Relevant bibliographies by topics / Spanish actresses

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Spanish actresses'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Spanish actresses"

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Shafer, Yvonne. "“That Furious Lesbian”: The Story of Mercedes de Acosta. By Robert A. Schanke. Carbondale: Southern Illinois University Press, 2003; pp. 210. $25 paper; $45 cloth; Women in Turmoil: Six Plays by Mercedes de Acosta. Edited and with an Introduction by Robert A. Shanke. Carbondale: Southern Illinois University Press, 2003; pp. 252. $40 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 339–41. http://dx.doi.org/10.1017/s0040557405350204.

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Many theatre scholars are familiar with the name Mercedes de Acosta but do not know the nature of her connection to the theatre—her close ties to notable actresses and the plays that she wrote. Robert A. Schanke has published two books that hope to clarify de Acosta's place in theatre history. The first is a biography that takes the reader from her exotic background of Spanish ancestry and her stolen inheritance through her innumerable affairs with such figures as Maude Adams, Eva Le Gallienne, Nazimova, Marlene Dietrich, Greta Garbo, and Isadora Duncan. The biography concludes with de Acosta's last years, impoverished, nearly forgotten, and lonely.
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Cuadrada, Coral, and Enric Olartecoechea. "Cuerpos Públicos, Cartas Privadas (ss. XVI-XVII)." Triangle, no. 17 (August 5, 2020): 25. http://dx.doi.org/10.17345/triangle17.25-69.

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The analysis of the correspondence between two sixteenth/seventeenth century female aristocrats —Luisa de Carvajal, Magdalena de San Jerónimo— enables us to reect on the value of relics and their relevance in the Spanish Baroque Counter-Reformation. We correlate Luisa's yearning for martyrdom as well as her mystical and religious exaltation with some of Magdalena's commitments at the Penitents House, at the Flemish Court, and as founder of the prison for prostitutes and female delinquents known as the Casa de la Galera, and, therefore, with dierent bodies and semiotics: the ill body of men, that polluting of 'working girls'; the bodies of virgins, of prostitutes, of actresses. These relate to dierent public spaces: the brothel, the theatre, the Magdalene asylum. And, in a very special manner, to the res publica and the Spanish Empire. All this based on the continuous background of Mary Magdalene's myth, a fundamental text that unites all the women considered here.
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Sánchez Rodríguez, Virginia. "Perfiles profesionales de las actrices del cine español del Desarrollismo (1959-1975) / Professional profiles of actresses in Spanish cinema during Desarrollismo (1959-1975)." Vivat Academia, no. 142 (February 28, 2018): 19. http://dx.doi.org/10.15178/va.2018.142.19-37.

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Leeser, Michael J., and Raquel Prieta. "Bilingual parsing strategies in Basque and Spanish." Anuario del Seminario de Filología Vasca "Julio de Urquijo" 49, no. 1/2 (June 14, 2018): 257. http://dx.doi.org/10.1387/asju.18817.

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Over the last several years, one area of sentence processing research that has received considerable attention is how native speakers resolve structural ambiguities while reading, as in Someone shot the servant of the actress who was on the balcony (e.g., Cuetos & Mitchell 1988). Cross-linguistic research on this kind of ambiguous relative clause (RC) attachment has revealed that speakers of some languages prefer to attach the RC who was on the balcony to the first noun phrase (the servant), whereas speakers of other languages prefer attachment to the second noun phrase (the actress). From the perspective of bilingual sentence processing, research on RC attachment can provide insight into a number of important issues related to language transfer, language attrition, and processing efficiency. The present study, therefore, seeks to build upon some of these lines of research by examining the on-line parsing strategies among native speakers of Basque (N = 17) on two self-paced reading tasks in Basque and Spanish. Our purpose was to investigate which parsing routines these bilinguals utilized for each language in order to determine whether they maintained separate strategies or adopted one strategy for both languages. Analyses of reading times at critical regions in experimental sentences suggest that this group of bilinguals employed a single parsing strategy in Basque and Spanish. The findings are discussed within recent proposals of monolingual and bilingual sentence processing.
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DONOVAN, MARY KATE. "Race, Celebrity and Fashion: Anna May Wong in Spanish Magazines of the 1930s." Bulletin of Hispanic Studies 97, no. 9 (October 1, 2020): 931–53. http://dx.doi.org/10.3828/bhs.2020.53.

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Anna May Wong was the most widely known Asian American film actress of her generation, achieving unprecedented success in the Hollywood and European industry. When she traveled to Spain in 1935 to perform at the Teatro Casablanca in Madrid, she was already an international star and her visit garnered extensive coverage from the Spanish press, particularly film magazines of the period. These magazines provided their largely female readership with access to Hollywood stars such as Wong, whose celebrity was the site of complex negotiations of race, ethnicity and citizenship in the United States and Europe during the 1930s. Publications such as Cinegramas and Popular Film represented Wong for Spanish readers who, although removed from the particularities of race politics in the United States, were nevertheless intrigued by her ‘exotic allure’, positioned as she was at the intersection of racial otherness and Hollywood glamour. By reading Wong in Spanish magazines from the 1930s, this article considers how Spanish readers might have used these representations as a tool for negotiating their own identities as cosmopolitan at a moment when Spain was often perceived as existing on the cultural margins of Western Europe.
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Gryakalova, N. Ju. "Who was the Addressee of A. A. Blok’s Poem «To a Spanish Lady»?" Russkaya literatura 4 (2020): 82–91. http://dx.doi.org/10.31860/0131-6095-2020-4-82-91.

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The article discusses the addressee of A. A. Blok’ poem, arguing against the suggestion that it is addressed to Kazarose (B. G. Shensheva), a «small genre» actress. The analysis of the documentary and biographical data, and of the historical and cultural context (in particular, of the «Spanish theme» in the repertoire of the Terioki Entreprise), suggests an alternative version: the implicit addressee of the poem is L. D. Blok. The text itself is considered as a «heraldic construction» («mise en abyme» technique), with a reference to Vs. Meyerhold’s pantomime "The Lovers" as the decoder of the communicative situation.
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Aguilar, Miriam, Pilar Ferré, José M. Gavilán, José A. Hinojosa, and Josep Demestre. "The actress was on the balcony, after all: Eye-tracking locality and PR-availability effects in Spanish." Cognition 211 (June 2021): 104624. http://dx.doi.org/10.1016/j.cognition.2021.104624.

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Cordero-Hoyo, Elena, and Begoña Soto-Vázquez. "Women and the Shift from Theatre to Cinema in Spain: The Case of Helena Cortesina (1903–84)." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 96–120. http://dx.doi.org/10.1177/1748372718791996.

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The purpose of this article is to identify the main causes behind women achieving, on the one hand, important positions as theatre managers in Spain but, on the other, being relegated a marginal status in the shift to cinema. We use the career of the artist Helena Cortesina to illustrate the only known example of a woman becoming a silent cinema entrepreneur in Spain. An actress, producer, and director of Flor de España o la leyenda de un torero ( Spanish flower or the bullfighter's story, 1921) Cortesina transitioned from the variety dances stage to silent film and became a theatrical manager. Her professional career exemplifies the inter-artistic relations between cinema and the scenic arts at the beginning of the twentieth century and the professional bridge between them. This article contributes to feminist film historiography. Following Monica Dall’Asta, it presents a ‘history that invites us to work using creative hypotheses and even imagination’. The article revisits Spanish Film History, reinterpreting the hegemonic production of knowledge that has been historically told from a (supposedly) un-gendered perspective. Our article seeks to disrupt this patriarchal narrative of firsts (including geniuses, technical discoveries, and masterpieces) that relegate women's experiences to the margins of History.
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LACALLE, Charo. "AVA GARDNER EN LA ESPAÑA DEL DESARROLLISMO: LA RECONSTRUCCIÓN CINÉFILA DE LA MEMORIA SOCIAL EN LA FICCIÓN TELEVISIVA ESPAÑOLA." Signa: Revista de la Asociación Española de Semiótica 30 (January 6, 2021): 555. http://dx.doi.org/10.5944/signa.vol30.2021.26763.

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Resumen: Este artículo examina la reconstrucción de la memoria histórica que lleva a cabo Arde Madrid, una comedia ambientada en el Madrid de comienzos de los sesenta donde vivía Ava Gardner. Las referencias al cine español de los años cincuenta y a las runaway productions hollywoodenses se entremezclan con la biografía de Ava Gardner, al objeto de homenajear a una actriz cuyas películas ambientadas en España fueron determinantes en la construcción del mito. La revisión de los símbolos de la españolidad asociados a la Dictadura y el retrato social convierten la serie en un lugar simbólico de la memoria colectiva.Abstract: This article explores the reconstruction of the historical memory of Arde Madrid, a comedy set in Madrid in the early sixties where Ava Gardner lived. References to the Spanish cinema of the fifties and the Hollywood runaway productions intermix with Ava Gardner’s biography, in order to celebrate an actress whose films set in Spain played a key role in the shaping of the myth. The revision of the Spanishness symbology associated with Franco dictatorship and the social portrait of that period make the series into a symbolic place of collective memory.
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Colomina Molina, Teresa. "Metáforas y evocaciones en los títulos de las obras teatrales de Angélica Liddell." Imafronte, no. 27 (December 11, 2020): 1–10. http://dx.doi.org/10.6018/imafronte.459581.

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En este artículo se analiza el significado de los títulos de las obras de teatro más representativas de la dramaturga española, directora y actriz Angélica Liddell. Basándonos en una metodología de estudio de caso se analizan algunos de los títulos comprendidos desde el año 1991 hasta el 2018 desde una perspectiva hermenéutica. Cada uno de los títulos es tomado como pequeñas unidades de información, siendo analizados y clasificados en cinco apartados principales (relaciones interpersonales,contexto sociopolítico, rebeldía, muerte y familia). Estas temáticas configuran el universo de la escritora y adquieren unlenguaje propio y dimensionado al margen del texto dramático que encabezan. This article analyses the meaning of the titles of the most representative plays of the spanish playwright, director and actress Angélica Liddell. With a case study methodology, some of the titles from 1991 to 2018 are analyzed from a hermeneutic perspective. Each of the titles is taken as small units of information, and have been analyzed and classified in five main sections(interpersonal relations, socio-political context, rebellion, death and the family). These themes configure the writer's universe and acquire its own language and a new dimension apart from the dramatic text they lead.
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Dissertations / Theses on the topic "Spanish actresses"

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Canals, Botines Mireia. "La dona fatal en el cinema espanyol, 1939-1951." Doctoral thesis, Universitat Ramon Llull, 2009. http://hdl.handle.net/10803/9212.

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La Tesi doctoral "La dona fatal en el cinema espanyol, 1939-1951" és un estudi detallat del personatge cinematogràfic de la dona fatal. L'objectiu és demostrar l'existència de la dona fatal en el cinema dels anys quaranta, en un període amb una fèrria censura que sembla no permetre l'expressió en les arts si no és per beneficiar el règim imperant. En aquest estudi, es fa referència inicialment al marc teòric que preveu el personatge. Des d'una perspectiva històrica, artística i social. Es fa un repàs del cinema anterior a la dècada d'estudi per establir unes bases del personatge, cosa que es fa en el cinema espanyol però també, i sense ànim d'exhaustivitat, en aquells cinemes que es consideren influents per aquest cinema. L1avors, es realitza una anàlisi exhaustiva del cinema espanyol des de l'any 1939 fins l'any 1951, fent recerca bibliogràfica, hemerogràfica i filmogràfica per tal de determinar els tipus de dona fatal existents en el període d'estudi. Després de determinar els films que contenen del personatge, fem una anàlisi fílmica dels films i una anàlisi en profunditat de set films que creiem representen el corpus definit en la nostra recerca. D'aquesta manera, arribem a assolir els objectius que ens proposem a l'inici de la recerca.
La tesis doctoral "La mujer fatal en el cine español, 1939-1951", es un estudio detallado del personaje cinematográfico de la mujer fatal. El objetivo es demostrar la existencia de la mujer fatal en el cine de los años cuarenta, en un periodo de férrea censura que parece no permitir la expresión de las artes si no es para beneficiar al régimen imperante. Al principio de este estudio, se hace referencia al marco teórico que prevé el personaje. Esto se realiza desde una perspectiva histórica, artística y social. Seguidamente, se hace un repaso del cine anterior a la década de estudio para establecer unas bases del personaje. Este breve repaso, sin ánimo de exhaustividad, se realiza en los cines que se consideran influyentes para el cine español; también se realiza en el cine español anterior a la década de estudio. Entonces, se realiza un análisis exhaustivo del cine español desde el año 1939 hasta el año 1951, realizando investigación bibliográfica, hemerográfica y filmográfica para determinar el tipo de mujer fatal existente en el periodo de estudio. Después de determinar los films contenedores del personaje, realizamos un análisis fílmico de las películas y un análisis en profundidad de los siete films que creemos que representan el corpus definido en nuestra investigación. De esta forma, llegamos a cumplir los objetivos que nos proponemos al empezar la investigación.
This Phd Thesis "The Fatal Woman in Spanish Cinema, 1939-1951", is a detailed study of the cinema character of the fatal woman, The main objective is to demonstrate that the fatal woman was present in the movies of the forties, in spite of the censorship to the artistic representations that seemed only to ease when it was useful to the dictatorship. To begin with, the study refers to the theoretical basis that previews the character. This is done through a historical, artistic and social prespective. Next, there is a summary of the previous cinema in order to establish the cinematic basis of the character. This brief summary, with no aim of exhaustivity, refers to those cinemas which influence Spanish cinema; it is also done for previous Spanish cinema which is mostly silent cinema. Then, an exhaustive analysis is realized of the Spanish cinema between 1939 and 1951. Research is done on bibliography, hemerography and filmography to determine the films which contain the character. After that, a deep analysis is done on 7 chosen films which the author takes as representative of the period of study. Therefore, we accomplish the objectives we established at the beginning of the research.
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Books on the topic "Spanish actresses"

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Zendaya: Disney Channel actress. Minneapolis, Minnesota: Abdo Kids, 2015.

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El actor de cine: Arte, mito y realidad. La Habana: Editorial Instituto Cubano de Arte e Industria Cinematográficos, 2009.

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Barnet, Miguel. Canción de Rachel. 2nd ed. La Habana, Cuba: Editorial Letras Cubanas, 1985.

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Canción de Rachel. Barcelona: Libros del Asteroide, 2011.

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J, Héctor Rivera. Tinta sangre del corazón. San Angel, D.F., [México]: Consejo Nacional para la Cultura y las Artes, 1996.

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Stars and masculinities in Spanish cinema: From Banderas to Bardem. Oxford: Oxford University Press, 2003.

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Vilallonga, José Luis de. Memorias no autorizadas. Barcelona: Plaza & Janés, 2000.

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Gallina, Mario. De Gardel a Norma Aleandro: Diccionario sobre figuras del cine argentino en el exterior. Buenos Aires: Ediciones Corregidor, 1999.

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Pazos, Roberto Blanco. Diccionario de actores del cine argentino, 1933-1999. Buenos Aires: Corregidor, 1999.

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Memorias no autorizadas. Barcelona: Plaza & Janés Editores, 2003.

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Book chapters on the topic "Spanish actresses"

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Cappelli, Federica. "Con chi vengo vengo di Michele della Marra fra Calderón e Angiola D’Orso." In Studi e saggi, 267–87. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.17.

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This paper aims at studying the Italian fortune of the Calderonian play Con quien vengo vengo , firstly, by focusing on its first version by Michele della Marra (1665) and then moving on to a triple textual comparison between the Calderonian source-text, the rewriting of Della Marra and the second adaptation by the actress Angiola D'Orso, whose first edition came out in 1666. Despite his faithfullness to the plot of the original text, the first translator remodels the text either by summarizing it, or removing certain typically Calderonian rhetorical artifices, or replacing the figure of the gracioso by that of the southern servant, who uses the dialect. On the contrary, Angiola D'Orso shows greater respect for the Spanish play, displaying more sensitiveness toward its rethorical beauty, which she is able to reproduce successfully.
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Ciller, Carmen. "The influence of Argentinian acting schools in Spain from the 1980s." In Performance and Spanish Film. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719097720.003.0007.

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This chapter analyses the legacy of Argentinean performers and acting schools in contemporary Spanish cinema. It begins by studying how different waves of migration between Spain and Argentina resulted in rich collaborations, both in terms of industry and familial bonds (which favoured the appearance and continuation of families of actors such as the Alterios and Diosdados). The arrival of these Argentinean actors and actresses during the Transition to democracy contributed to the disappearance of traditional acting styles in Spanish cinema and promoted innovative modes and methods of performance. Thus, this chapter shows that the generation led by Cecilia Roth provided Spanish cinema with new ways of representing the body and performing femininity and sexual freedom, in films as influential as Iván Zulueta's Arrebato/Rapture (1979). The chapter concludes with a discussion on how the proliferation of Argentinean schools of acting, such as those of Cristina Rota and Juan Carlos Corazza, has contributed greatly to the success of recent generations of actors such as Penélope Cruz and Javier Bardem.
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"To Conquer Paris: Spanish Actresses at the Court of Louis XIV (1660–1674)." In Beyond Spain's Borders, 63–80. Routledge, 2016. http://dx.doi.org/10.4324/9781315438801-11.

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Delgado, Maria M. "Beyond the muse: the Spanish actress as collaborator." In The Cambridge Companion to the Actress, 272–90. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521846066.015.

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Davies, Ann. "Gothic Medicine: Written on the Body." In Contemporary Spanish Gothic, 138–69. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402996.003.0006.

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The final chapter draws on Judith Halberstam's theorisation of the Gothic as the postindustrial production and consumption of excess, to consider the contemporary Gothic body and the efforts of medicine to contain it. This medicine is itself Gothic, however, in its simultaneous repression of and lack of control over the problematic, diseased, disruptive or dead body. The chapter begins by with a study of the body as Gothic excess in in Pedro Almodóvar's La piel que habito/The Skin I Live In and the efforts to control the body made by the mad scientist Ledgard (Antonio Banderas). It then considers the displaced body of the actress Belén Rueda who has become strongly associated with Gothic texts. The focus here is on two recent roles: the wandering body of El cuerpo/The Body and the wandering eyes and sight of Los ojos de Julia/Julia's Eyes.
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Shuback, Alan. "La Princesse Aly Khan." In Hollywood at the Races, 189–97. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178295.003.0011.

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Discovered while performing red-hot Spanish dance numbers with her father at Agua Caliente, Rita Hayworth would become one of Hollywood’s most prominent movie stars and sex symbols. Her roles in Gilda and TheLadyfromShanghai and her dance partnership with Fred Astaire in YouWereNeverLovelier and You’llNeverGetRich showcased her dual talents as actress and dancer. But when Rita met Prince Aly Khan on the Riviera in 1948, she was swept off her feet by his charm and good looks. The son of the Aga Khan, Aly was one of the world’s leading Thoroughbred owner-breeders. When they married, Aly gave Rita several horses, including Double Rose, who finished second in the 1949 Prix de l’Arc de Triomphe. The marriage quickly unraveled, and Rita returned to Hollywood and her adoring fans.
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