... 224-5. 7 Hugh Kenner, "Epilogue: The Dead-Letter Office," in Brian ... more ... 224-5. 7 Hugh Kenner, "Epilogue: The Dead-Letter Office," in Brian O'Doherty, ed., Museums in Crisis (New York: George Braziller, 1972), p ... collections of signifi-cant historical and artistic value.'3 One such example is perhaps found in Lo prohibido (1884-5), in Eloisa's efforts to ...
... are likewise citizens of that extended historical moment or condition known as modernity and ... more ... are likewise citizens of that extended historical moment or condition known as modernity and its ... Only half in jest did Pardo Bazin write in La cuestion palpitante that in the ... literary theory that has wielded greatest impact, affecting some-what Hispanists' current constitution of the ...
La Elaboracion Del Canon En La Literatura Espanola Del Siglo Xix Sociedad De Literatura Espanola Del Siglo Xix Ii Coloquio Barcelona 20 22 De Octubre De 1999 2002 Isbn 84 477 0816 0 Pags 185 194, 2002
... 224-5. 7 Hugh Kenner, "Epilogue: The Dead-Letter Office," in Brian ... more ... 224-5. 7 Hugh Kenner, "Epilogue: The Dead-Letter Office," in Brian O'Doherty, ed., Museums in Crisis (New York: George Braziller, 1972), p ... collections of signifi-cant historical and artistic value.'3 One such example is perhaps found in Lo prohibido (1884-5), in Eloisa's efforts to ...
The reopening of the Museo Sefardı́ in Toledo’s fourteenth-century synagogue, El Tránsito, was ty... more The reopening of the Museo Sefardı́ in Toledo’s fourteenth-century synagogue, El Tránsito, was typical of the flurry of activities that in 1992 marked Spain’s commemoration of the 500th anniversary of the expulsion of the Jews. In a telling anecdote included in her study of the roles played by museums in post-Franco Spain, Selma Holo recounts that when the mayor, Juan Ignacio de Mesa Ruiz, was asked the reason why he, a non-Jew, had pledged his efforts to funding the restoration of this synagogue, he answered: ‘‘Because we are all Jews in Toledo’’. Yet when the tickettaker at the city’s other historic synagogue, Santa Marı́a la Blanca, was asked if the Jews of his city were subsidizing its restoration too, he replied: ‘‘There are no Jews left in Toledo’’ (Holo 55). Physical traces of the Jewish presence*the still visible remnants of Jewish material culture and the genealogical links of present-day Spaniards to Jewish or converso ancestors*underscore the stark reality that at the turn of the twenty-first century Jews account for less than 0.0008% of Spain’s total population (20,000 30,000 out of 40 million). The call issued to Spaniards in 1992 to recognize and memorialize their Hispano-Jewish patrimony arrived at a moment when Spain, as a signatory of the Maastricht Treaty, was engaged in promoting a new image in Europe as a democratic, (post)modern nation; not coincidentally, 1992 was also the year in which Barcelona hosted the summer Olympic games, Sevilla hosted the Exposición Internacional, Madrid was named Cultural Capital of Europe, and the government established the Comisión Nacional para la Conmemoración del V Centenario del Descubrimiento de América. In light of so much civic boosterism, the question inevitably arose: what form would the recall of this patrimony take? Would it emphasize exile or convivencia? Memory, it became clear, had the potential to resuscitate the past*or to erase it. For many, 1992 represented a failed opportunity ‘‘to confront the realities of genocide and racism either then or now’’ (Graham and Sánchez 416). Eduardo Subirats, one of the harshest detractors of ‘‘la Gran Efemérides Hispánica de 1992’’, contemptuously viewed such festivities as an example of the aestheticized, mass media-driven politics of the political Transition which, through its synthesis of ‘‘zarzuela y espectáculos high-tech’’, falsified national history and apotheosized ‘‘el Quinto Centenario de la fundación de la Nación Católica’’ (365). Even more than the ‘‘theme-park vacuity’’ of these official celebrations, what disturbed critics was Spain’s inability to reconcile with its past, to assimilate ‘‘the meaning of empire*in terms of the devastating experience of otherness visited not only on the colonized, but also on those cultures expelled from peninsular Spain (Arab, Jewish, and*later*Morisco)’’ (Graham and Sánchez 416). Hazel Gold
FRANCISCO'S FOLLY: PICTURING REALITY IN GALDOS' LA DE BRINGAS ... "Il ya deux sort... more FRANCISCO'S FOLLY: PICTURING REALITY IN GALDOS' LA DE BRINGAS ... "Il ya deux sortes de collectionneurs, celui qui cache ses tr6sors, et celui qui les montre; on est placard ou bien vitrine; je suis vitrine."' ... The "Cenotafio" Within the Traditional Critical Context
... and the practice of realism when a novel, while claiming to reproduce directly an external re... more ... and the practice of realism when a novel, while claiming to reproduce directly an external referent, simultaneously remits readers to paintings, photographs, land-scapes, and silhouettes, or devises framed scenes and verbal portraits in imitation of these pictorial techniques, as ...
... 224-5. 7 Hugh Kenner, "Epilogue: The Dead-Letter Office," in Brian ... more ... 224-5. 7 Hugh Kenner, "Epilogue: The Dead-Letter Office," in Brian O'Doherty, ed., Museums in Crisis (New York: George Braziller, 1972), p ... collections of signifi-cant historical and artistic value.'3 One such example is perhaps found in Lo prohibido (1884-5), in Eloisa's efforts to ...
... are likewise citizens of that extended historical moment or condition known as modernity and ... more ... are likewise citizens of that extended historical moment or condition known as modernity and its ... Only half in jest did Pardo Bazin write in La cuestion palpitante that in the ... literary theory that has wielded greatest impact, affecting some-what Hispanists' current constitution of the ...
La Elaboracion Del Canon En La Literatura Espanola Del Siglo Xix Sociedad De Literatura Espanola Del Siglo Xix Ii Coloquio Barcelona 20 22 De Octubre De 1999 2002 Isbn 84 477 0816 0 Pags 185 194, 2002
... 224-5. 7 Hugh Kenner, "Epilogue: The Dead-Letter Office," in Brian ... more ... 224-5. 7 Hugh Kenner, "Epilogue: The Dead-Letter Office," in Brian O'Doherty, ed., Museums in Crisis (New York: George Braziller, 1972), p ... collections of signifi-cant historical and artistic value.'3 One such example is perhaps found in Lo prohibido (1884-5), in Eloisa's efforts to ...
The reopening of the Museo Sefardı́ in Toledo’s fourteenth-century synagogue, El Tránsito, was ty... more The reopening of the Museo Sefardı́ in Toledo’s fourteenth-century synagogue, El Tránsito, was typical of the flurry of activities that in 1992 marked Spain’s commemoration of the 500th anniversary of the expulsion of the Jews. In a telling anecdote included in her study of the roles played by museums in post-Franco Spain, Selma Holo recounts that when the mayor, Juan Ignacio de Mesa Ruiz, was asked the reason why he, a non-Jew, had pledged his efforts to funding the restoration of this synagogue, he answered: ‘‘Because we are all Jews in Toledo’’. Yet when the tickettaker at the city’s other historic synagogue, Santa Marı́a la Blanca, was asked if the Jews of his city were subsidizing its restoration too, he replied: ‘‘There are no Jews left in Toledo’’ (Holo 55). Physical traces of the Jewish presence*the still visible remnants of Jewish material culture and the genealogical links of present-day Spaniards to Jewish or converso ancestors*underscore the stark reality that at the turn of the twenty-first century Jews account for less than 0.0008% of Spain’s total population (20,000 30,000 out of 40 million). The call issued to Spaniards in 1992 to recognize and memorialize their Hispano-Jewish patrimony arrived at a moment when Spain, as a signatory of the Maastricht Treaty, was engaged in promoting a new image in Europe as a democratic, (post)modern nation; not coincidentally, 1992 was also the year in which Barcelona hosted the summer Olympic games, Sevilla hosted the Exposición Internacional, Madrid was named Cultural Capital of Europe, and the government established the Comisión Nacional para la Conmemoración del V Centenario del Descubrimiento de América. In light of so much civic boosterism, the question inevitably arose: what form would the recall of this patrimony take? Would it emphasize exile or convivencia? Memory, it became clear, had the potential to resuscitate the past*or to erase it. For many, 1992 represented a failed opportunity ‘‘to confront the realities of genocide and racism either then or now’’ (Graham and Sánchez 416). Eduardo Subirats, one of the harshest detractors of ‘‘la Gran Efemérides Hispánica de 1992’’, contemptuously viewed such festivities as an example of the aestheticized, mass media-driven politics of the political Transition which, through its synthesis of ‘‘zarzuela y espectáculos high-tech’’, falsified national history and apotheosized ‘‘el Quinto Centenario de la fundación de la Nación Católica’’ (365). Even more than the ‘‘theme-park vacuity’’ of these official celebrations, what disturbed critics was Spain’s inability to reconcile with its past, to assimilate ‘‘the meaning of empire*in terms of the devastating experience of otherness visited not only on the colonized, but also on those cultures expelled from peninsular Spain (Arab, Jewish, and*later*Morisco)’’ (Graham and Sánchez 416). Hazel Gold
FRANCISCO'S FOLLY: PICTURING REALITY IN GALDOS' LA DE BRINGAS ... "Il ya deux sort... more FRANCISCO'S FOLLY: PICTURING REALITY IN GALDOS' LA DE BRINGAS ... "Il ya deux sortes de collectionneurs, celui qui cache ses tr6sors, et celui qui les montre; on est placard ou bien vitrine; je suis vitrine."' ... The "Cenotafio" Within the Traditional Critical Context
... and the practice of realism when a novel, while claiming to reproduce directly an external re... more ... and the practice of realism when a novel, while claiming to reproduce directly an external referent, simultaneously remits readers to paintings, photographs, land-scapes, and silhouettes, or devises framed scenes and verbal portraits in imitation of these pictorial techniques, as ...
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