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Black Voices in Early Modern Spanish Literature, 1500-1750
In this groundbreaking study, Diana Berruezo-Sánchez recovers key chapters in the history of Afro-Iberian diasporas by exploring the literary contributions and life experiences of black African communities and individuals in early modern Spain. From the sixteenth to the eighteenth centuries, international trade involving chattel slavery led to significant populations of enslaved, free(d), and half-manumitted black African women, men, and children in the Iberian Peninsula. These demographic changes transformed Spain's urban and social landscapes. In exploring Spain's role in the transatlantic slave trade and its effects on cultural forms of the period, Berruezo-Sánchez examines a broad rang...
Potosi
"For anyone who wants to learn about the rise and decline of Potosí as a city . . . Lane’s book is the ideal place to begin."—The New York Review of Books In 1545, a native Andean prospector hit pay dirt on a desolate red mountain in highland Bolivia. There followed the world's greatest silver bonanza, making the Cerro Rico or "Rich Hill" and the Imperial Villa of Potosí instant legends, famous from Istanbul to Beijing. The Cerro Rico alone provided over half of the world's silver for a century, and even in decline, it remained the single richest source on earth. Potosí is the first interpretive history of the fabled mining city’s rise and fall. It tells the story of global economic...
The Drama of the Portrait: Theater and Visual Culture in Early Modern Spain
Examines theater and portraiture as interrelated social practices in seventeenth-century Spain. Features visual images and cross-disciplinary readings of selected plays that employ the motif of the painted portrait to key dramatic and symbolic effect.
Fictionalizing heterodoxy
The information overload produced by the printing press and the new forms of the structuring of knowledge are echoed in fictional works. The essays assembled in this book study the textualization of problematic forms of knowledge in medieval and early modern Spanish literature. Literary Works like the Libro buen amor, La Lozana Andaluza, or the Guzmán de Alfarache are read against the backdrop of scientific developments of their times.
Quotology
Erasmus advised readers to learn quotations by heart and copy them everywhere: write them in the front and back of books; inscribe them on rings and cups; paint them on doors and walls, ?even on the glass of a window.? Emerson noted that ?in Europe, every church is a kind of book or bible, so covered is it with inscriptions and pictures.? In Arabic script as tall as a man, the Koran is quoted on the walls and domes of mosques. ø We quote to admire, provoke, commemorate, dispute, play, and inspire. Quotations signal class, club, clique, and alma mater. They animate wit, relay prophecies, guide meditation, and accessorize fashion. ø In Quotology Willis Goth Regier draws on world literature and contemporary events to show how vital quotations are, how they are collected and organized, and how deceptive they can be. He probes all these aspects, identifying fifty-nine types of quotations, including misquotations and anonymous sayings. Following the logic of quotology, Quotology concludes with famous last words.
The Reach of the Republic of Letters
This volume questions the present-day assumption holding the Italian academies to be the model for the European literary and learned society, by juxtaposing them to other types of contemporary literary and learned associations in several Western European countries.
Neo-Latin Drama in Early Modern Europe
From ca. 1300 a new genre developed in European literature, Neo-Latin drama. Building on medieval drama, vernacular theatre and classical drama, it spread around Europe. It was often used as a means to educate young boys in Latin, in acting and in moral issues. Comedies, tragedies and mixed forms were written. The Societas Jesu employed Latin drama in their education and public relations on a large scale. They had borrowed the concept of this drama from the humanist and Protestant gymnasia, and perfected it to a multi media show. However, the genre does not receive the attention that it deserves. In this volume, a historical overview of this genre is given, as well as analyses of separate plays. Contributors include: Jan Bloemendal, Jean-Frédéric Chevalier, Cora Dietl, Mathieu Ferrand, Howard Norland, Joaquín Pascual Barea, Fidel Rädle, and Raija Sarasti Willenius.
The Oxford Handbook of Cervantes
An essential resource for scholars and students of the Spanish Golden Age, Includes studies on Cervantes's complete oeuvre, Offers original analysis of all aspects of the author's life and works, Quotations from primary sources are given in both English and Spanish, opening Cervantes's works up to the English-speaking world, All chapters are part analytical and part descriptive, and can be read in any order Book jacket.
Kinesic Humor
Literature is one of the richest sources of information concerning the ways in which human beings play with cognition. Human cognition is grounded in the ability to feel, perceive, and move. Kinesic Humor examines literary works written in different languages and various historical periods, in which the cognitive processing of gestures and kinesic interactions trigger humorous effects. By bringing together literary studies, cognitive studies, gesturestudies, and humor studies, this book offers an original perspective on literary artworks such as Chrétien de Troyes' Yvain, Milton's Paradise Lost, Cervantes' Don Quixote, Rousseau's Confessions, Sterne's Tristram Shandy, and Stendhal's Le Rouge et le Noir.
Special Section, Shakespeare and Montaigne Revisited
This year including a special section on "Shakespeare and Montaigne Revisited," The Shakespearean International Yearbook continues to provide an annual survey of important issues and developments in contemporary Shakespeare studies. Contributors to this issue come from the US and the UK, Canada, Sweden, Japan and Australia. This issue includes an interview with veteran American actor Alvin Epstein during his recent acclaimed performance of King Lear for the Actors' Shakespeare project in Boston.
