Bibliografías temáticas / Spanish Allegory

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Literatura académica sobre el tema "Spanish Allegory"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 3 de febrero de 2022

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Artículos de revistas sobre el tema "Spanish Allegory"

Yarza, Alejandro. "Bahía de Palma/Palma Bay (Bosch 1962): An allegory of late Francoism". Studies in Spanish & Latin American Cinemas 17, n.º 3 (1 de septiembre de 2020): 351–75. http://dx.doi.org/10.1386/slac_00026_1.

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Famous for having been the first Spanish film to feature the Franco-banned bikinis, Bahía de Palma/Palma Bay (Bosch 1962) is generally seen as a frivolous footnote in the history of Spanish cinema, but it is also a pioneering aperturista film, that deserves closer examination as the blue print for late Francoist cultural productions of the 1960s and beyond. This article argues that Bahía de Palma is a veiled allegorical representation of the social and political contradictions that characterized Spain’s reintegration into the international world order after the dark and disastrous period of international isolation during the 1940s and early 1950s.

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ACUÑA, MARIA VIRGINIA. "LOVE CONQUERS ALL: CUPID, PHILIP V AND THE ALLEGORICAL ZARZUELA DURING THE WAR OF THE SPANISH SUCCESSION (1701–1714)". Eighteenth Century Music 15, n.º 1 (marzo de 2018): 29–45. http://dx.doi.org/10.1017/s1478570617000380.

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ABSTRACTAn unprecedented shift in the portrayal of Cupid took place in the Spanish mythological zarzuela during the years surrounding the War of the Spanish Succession (1701–1714). For the first time ever, Cupid was depicted not as a god of chaste or erotic love, but as a god at war with other deities. And in every work, a female actor-singer, not a male performer, played the fiery but mournful character. In this article I first explore the cultural understanding of Cupid in early eighteenth-century Spain as articulated by Spanish mythographers of the era, and as seen in the earliest representations of Cupid in Spanish theatre. I then investigate the intersection of myth, allegory, war and music theatre in a case study – the zarzuela Las nuevas armas de amor (Love's New Weapons, 1711) – suggesting that in this work Cupid functioned as an allegorical representation of the Spanish king, and that the deity's struggles for power mirrored the monarch's plight during a time of great political instability. Moreover, I argue that the pre-existing local theatrical practice of cross-dressing allowed for the portrayal of a defeated and sobbing Cupid in the zarzuela.

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Mitchell, Joanna. "TO MAKE SPANISH A SACRED LANGUAGE: WRITING AND THE CRYPTO‐JEWISH ALLEGORY IN SABINA BERMAN’SLA BOBE". Journal of Modern Jewish Studies 8, n.º 3 (28 de septiembre de 2009): 287–308. http://dx.doi.org/10.1080/14725880903263010.

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Aamold, Svein. "Statuens indre liv. En tolkning av Juan Muñoz' kunst". Nordlit 14, n.º 1 (1 de octubre de 2010): 71. http://dx.doi.org/10.7557/13.1090.

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From the mid-1980's until his untimely death in 2001, the Spanish-born artistJuan Muñoz gained international acclaim for his sculptures, installations andmultimedia projects. This article discusses and interprets some of his figurativesculptural works, using concepts such as simulacrum, alienation, allegory, thestatue as an autonomous entity, and Walter Benjamin's notion of aura. Muñoz'ssculptures strongly invite us into illusionary settings and situations while at thesame time leaving us on the outside, as strangers in awkward situations. Thetheatrical, or performative, character of his larger installations, or tableauxvivants, such as Many Times (1999), questions not only our social andenvironmental relations, but also our individuality, as if we are confrontingmirrors that uncover our vulnerable subjectivity in highly disturbing ways.

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West, Michael. "Spenser's Art of War: Chivalric Allegory, Military Technology, and the Elizabethan Mock-Heroic Sensibility". Renaissance Quarterly 41, n.º 4 (1988): 654–704. http://dx.doi.org/10.2307/2861885.

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In the medieval romances single combat was the knightly norm. The Italian chivalric epics sought to adapt this convention to the ideals of the Renaissance courtier. In Il Cortegiano, Frederico Fregoso explains “that where the Courtyer is at skirmishe, or assault, or battaile upon the land, or in such other places of enterprise, he ought to worke the matter wisely in seperating himself from the multitude, and undertake his notable and bould feates which he hath to doe, with as little company as he can.“’ But such displays of panache had little place in the massed infantry tactics that dominated the actual battlefields of the sixteenth century. It was disciplined self-restraint that made the Swiss and Spanish pike phalanxes so formidable, relegating cavalry to secondary importance. The Italian courtierknights had been rudely humbled, after all, when Charles XII invaded Italy in 1494 and deployed his excellent artillery.

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Kidakou, Antoine Bouba. "La metáfora del viaje en Un viaje de novios de Emilia Pardo Bazán". Acta Hispanica 20 (1 de enero de 2015): 7–19. http://dx.doi.org/10.14232/actahisp.2015.20.7-19.

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Within the vast corpus of the nineteenth century Spanish narrative, Emilia Pardo Bazán’s Un viaje de novio, deserve a different consideration due to a particular style adopted by the author and the consideration of travel as an allegory of life. The author departs, hence fore, from the way how travel was understood in the nineteenth century when writers based their travel writings or novels on the scientific and educational aspects. Pardo Bazan explores the transcendental aspect of travel fact and this paper studies the different techniques used by the writer to develop the metaphor of travel considering the geographical movement as an internal trip. The subjective and progressive transformation of the main protagonist, according to the itinerary of the trip, is studied as that internal journey.

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Gómez, Isabel. "Brazilian Transcreation and World Literature". Journal of World Literature 1, n.º 3 (2016): 316–41. http://dx.doi.org/10.1163/24056480-00103003.

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How does one translate an avant-garde classic? How might a translation mediate between experimentalism and canonicity as a work travels away from its culture of origin? This article studies Héctor Olea’s Spanish translation of Mário de Andrade’s Macunaíma (1928) as one response to these questions from a Latin American translation zone. First translated for the Barcelona publishing house Seix Barral (1977), his work soon traveled back across the Atlantic to be re-edited into a critical edition for Biblioteca Ayacucho (1979). This article examines letters from the publisher’s archive to demonstrate that debates over the novel as avant-garde art, literary ethnography, or Brazilian national allegory influenced their views on translation. By including two incompatible translation approaches—transcreation and thick translation—the volume reveals an unresolved paradoxical treatment of cultural hybridity at the heart of the text.

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TCHAROS, STEFANIE. "The Serenata in Early 18th––Century Rome: Sight, Sound, Ritual, and the Signification of Meaning". Journal of Musicology 23, n.º 4 (2006): 528–68. http://dx.doi.org/10.1525/jm.2006.23.4.528.

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ABSTRACT By the turn of the 18th century serenatas performed in Rome's urban squares as political or dynastic propaganda were a well-established ritual. In this public forum the effect of sound produced by large instrumental forces was a central feature, yet the serenata was a complex performance in which music was but one element in a series of other displays. Though undoubtedly an important part of the serenata, music's role in this multifaceted performance and its effect on audiences remain unclear. Part of that ambiguity stems from the serenata's ability to service both public and private consumption. Patrons exploited this dual nature, using the more spectacular elements of the serenata to influence the public at large, while also relying on other elements (primarily word and sound) to sway elite audiences. In the context of Rome and its dynastic politics, Giacomo Buonaccorsi's and Pietro Paolo Bencini's serenata Le gare festive in applauso alla Real Casa di Francia (1704) demonstrates how the serenata's dichotomous structures and multiplicity of meaning were deeply linked to larger cultural frameworks and social tensions——in this case, brewing over the War of Spanish Succession. The serenata was both a musical work and a performed event effectively shaped by the genre's ritual practice and by history and politics in late 17th- and early 18th-century Rome. The logic of the serenata's ritual practice shows significant correspondences to the genre's narrative strategies. Within the serenata, allegory served as the catalyst to express layers of meaning to diverse audiences. But more than that, allegory provided the means by which music was contained and its delivery marked. For public audiences, sound was as much visual as it was aural, an immediate and palpable special effect. For privileged listeners, music required reflection as to how spectacular effects acquired deeper meaning when anchored in the significance of the poetic text. Thus music in the serenata was not merely an element in a multifaceted performance but was multidimensional in itself, uniquely straddling both sides of the public/private divide.

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Olivella, Jaume. "Mirant al cel/Eyes on the Sky: The (Im)possible Expiation of the Spectral Other". Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, n.º 2 (31 de octubre de 2020): 21–41. http://dx.doi.org/10.5399/uo/peripherica.1.2.3.

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This article analyzes the contribution of the new Catalan documentary in the current process of reclaiming the collective historical memory repressed by Francoism and by the Silence Deal established during the political transition to democracy after Franco’s death. This analysis will consider some films that use the family metaphor as a national allegory to represent the plight of the Catalan nation. The main thesis of this study is to underline the need for reparation regarding the crimes committed by Francoism during and after the Spanish Civil War and the fact that such a reparation has not taken place neither in fiction nor in historical terms. This essay relies on the post-Derridian concept of “hauntology” as a theoretical framework to study the spectral textual encounters that mark the symptoms of an uninterrupted mourning process that appeals to the historical memory in search of dignity and closure. Methodologically, this study offers a close textual reading of Jesús Garay’s film Mirant al cel (Eyes on the Sky, 2008) as a perfect case study where the spectral conflict between victims and victimizers is acted out in the context of Barcelona and Catalonia and the series of urban mass bombings carried out by the Italian Royal Legion under the direct supervision of Il Duce, Mussolini. Garay’s film special relevance lies in the fact of its being one of the few documentaries that revisits those three dramatic days in March 1938 that became a tragic rehearsal of the massive urban aerial raids of the Second World War.

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Padilha Vieira Júnior, Rivadávia. "MAIORA TIBI TRIUNFO DINÁSTICO DE FELIPE II NA ALEGORIA DA BATALHA DE LEPANTO (C. 1573-1575), DE TICIANO VECELLIO * MAIORA TIBI DYNASTIC TRIUMPH OF PHILIP II IN THE ALLEGORY OF THE BATTLE OF LEPANTO (C. 1573-1575), BY TITIAN VECELLIO". História e Cultura 5, n.º 1 (29 de marzo de 2016): 253. http://dx.doi.org/10.18223/hiscult.v5i1.1477.

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Resumo: Este estudo propõe uma análise centrada na pintura Felipe II, después de la victoria de Lepanto, ofrece al cielo al príncipe don Fernando (Madri, Museu do Prado), de Ticiano Vecellio. Produzida em resposta à encomenda do rei espanhol Felipe II, teve por intenção celebrar dois momentos marcantes de seu reinado no ano de 1571: a vitória sobre a frota turca na batalha de Lepanto e o nascimento de seu herdeiro, o infante Dom Fernando. Com o objetivo de compreender os sentidos e funções do objeto imagético nesse contexto, a linguagem simbólica da pintura é interpretada em conexão com os acontecimentos contemporâneos à sua produção. Apesar de ser reconhecida como a “alegoria da batalha de Lepanto”, de facto, esta é representada em último plano, eclipsada por uma série de elementos carregados de simbolismo dinástico e religioso. Palavras-chave: Felipe II de Espanha; Ticiano Vecellio; Batalha de Lepanto; Iconografia; História e Imagem. Abstract: This study proposes an analysis focused on the painting Felipe II , después de la victoria de Lepanto, ofrece al cielo al prince don Fernando (Madrid, Museum of Prado), by Titian Vecellio. It was produced in response to the request of the Spanish King Philip II, with the intention to celebrate two key moments of his reign in the year 1571: the victory over the turkish fleet at the Battle of Lepanto and the birth of his heir, the infante Don Fernando. In order to understand the meanings and functions of imagery object in this context, the symbolic language of painting is interpreted in connection with contemporary events to its production. Despite being recognized as the "Allegory of the Battle of Lepanto", in fact, this is represented in the last level, eclipsed by a series of loaded elements of dynastic and religious symbolism. Keywords: Philip II ofSpain; Titian Vecellio;Battle of Lepanto; Iconography; History and Image.

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Tesis sobre el tema "Spanish Allegory"

Silva, Fabrício. "LETRAS DE UMA RESISTÊNCIA: FANTASMAS TRANSGENERACIONAIS E DITADURA. BRASIL, ARGENTINA E CUBA 1964-2002". UKnowledge, 2017. http://uknowledge.uky.edu/hisp_etds/32.

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During the period of military government in Argentina, Brazil (1964 –1982) and the present day communist Cuban regime, a machinery of cultural repression was established in these countries, these states had a systematic plan of cultural repression of any kind of opposition, dictatorships had an organized and sophisticated operating control over the press and all publications. The dissident writers examined in this dissertation developed strategies of resistance that depended largely on allegory to carry their messages against their respective oppressive regimes. By means of a detailed rhetorical analysis, our study examines the lookings of allegory and cultural resistance under the constraints of repression. Our corpus includes six novels written by dissident writers during the period studied in this dissertation. The fictional narratives selected in this study are divided into novels from Brazil, Argentina and Cuba. The Brazilian novels: of Jorge Amado Dona Flor e seus dois maridos (1966) and Érico Verissimo, Incidente en Antares (1971); two Argentine novels: Ricardo Piglia’s, Respiración artificial (1980) and Martin Khoan’s, Dos veces junio (2002); and by two Cubans: Jesús Díaz, Las iniciales de la tierra (1987) and Zoé Valdés, La nada cotidiana (1995). This dissertation demostrates that allegory and ghosts, as literary figures, can evolve and assume new functions of resisting oppressive governments through confronting, denouncing, identifying and conjuring national traumas as well as adapting themselves to the different political circumstances in which they are used.

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Fischer, M. Cecilia. "Pedagogical and Ekphrastic Elements in the Story of The Predestined Pilgrim and His Brother Reprobate by Father Alexandre de Gusm". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4294.

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The object of this thesis is to analyze the presence of the pedagogical ekphrastic elements in the novel The Story of The Predestined Pilgrim and his Brother Reprobate by Father Alexandre de Gusmmão. In the past this novel has been an obscure masterpiece outside the circle of those who study early Portuguese language works. In the last half century there has been a crescendo of the study of this novel as more scholars have taken an interest in the pilgrimage motif and in particular using this novel in comparative literature. A monumental contribution to bring this novel out of obscurity is the recent publication of its English translation by Christopher C. Lund. His efforts make this work more accessible to students and scholars who will become enlightened by its contents. His English translation has been used exclusively and is the enabling factor for this study of pedagogical ekphrastic elements contained in the novel. Pilgrimage is a frequent motif in seventeenth-century literature. His pilgrimage is the narrative of two polar opposite brothers whose journeys take them to six cities. As they traverse these cities, the brothers make choices that lead them to their final destinations of Jerusalem, the symbol of heaven, and Babylon, which depicts hell. Gusmmão emphasizes early on that their choices will cause them to be separated forever. Ekphrases are used to enrich and capture the reader's attention to the teachings of Gusmmão through the choices placed before each brother. Gusmmão employs whit, charm, characterization, ekphrases, vignettes, and allegory, with the poignant pedagogical objective to cause the reader to decide if he or she is a predestined or a reprobate and would be satisfied with the inevitable outcomes. I review the socio-historic presence of the Jesuits in Brazil as well as their remarkable pedagogical influence. Ekphrasis is studied as to its origins and its longevity throughout the centuries and how scholars have defined ekphrasis. The essence of this thesis is the extraction and examination of two hundred and forty-one ekphrastic passages from the novel and the analysis of their pedagogical value along with their pictorial elements. It is important to note that the findings of this study loudly affirm Gusmão's use of pedagogical ekphrastic elements as they were detected abundantly in all but ten of the sixty-three chapters included in his novel. The literary richness created by Gusmão's use of ekphrasis so predominantly throughout his novel is indicative of his stature as a pedagogical literary master.

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King, Errol LeRoy. "Resurrecting Lope's Autos". BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/815.

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By the turn of the seventeenth century, the auto sacramental quickly became the most elaborate dramatic genre in Spain. Shortly after the Council of Trent, professional playwrights replaced clerics who had previously written autos for the Corpus Christi celebrations held each year, but none were more influential than Lope de Vega in refining thematic, literary, and staging elements and techniques. At the middle of the nineteenth century, critics began to study the genre that a royal decree had banned almost a century earlier; however, few have dedicated much time to Lope's autos. As a result, most critics have misunderstood Lope's contributions to the genre. This study addresses some of the issues that scholars have particularly misunderstood or ignored, namely, Lope's treatment of the Eucharistic theme in his autos, the level of dramatic unity displayed in his Corpus Christi plays, and the contribution of spectacle to the overall performance. Using a textual analysis of three of Lope's autos, I conclude that Lope could and did write profound, unified liturgical plays designed to disseminate Catholic dogma in an effective and entertaining manner. Each of the three autos used in this study, Las aventuras del Hombre, El viaje del Alma, and Los dos ingenios y esclavos, presents a protagonist representing mankind, who must learn to disregard evil influences faced in mortality and turn to Christ and the Eucharist for salvation. These elaborate liturgical performances, whose budgets exceeded those of the popular comedias of the day, all took place in city plazas around the country. In order to understand the deserved popularity that Lope's autos clearly enjoyed in their original setting, scholars need to return to the texts themselves and not merely rely on criticism.

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Worley, Robert Donald 1964. "The Kingdom of Spain as an allegory of Christ's Kingdom in five autos by Calderón". Thesis, 2006. http://hdl.handle.net/2152/2665.

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El nuevo palacio del Retiro (1634), El cubo de la Almudena (1651), La devoción de la misa (1658), and El santo rey don Fernando (first and second parts, 1671) are works of a religious literary genre unique to Spain: the auto sacramental. Until recently, such plays have suffered a lack of critical attention, possibly due to their complicated theological focus. Pedro Calderón de la Barca (1600-1681), the master of this genre, is the author of nearly eighty of these one-act works celebrating the Eucharist. Of these, the most studied are those using biblical and mythological characters. Calderón's autos which use Spanish historical figures, such as the above five, have been the object of extremely few studies. Most of these analyses remain at a superficial level, focusing on the works' historical contents, rather than their central spiritual elements. These works illustrate the cosmography of the time and place of their conception. To uncover these autos' full meaning, it is necessary to interpret all other theatrical components in light of these works' primary topic: the Eucharist. Throughout El nuevo palacio del Retiro, El cubo de la Almudena, La devoción de la misa, and both parts of El santo rey don Fernando, the historical elements are framed by the spiritual. In the first, a competition in which the king participates is presented as an image of the transformation of Christ into the Eucharist. In the second, a historical Muslim siege of Madrid is used to assert the victory of Spain against historical and spiritual foes through the Sacrament. The third presents the devotion of a legendary soldier to the Mass as the source of victory in a historical battle. The two autos written on the occasion of the canonization of the medieval King Fernando III combine historical, legendary, and fictitious events to illustrate temporal and eternal victories through the Sacrament. As is evident in a more than superficial study, in these five autos, Calderón modifies history in order to convey an eternal message.
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Libros sobre el tema "Spanish Allegory"

Cvitanovic, Dinko. De Berceo a Borges: La alegoría en las letras hispánicas. Buenos Aires, R. Argentina: F. García Cambeiro, 1995.

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Puga, Ana Elena. Memory, allegory, and testimony in South American theater: Upstaging dictatorship. New York: Routledge, 2008.

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Avilés, Luis F. Lenguaje y crisis: Las alegorías de El criticón. Madrid: Editorial Fundamentos, 1998.

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Alegorías: Imagen y discurso en la España moderna. Madrid: Consejo Superior de Investigaciones Científicas, 2014.

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La alegoría de América en el barroco hispánico: Del arte efímero al teatro. Valencia: Pre-Textos, 2005.

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Cremades, Jorge Checa. Gracián y la imaginación arquitectónica: Espacio y alegoría de la Edad Media al Barroco. Potomac, Md: Scripta Humanistica, 1986.

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Cremades, Jorge Checa. Gracián y la imaginación arquitectónica: Espacio y alegoría de la Edad Media al Barroco. Potomac, Md., U.S.A: Scripta Humanistica, 1986.

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Wallace, Lew. Ben Hur: A modern adaptation. Uhrichsville, Ohio: Barbour Books, 2002.

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Wallace, Lew. Ben-Hur: A tale of the Christ. Pleasantville, N.Y: Reader's Digest Assoc., 1992.

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Wallace, Lew. Ben-hur: A tale of the Christ. London: Reader's Digest, 1998.

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Capítulos de libros sobre el tema "Spanish Allegory"

García-Gómez, Jorge. "Type and Concept in Lazarillo de Tormes: Self-Knowledge and the Spanish Picaresque Narrative". En Allegory Revisited, 145–78. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-011-0898-0_11.

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Lin, Erika T. "Imaginary Forces: Allegory, Mimesis, and Audience Interpretation in The Spanish Tragedy". En Shakespeare and the Materiality of Performance, 71–104. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137006509_4.

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Sandín, Lyn Di Iorio. "When Papi Killed Mami: Allegory’s Magical Fragments in Cristina García’s The Agüero Sisters". En Killing Spanish, 17–32. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9780230100800_2.

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Acevedo-Muñoz, Ernesto R. "Horror of allegory". En Contemporary Spanish cinema and genre. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141316.00019.

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"INTERROGATIONS OF THE NATIONAL ALLEGORY:". En Spanish Cinema against Itself, 15–39. Indiana University Press, 2020. http://dx.doi.org/10.2307/j.ctvx8b7wd.5.

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Christian, Margaret. "Saracens, Assyrians, and Spaniards: allegories of the Armada". En Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0007.

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When the Spanish invasion force of 1588 met with successful English resistance and disastrous weather, losing thousands of men and 62 of 130 ships, contemporary observers and participants on both sides believed the outcome reflected God’s intervention. English sermons used Bible stories to develop a patriotic and providentialist interpretation of the gathering threat and subsequent Spanish defeat. Sermons before the attempted invasion, by Thomas Drant, Meredith Hanmer, and William Gravet, demonstrate the comparison preachers drew a between Islam and Roman Catholicism (as Spenser created a Muslim sultan to represent the Roman Catholic Spanish threat). Sermons celebrating the English victory, by John Prime, Thomas White, Roger Hackett, and Stephen Gosson, show that Spenser and the preachers drew on the same biblical theme of God’s judgment and motifs of horses, chariot, and hardware.

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Christian, Margaret. "Allegorical reading in occasional Elizabethan liturgies". En Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0003.

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Occasional liturgies are scripts for religious services which respond to specific occasions: emergencies like plague (in 1563), Muslim invasions in Europe (in 1565 and 1566), bad weather (in 1571), the St. Bartholomew’s Day Massacre, the London earthquake of 1580, the Spanish invasion (expected from 1586 through 1588), or plots against the queen like Dr. Parry’s in 1585 and Babington’s in 1586. Two occasional liturgies from 1576 and 1585 offer readings and prayers for November 17, signalling that, like Pentecost and Christmas, Accession Day was part of the church year. Identifying England with Israel, liturgists treated Elizabethan current events and public figures as interchangeable with events and characters described in the Bible. Elizabethan churchgoers thus had abundant training in decoding allegorical narratives—a facility they could bring to a reading of The Faerie Queene.

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"Paolo de Matteis’s Allegory of the End of the War of the Spanish Succession". En Fortunata Neapolis: Kunst- und Kulturtransfer zwischen Neapel, Wien und Mitteleuropa, 1–16. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110707144-002.

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Smith, Paul Julian. "Youth Culture on Television: El internado [The Boarding School] (Antena 3, 2007–10), Física o química [Physics or Chemistry] (Antena 3, 2008–11)". En Dramatized Societies: Quality Television in Spain and Mexico. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781781383247.003.0004.

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Chapter 3 begins with a survey of the youth genre in Spain, a topic little studied in comparison with the US. It goes on to suggest that two titles, once more the object of bitter attack from Spanish critics and politicians, stage an unexpected working through of vital social issues for their youthful audiences. Thus one mystery narrative mounts an elaborate allegory of the historical memory debate, even obliquely alluding to the controversy over the excavation of mass graves of war victims. Another high school drama, hitherto held to be exploitative and even responsible for teen riots, explores youthful homosexuality and immigration in ways that clearly qualify as ethically serious, as well as politically progressive

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Legnani, Nicole D. "Invasive Specie". En Latin American Culture and the Limits of the Human, 127–49. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401490.003.0006.

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This chapter traces a narrative archipelago from Madeira to Hispaniola through the metonymy of wood and the trajectory of Christopher Columbus, as allegorized by an anecdote about the reproductive destruction of an invasive species on a deserted island off the coast of West Africa in the Historia de las Indias by Bartolomé de Las Casas. It reflects on the connections afforded by the polysemy of naturaleza in sixteenth-century Spanish and made by Las Casas in his anecdotes about colonial capitalism on Hispaniola and Madeira in both Historia de las Indias and his edition of Christopher Columbus’s Diario a Bordo.As islands have always served as schematic shorthand for categories and indigeneity, an anecdote about a plague of rabbits on the Madeira islands in the early fifteenth century blurs the limits between state and enterprise, animal and human, native and nature (naturaland naturaleza), and the natural and unnatural (naturaand contra natura). What seems like a digression into the Madeira rabbits from Las Casas’s larger narrative about the conquest of America serves instead as a self-reflexive allegory for the paradoxical project of narrating origins in historical processes, especially destructive ones that nonetheless reproduce on a global scale.

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