Text As Topos In Religious Literature Of The Spanish Golden Age

The central component of this study is an index of the numerous motifs through which topoi of the text as symbol are articulated in the religious poetry, sermons, and sacramental plays of Golden Age Spain. Paired with the index is an anthology of the texts on which the book is based. In her introduction, Louise Salstad discusses the transmission and transformation of the topoi as they appear in the Old and New Testaments, classical literature, church writings, and medieval texts, and she considers the influence of the contemporary milieu on the shaping of these motifs. The book also includes an explanatory introduction to the index, biographical notes on authors, a chronology of works, a bibliography, and key word indexes of motifs in English and Spanish. The most extensive investigation of specific topoi undertaken in Spanish studies, this book will also be of interest to art historians and cultural historians whose focus is theology, the history of spirituality, or the history of the book.

This book undertakes the most comprehensive and theoretically rigorous examination to date of Luis Rafael S¡nchez's work in the context of cultural politics in Puerto Rico, and of the international and regional dimensions of S¡nchez's work in relation to

This book investigates three examples of the turn-of-the-century essay in Spain and Latin America: Angel Ganivet's Idearium espanol (1897), Jose Enrique Rodo's Ariel (1900), and Alcides Arguedas's Pueblo enfermo (1909). Michael Aronna traces the reactions of these historically and rhetorically related colonial and postcolonial thinkers to the new economic, cultural, social, and political challenges of the late nineteenth and early twentieth centuries. He shows how concepts of sexual degeneration, racial inferiority, immaturity, and gender prominent in contemporary philosophy and science were central to these writers' shared understanding of the nation as an organism vulnerable to "social pathogens."

Drawing on contemporary debates surrounding performance, gender and latin American studies, this book examines representations of performance within dramatic texts. It explores the work of individual playwrights such as Vicente Lenero, and topics including ritual game playing.

Published in two parts in 1548 and 1552, Le Quart Livre is Rabelais's last book of certain authenticity and his most difficult and mysterious work. In it, Pantagruel and Panurge undertake a sea voyage and a quest for "the word of the Divine Bottle," but the islands they visit along the way are inhabited by strange beings whose nature and physiognomy defy natural categories. Expressing the elderly writer's despair at the failure of all his dreams as a young humanist, the voyage traces the last phase of the heroic quest, the cycle of old age and death. It is a descent into the underworld, but one that is undertaken hopefully, for the Quart Livre continues the search for a wife and for paternity begun in the Tiers Livre. Ultimately, all of these strivings may be associated with the writer-physician who faces misfortunes in order to cure them. In the end, the Quart Livre affirms the healing power of wine, laughter, and words.

Vols. 8-10 of the 1965-1984 master cumulation constitute a title index.

This book explores the change that occurred in the writings of Spanish novelist Benito Perez Galdos when he entered his segunda manera in 1881 with the publication of La desheredada, his first contemporary novel. Critical work on this important phase of Galdos's career has tended to concentrate on the content of his novels, with little attention given to the way in which Galdos conveys that content to the reader. By studying these works in light of how their stories are told, Linda Willem shows that La desheredada marks the beginning of a more sophisticated and varied mode of narrative in Galdos's novels. Through close readings of his first seven contemporary works, Willem shows how the affective response associated with various narrative devices plays a role in the rhetorical strategies of each text.

In this book, Thomas Spaccarelli argues that the Escorial codex usually published and studied as nine separate saints' lives and romances is in fact a unified and organized whole. He shows how the codex is intimately related to the pilgrimage to Santiago de Compostela and to the religious, literary, and artistic traditions associated with it. The Libro was produced by a team of compilers, who chose and translated specific French works with the goal of providing edification and encouragement to Spanish-speaking pilgrims. Spaccarelli elucidates the Libro's ideology of pilgrimage, which includes such concepts as guest/host theology, egalitarianism, and the matter of imitatio Christi. In addition, he proposes a series of structural elements operative in the Libro that bind the nine works into a whole.