Documento fundamental para comprender la sensibilidad y la mentalidad europea del siglo pasado, esta obra es ya un clásico de la historiografía y la crítica literarias. En su búsqueda y fijación de los temas recurrentes, Mario Praz visita el lado más oscuro de las literaturas francesa, inglesa e italiana del Romanticismo, y determina con exactitud los medios a través de los cuales se efectuó la transmisión de esos temas tan ocultos, y a la vez tan familiares entre los artistas. En el presente libro, Praz plantea de forma muy atractiva—incluso para un lector no especializado en problemas históricos, literarios y psicológicos—esa ligazón, mostrando una sutil afinidad con las personalidades extrañas, ambiguas, visionarias o sublimes que constituyen su objeto de análisis. Mario Praz (1896-1982). Nacido en Roma, catedrático en las Universidades de Liverpool y Manchester, Caballero del Imperio Británico y Doctor Honoris Causa por las Universidades de Cambridge y la Sorbona, Praz fue un especialista en arte y literatura. De su extensa bibliografía cabe destacar “Gusto neoclásico”, “La casa de la vida” y el que hoy presentamos.

This book is the only one of its kind on the market. It deals with one of the most brilliant yet least known Latin American authors, Esteban EcheverrÌa. EcheverrÌa was the author of La Cautiva (The Captive), El Matadero (The Slaughterhouse), and Dogma Socialista (Socialist Dogma) which formed the base of the constitution of the Republic of Argentina. In Building A Nation, Juan Carlos Mercado recovers the figure of EcheverrÌa through an analysis centralized in his work as a poet, thinker, and politician--all as one unit. The study takes into account the many sources, including European ones, that EcheverrÌa used in order to formulate a literary and political national project. Readers of this work will acquire a thorough understanding of the significance of EcheverrÌa's influence--from the introduction of European Romanticism into Argentine Literature; to the initiation of a critical and realistic narrative style never yet seen before in Argentina; to the founding of a liberal-humanist tendency which went on to acquire definitive political shape for the country.

Modernism, Ruben Darío, and the Poetics of Despair presents a detailed study of a neglected facet of Ruben Darío, and in general, of Hispanic Modernism: metaphysical and existential dimensions as preludes to Modernity. Alberto Acereda and J. Rigoberto Guevara approach the life and death issues in Darío works with special emphasis on his poetry. The authors demonstrate how the Nicaraguan poet takes the first steps towards poetic modernity. The tragic component of Darío works are examined in the light of Nineteenth Century philosophy, especially the work of Arthur Schopenhauer. Various thematic proposals are also formulated for the study of the works of Ruben Darío.

An Ibero-American Perspective on Narratives of Pandemics is a critique of the realities of the pandemic in the Ibero-American world and its intertwined relationship with the environment. Through a critical gaze into the history of the region as it has evolved through periods of socio-environmental and cultural conflicts, the book chronicles multiple experiences of how people managed to negotiate multiple crises on a daily basis by often clinging to their age old cultural and healing practices, as well as the humanistic representation of such experiences in various fictional and nonfictional writings. The contributors expose the biopolitics around COVID-19 and its effects particularly on marginalised populations and the environment in an effort to consider the complexity of the pandemic in its multiple dimensions. They evaluate it through climatic, socioeconomic, political, scientific, and cultural lenses that they argue shaped the realities of the pandemic. They also take a close look at the use and effects of language in virtual spaces, implying it has the ability to construct/mis-construct reality in this postmodern world, arguing there is a need for a new environmental ethic post-pandemic.

Since Prosper Mérimée and Georges Bizet (with his librettists Meilhac and Halévy) brought the figure of the Spanish Carmen to prominence in the nineteenth century an astonishing eighty or so film versions of the story have been made. This collection of essays gathers together a unique body of scholarly critique focused on that Carmen narrative in film. It covers the phenomenon from a number of aspects: cultural studies, gender studies, studies in race and representation, musicology, film history, and the history of performance. The essays take us from the days of silent film to twenty-first century hip-hop style, showing, through a variety of theoretical and historical perspectives that, despite social and cultural transformations--particularly in terms of gender, sexuality and race--remarkably little has changed in terms of basic human desires and anxieties, at least as they are represented in this body of films. The conception of Carmen's independent sexuality as a source of danger both to men (and occasionally women) and to respectable society has been a constant. Nor has sexual and ethnic otherness lost its appeal. On the other hand, the corpus of Carmen films is more than a simple recycling of stereotypes and each engages newly with the social and cultural issues of their time.