Relevant bibliographies by topics / Historical fiction, Spanish-Mexican authors

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Academic literature on the topic 'Historical fiction, Spanish-Mexican authors'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Historical fiction, Spanish-Mexican authors"

1

STEENMEIJER, MAARTEN. "Other Lives: rock, memory and oblivion in post-Franco fiction." Popular Music 24, no. 2 (May 2005): 245–56. http://dx.doi.org/10.1017/s0261143005000450.

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The functions and meanings of the global discourse of American and British rock in national literatures have hardly been studied so far. This article focuses on the very interesting case of Spanish literature after Franco. The central question is: How has rock functioned in the literature of the new Spain, both as intertext and as cultural memory? To be more specific, the main purpose of this contribution is to study the presence, functions and meanings of rock in the narratives of two leading authors of two generations of post-Franco novelists: Antonio Muñoz Molina (1956) and Ray Loriga (1967). Particular attention will be paid to the complicated processes of memory and oblivion articulated by explicit and implicit references to rock in the pivotal novels El jinete polaco (Muñoz Molina 1991) and Héroes (Loriga 1993), and to their functions and meanings in the historical-cultural process of memory and trauma in post-Franco Spain.
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2

Huertas, Antonio. "Los Borja en la narrativa: Apuntes para su historia." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 9, no. 9 (June 12, 2017): 346. http://dx.doi.org/10.7203/scripta.9.10352.

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Resumen: Las presentes páginas pretenden constituirse como una guía útil para el estudio de la novela sobre los Borja de autor español, aunque no exclusivamente, publicada en los últimos veinticinco años. La ingente producción, nacional e internacional, centrada en la insigne familia valenciana imposibilita abarcar en un trabajo de estas características un panorama totalizador, que dejamos para un futuro, si bien podemos ofrecer unas claves interpretativas. Y es que, si bien el periplo de los Borja es absolutamente extraordinario, también lo es su continua re-escritura, que obliga casi a trazar cada cierto tiempo un statu quo de su presencia en las diferentes artes. Palabras clave: familia Borja, novela histórica, narrativa española, leyenda negra, novela contemporánea Abstract: I would like these pages to become a useful guide to study fiction focused on Borgian lineage and written especially, but not exclusively, by Spanish authors throughout the last 25 years. Due to the huge amount of works about the famous Valencian family, both from national and international origin, it is indeed impossible for me at this moment to offer an exhausting panorama. I settle for presenting some interpretative keys. Borgian periplus is as extraordinary as its continuous re-writing, that forces us to devise a periodical statu quo of its presence in different arts. Keywords: Borgia family, historical novel, Spanish narrative, black legend, contemporary novel
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Khoreva, Larisa G. "Metaphor as a basic constant of Spanish fictional discourse." Current Issues in Philology and Pedagogical Linguistics, no. 2(2021) (June 25, 2021): 262–71. http://dx.doi.org/10.29025/2079-6021-2021-2-262-271.

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The article is devoted to the study of metaphor as a basic constant of Spanish fictional discourse. The article deals with the peculiarities of the functioning of the Spanish fictional discourse, due to the specifics of historical development and the peculiarities of geographical location. The relevance of the study is due to the importance of considering the national and cultural specifics. Special attention is paid to the formation of the national picture of the world. The overview of the concepts of “picture of the world”, “ fictional discourse”, “metaphor” is given. The subject of the study is the texts of modern Spanish-language authors as J.J. Millas, Antonio Pometa, Pepa Merlo, Sara Mesa, Javier Mesa, Berta Marce. The above-mentioned authors actively use metaphor in their works, emphasizing a number of moments from the life of their characters, the peculiarities of their worldview, revealing a new implicit meaning inherent in the texts. The author of the article shows that metaphors become a basic constant of the Spanish fictional discourse, because of Spanish culture, being by its nature a culture of the hidden type, strives at all times of its existence to create works with a hidden meaning that require decoding and interpretation on the part of the reader. The Spanish authors create riddle texts with different readings and answers to the questions posed. The active use of metaphors determines the careful selection of vocabulary, showing the peculiarities of the national and cultural consciousness of the Spanish nation, which is prone to increased expressiveness of fictional discourse. The metaphor becomes not just a trope in the literary text, but the model that connects together different levels of the text space, being a semantic reflection of the model and picture of the world of Spanish authors.
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4

Babina, Agata. "Mikrostāsta jēdziens mūsdienu literatūrā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 299–310. http://dx.doi.org/10.37384/aplkp.2020.25.299.

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The glorious, overwrought, and ambitious modernism of the early 20th century has gradually been replaced by minimalism in art, architecture and other cultural expressions. In such a changing environment, minimalism trends also appear in the literature. Turning to the analysis of literary fiction over the last hundred years, critics of Romanic and Anglo-Saxon literature have come to the conclusion of the emergence of a new literary genre. In Anglo-Saxon literature, among many other names of this genre, the most recognizable name is flash fiction, while in Spanish, the term microrrelato has been established in the last decade. However, in Latvian literature, the characteristics of the genre correspond to minimas written by Aivars Eipurs. The paper aims to provide insight into the development and textual characteristics of flash fiction and to seek its equivalents in the literature of different Western nations. The study looks at the concept of flash fiction and its synonyms in English, Spanish, French, Russian, and Polish languages, includes definitions of flash fiction as an independent literary genre of a variety of authors and sets out the key features and examples. In addition to the concept of flash fiction, it includes concepts of intertextuality and ellipsis, which, along with humor and metafiction, are essential linguistic elements of flash fiction. Flash fiction merges different genres and their patterns into a new literary form consisting of certain linguistic, syntactical, and pragmatic texting techniques. In building the theoretical base of the study, the emphasis was placed on the critics of contemporary Spanish literature less known in Latvia, such as professor Irene Andrés-Suárez (b. 1948) of the University of Neuchatel (Switzerland), Argentinian writer and literary critic David Lagmanovich (1927–2010) and Mexican literary critic Lauro Zavala (b. 1954). Examples of the genre are mostly referred to by Hispanic authors.
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Smirnova, Irina, Victoria Vetrinskaya, and Svetlana Clemente-Smirnova. "The influence of Indian languages on the functioning of grammatical forms in Spanish in the Mexican state of Oaxaca." E3S Web of Conferences 284 (2021): 08016. http://dx.doi.org/10.1051/e3sconf/202128408016.

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The article deals with the local-specific features of the functioning of grammatical forms in the Spanish language of the Mexican state of Oaxaca. Examples of the influence of Native American languages on the grammatical structure of the Spanish language are analyzed and given. The co-existence of the dominant Spanish and Indian languages had an impact on the Mexican variant of Spanish. During the three hundred years of Spanish colonization, the cultural diversity of the State of Oaxaca was mixed and expanded. Thus, a mixture of Spanish, autochthonous and African groups emerged, which defined the language of the residents of the region in particular. The implementation of language units in the state is characterized by a peculiarity that is expressed at the grammatical level. The purpose of the article is to analyze the influence of Indian languages on the grammatical structure of Spanish in the Mexican state of Oaxaca. The research was based on articles, fiction written by Oaxaca authors. Textbooks on grammar of autochthonous languages of the Oto-Manguean group were studied. Interviews with governors, poets, state linguists and Oaxacan speakers in markets, streets, cafes were analyzed. As a result of the study, the Oaxaca resident’s speech revealed grammatical features influenced by Indian languages that distinguish local speech from that of the capital. As a result of the findings, there are prospects for further research into the influence of indigenous languages on Spanish in the State of Oaxaca.
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6

Amat, Nuria, Lori Ween, and Oscar Fernández. "The Language of Two Shores." Publications of the Modern Language Association of America 116, no. 1 (January 2001): 189–97. http://dx.doi.org/10.1632/s0030812900105127.

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Nuria Amat's view of literature between borders places her in the arduous trajectory of Spanish women writers, who have written their works from the periphery of Spanish fiction. Historically, few women have been among the canonical writers of Spain, and those who wrote were known for their ambivalent representations of their role as authors. Marginal writers of both sexes were forced to engage in literary disguises and subterfuges, “common and necessary practices for those who deviated from orthodoxy and convention” (Levine and Marson xxi). With the death of Franco in 1975, women writers of Spain such as Ana María Moix (b. 1947, Catalonia), Esther Tusquets (b. 1946, Catalonia), Marina Mayoral (b. 1942, Galicia), Lourdes Ortiz (b. 1943), Montserrat Roig (b. 1946, Catalonia), Cristina Fernández Cubas (b. 1945, Barcelona), and Rosa Montero (b. 1951, Madrid) began to explore their personal and national histories as the censorship ended. There soon followed a boom of female writers, who, “encouraged by the feminist movement and by all the changing atmosphere of the seventies, were able to find marketing success that soon made them visible” (Nichols 11).
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Amat, Nuria, Lori Ween, and Oscar Fernández. "The Language of Two Shores." PMLA/Publications of the Modern Language Association of America 116, no. 1 (January 2001): 189–97. http://dx.doi.org/10.1632/pmla.2001.116.1.189.

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Nuria Amat's view of literature between borders places her in the arduous trajectory of Spanish women writers, who have written their works from the periphery of Spanish fiction. Historically, few women have been among the canonical writers of Spain, and those who wrote were known for their ambivalent representations of their role as authors. Marginal writers of both sexes were forced to engage in literary disguises and subterfuges, “common and necessary practices for those who deviated from orthodoxy and convention” (Levine and Marson xxi). With the death of Franco in 1975, women writers of Spain such as Ana María Moix (b. 1947, Catalonia), Esther Tusquets (b. 1946, Catalonia), Marina Mayoral (b. 1942, Galicia), Lourdes Ortiz (b. 1943), Montserrat Roig (b. 1946, Catalonia), Cristina Fernández Cubas (b. 1945, Barcelona), and Rosa Montero (b. 1951, Madrid) began to explore their personal and national histories as the censorship ended. There soon followed a boom of female writers, who, “encouraged by the feminist movement and by all the changing atmosphere of the seventies, were able to find marketing success that soon made them visible” (Nichols 11).
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8

Chávez-García, Miroslava, and Verónica Castillo-Muñoz. "Gender and Intimacy across the U.S.-Mexico Borderlands." Pacific Historical Review 89, no. 1 (2020): 4–15. http://dx.doi.org/10.1525/phr.2020.89.1.4.

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This special issue of Pacific Historical Review, “Gender and Intimacy across the U.S.-Mexico Borderlands,” is guest edited by Miroslava Chávez-García and Verónica Castillo-Muñoz. The articles in the collection reflect the primacy of gender and intimacy as tools of analysis in recovering the experiences of women of Spanish-Mexican and Mexican origin in the nineteenth- and early twentieth-century borderlands. As the authors demonstrate, using gender and intimacy, along with race, ethnicity, class, and culture, allow for the recovery of women’s personal and family lives and how they intersected with the economic, political, and social transformations of the region. The result is nuanced understandings of how women negotiated and resisted state-based, patriarchal ideologies and practices that sought to limit their lives and those of their families. The special issue includes a preface from Marc S. Rodriguez, this introduction, and articles by Celeste Menchaca, Erika Pérez, and Margie Brown-Coronel.
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9

Montes-Alcalá, Cecilia. "Code-switching in US Latino literature: The role of biculturalism." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 264–81. http://dx.doi.org/10.1177/0963947015585224.

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While mixing languages in natural speech production has often been inaccurately ascribed to illiteracy or lack of linguistic competence, doing so in writing is a long-standing practice in bilingual literature. This practice may fulfill stylistic or aesthetic purposes, be a source of credibility and/or communicate biculturalism, humor, criticism, and ethnicity, among other functions. Here, I analyze a selection of contemporary Spanish–English bilingual literature (poetry, drama, and fiction) written by Mexican American, Nuyorican, and Cuban American authors focusing on the types, and significance, of code-switching (CS) in their works. The aim of the study is to determine to what extent the socio-pragmatic functions that have been attested in natural bilingual discourse are present in literary CS, whether it is mimetic rather than rhetorical, and what differences exist both across literary genres and among the three US Latino groups. I also emphasize the cultural aspect of CS, a crucial element that has often been overlooked in the search for grammatical constraints.
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10

Olin, Jacqueline S., and J. Emlen Myers. "Old and New World Spanish Majolica Technology." MRS Bulletin 17, no. 1 (January 1992): 32–38. http://dx.doi.org/10.1557/s0883769400043232.

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Majolica pottery is an earthenware covered with lead glaze opacified and whitened by adding a small percentage of tin oxide. The technology of majolica production, a Muslim contribution, was introduced into Spain and then diffused to the Western Hemisphere in the course of colonization very soon after the Spanish arrival in Mexico in 1521. (See Table I for Majolica production sources and excavation sites.)In the 1980s there were two references on the organization of majolica production in both Spain and the New World. Descriptions of the layouts of the potters' workshops, of the sources of the clays, how the kilns were used, and how the glazes were made are taken from historical and ethnographic sources. These authors also discuss the interesting and important effect of the presence of Italian potters in both Seville and the New World. However, little has been written based on archaeologically excavated material from Seville, the main source of supply to the New World, or from known Puebia or Mexico City production.In the 1970s a project involving neutron activation analysis of Spanish majolica ceramics was developed through the cooperative efforts of Malcolm Watkins and Richard Ahlborn of the National Museum of American History, Charles Fairbanks of the University of Florida, and Jacqueline Olin. Neutron activation analysis provides precise simultaneous determination of the concentrations of up to 35 elements. Two chemically distinct groups of ceramics were identified among sherds excavated at New World sites. They could be stylistically divided between Spanish and Mexican production with some important exceptions.
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Books on the topic "Historical fiction, Spanish-Mexican authors"

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Vila-Matas, Enrique. Dublinesque. New York: New Directions, 2012.

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"No son batallas lo que quiero contar": La mujer medieval en la novela histórica de autora. Oviedo: Krk Ediciones, 2012.

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Thornton, Niamh. Women and the war story in Mexico: La novela de la Revolucion. Lewiston, NY: Edwin Mellen Press, 2006.

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Blake, James Carlos. Borderlands: Short fictions. New York: Avon Books, 1999.

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Blake, James Carlos. Borderlands: Short fictions. New York: Avon Books, 1999.

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Palacios, José Antonio Gurpegui. Narrativa chicana: Nuevas propuestas analíticas. Alcalá de Henares: Universidad de Alcalá, Instituto Universitario de Estudios Norteamericanos, 2003.

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Dell, Pamela. Blood in the water: A story of friendship during the Mexican war. Maple Plain, Minn: Tradition Books, 2004.

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Eugenia, Mudrovcic María, ed. Don Catrín de la Fachenda. Doral, Fla: Stockcero, 2009.

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Magical realism in contemporary Chicano fiction. Frankfurt am Main: Vervuert Verlag, 1993.

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Jonathan, Swift. Gulliver's travels and other writings: Complete text with introduction, historical context, critical essays. Boston: Houghton Mifflin, 2004.

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Book chapters on the topic "Historical fiction, Spanish-Mexican authors"

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England, Samuel. "Saladino Rinato: Spanish and Italian Courtly Fictions of Crusade." In Medieval Empires and the Culture of Competition, 141–76. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474425223.003.0005.

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Completes the historical arc of the book, exploring the last generations of medieval writers, ushering in the Renaissance. Juan Manuel, Dante Alighieri, and Giovanni Boccaccio, created a new identity for Saladin after two centuries of European writing about the sultan. The refashioned Saladin challenged fellow knights on matters of chivalry, religion, and political history. Spanish and Italian literature used him in order to perform an allegorical, critical review of Christian identity. As these three European authors contemplated the fractious political spaces that their kingdoms were becoming, they found in Saladin a persona both chivalric and unsettling to chivalry as an institution. The Renaissance is known as the age in which Europe rediscovered Antiquity for the sake of intellectual progress, but that work was initiated through medieval reflections upon courtly life.
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Tonfoni, Virginia. "La frontera México-Estados Unidos en las novelas gráficas." In America: il racconto di un continente | América: el relato de un continente. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/023.

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This study aims to show the great possibilities of graphic novel as a medium to represent historical instances, through fiction or direct records and witnesses, by focusing on the work of the Italian cartoonist Andrea Ferraris. Churubusco, set in 1847, during the Mexican-American War, tells the story of Saint Patrick’s Battalion deserting from the American army. Being invited to expose the original panels of his graphic novel at the Istituto Italiano di Cultura in Los Angeles for the 150th anniversary of the American invasion, the author recollects records from the border and publishes a second work, La cicatrice, blinking an eye to graphic reportage and journalism.
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Perea, Héctor. "Los mundos en colisión." In America: il racconto di un continente | América: el relato de un continente. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/005.

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This essay confronts the terms Conquista and Encuentro, which have been both used to refer to Mexican Conquista by Spanish soldiers in the early 16th century. The main reference for the discussion is Bernal Díaz del Castillo’s Historia verdadera de la conquista de la Nueva España (1632) and the way the interpretation of historical circumstances were readapted to meet different interests. The work also faces the evolution of this two concepts that involve ideological and political positions through five centuries of Mexican and foreign literature, cinema, music and new ways of fiction creativity.
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Cervera Salinas, Vicente. "La saga/fuga de Margo Glantz." In Diaspore. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-238-3/011.

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This article looks at the collection of short stories Historia de una mujer que caminó por la vida con zapatos de diseñador (2005) by Mexican writer Margo Glantz with a view to relating them with topics and leitmotiven which the author used in some of her previous fictional work. The examination of her short stories is mainly conducted from the concept of saga/fugue, stemming from the mythic novel by Gonzalo Torrente Ballester. This concept is applied to Margo Glantz’ work, especially to show the lines of flight which connect the collection of short stories with previous work such as the novel, El rastro (2002), with which Glanz obtained international acclaim. Glantz’ alter ego, Norma García, is the narrative voice which weaves and combines this element, always in an organic and harmonious manner, according to different tones and scales, as is the case with Johann Sebastian Bach’s counterpoint work.
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