chapter in this tour of the baroque closet will examine how the Mexican avant-garde became aware of obscuritas through Federico García Lorca's Gongorine lectures and poetry.

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KING, LLOYD. "Ian Smart, "Central American Writers of West Indian Origin: A New Hispanic Literature" (Book Review)." Bulletin of Hispanic Studies 65, no. 3 (July 1988): 325. http://dx.doi.org/10.3828/bhs.65.3.325.

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González, La Verne. "Review: Central American Writers of West Indian Origin: A New Hispanic Literature by Ian Smart." Explorations in Ethnic Studies ESS-7, no. 1 (August 1, 1987): 76–78. http://dx.doi.org/10.1525/ess.1987.7.1.76.

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Derrick, Roshawnda A. "Radical bilingualism in Junot Díaz’s texts." Studies in Hispanic and Lusophone Linguistics 12, no. 2 (September 25, 2019): 309–42. http://dx.doi.org/10.1515/shll-2019-2015.

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Abstract This paper analyzes Junot Díaz’s most recent works The Brief Wondrous Life of Oscar Wao (2007. The brief wondrous life of Oscar Wao. New York: Riverhead) and This is How You Lose Her (2012. This is how you lose her. New York: Riverhead) by using Muysken’s (2000. Bilingual speech. A typology of code-mixing. Cambridge: CUP) typology of code-switching to illustrate the types of language mixing devices present in these two texts. I point out that Díaz’s innovative use of radical bilingualism is not due to the quantity of sentences including Spanish, rather to the quality of mixing and switching in his works. Further, I elaborate on Casielles-Suárez, Eugenia. (2013. Radical code-switching in the Brief wondrous life of Oscar Wao. Bulletin of Hispanic Studies 90. 475–487) study using Torres’ (2007. In the contact zone: Code-switching strategies by Latino/a writers. MELUS 32(1). 75–96) categorization of code-switching strategies utilized by U.S. Hispanic authors. I find that instead of Díaz’s texts gratifying the bilingual reader (Torres. 2007. In the contact zone: Code-switching strategies by Latino/a writers. MELUS 32(1). 75–96) or creating radical hybridism (Casielles-Suárez. 2013. Radical code-switching in the Brief wondrous life of Oscar Wao. Bulletin of Hispanic Studies 90. 475–487), that these two works illustrate radical bilingualism. In contrast to the majority of U.S. Spanish-English bilingual texts, which incorporate Spanish by using simple insertions, translations, bold font and italics, Díaz creates radically bilingual works by using a variety of Spanish and English varieties, the indirect influence of Spanish in monolingual English sentences, intra-word insertions, a diversity of insertion types and hybrid noun-phrases.

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González-Stephan, Beatriz. "The Politics of Hispanism at Rice University; or, When Is a Hispanic Part of a Minority?" PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 48–57. http://dx.doi.org/10.1632/003081204x22882.

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Responding to a reader's inquiry about what second language to study, the Vanity Fair columnist “Dame Edna” stated, “Forget Spanish. There's nothing in that language worth reading except Don Quixote, and a quick listen to the CD of Man of La Mancha will take care of that. There was a poet named García Lorca, but I'd leave him on the intellectual back burner if I were you… . Who speaks it that you are really desperate to talk to? The help? Your leaf blower? Study French or German.” I am aware that Dame Edna is a ficticious persona, but I disagree with the so-called entertainment value ascribed to this column. Whom does it entertain? The readership of Vanity Fair is largely upper-middle-class and upper-class white. The Hispanic community, outraged by the remarks, demanded a retraction, reminding Vanity Fair that if the whole Hispanic labor force went on strike, the US economy would break down. Readers cited as well the number of radio and TV stations broadcasting in Spanish, sixty to seventy percent of whose audience can follow programs in Spanish and English (the United States' bilingualism, much to Dame Edna's grief, is not English-French). Additionally, more than half the students in schools and universities who enroll in a second language choose Spanish. The voices calling for retraction were not leaf blowers but architects, physicians, mathematicians, engineers, sociologists, psychologists, athletes, writers, moviemakers, painters, journalists, governors, and bankers. And, last and most obvious, Hispanics make up the largest minority group in the United States (at present some thirty-seven million, or thirteen percent, and probably some fifty million by 2010 [Klineberg]).

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Jaffe, Janice. "Hispanic American women writers’ novel recipes and Laura Esquivel'sComo agua para chocolate (like water for chocolate)." Women's Studies 22, no. 2 (January 1993): 217–30. http://dx.doi.org/10.1080/00497878.1993.9978977.

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PIERCE, FRANK. "Alan S. Trueblood, "Letter and Spirit in Hispanic Writers: Renaissance to Civil War. Selected Essays" (Book Review)." Bulletin of Hispanic Studies 66, no. 3 (July 1989): 277. http://dx.doi.org/10.3828/bhs.66.3.277a.

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CONDE, LISA P. ""In the Feminine Mode: Essays on Hispanic Women Writers", ed. Noël Valis and Carol Maier (Book Review)." Bulletin of Hispanic Studies 69, no. 4 (October 1992): 373. http://dx.doi.org/10.3828/bhs.69.4.373a.

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Valdés, Vanessa K., and Haakayoo N. Zoggyie. "In Search of the Fathers: The Poetics of Disalienation in the Narrative of Two Contemporary Afro-Hispanic Writers." Hispania 88, no. 4 (December 1, 2005): 778. http://dx.doi.org/10.2307/20063200.

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Griesbach, D. "Resilience as Resistance: Representing Hispanic New Mexico to the Federal Writers' Project in Lou Sage Batchen's Placitas Stories." MELUS: Multi-Ethnic Literature of the United States 32, no. 1 (March 1, 2007): 97–117. http://dx.doi.org/10.1093/melus/32.1.97.

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Marichalar, Antonio, and Gayle Rogers. "James Joyce in His Labyrinth." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 926–29. http://dx.doi.org/10.1632/pmla.2009.124.3.926.

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Jorge Luis Borges claimed to be “the first hispanic adventurer to have arrived at Joyce's [Ulysses]” (3) when he published a translation of the novel's final page in the Argentine journal Proa in January 1925; in fact, the Spaniard Antonio Marichalar was the first to translate passages of Ulysses into Spanish—just two months earlier, in the Revista de Occidente in Madrid. One of the finest literary critics and essayists of the 1920s and 1930s, Marichalar (1893–1973) was largely responsible for circulating the works and poetics of a number of anglophone writers, including Joyce, William Faulkner, Virginia Woolf, Lytton Strachey, Liam O'Flaherty, Hart Crane, and D. H. Lawrence, among hispanophone audiences. Prior to 1924, Joyce had been mentioned briefly in the Spanish press by Marichalar, by the English travel writer Douglas Goldring, and by several others, but no one yet had substantially treated the Irish author whose work was at the center of a revolution in European literary aesthetics. Marichalar's groundbreaking article/review/translation “James Joyce in His Labyrinth” was a remarkable introduction to and adaptation of Joyce's modernist cosmopolitanism in Spain, where the author's influence remains profound.

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Rostagno, Irene. "Waldo Frank's Crusade for Latin American Literature." Americas 46, no. 1 (July 1989): 41–69. http://dx.doi.org/10.2307/1007393.

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Waldo Frank, who is now forgotten in Latin America, was once the most frequently read and admired North American author there. Though his work is largely neglected in the U.S., he was at one time the leading North American expert on Latin American writing. His name looms large in tracing the careers of Latin American writers in this country before 1940. Long before Franklin D. Roosevelt launched the Good Neighbor policy, Frank brought back to his countrymen news of Latin American culture.Frank went to South America when he was almost forty. The youthful dreams of Frank and his fellow pre-World War I writers and artists to make their country a fit place for cultural renaissance that would change society had waned with the onset of the twenties.1 But they had not completely vanished. Disgruntled by the climate of "normalcy" prevailing in America after World War I, he turned to Latin America. He started out in the Southwest. The remnants of Mexican culture he found in Arizona and New Mexico enticed him to venture further into the Hispanic world. In 1921 he traveled extensively in Spain and in 1929 spent six months exploring Latin America.

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Cavagnaro Farfán, Franco. "MÁS ALLÁ DE LA ESTÉTICA: JORGE EDUARDO EIELSON FRENTE AL LEGADO PREHISPÁNICO." Devenir - Revista de estudios sobre patrimonio edificado 4, no. 7 (January 18, 2018): 101. http://dx.doi.org/10.21754/devenir.v4i7.138.

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Realizando un recorrido por sus ensayos y su propia obra literaria, en este artículo se analiza y establece el contexto básico que lleva a Jorge Eduardo Eielson a la comprensión del legado. Para ello se hace una breve exposición de aspectos legales del patrimonio y la intuición poética del mismo a través de las ideas de otros escritores y artistas. Esta conciencia a su vez se contrapone con la posición tomada por Eielson en los años 80 a favor de una posición curatorial frente al patrimonio mueble. Adicionalmente, se hace evidente el entendimiento que el artista establecía con el pasado prehispánico. Para ello desde un enfoque multidisciplinario se analiza la iconografía y la arquitectura andina sobre las que el poeta escribía en sus ensayos; de este modo en el artículo se establece la intuición que Eielson había desarrollado desde su exilio, como una inversión de la monumentalidad italiana que se recrea en su poesía escrita en ese país. Es decir, a través de su acercamiento al pasado prehispánico, desconocido y/o despreciado, durante su vida en Lima, el artista realiza una revalorización espectacular desde el exilio. Palabras clave.-Patrimonio inmueble, arte prehispánico, poesía peruana. ABSTRACTThrough a journey of his essays and his own literary work, this article analyzes and establishes the basic context that pushed Jorge Eduardo Eielson to understand the pre-Hispanic legacy. For this purpose, it presents the heritage’s legal aspects and his poetic intuition through the ideas of other writers and artists. This conscience acts in counterpoint to the position taken by Jorge Eduardo Eielson in the 1980s in favor of a curatorial position vis-à-vis heritage assets. In addition, the article makes the artist’s understanding of the Pre-Hispanic past evident. Through a multidisciplinary approach, the Andean iconography and architecture about which the poet wrote about in his essay is analyzed. In such a way, the article establishes the intuition that Jorge Eduardo Eielson had developed from his exile, as an inversion of Italian monumentality and which is recreated in the poetry he wrote in that country. That is, through his approach to the Pre-Hispanic past, unknown and/or unappreciated, during his life in Lima, the artist puts forward a spectacular revaluation from exile. Keywords.-Property heritage, pre-Hispanic art, Peruvian poetry.

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Escudero, Xavier. "La décadence à la fin du XIXe siècle espagnol: une esthétique de la provocation." Nordlit 15, no. 2 (March 26, 2012): 107. http://dx.doi.org/10.7557/13.2047.

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Talking about Decadence in fin-de-siècle Hispanic literature involves delving into the great movement of modernism, and notably one of its expressions, literary bohemianism. In what way(s) do these concepts both make use of and take part in an aesthetic of transgression, or a provocative pose? What does Spanish decadentism really mean, and what are its expressions?In order to answer these questions, we shall first look at the concept of decadentism as applied to the sociocultural phenomenon of Spanish literary bohemianism, which gathers writers and artists defined by constant failure, loose morals and the "cursed" poses they adopt. Then we shall highlight the literary expressions of decadence through the writings of Manuel Machado, Rubén Darío and Ramón María del Valle-Inclán, three prominent authors of the fin-de-siècle letters. Finally we shall take a closer look at the decadent motifs of marginality and lust in the little-known field of modernist bohemian poetry.

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Arias, Arturo. "¿Habrá moros en la costa? La producción cultural centroamericana leída desde España / Would there be Moors on the Coast? Central American Cultural Production as Read from Spain." Kamchatka. Revista de análisis cultural., no. 9 (August 31, 2017): 83. http://dx.doi.org/10.7203/kam.9.9548.

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Resumen: La literatura centroamericana hizo su aparición en la península española cuando Rubén Darío viajo hacia Madrid en 1892. París y Madrid se convirtieron en las metrópolis culturales de Centroamérica a partir de esa fecha. Sin embargo, su pertenencia a la región no fue reconocida como tal. En España esta producción fue leída desde una perspectiva hispano-céntrica que le fue útil a la península para resolver sus propias contradicciones de legitimación en el seno de Europa. En consecuencia, los escritores centroamericanos que publican con éxito en la península no pueden ser centroamericanos y cosmopolitas a la vez. En España se transforman en “hispanoamericanos.” Lo anterior elide su centro-americanidad, impidiendo la validación de sus pertenencias afectivas regionales o nacionales a un espacio específico.Palabras clave: Literatura, Modernismo, Darío, Hispanoamérica, istmo, cosmopolitismo, Centro-americanidad, marginalidad.Abstract: Central American literature first appeared in the Spanish peninsula when Rubén Darío traveled to Madrid in 1892. Paris and Madrid became since then the Central American cultural metropoles. However, their belongingness to the region was not recognized as such. In Spain, this production was read from a Hispano-centric perspective that was useful for the peninsula to solve its own issues of legitimization within Europe. As a result, Central American writers that publish successfully in Spain cannot be Central American and Cosmopolitan at the same time. In Spain, they become “Hispanic Americans”. This elides their Central Americanness, preventing the validation of their regional or national affective belonging to a specific space.Keywords: Literature, Modernism, Darío, Hispanic America, isthmus, Cosmopolitism, Central Americanity, marginality.

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Classen, Albrecht. "Matthew X. Vernon, The Black Middle Ages: Race and Construction of the Middle Ages. The New Middle Ages. Cham, Switzerland: Palgrave Macmillan, 2018, xiii, 266 pp." Mediaevistik 32, no. 1 (January 1, 2020): 387–88. http://dx.doi.org/10.3726/med.2019.01.77.

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When I agreed to review this book, I had not paid enough attention to the subtitle, which reveals that the author is primarily concerned with the issue of Medievalism. In essence, Vernon is examining how Black or African American medievalists and writers have viewed the Middle Ages and what the study of the medieval world might mean for the struggle of Black Americans against racism and colonialism today. He argues that the examination of the Middle Ages mattered deeply for those intellectuals because many issues in that past are still mirrored in the present. This could be of relevance especially for those who are interested in the history of scholarship and the particular approach to that period from a specific ethnic perspective. Of course, then we would also need books about Asian American medievalists, Hispanic American medievalists, etc., which seems to be valid in political terms, but does not really do justice to the subject matter. At any rate, I cannot examine and evaluate the major portion of this book because it falls into the category of modern Medievalism.

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Garnica, Jacqueline Murillo. "La literatura como impronta en la conformación de la historia." Acta Hispanica 22 (January 1, 2017): 101–12. http://dx.doi.org/10.14232/actahisp.2017.22.101-112.

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This article proposes to highlight the importance and influence of the literary gatherings of Domingo Del Monte in the formation of a national identity originated by nineteenth century Cuban literature. Its relevance consists in how this movement has been fundamental in laying the foundations of a national consciousness and served as platform based on the narrative as testimony in the context of a colonialist situation that prevailed in the isle of Cuba in the nineteenth century. The Del Monte literary gatherings were responsible for the support of a small group of writers and accomplished a representation of a certain sector of minorities of color, not in the sense of being subject to studies, but conferring them a featured place in Cuban literature, because of their literary value and testimonies of reality. The relationships that were built between history and literature left a permanent mark in the Cuban anti-slavery narrative.The relation developed in the investigation between history and literature formed the basis of the study and analysis that had its genesis in the investigative work leading to a dissertation in Spanish and Hispanic American literature.

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Sánchez, Greg. "Decade II: A Twentieth Anniversary Anthology ed. by Julián Olivares, Evangelina Vigil Piñón, and: Short Fiction by Hispanic Writers of the United States ed. by Nicolás Kanellos." Western American Literature 29, no. 2 (1994): 174–76. http://dx.doi.org/10.1353/wal.1994.0039.

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Vraukó, Tamás. "Code switching and the so-called “assimilation narrative”." Linguistics Beyond and Within (LingBaW) 4 (December 30, 2018): 173–81. http://dx.doi.org/10.31743/lingbaw.5673.

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In literary theory, the works of (ethnic) minority authors–and similarly, the works of authors dealing with minorities–are often referred to as “assimilation narrative.” This term tends to suggest that minority authors, who write in the language of their country, seek a place in society through assimilation. Assimilation, however, means melting up in the majority nation by adopting all the values, customs and way of life characteristic of the majority, and abandoning, leaving behind, giving up the original traditional values, ethics, lifestyle, religion etc. of the minority. Assimilation means disappearing without a trace, continuing life as a new person, with new values, language, a whole set of new cultural assets. In this paper an effort is made to show that this is in fact not what many of the ethnic minority writers look for, so the term assimilation narrative is in many, although certainly not all, the cases, erroneuosly applied. It is justified to make a distinction between assimilation and integration narratives, as the two are not the same. In the paper examples are provided from Hispanic-American literature (Mexican-American, Puerto Rican and Dominican), across a range of genres from prose through drama to poetry, and also, examples are discussed when the author does in fact seek assimilation, as well as stories in which neither assimilation, nor integration is successful.

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Álvarez García, Héctor. "El control político de la opinión pública en la España de los Austrias." Revista de Derecho de la UNED (RDUNED), no. 26 (December 18, 2020): 15. http://dx.doi.org/10.5944/rduned.26.2020.29161.

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En el marco de la legislación censoria de la España imperial pretendemos analizar, por una parte, el origen cultural y doctrinal del concepto sociológico de opinión pública en nuestro país, que hunde sus raíces en el absolutismo contrarreformista y fue adoptando una fisonomía reconocible en el seno de la sociedad española del Siglo de Oro, gracias a la contribución de nuestros tratadistas barrocos; y, por otra, la dimensión política y adoctrinadora de la Nueva Comedia y de la predicación religiosa, ya que constituyeron los más efectivos resortes propagandísticos de manipulación de masas impulsados desde el Poder en orden a conseguir la adhesión emocional y, por tanto, irracional del pueblo español al régimen monárquico-señorial de los Austrias.In the framework of the censorship legislation of imperial Spanish we pretend to analyze, on the one hand, the cultural and doctrinal origin of sociological concept of public opinion in our country, which has its roots in counter-reformist absolutism and was adopting a recognizable physiognomy within the spanish society of the Golden Age thanks to the contribution of our baroque writers; and, on the other, the political and indoctrinating dimension of the New Comedy and religious preaching, since they constituted the most effective propaganda springs of mass manipulation driven by the Power in order to achieve emotional accession and, therefore, irrational from the spanish people to the Hispanic monarchy.

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Fernández Izaguirre, Penélope Marcela. "Descensus ad Inferos: tres ejemplos de la literatura hispánica medieval del siglo XIII (Libro de Alexandre, General Estoria y Milagros de Nuestra Señora)." Medievalia 52, no. 2 (December 2, 2020): 61–82. http://dx.doi.org/10.19130/medievalia.2020.52.2.171864.

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The journey to the afterlife is a fundamental theme of mythological origin and present in primitive religious thought. Of course, it was in the Middle Ages when writers again addressed the topic of the descent into hell. Although the journey to the underworld was frequently presented as the pilgrimage of a hero or an individual soul, it was also possible that the gods, oblivious to the world of shadows, entered there. Following this perspective, this article will analyze the descent into hell by three female visitors depicted in 13th-century Spanish literature. Thus, in the first place, I will present examples of testimonies created prior to the consolidation of the topic of descensus ad Inferos in the Middle Ages to identify the literary traditions that influenced the reworking of the theme. In the second part, I will describe the topic in three texts of Medieval Hispanic literature, by evoking the digression on Natura in the Libro de Alexandre (cc. 2325-2437), the miracle “De cómo Teófilo fizo carta con el diablo de su ánima et después fue convertido e salvo” from the Milagros de Nuestra Señora (cc.703-866) and the passage about Juno’s fury and revenge from Part Two of the General Estoria. Finally, it will be demonstrated how the episodes describing the descent into hell by Natura, Juno and the Virgin Mary follow a similar structure. Their entrance into Hell is justified by the attributes they possess as mediators.

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Ferreira Prado, María Cecilia. "La casa y su dimensión fantástica en “El cuarto de vidrio”, de Norah Lange = The house and its fantastic dimension in “El cuarto de vidrio” by Norah Lange." Lectura y Signo, no. 13 (December 21, 2018): 101. http://dx.doi.org/10.18002/lys.v0i13.5670.

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El cuarto de vidrio (póstuma-2006) es la última novela de la escritora argentina Norah Lange. En ella se privilegia el espacio de la casa, la cual aparece aquí profundamente personificada, lo que tiñe el total del relato del sello fantástico que caracteriza a los escritores del boom. Lange reanuda, en esta novela, la estética de lo increíble que se había iniciado en Antes que mueran (1944), había conocido el éxito y el reconocimiento con Personas en la sala (1950), y había llegado a Los dos retratos (1956), sin que la crítica literaria se hubiera percatado de que estábamos ante una literatura plenamente fantástica o, dicho de otro modo, que sin descifrar ese elemento fantástico no se podía interpretar el sentido último de la narrativa de Lange; una estética que se inserta en la línea de la literatura fantástica promocionada por su primo político Jorge Luis Borges y que tuvo amplia repercusión en Hispanoamérica, especialmente en el Río de la Plata.El cuarto de vidrio (posthumous work-2006) is the last novel of the Argentine writer Norah Lange. In it is privileged the space of the house, which appears here deeply personified, which dyes the history of the fantastic seal that characterizes the writers of the Boom. In this novel, Lange reiterates the aesthetics of the incredible stories, that had begun in Antes que mueran (1944), had known success and recognition with Personas en la sala (1950), and had come to Los dos retratos (1956), without the literary criticism having realized that we were in front of a totally fantastic literature or, in other words, that without deciphering that fantastic element could not be interpreted the ultimate meaning of Lange’s narrative an aesthetic that is inserted in the line of fantastic literature promoted by his cousin in-law, Jorge Luis Borges, and that had wide repercussion in Hispanic America, mainly in the Río de la Plata.

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Querol Coll, Enric. "Melcior Febrer, poeta i dramaturg del Baix Mestrat (primera meitat del segle XVII)." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, no. 11 (June 11, 2018): 52. http://dx.doi.org/10.7203/scripta.11.12093.

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Resum: Aquest article incorpora un nou poeta al panorama de la literatura barroca valenciana: Melcior Febrer (Vinaròs, 1578 – Traiguera, ? 1648). La major part del corpus d’aquest autor es conserva al manuscrit 3895 de la Biblioteca Nacional de España. El volum recull tant composicions pròpies, majorment en castellà, com també d’altres del gust de l’autor, tot conformant un cançoner molt representatiu dels gustos literaris del primer Barroc hispànic. Paral·lelament a aquest autors emblemàtics, el cançoner aplega una sèrie de composicions generades a l’àrea valenciana per Melcior Febrer i altres literats amb els quals estava en contacte, com ara Marc Antoni Ortí, Vicent Esquerdo i Francesc Cros. Editem en apèndix l’epístola en vers, Resposta mia a una carta en valencià escrita per el señor y amich March Antoni Ortí tant per l’interès intrínsec com per les observacions metaliteràries que hi conté. Paraules clau: Melcior Febrer, Cosme Gómez de Tejada, barroc valencià, Maestrat Abstract: This paper incorporates a new name to the list of Valencian Baroque poets: Melcior Febrer: (Vinaròs, 1578 – Traiguera, ? 1648). The main part of the corpus of his works, unattended by the critics, is preserved in the manuscript 3895 (Biblioteca Nacional de España). This volume contains his own compositions, mainly written in Spanish, as well as others of his favourite poets, thus creating a highly representative collection of the poetical taste of the time. Besides this group of referential pan-Hispanic writers, the volume also contains a series of works generated in the Valencian area due to Febrer and some of his literary friends and acquaintances, such as Marc Antoni Ortí, Vicent Esquerdo or Francesc Cros. Due to its metaliterary interest, an edition of the poem Resposta mia a una carta en valencià escrita per el señor y amich March Antoni Ortí is provided in appendix. Keywords: Melcior Febrer, Cosme Gómez de Tejada, valencin barroque, Maestrat

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Hays, Alice. "Using Young Adult (YA) Literature in a Classroom: How Does YA Literature Impact Writing Literacies." Study and Scrutiny: Research on Young Adult Literature 2, no. 1 (July 8, 2016): 53–86. http://dx.doi.org/10.15763/issn.2376-5275.2016.2.1.53-86.

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While English teachers are working to incorporate various versions of the Common Core State Standards into their curriculum, they are often emphasizing canonical fiction over alternative literature that students may connect with at a higher engagement level. Young Adult (YA) literature may help teachers meet the needs of the whole student as well as local standards. The purposes of this study were (1) to explore how students engaged with reading and writing after reading YA literature, (2) to evaluate whether the YA students’ writing samples differed from the canonical group’s, (3) to determine if students see themselves as better writers after the experience, and (4) to examine the teacher’s perception of reading YA Literature. The research was conducted in a single teacher’s 9th grade classes at an urban high school in the Southwest with a primarily Hispanic population. Two groups worked with canonical literature, and two groups worked with YA literature. All students were given a modified version of the Daly Miller Writing Apprehension Survey before and after they read either a YA short story or a classic short story. They then constructed a writing sample using the same generic prompt for all groups. Several students and the teacher were interviewed after the process. Quantitative results showed that students who read the YA pieces increased their mean score on the modified Daly Miller Survey. Their writing samples had a greater mean score than the canonical group. The qualitative results also indicated greater engagement and understanding of the YA literature, while the teacher expressed enjoyment in teaching both pieces since they were both received well by the students. Finding that students improved in a quantifiable way after using YA literature indicates that there are pedagogical reasons to incorporate YA literature in the classroom, in addition to enhancing enjoyment.

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Castedo, Elena. "Shifting Contradictions, or What Is a Hispanic Writer?" ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 10, no. 2 (January 1997): 21–24. http://dx.doi.org/10.1080/08957699709602271.

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Basáñez Barrio, Endika. "Una revisión histórico-política de la producción literaria puertorriqueña. Entrevista con Fernando Feliú Matilla / A historical and political review of Puertorriquean Literatura. Interview to Fernando Feliú Matilla." Kamchatka. Revista de análisis cultural., no. 9 (August 31, 2017): 207. http://dx.doi.org/10.7203/kam.9.10150.

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Resumen: A lo largo de la siguiente entrevista, el profesor, historiador, crítico e investigador la de la Universidad de Puerto Rico, el catedrático en literatura puertorriqueña don Fernando Feliú Matilla, nos permite establecer una visión histórica de la génesis artística llevada a cabo en la Isla a través de los diferentes contextos socio-políticos que han tenido lugar en la misma desde la aparición de una literatura puertorriqueña propia y distintiva hasta la anexión de Puerto Rico a los Estados Unidos de América como Estado Libre Asociado en 1952 y su impronta en la génesis isleña. Si bien la entrevista tiene como objeto principal la literatura boricua, también se debaten en la misma el falocentrismo cultural presente en la cultura puertorriqueña, las relaciones políticas entre San Juan y Washington D.C., la influencia de los textos diaspóricos en la producción isleña o la situación del panorama artístico actual en Puerto Rico.Palabras clave: Literatura hispanoamericana; Literatura puertorriqueña; Estados Unidos; emigración; política. Abstract: Throughtout the following interview, professor Fernando Feliú Matilla, who holds a chair in Puerto Rican Studies and Literature, offers his personal point of view after years of research about Puerto Rican literature written in the 20th century. The interview is developed from a historical perspective, which means that it starts right from the moment Puerto Rico was still a Spanish colony in the Americas, until the present day, being Puerto Rico a Free Associated State of the United States of America (also known as American Commonwealth of Puerto Rico). Besides the literature, professor Feliú Matilla also gives his opinion about the absence of female writers in Puerto Rican literature, the relationships between San Juan and Washington D.C., the cultural movements that Puerto Rican literature written nowadays is influenced by, and many other different topics such as Caribbean literature written in the United States and its connection with Puerto Rican art.Keywords: Hispanic Literature; Puerto Rican Literature; USA; immigration; politics.

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Lara Alberola, Eva. "La brujería en la narrativa histórica española contemporánea (desde 1970 hasta la actualidad)." Revista de Humanidades, no. 37 (July 17, 2019): 35. http://dx.doi.org/10.5944/rdh.37.2019.21206.

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Resumen: En el presente artículo nos proponemos dar un paso más en la indagación sobre la brujería en la literatura hispánica, abordando en esta ocasión la narrativa histórica española desde 1970 hasta nuestros días. Las novelas seleccionadas han sido Retrato de una bruja de Luis de Castresana; La herbolera de Toti Martínez de Lezea; Ars Magica de Nerea Riesco; Las maléficas de Mikel Azurmendi y Regreso a tu piel de Lus Gabás. En un trabajo en gran parte descriptivo, se presentarán estos cinco relatos, resaltando los aspectos más llamativos que tratan sobre la brujería y las tesis que se vierten sobre este fenómeno y sobre la caza de brujas. Por tanto, se facilita al lector una panorámica acerca de los textos que ahondan en esta temática y se muestra que, en la actualidad, sigue muy vigente el interés por estas prácticas y su persecución, debido a lo complejo y controvertido del asunto y al drama que se vivió en los siglos XV, XVI y XVII, y que estos escritores han querido reflejar.Abstract: This article attempts to take a further step towards the investigation of witchcraft in Hispanic literature, now dealing with the Spanish historical narrative from 1970 to the present day. The novels that have been selected for such purpose are Luis de Castresana’s Retrato de una bruja, Toti Martinez de Lezea’s La herbolera, Nerea Riesco’s Ars Magica, Mikel Azurmendi ‘s Las maléficas and Luz Gabás’ Regreso a tu piel. In this article, which is mainly descriptive, these four stories will be presented highlighting the most remarkable aspects dealing with witchcraft together with the theses given about this phenomenon and the witch hunt. Therefore, the reader is offered an overview of the texts that delve into this subject and shows that, today, the interest in these practices and their prosecution is still alive not only thanks to the complexity and controversy of this matter, but also due to the tragic events that took place in the 15th, 16th and 17th centuries, which these writers have tried to reflect in their books.

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Journal articles on the topic 'Hispanic writers'

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