Raising his own doubts about which might be the better method, the distinguished British Hispanist has ordered the documents according to the date to which they refer rather than to their date of composition.
Lucas Giuliani - subscosidownty.cf
This overriding concern with content can explain in part the editor's uneven treatment of source material and means of textual transmission. In 2, Rodrigo de Rada's De rebus Hispaniae appears in the Latin original; the second time that author is cited 5 , it is through the amplified Alphonsine Castilian translation in the PCG ; the third time 18 , the text appears in the Latin original.
The Toledano's Historia arabum is not included. Because the editor proposes to present the reconquest from the Christian perspective, he feels the need to justify the inclusion of portions of the lost history of Ben Alcama 20, 22, 23 preserved through the intermediary of the PCG. One wonders if Ben Alcama also will be included in the companion volume dealing with the Arabic perspective.
Epic-legendary characters and the sources for our knowledge of them receive the editor's unique treatment. He rejects the plausibility of a poetic source for the legend of the mora Zaida 21 , although he is aware of the numerous factual liberties in the text and the Alphonsine filters. He posits a XIII c. Student and lay users of the anthology should be alerted that the prefatory material represents that editor's distinctively individualistic views.
All the printed sources of the anthology's contents do not appear in the Booklist, nor are they always cited in complete form in the introduction to the relevant excerpt. This well-edited collection provides a wide panorama of significant, fascinating texts from the cultural and intellectual history of the early years of Moorish occupation of the Iberian peninsula.
Although the original writers may have been removed from the events by up to five centuries , and their texts may have been translated and re-translated, prosified and re-poeticized, their testimony to the ardor of the Reconquest has been delivered to a broad audience by this commendable collection of readings. California State University, Northridge. Nunca se refiere a los dotes intelectuales de la mujer en el Tratado.
University of South Carolina. Stamm's study presents an insightful, methodical reading of La Celestina.
Each of these structures is considered through an analysis of its individual components or acts, in the order of their appearance. Basic to the critical approach is an inward focus, a concentration on the text itself, details of plot and language, relationships among characters, internal consistencies and inconsistencies, specific content of individual speeches, the inherent thematic and dramatic internal structuring of the acts, and what all of these reveal about the work. It is only as a result of such analyses that externals such as relationships with cancionero poetry, the novela sentimental , or Petrarchan influences arise.
Neither does Stamm allow himself to be lured into the blind alleys of such past critical disputations as the supposed converso status of the work's author or characters, although the largely bibliographical notes give due recognition to such issues. Especially sensitive is the detection of linguistic echoes throughout the work, the recurrence of images, phrases, metaphors, and their themes, as one speech recalls or prefigures another. Based on the internal evidence that he brings to light, Stamm reaches some sound conclusions concerning the work's authorship. While linguistic and thematic echoes between the Auto and the Comedia create an artistic unity and continuity that night argue for attribution to a single author, the absence in the Comedia of the fight, humorous exchanges found in the Auto ultimately suggests two different authors.
Inconsistencies' with the previous action at the point of articulation between the Tragicomedia and the Comedia in Act 14 an especially strong contrast with the previous careful interweaving of the Comedia and Auto , argue for a different author for the so-called Tratado de Centurio , within which Act 16 discussion of Melibea's marriage , constitutes a return to the themes and tone of the Comedia and perhaps a further intervention by Rojas. Celestina's appreciation of Areusa's beauty is also remarkable. The extent and possible implications of the study's conclusions are necessarily circumscribed by the close textual focus.
Ultimately, exposing truths that are easily lost in fanciful extra-textual conjecture, and arriving at intelligent conclusions about the text, is a virtue. One might like to have seen some results of an analysis, of the Tragicomedia 's various interpolations in the Comedia , but to have attempted this would have required deviating from the very effective progressive structural methodology, while increasing the study's dimensions considerably without the certainty of any conclusive result.
All in all, this is a valuable book in its return to first principles, so to speak, constituting a useful and refreshing addition to the extensive bibliography on the Celestina. University of Texas at San Antonio.
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In Don Quijote , Cervantes seems to have anticipated, or to have intuited, the major issues of contemporary literary theory, issues such as the nature of signs, the problems inherent in the, search for meaning in fiction, and the role of history in textual analysis. Beyond the immediate contexts of the Quijote , critical inquiry has sought to define the place of Cervantes's novel in the development of narrative and to acknowledge its exemplary quality with respect to current theoretical concerns.
Practitioners of semiotics, poetics, psychology, and popular culture, to name but a few areas, find in the novel a ground ripe for exploration.
Pestilence and Headcolds
The complexity of the internal structure, the richness of the discourse, the ambiguities of characterization, and the plays on authorial intention assure that a formalist approach could never exhaust the options. When one opens the text to the gamut of perspectives and points of reference, the critical scope seems limitless. The polemics inspired by Don Quijote do not detract from Cervantes's accomplishment, but rather illuminate what might be termed the verbal and conceptual density of the novel.
Quite fittingly for a work whose plot is based on reader response, the evolution of the critical tradition of Don Quijote forms a graft which is, in many ways, inseparable and indistinguishable from the text proper. It is difficult to read the novel without thinking of the narratives which precede follow it. Similarly, the anxiety of influence extends to the realm of criticism. Don Quijote has a symbolic, iconic force which affects the manner, which readers decode the text. For this reason, Drake and Finello's Guide is especially significant. In its examination of nineteenth-century criticism of the Quijote , the bibliographical study offers views of the novel, of the period, and of critical directions which remain in vogue.
The book is the only guide to nineteenth-century research on Don Quijote since Leopoldo Rius's bibliography, completed in As a bibliographical tool, it is impressive in a quantitative sense. More remarkable, however; is the clarity of the synthesis. The introduction and the descriptions of the critical works, arranged chronologically by country, tell a fascinating story, one which occupies the highly important middle ground between the publication and early reception of the Quijote and the vast corpus of twentieth-century criticism.
Drake and Finello's work does not present a thesis in the style of Anthony Close's The Romantic Approach to 'Don Quijote' Cambridge, ; its strength lies in the comprehensive vision, which combines explication and reception history. One can use the text as an informative survey or as a point of departure for research. The panorama includes such topics as textual editing, satire, aesthetic judgment, symbolic interpretation, medicine, and historical and biographical considerations.
The book covers major critics and literary figures. Manuel de la Revilla considers the text a dramatization of the opposition between the real and the ideal, even though Cervantes was not aware of his achievement. A number of eminent writers incorporate Don Quijote into their essays. The criticism is, of course, doubly or triply revealing, bound by the culture and tastes of the time and marking the preferences and the prejudices of the individual critic. Ultimately, the greatest revelation of the Guide is perhaps the sophistication of nineteenth-century commentary. The studies catalogued here are crucial to an understanding of the text and of its critical history, or fate.
Dominick Finello has himself contributed to Quijote criticism, most recently with essays on pastoral topics. The late Dana Drake, recognized as one of the foremost bibliographers of Cervantes, leaves a legacy from which Hispanists will profit for many years to come. California State Polytechnic University, Pomona. He was an army officer and a government official and a loyal and patriotic Spaniard. Centinela contra franceses was the result of Cap many's perturbation Napoleon's army had begun infiltrating Spain as early as October, , on the pretext of reaching Portugal and forcing that country to close its ports to British vessels.
French forces tarried in Spanish towns along the route to support free passage of the French back and forth. They meddled in Spanish affairs at the court itself.
When the populace of Madrid realized that Napoleon's objective was as much Spain as Portugal, they revolted on May 2, , and were quelled on May 3, as we see portrayed in the two Goya paintings. To French sympathizers, to those who were wavering, to Spaniards firm in their resolve who yet had to muster their courage, Capmany directed his patriotic Centinela contra franceses. Centinela belongs to a vast anti-Napoleonic literature that flooded Spain and Europe in those years. Capmany's work is distinguished because the sixty-five-year-old scholar of Spanish of sequence brought to his task a mastery of the written word and an exceptional ability to apply satire and invective with patriotic fervor.
Although he directs his barbs at the French in general, his personal target is Napoleon. He also reserves some of his most cutting abuse for French sympathizers among his fellow Spaniards and most particularly for Manuel Godoy, the favorite of the Spanish monarchs. She provides a bibliography, a catalog of the many editions of a popular text, and a study of translations. Read it with attention An onomastic index facilitates consultation of the whole. Meyer, Ferrater Mora y otros. Con todo, hay que recomendar la lectura de este libro a todos los estudiosos de la obra de Unamuno.
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Soldevila-Durante reviews existing lexical studies. Suffice it to say that valleinclanistas concerned with such an approach to the author will find the text worthwhile reading. The College of Wooster. La idea de Salper es original y, hasta cierto punto, correcta. University of Nebraska-Lincoln. This process is developed, in terms of specific sub-genres in the evolution of Lorca's drama. While keeping in mind the comparative focus of his study Lorca's immediate predecessors and contemporaries, and Lorca to indicate the innovations Lorca brought to the theatre, he does not fail to give each play the analytical and evaluative attention it deserves, as a unique work.
He is thus able to appreciate and elucidate Lorca's theatre from at least three angles of vision. The author makes effective and selective use of critical theory formalist, semantic, intertextual, absurdist in supporting his arguments. He engages principal Lorca critics in an interesting dialogue, in which his own voice is clearly articulated. His work is stimulating, and evinces a surprising originality.
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