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In La tierra de todos (1922), Blasco Ibáñez breaks ground in terms of themes and motifs, characters, narrative technique, and structure, very frequently in ways that indicate he was creating a new type of novel, the "novela cinematográfica," with Hollywood in mind. But despite the significant influence of film in his novel, which includes panoramic views, tracking shots, and simultaneous scenes, for example, Blasco was not yet prepared to give up such film-averse items as flashbacks or detailed descriptions.In this novel novel, Blasco utilizes numerous narrative strategies, from the most objective panoramic views to the most subjective passages, which feature the author's intrusive opinions and occasional insult-laden criticisms, especially of Parisian society in Chapters I-IV, where hypocrisy and unfaithfulness reign, and XIX-XX, with its presentation of prostitution.The narrative has two central foci: competition among principal members of the dike- and channel-construction crew for the attention of the femme fatale Elena Torrebianca, which ends in a deadly duel between the Frenchman Roger de Canterac and the Italian Enrico Pirovani, two project leadership team members, and a rivalry for the US engineer Ricardo Watson involving Celinda Rojas and Elena, which results in the kidnapping of the former, and a subsequent rescue, headed up by Watson himself.Blasco's attention to structure is best illustrated in that, in later chapters, he revisits motifs and narrative threads that had appeared early on, often closing them out, due to which the novel projects a sense of completion.Although La tierra de todos is not one of Blasco Ibáñez's masterpieces, it merits greater critical attention, since it demonstrates his continuing evolution as a writer, as it weds his passion for film with the art form for which he had become famous worldwide, the novel.

Este libro analiza y revela el pensamiento y la expresión de uno de los movimientos literarios hispanoamericanos más importantes de finales del siglo XIX: el modernismo. Tanto su pensamiento como su expresión revelan falta de certeza y verdad para referir el mundo natural. La ausencia de estas tuvo su origen en el razonamiento de la Ilustración del siglo XVIII, que causó el derrumbe de los pretendidos saberes medievales y dogmáticos. Los modernistas no podían fiarse de las representaciones tradicionales del mundo. Pero tampoco disponían de otro entendimiento para referirse a esa realidad. Este desconocimiento definió su modernidad opuesta a la tradición. Más aún, ante la carencia de certezas y verdades, se aferraron al único instrumento de que disponían: el lenguaje.Debían referir sus percepciones propias de la realidad natural por el lenguaje. Pero sus percepciones captaban solo la apariencia de las cosas, desconociendo las esencias. De ese modo acudieron a la única opción que les quedaba: la referencia artística de la realidad. En la incertidumbre de su vivencia optaron por las representaciones estéticas del mundo.

This book suggests new directions in the not frequently explored field of comparative studies of Spanish and English Renaissance literature, namely the connections between the works of Miguel de Cervantes and William Shakespeare. Beyond any improbable conjecture on biographical coincidence or personal acquaintance, and assuming little else than the fact that Shakespeare read the 1612 translation of the first part of Don Quixote, the papers in this volume-in Spanish or English-tackle thematic, formal, cultural, and ideological meeting points in two complementary directions.The first part, "Crossroads," analyses contexts and projections of each author in the other's culture: Shakespeare's representations of Catholic Spain, the English origins of Cervantism and the Cervantine nature of eighteenth- and nineteenth-century English novel, or the pioneering work of Luis Astrana MarÌn in suggesting meeting points between Shakespeare and Cervantes constitute its main focus.The second part, "Parallel Paths," searches for literary and cultural motifs, as well as poetics and traditions coincident to both authors: the ideology of blood, festive and carnivalesque characters, representations of madness, iconographic and emblematic sources, Renaissance love discourses, the uses of romance, and the influence of Apuleius are just some of the endless trails which along the Renaissance brought together both writers.

It's a strange new world, indeed! Who knows what is true? As seventeenth-century Spain experiences the growing pains of change, discovery, and globalism, playwright Juan Ruiz de Alarcón exploits the public's receptiveness with the ultimate gaslighting romance. Alarcón's protagonist tests the loyalty of his beloved by pretending to be Cousin Diego from Flanders. Strangely, and uniquely in Spanish drama, there is no costume involved in the trickery-only lies and disinformation. Even close friends and family believe the lie (or do they?) ... and who learns the lesson? With this new translation, the team at UCLA's Center for 17th and 18th Century Studies brings Alarcón's play El semejante a sí mismo to an English-speaking audience. Translated by the UCLA Working Group on the Comedia in Translation and Performance.This volume is part of the Diversifying the Classics project at UCLA, which seeks to foster awareness and appreciation of the Hispanic Golden Age and give theater professionals the materials and tools to explore its rich tradition. For more information, visit the UCLA project on the web:http://diversifyingtheclassics.humanities.ucla.edu/

Andrew A. Anderson addresses issues of content, technique, style, and the challenges they present to literary-critical analysis and interpretation in Lorca's Poemas en prosa and/or Poeta en Nueva York. Ten essays.

This collection of articles honors the late John Jay Allen, the influential scholar from the University of Kentucky who instilled in his students (and readers) an enormous passion for literature, particularly the works of Cervantes.

This is another of Vélez de Guevara's unknown comedies that will reveal interesting features about the author's dramatic art.

Paul B. Nelson compiles and translates a carefully selected anthology of disturbing short stories by the influential Uruguayan writer Horacio Quiroga.