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Articles 31 - 41 of 41
Full-Text Articles in Spanish and Portuguese Language and Literature
Text And Intertext: James Whale's Frankenstein In Víctor Erice's El Espíritu De La Colmena, Linda M. Willem
Text And Intertext: James Whale's Frankenstein In Víctor Erice's El Espíritu De La Colmena, Linda M. Willem
Scholarship and Professional Work - LAS
Víctor Erice's use of clips from James Whale's Frankenstein as the basis for actions by his young protagonist, Ana, in El espíritu de la colmena has led critics to speculate on the symbolic meaning of the monster within that Spanish film. For Virginia Higginbotham the monster represents Franco's Spain, a country that has lost both its memory and its moral sense (116-20). For Marvin D'Lugo the monster stands for the mysterious, the unknown, the different, and the deviant, all of which Ana identifies with as she defines herself as an oppositional spirit (2862). Carmen Arocena sees Ana's rebellion as an …
Highlighting The Hidden: Visual Representation In Gutiérrez Aragón's Demonios En El Jardín, Linda M. Willem
Highlighting The Hidden: Visual Representation In Gutiérrez Aragón's Demonios En El Jardín, Linda M. Willem
Scholarship and Professional Work - LAS
According to Spanish film maker Manuel Gutiérrez Aragón, there is an intimate relationship between the family and the state, with the traits of the family mirroring those of the state in which it exists: "la primera célula del Estado es la familia, y si el Estado, por definición, es opresivo, la familia es igualmente opresiva" (García Fernández 331). "Yo utilizo la familia en mis películas porque es muy real, muy testimonial. La familia repite fielmente la estructura social 0 estatal" (Payán and López 27). In Demonios en el jardín (1982) Gutiérrez Aragón uses the metaphor of the family not only …
Emilia Pardo Bazan, "Cronicas En La Nacion De Buenos Aires", Linda M. Willem
Emilia Pardo Bazan, "Cronicas En La Nacion De Buenos Aires", Linda M. Willem
Scholarship and Professional Work - LAS
Over the twelve-year period immediately preceding her death, Pardo Bazan regularly contributed articles to the prestigious Argentine periodical La Nacion. Surprisingly, these pieces have not been reproduced in previous collections of her works, and few references have ever been made to their existence. Cyrus DeCoster rectifies this omission by bringing together fortysix of what he considers to be the most interesting of the articles. The vast majority of those selected deal with literature and the other arts. Some are eulogies to eminent figures either recently deceased or being honored by centennial celebrations (e.g., Marcelino Menendez y Pelayo, Aure-liano de Beruete, …
Jacinta's "Vista Al Cuarto Estado": The Galley Version, Linda M. Willem
Jacinta's "Vista Al Cuarto Estado": The Galley Version, Linda M. Willem
Scholarship and Professional Work - LAS
The galley stag in the production of Galdós's novels provided the author with an opportunity for final revision before his texts went to press. Despite Berkowitz's claims to the contrary, Galdós did make numerous changes in his works prior to their publication. Indeed, no page of Fortunata y Jacinta's galleys is left untouched. Yet, surprisingly little critical attention has been afforded this important stage in the production of Galdós's masterpiece. In 1978 James Whiston pioneered the way for further study in this area by publishing a brief article discussing how minor substitutions and additions to the galleys rendered the …
Metafictional "Mise En Abyme" In Saura's "Carmen", Linda M. Willem
Metafictional "Mise En Abyme" In Saura's "Carmen", Linda M. Willem
Scholarship and Professional Work - LAS
In the 1983 film Carmen, Carlos Saura creatively refashions Mérimée's novella and Bizet's opera into an exciting new rendering of the Carmen myth. The foundation of this film rests on Mérimée's narrative, which Saura admires for having the ability to convey a passionate love that still seems as fresh and expressive as it was in its own day (52). Since Saura views the plot modification introduced in Bizet's opera as being a betrayal of Mérimée's novella (55), he ignores the opera's story line and concentrates instead on its music, which he describes as being very beautiful, truly inspired, and …
Lou Carnon-Deutsch, "Narratives Of Desire: Nineteenth Century Spanish Fiction By Women", Linda M. Willem
Lou Carnon-Deutsch, "Narratives Of Desire: Nineteenth Century Spanish Fiction By Women", Linda M. Willem
Scholarship and Professional Work - LAS
A review of Lou Charnon-Deutsch's Narratives of Desire: Nineteenth-Century Spanish Fiction by Women.
Moreno-Isla's Unpublished Scene From The "Fortunata Y Jacinta" Galleys, Linda M. Willem
Moreno-Isla's Unpublished Scene From The "Fortunata Y Jacinta" Galleys, Linda M. Willem
Scholarship and Professional Work - LAS
In the current Cátedra edition of Fortunata y Jacinta Francisco Caudet provides a valuable service for Galdosian scholars by supplementing the text -- based on the "La Guirnalda" first edition of 1887 -- with footnotes which quote material that was either discarded or changed at the galley stage. Although Caudet acknowledges his inability to record the thousands of galley revisions that Galdós made, he does propose to cite the more important ones. Surprisingly, however, he does not include one of the few scenes from the galleys which was deleted in its entirety. It occurs in Part IV, Chapter 2, Section …
The Narrative Premise Of Galdos's Lo Prohibido, Linda M. Willem
The Narrative Premise Of Galdos's Lo Prohibido, Linda M. Willem
Scholarship and Professional Work - LAS
In their critical study of Lo prohibido most scholars make only casual mention of its memoir format, and the fictitious circumstances of its composition are all but ignored. yet this narrative premise has an overall impact on the novel. In addition to determining the discourse order of the text, it is instrumental in establishing the narrator's authorial autonomy as well as permitting him varying degrees of unreliability. Furthermore, it affects the different narrative voice techniques employed in the novel. The following discussion will examine the implications of this neglected facet of Lo prohibido.
The Narrative Premise Of The Dual Ending To Galdós's La Fontana De Oro, Linda M. Willem
The Narrative Premise Of The Dual Ending To Galdós's La Fontana De Oro, Linda M. Willem
Scholarship and Professional Work - LAS
THE readers of the 1871 edition of Galdós's La Fontana de Oro are greeted with not onlyy two alternative conclusions to the novel, but also with an invitation by the narrator to freely choose a preferred ending after considering them both. The situation is further complicated by the narrative pretense that the tragic vision is the true account of the facts while the happy one is an artistic rendering. By presenting his reading public with this dilemma over a century ago, Galdós raised questions about the nature of narrative conventions which are similar to those issues being addressed by narratologists …
Narrative Voice, Point Of View, And Characterization In Graciliano Ramos's Vidas Sêcas, Linda M. Willem
Narrative Voice, Point Of View, And Characterization In Graciliano Ramos's Vidas Sêcas, Linda M. Willem
Scholarship and Professional Work - LAS
Virtually all criticism concerning Vidas Sêcas includes a discussion of its multiple point of view format and its use of free indirect style. It is generally agreed that the shifting points of view provide a multifaceted view of reality, and that the free indirect style technique is a verisimilar method of presenting the thoughts of the inarticulate protagonists, as well as being a means of combining third person objectivity with first person subjectivity. These observations, however, show a tendency to treat narrative voice and point of view as a single phenomenon, thereby blurring the distinction between the two. Yet the …
Folkloric Structure And Narrative Voice In Bècquer's Leyendas, Linda M. Willem
Folkloric Structure And Narrative Voice In Bècquer's Leyendas, Linda M. Willem
Scholarship and Professional Work - LAS
The bulk of the critical study of Gustavo Bècquer's leyendas has dealt with the thematics, stylistics, or the folkloric motifs and origins of the individual works. Surprisingly little attention has been given to the structure or the narrative techniques used in the leyendas as a whole. The purpose of this study is to examine these structural and narrative aspects from a folkloric perspective in order to better appreciate Bècquer's blending of popular and literary art forms.