Bibliografías temáticas / Spanish Propaganda

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Literatura académica sobre el tema "Spanish Propaganda"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Spanish Propaganda"

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Morrow, Joshua A. "Propaganda and Artificial Glory." IU Journal of Undergraduate Research 2, no. 1 (2016): 19–28. http://dx.doi.org/10.14434/iujur.v2i1.20923.

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This project involves the analysis of both primary and secondary sources to investigate what caused men from three towns in Indiana to volunteer to fight in the Spanish-American War, a conflict that they had no personal reason to join. The predominantly-used primary sources were newspapers from the three towns in Indiana and speeches by politicians. These three towns were selected after careful analysis of demographic information including population and number of volunteers in the Spanish-American War from every major city in the state. To further expand on these ideas, political leanings and occupations were taken into account. Upon completing this study, it was discovered that both the rhetoric of pro-imperial politicians, the propaganda that filled the newspapers of the time, and the creation of the concept of glory and the valor that could be won through combat had an effect on the men’s decision to register for a conflict in which the soldiers had no personal stake.
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Peñalba-Sotorrío, Mercedes. "Beyond the War: Nazi Propaganda Aims in Spain during the Second World War." Journal of Contemporary History 54, no. 4 (2018): 902–26. http://dx.doi.org/10.1177/0022009418761214.

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This article argues that the objectives pursued by Nazi propaganda in Spain went far beyond merely securing Spanish participation in the Second World War. Through the examination of under-utilized materials from Spanish and German archives, including the previously inaccessible archive of José Luis de Arrese, general secretary of the Falange, this article shows that propaganda campaigns varied in means, content and dissemination, depending on the evolution of the conflict. The aims of these campaigns reflect in turn Nazi interests in Spain, from protecting economic assets in the Peninsula, to ensuring the supply of raw materials to the war effort, and turning Spain into a bridgehead for German interests in North Africa and Latin America. The article shows how a combination of ideology and opportunism, conveniently balanced by the ambassadors’ realpolitik, allowed for fruitful collaboration with the Falange. This was central to the development of the propaganda campaigns. I contend that by looking more closely at the ramifications of Spanish neutrality, we can further analyse how Spain fitted into the Nazis’ overarching foreign policy and evaluate whether this was the product of opportunism or historical continuities with pre-war policies, including German propaganda aims in Spain during the First World War.
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Symmons, Sarah. "Spanish Royal Patronage 1412–1804: Portraits as Propaganda." Hispanic Research Journal 19, no. 5 (2018): 537–39. http://dx.doi.org/10.1080/14682737.2018.1511302.

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Sevillano, Francisco. "Il "rosso". L'immagine del nemico nella "Spagna nazionale"." MEMORIA E RICERCA, no. 31 (September 2009): 141–54. http://dx.doi.org/10.3280/mer2009-031009.

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- This paper examines the multiform nature of the violence that erupted during the Spanish Civil War, with particular emphasis on its symbolic dimension. To this end, its considers the propagandistic construction underpinning the representation of the «enemy» (los rojos) in the so-called Nationalist press during one moment of the war, aftermath of the fighting on the Madrid front and the advance of the Nationalist forces througt northern SpainParole chiave: Guerra civile spagnola, violenza, propaganda, rappresentazione culturale, nemico, nazionalismo Spanish Civil War, violence, propaganda, cultural representation, enemy, nationalism
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Cappelli, Federica. "Verosimiglianza storica vs memoria creativa in El prodigioso príncipe transilvano." Caietele Echinox 44 (June 1, 2023): 45–60. http://dx.doi.org/10.24193/cechinox.2023.44.03.

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"In the Spanish theatre of the Golden Age, political propaganda and the consequent need to propose heroes conforming to the prevailing political-religious ideology to the public of corrales de comedia were almost always conditioning the creative process. This is also the case of El prodigioso príncipe transilvano, a historical comedy set at the time of the long Spanish-Turkish conflict (1526-1606) and dedicated to exalting the figure of Sigismund Báthory, in truth one of the most controversial figures in the history of Romanian principalities. This contribution aims at investigating the extent and mechanisms that, in the text, regulate this intersection of historical reliability and creative reworking of a recent past for pro-Spanish and pro- catholic propaganda purposes."
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Romero-Reche, Alejandro. "Avant-garde humour as ideological supplement." European Journal of Humour Research 10, no. 3 (2022): 39–53. http://dx.doi.org/10.7592/ejhr.2022.10.3.663.

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In 1939, when the Spanish civil war had recently ended, avant-garde humorists Miguel Mihura and Tono published an absurdist propaganda ‘novel’, María de la Hoz [María of the Sickle], about the republican zone during the conflict. Unlike other Francoist propaganda pieces of the time, it did not focus on the violence or the alleged moral degeneracy of the ‘reds’ but rather on what its authors perceived as the absurdity of egalitarianism and the progressive ideals. The novel, while not contradicting the emerging official ideology, conspicuously overlooked some of its key tenets, particularly those related to nationalism, Catholicism and Franco’s leadership. This article contextualises María de la Hoz in the development process of Spanish avant-garde humour and in Francoist propaganda fiction during and immediately after the civil war in order to analyse the ideological stance it represented and, potentially, reinforced. As a political piece, the book seems to convey the position of an affluent middle class who did not enthusiastically believe in Francoism but preferred it to the republican alternative, caricatured as a communist regime by nationalist propaganda.
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Smetak, Jacqueline R. "RECYCLED PROPAGANDA, OR EL SALVADOR IS SPANISH FOR VIETNAM." Canadian Review of American Studies 22, no. 3 (1991): 343–66. http://dx.doi.org/10.3138/cras-022-03-03.

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Knudson, Jerry W. "The Ultimate Weapon: Propaganda and the Spanish Civil War." Journalism History 15, no. 4 (1988): 102–11. http://dx.doi.org/10.1080/00947679.1988.12066669.

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del Valle, José, and Laura Villa. "Spanish in Brazil: Language Policy, Business, and Cultural Propaganda." Language Policy 5, no. 4 (2006): 371–94. http://dx.doi.org/10.1007/s10993-006-9035-2.

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Ruiz-del-Olmo, Francisco-Javier. "Language and collective identity in Buñuel. Propaganda in the film «España 1936»." Comunicar 18, no. 35 (2010): 69–77. http://dx.doi.org/10.3916/c35-2010-02-07.

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The Spanish Civil War occupies an important place in the European collective memory. The film language and depiction of that conflict provide an important platform from which to study certain features of the European cultural matrix. This paper examines propaganda films produced by the Republican government, especially those films produced under the supervision of Luis Buñuel, the Spanish surrealist filmmaker. At the start of the war, the Aragonese filmmaker returned to Paris following a summons by the Spanish Foreign Ministry to collaborate with the Spanish embassy in Paris in counterespionage and propaganda. Buñuel’s main task was to gather, organize and edit pro-Republican footage. Unlike films made for viewing in Spain, the Paris-produced propaganda films were aimed at audiences in Europe with the objective of changing the doctrine of non-intervention in the conflict. They are also characterized by Buñuel’s theories and conception of documentary film-making, in which reflection and the psychological resources that motivate action or move an individual conscience predominate. This paper describes and analyses the film language and practice of that era, in particular the unique and emblematic film «España 1936» (1937). En la memoria colectiva de los europeos, la Guerra Civil española ocupa un lugar destacado. El lenguaje cinematográfico y la representación fílmica de esa contienda forman un ámbito relevante en el que estudiar algunos rasgos de la matriz cultural europea. El presente trabajo selecciona parte de la producción fílmica de propaganda del gobierno republicano, en concreto los filmes de montaje supervisados por Luis Buñuel. Al inicio de la contienda el cineasta aragonés vuelve a París siguiendo las indicaciones del Ministerio español de Asuntos Exteriores para colaborar, en la embajada española en la capital francesa, en diversas labores de contraespionaje y propaganda. Entre ellas y principalmente, Buñuel se ocupa de reunir, organizar y montar diverso material fílmico prorrepublicano. A diferencia de otras producciones proyectadas en España, los filmes parisinos de propaganda republicana se caracterizaron, en términos generales, por estar dirigidas a públicos de distintos países europeos con el objetivo de romper la doctrina de no intervención en el conflicto y se inscriben dentro de las teorías y concepción de Buñuel sobre el documentalismo filmado, donde primaba lo reflexivo y los recursos psicológicos que motivaran a la acción o a la toma de conciencia individual. El presente texto se ocupa, en ese contexto, de la descripción y el análisis del lenguaje y las prácticas fílmicas en esos años. De todas ellas, el filme «España, 1936» (1937), es a la vez un ejemplo emblemático y singular.
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Tesis sobre el tema "Spanish Propaganda"

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Thomas, D. G. "History, commitment and propaganda in the Spanish novel of the Spanish Civil War 1936-1966." Thesis, University of Exeter, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.374924.

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Mason, Sofia Sandina Maniscalco. "Testimonio as counter-propaganda : a comparative analysis of Latin-American women's testimonial literature." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14199/.

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This thesis creates a gendered typology of women’s testimonio that foregrounds the Cold War context of the genre. This new perspective reveals that contrary to the assertions of some critics, the texts struggle to convey a unitary propagandic message. Rather, their prime purpose is to counter hegemonic discourse. Yet, far from being unliterary or impersonal, they impart much personal information using a diversity of stylistic devices. The testimonios challenge the profoundly gendered national security discourse of their own governments and the US. The argument that brutal counter-insurgency tactics, widespread incarceration and torture, were necessary to combat “communist-inspired” insurgency is invalidated by these testimonios which replace dichotomising and reductionist Cold War propaganda with accounts of the local, subjective and personal reasons for political involvement. The texts disclose the potentially traumatising lived consequences of US foreign policy and national security strategies to reveal their disproportionate and excessive nature. However, the testimonialistas’ sense of a greater purpose, collective identity and belonging to a wider community enables them to remain resilient in spite of adverse experiences. Despite their loyalty to utopian and egalitarian ideals, sexism from within leftist movements and governments is exposed and denounced by the female protagonists as patriarchal institutions, traditions and gendered identities are consistently undermined. Latin American women, as guerrilleras, organisers and members of peasant and indigenous communities, present themselves as defiant protagonists who, aside from the male-dominated master narratives of the superpowers, demonstrate the strength of their political agency, psychological resilience and ideological convictions.
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Daniel, Marko. "Art and propaganda : the battle for cultural property in the Spanish Civil War." Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285847.

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Alonso, García María del Rosario. "Historia, diplomacia y propaganda de las instituciones de la República española en el exilio (1945-1962) /." Madrid : Fundación Universitaria Española, 2004. http://www.gbv.de/dms/sub-hamburg/499505026.pdf.

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Hardin, Jennifer Roe. "Fighting for Spain through the Media: Visual Propaganda as a Political Tool in the Spanish Civil War." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3078.

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Thesis advisor: John Michalczyk<br>The Spanish Civil War (1936-1939) possesses an historical identity distinct from other national conflicts because of its chronological position between World War I and World War II. International ideological interests came to the forefront of the Spanish conflict and foreign powers became involved in the Republican and Nationalist political factions with the hopes of furthering their respective agendas. The Spanish Civil War extended the aftermath of World War I, as well as provided a staging ground for World War II. Therefore, the Spanish Civil War transformed into a ‘proxy war’ in which foreign powers utilized the national conflict to further their ideological interests. In order to unite these diverse international socio-political campaigns, governments and rebel groups turned to modern visual propaganda to rally the public masses and move them to actively support one side over the other. Propaganda film and poster art supplied those involved in the Spanish Civil War with an invaluable political tool to issue a call to action and unite various political factions around one ideological movement<br>Thesis (BA) — Boston College, 2013<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: College Honors Program<br>Discipline: International Studies
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McCarthy, J. "Teatro de urgencia : propaganda theatre in the Republican zone during the Spanish Civil War 1936-1939." Thesis, Swansea University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.638044.

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The thesis examines the <I>teatro de urgencia</I> which was written to fulfil a variety of civilian and military tasks felt by the Republican authorities to be necessary for the effective prosecution of the Civil War. It attempt to locate <I>teatro de urgencia</I> within the broad spectrum of European political theatre through an introductory survey which traces its debts to the agitational theatre of the Weimar Republic, early Soviet theatre experiments such as the Prolekult and to the indigenous tradition of Spanish social drama. Subsequently, the development of the <I>teatro de urgencia</I> repertoire and its performance is traced in detail in order to offer a thorough account of how theatrical propaganda was conducted during the Civil War and the extent to which it was successful in one of its key aims - that of reaching the <I>pueblo</I>. This involved consideration of actor-audience relationships and, in Chapter Three, an exploration is made which suggests that <I>teatro de urgencia</I> offers evidence of important innovation in this respect. Chapters Four to Seven offer a detailed examination of a wide range of <I>teatro de urgencia</I> texts. These texts, hitherto neglected or lost, have been recovered from archives, libraries and surviving authors. Their discussion is structured so as to offer a comprehensive analysis of the genre. Initially, the portrayal of the Nationalist enemy is examined before an analysis is made of the presentation of a dominant figure of the drama, the Republican soldier. Discussion of the important concepts of civic and military duty is followed by examination of the role of <I>pueblo</I> in the drama. The thesis argues that <I>teatro de urgencia</I> is a neglected aspect of European political theatre and is an unacknowledged contribution to the tradition of popular theatres. An accompanying volume reproduces four typescript plays by Luis Mussot not available elsewhere.
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Greeson, Helen M. "Gendering the Republic and the Nation: Political Poster Art of the Spanish Civil War, 1936-1939." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/history_theses/51.

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The Spanish Civil War is typically presented as a military narrative of the ideological battle between socialism and fascism, foreshadowing World War II. Yet the Spanish war continued trends begun during World War I, notably the use of propaganda posters and the movement of women into visible roles within the public sphere. Employing cultural studies methods to read propaganda poster art from the Spanish war as texts, this thesis analyzes the ways in which this persuasive medium represented extremes of gender discourse within the context of letters, memoirs, and other experiential accounts. This thesis analyzes symbols present in propaganda art and considers how their meanings interacted with the changing gendered identities of Republic and nation. Even within the relatively egalitarian Republic, political factions constructed conflicting representations of femininity in propaganda art, and women’s accounts indicate that despite ideological differences, both sides still shared a patriarchal worldview.
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Martin, Ivan Rodrigues. "Locus e ecos da ética libertária:- a novela ideal e a propaganda anarquista espanhola." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-24032008-112516/.

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Durante a Guerra Civil Espanhola (1936-1939), operou-se um intenso debate ideológico entre as forças políticas que se confrontavam nos campos de batalha. Canções e cartazes de guerra foram eficientes instrumentos de divulgação das idéias de anarquistas, comunistas e nacionalistas. Tal debate, porém, já se havia anunciado nas duas primeiras décadas do século XX, quando esses grupos políticos veicularam suas ideologias através de textos ficcionais dirigidos às massas. Naquele contexto, o pensamento defendido pelos anarquistas circulou em mais de seiscentas novelas da série Novela Ideal, que visavam sobretudo à conscientização de seus leitores. O núcleo deste trabalho é a análise da ética libertária dessa produção ficcional que se constituiu como outro pólo de interlocução coerente com as demais formas de expressão usadas pelos anarquistas. Apesar da repressão a essa utopia, ela continua mobilizando, em outros lugares e tempos históricos, representações artísticas que atestam a permanência dos ideais ácratas como se observa, por exemplo, no texto O curto verão da anarquia e no filme Terra e Liberdade.<br>During the Spanish Civil War (1936-1939) an intense ideological debate was staged among the political forces that confronted each another on the battlefields. War songs and posters served as efficient tools for the disclosure of the ideas of anarchists, communists and nationalists. Said debate, however, had already been announced in the first decades of the 20th century, when these political groups transmitted their ideologies through fictional texts targeting the masses. In that context, the line of thought defended by anarchists circulated in over six hundred titles of the Novela Ideal series, which pursued the awareness of their readers above all. The core of this study is the analysis of the libertarian ethics of this fictional production, which constituted another point of dialogue in line with the other means of expression used by the anarchists. In spite of the repression of this utopia, it continues mobilizing, in other places and historic times, artistic representations that attest to the permanence of anarchists ideas as seen, for example, in the text entitled The short summer of anarchy and in the movie Land and Freedom.
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Koehler, June, and June Koehler. "An Old Art for a New Culture: The Popular and the Avant-Garde in Josep Renau's Nueva Cultura." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12418.

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The Spanish artist Josep Renau (1907-1982) published the propaganda periodical Nueva cultura from 1935 to 1937. Although richly illustrated with cuttingedge graphic design and photomontage, it made use of popular culture with more frequency than might be expected in a left-wing, vanguard publication. This is seen most notably in the March 1937 special edition, published to coincide with a local, popular festival. In the special edition, Renau primarily utilized popular forms of illustration in the layout. Further, by publishing it in the regional language rather than Castilian Spanish, he attested to the importance of addressing people in their own language, both linguistically and formally. This thesis examines the periodical in relation to philosopher Mikhail Bakhtin’s writings on folk culture and James V. Wertsch’s research on collective remembering.
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López, Gómez Lidia. "La composición musical para el cine en la guerra civil española. Música, política y propaganda en cortometrajes y mediometrajes (1936-1939)." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/314173.

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A lo largo de los años en los que transcurrió la Guerra Civil española (1936-1939), las productoras cinematográficas, tanto de tendencia republicana como nacional, continuaron creando películas, noticiarios y documentales que a día de hoy suponen una de las más importantes fuentes para el estudio de este período. La producción cinematográfica de ambos bandos durante los años de la guerra se caracterizó por la predominancia de los intereses partidistas sobre los artísticos o culturales, por lo que el cine, y por ende, la música compuesta para éste, se situaron al servicio del conflicto bélico. Esta investigación analiza la música compuesta para los cortometrajes y mediometrajes producidos en España durante la Guerra Civil española estableciendo una nueva propuesta analítica que otorga una visión interdisciplinar sobre la música compuesta para la pantalla y las circunstancias políticas y propagandísticas que envolvían la creación audiovisual. La primera parte del trabajo consiste en un estudio contextualizado de las producciones audiovisuales, así como una visión sobre la situación cultural musical durante los años de la guerra. La segunda parte consiste en un análisis de los usos y funciones de la música en las distintas producciones audiovisuales documentadas y contextualizadas en el apartado anterior (películas y documentales), centrado en los usos propagandísticos y semióticos de la misma, estudiando la metodología, recursos y procedimientos mediante los que fue creada. Así, mediante este análisis se demuestra cómo la música otorga unidad a los filmes mientras que define y promociona una ideología política concreta mediante el uso de diferentes estructuras musicales, y la utilización himnos y canciones populares de tradición oral que refuerzan la construcción de una identidad sonora nacional.<br>During the Spanish Civil War (1936-1939), republican ant national film creators continued making films, news and documentaries, which today are one of the most important sources for the study of this period. Film production on both ideological sides during the war years was characterized by the predominance of political interests above artistic or cultural ones, so the films and the music composed for them were placed at the service of war. This research analyzes the music composed for the short and half-length films produced in Spain during the Spanish Civil War by establishing a new analytical proposal that provides an interdisciplinary overview of the music composed for the screen and the propaganda policies and circumstances that surrounded the audiovisual creation. The first part of the study consists of a contextualized investigation of audiovisual productions and the cultural situation of music during the war years. The second part is an analysis of the uses and functions of music in the different audiovisual productions documented and contextualized in the previous section (movies and documentaries), focused on the propaganda and semiotic uses, also studying the methodology, resources and procedures by which it was created. Thus, this analysis shows how are used different musical structures, or even hymns and traditional folk songs in order to reinforce the construction of a national identity sound, and how the music gives unity to the films while it defends and promotes a concrete ideology.
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Libros sobre el tema "Spanish Propaganda"

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Southworth, Herbert Rutledge. Conspiracy and the Spanish Civil War. Taylor & Francis Inc, 2004.

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Cruz, David González. Propaganda e información en tiempos de guerra: España y América, 1700-1714. Sílex, 2009.

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Noblet, Bertrand. Virilidad nacional: Modelos y valores masculinos en los manuales de historia (1931-1982). Prensas Universitarias de Zaragoza, 2021.

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Southworth, Herbert Rutledge. Conspiracy and the Spanish Civil War: The brainwashing of Francisco Franco. Routledge, 2002.

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Patiño, María Gómez y. Propaganda poética en Miguel Hernández: Un análisis de su discurso periodístico y político, (1936-1939). Instituto de Cultura Juan Gil-Albert, 1999.

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Patiño, María Gómez y. Propaganda poética en Miguel Hernández: Un análisis de su discurso periodístico y político, 1936-1939. Instituto de Cultura Juan Gil-Albert, 1999.

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Figueres, Josep M. Periodisme en la guerra civil. Publicacions de l'Abadia de Montserrat, 2010.

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Collantes, Xavier Ruiz. Els cartells del PSUC, 1976-1988: Les estratègies persuasives en la propaganda electoral. Catalana de Publicacions Reunides, 1990.

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Gil, Fátima, editor of compilation and Mateos-Pérez, Javier, editor of compilation, eds. Qué cosas vimos con Franco ...: Cine, prensa y televisión de 1939 a 1975. Ediciones Rialp, 2012.

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Antonio, Martínez Ripoll, ed. El retrato de Estado durante el reinado de Carlos II: Imagen y propaganda. Fundación Universitaria Española, 2010.

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Capítulos de libros sobre el tema "Spanish Propaganda"

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Streckfuss, Corinna. "“Spes maxima nostra”: European Propaganda and the Spanish Match." In Tudor Queenship. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230111950_10.

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Ostmann, Alexander. "Adventurism, Propaganda or Commitment? German Writers in the Spanish Civil War." In German Writers and Politics 1918–39. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-11815-1_14.

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Hughes, David A. "Fear and Threat." In “Covid-19,” Psychological Operations, and the War for Technocracy. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-41850-1_4.

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AbstractWestern governments have long used manufactured fear as a means of keeping the population susceptible to propaganda. A “pandemic” is a powerful fear concept; yet, there is no credible evidence of a viral pandemic in 2020. “Covid-19” does not meet any credible (pre-2009) definition of a “pandemic,” and attempts to present “Covid-19” as a new “Spanish flu” are bogus. The exaggerated threat of “Covid-19” was a function of military-grade propaganda, emanating from governments and the media, involving a barrage of terrifying images, messages, and “alert levels.” The BBC played a particularly culpable role in spreading fear. Death statistics were manipulated. Propaganda about hospitals being overwhelmed by “Covid-19” admissions camouflaged a sinister attack on public health. The primary purpose of face masks and PCR tests was to spread fear. Waves of fear/terror were sent by “new variants,” “immunity escape,” and the open letter by Geert Vanden Bossche. The spurious concept of “long Covid” projects the danger out into the future.
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Alonso, Diego. "Open Access: Transnational Networks of Communist Musical Propaganda in the Spanish Civil War." In Spain in Our Ears. Routledge, 2023. http://dx.doi.org/10.4324/9781003397403-6.

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Sheridan Breakwell, Suan. "‘Knowing how to be a Mother’: Parenting, Emotion and Evacuation Propaganda during the Spanish Civil War, 1936–1939." In Parenting and the State in Britain and Europe, c. 1870-1950. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-34084-5_10.

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Perplies, Helge. "Die Verleger de Bry als Übersetzer von Übersetzungen." In Übersetzungspolitiken in der Frühen Neuzeit / Translation Policy and the Politics of Translation in the Early Modern Period. Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-67339-3_3.

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ZusammenfassungThe India Occidentalis collection of reports on America from the de Bry workshop is not only known as a major artistic publishing project, but also represents a tremendous achievement with regard to both linguistic and cultural translation. As publishers and contractees of translation processes, the de Brys occupied a position analogous to that of the texts’ authors and their positions of power vis-à-vis the public. More specifically, this is true to the extent that they operated within discourses of linguistic power and propaganda, conquest and colonization in which they had the authority to decide what would be presented to their readership – and in what language. Among other aspects, the discussion revolves around translation as a marker of distance in the accounts of Brazil by Hans Staden and Jean de Léry as well as around the discursive parallels between the indigenous population of the Americas and the Protestant population of the Netherlands vis-à-vis the Spanish conquerors.
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Bidwell-Steiner, Marlen. "Poetische Propaganda: Dichter mit Erde an den Füßen gegen Dichter der Dreifaltigkeit." In Der Spanische Bürgerkrieg als (Anti)Humanistisches Laboratorium. V&R unipress, 2019. http://dx.doi.org/10.14220/9783737009447.27.

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Llano, Samuel. "“Spanish Music” as Catholic Propaganda." In Whose Spain? Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199858460.003.0002.

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Llano, Samuel. "“Spanish Music” as Allied Propaganda: Henri Collet." In Whose Spain? Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199858460.003.0001.

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Oyarbide Magaña, Ernesto E. "Between Love and Hate : Thomas Scott’s Puritan Propaganda and His Interest in Spanish Culture." In Literary Hispanophobia and Hispanophilia in Britain and the Low Countries (1550-1850). Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989375_ch03.

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In 1612 Diego Sarmiento de Acuña, first count of Gondomar, was appointed Spanish ambassador to London, where he proved essential for the fostering of Anglo-Spanish relations and promoted the marriage negotiations between the Prince of Wales and the Spanish Infanta. However, when in 1623 these negotiations failed, popular animosity reached a high point. This chapter focuses on some of the most poignant anti-Spanish propaganda produced against Gondomar by the Protestant preacher Thomas Scott (d. 1626). [...] Nonetheless, premodern propaganda did not lack interpretative complexity. Behind the hateful disparagements, a dash of admiration for Sarmiento’s diplomacy is tangible. Moreover, one can also appreciate Scott engaging with Spanish culture.
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Actas de conferencias sobre el tema "Spanish Propaganda"

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Zabelina, Daria. "THE REVIVAL OF THE PHILIPPINE NATIONAL THEATER — KOMEDYA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.39.

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Komedya, or moro-moro, is a genre of the Philippine national theater that was flourishing from the second half of the 17th century until the second half of the 19th century. The genre formation was a part of catholic missioners propaganda activities. In time, komedya became the most popular dramatic genre in colonial Philippines. The common features of komedya are: 1) the central theme of komedya is fight between Christians and Muslims, where Christians always win; 2) actions described in komedya never take place in the Philippines, but in an exotic country, for instance in Turkey or in Armenia; 3) Spanish missioners played an important role in the formation of the genre; 4) komedya is the national theater; 5) komedya is a secular genre as adventures dominate over the religious motives. In the middle of the 19th century komedya was criticized by the most progressive Filipinos for being extravagant, lacking logic and not touching upon current Philippine problems. By the beginning of the 20th century komedya was not staged anymore almost everywhere in the Philippines. Its place was taken by the other genres. A number of actions to bring komedya back to its former popularity have been undertaken from the 1970s with the great support of the cultural center of the Philippines and University of the Philippines. It is important to mention that the genre is being changed in order to correspond the needs of the modern Philippine society. For example, the Muslim conflict is not the main topic of the modern Philippine national play as it contradicts the national policy of the Philippines.
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Martínez-Medina, Andrés, Antoni Banyuls i Pérez, and Andrea Pirinu. "El “Muro Mediterráneo” en el territorio de la Marina Alta: búnkeres y baterías de la Guerra de España (1936-1939)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11338.

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The “Mediterranean Wall” in the territory of the Marina Alta: bunkers and batteries of the Spanish War (1936-1939)In 1936-1939 the War of Spain took place, turning its territory into the testing ground of Europe in anticipation of the Second World War; here new weapons were tested: mass media, propaganda and aviation. The national side used Mallorca as “aircraft carrier” from which it launched airstrikes on the Mediterranean coast: a rearguard that required fortification. To defend the cities, the Republican government ordered, in 1937, to build a coastal defensive system (“Mediterranean Wall”). On the Valencian coast there were ten basic enclaves: from the lighthouse of Castellón to the end of Santa Pola. This network of defenses had two built lines. The first was constituted by elements located at zero level, by the sea and on the beaches, which maintained regular distances from each other; these were reinforced concrete bunkers that sought to camouflage themselves. A second was formed by coastal and antiaircraft, concrete and masonry batteries that merged with the land, located in the hills to have a wider horizon and be closer to its objectives. Bunkers and batteries that followed geometric patterns in constant evolution. This communication studies the defensive settlements built by the Republican army in the cities of Xàbia and Dénia (Marina Alta), which had a port, airfield and armament factories, which made them the target of enemy aviation. In these territories many of these architectures have disappeared under real estate pressure, but there are still several bunkers, batteries and ammunition deposits that are intended to be inventoried and documented (especially the 7th of the Montgó and the 8th of the Portixol batteries) to insert into of the tradition of historical military forts (typological genealogies) and their understanding as a networked defensive system that maintains parallels with the system of coastal towers of the system of coastal towers of the Modern Age.
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Younus, Arjumand, and M. Atif Qureshi. "Combining BERT with Contextual Linguistic Features for Identification of Propaganda Spans in News Articles." In 2020 IEEE International Conference on Big Data (Big Data). IEEE, 2020. http://dx.doi.org/10.1109/bigdata50022.2020.9378432.

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Informes sobre el tema "Spanish Propaganda"

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Melnyk, Iurii. Китайська газета Женьмінь Жибао про російсько-українську війну (2022). Ivan Franko National University of Lviv, 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11733.

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The objective of the study is to outline the vision of the Russian-Ukrainian war in Renmin Ribao, the main newspaper of the People’s Republic of China. The source base of the research is the content of the Renmin Ribao website during 2022 in English, Spanish, French, Russian, German, Italian, and Portuguese languages. The material was selected using the keywords «Ukraine», «Russia» (and other derivatives), analyzed using induction, vocabulary analysis, classification analysis, and content analysis. Renmin Ribao rarely uses the term “war” to refer to events in Ukraine, resorting to streamlined formulations such as “situation”, “issue”, “crisis”, “conflict” and even “Russian military operation”. The newspaper sees the United States, not Russia, as responsible for the events in Ukraine. Rather, Moscow is a victim of many years of intrigues on the part of the United States, which manifested itself in efforts to restrain and weaken Russia, in particular with the help of Ukraine. The newspaper often reproduces Russian narratives and Russian fakes, disseminates messages typical of Russian propaganda (for example, about biological laboratories in Ukraine), reports on referendums in the occupied Ukrainian territories from the evidence of the Russian RT television channel, about the annexation of four Ukrainian regions from the testimony of Chairman State Duma Vyacheslav Volodin, about the attack on the Crimean bridge from the evidence of the FSB. Renmin Ribao is inclined to the opinion of the harmfulness of anti-Russian sanctions and the impracticality of supplying weapons to Ukraine, sees a priority way out of the Russian-Ukrainian war in an abstract “peace”, and not the victory of Ukraine. The issue in which Renmin Ribao sharply diverges from the position of official Moscow is the identification of the situation in Ukraine and the situation in Taiwan. Drawing parallels between Taiwan and Ukraine is popular in both the Russian and the Western press. However, when the war began to look less and less victorious for Russia, these parallels became unacceptable to both Renmin Ribao and official Beijing. Keywords: Russian-Ukrainian war, media of China, Renmin Ribao, anti-Russian sanctions, arms supply to Ukraine, Taiwan.
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