Frank A Dominguez

A study of Carajicomedia and the people it may portray that takes the contrafactum to be a reflection of the fractiousness of the nobility and a prelude to the revolt of the Germanías. It was written by more than two authors, among them a Valencian. One of its reviewers has characterized the work this way: "El dilatado libro de Frank A. Domínguez se divide en cuatro partes; las primeras dos van de la autoría de la obra y parodia que hace la Carajicomedia del Laberinto de Fortuna o Trezientas de Juan de Mena, con glosas de Hernán Núñez, al papel que mujeres y hombres desempeñaban en los albores de la Edad Moderna, su interrelación, la pérdida de los valores medievales caballerescos y la perduración de la tradicional misoginia, tema con que el autor intenta atraer a académicos de áreas correspondientes a estudios de género y de sexualidad, según advierte en el prólogo (p. xxi). La tercera parte analiza los indicios que probablemente pudieron llevar al autor o autores de la Carajicomedia a satirizar a ciertos personajes de la época, las repercusiones de la sátira política, de ahí el anonimato de este tipo de composiciones, para terminar con unas conclusiones en que se intuyen propósitos y fechas de composición de la obra. La cuarta parte constituye la edición paleográfica; cierran el libro dos apéndices (uno para la modernización al español y la traducción al inglés de la obra; otro dedicado al lenguaje erótico que utiliza), una extensa bibliografía y un índice de obras y nombres propios" (Jorge Valenzuela, RFE 98.1 [2018]: 241-250).

The articles in this volume treat the burlesque and parodic a variety of genres. In poetry, it  studies of the "cantigas de escarnio y maldecir," the Cantar de mio Cid, Juan Ruiz’s Libro de buen amor, the Coplas de Mingo Revulgo, the Cancionero de Baena, Pedro de Escavias’s "serranas," and the Cancionero de obras de burlas provocantes a risa. In narrative, there are studies of Fernando de Rojas’ Celestina, Luis de Milán’s El cortesano, Francisco Delicado’s La Lozana Andaluza, Juan Arce de Otárola’s Los coloquios de Palatino y Pinciano, and Cristóbal de Villalón’s El Crotalón. As well as bring to our attention aspects of the burlesque in lesser-known texts such as Ibn al-Murābiʿ al-Azdī’s “Maqāma  of the Feast,” Anselm Turmeda’s Disputa de l’ase, Francesc de la Via’s Llibre de fra Bernat, the anonymous Col.loqui de dames, Evangelista’s Libro de cetrería, and reminiscences of the Libro de buen amor's "dueñas chicas" and Pitas Payas in some of Pedro  Liñán de Riaza’s poems.

A study of some of the medieval versions of the Jason and Medea legend that begins with a review of the classical sources, Dares and Benoit de Sainte-Maure, Guido delle Colonne (and other versions of Italian origin), Alfonso X and related titles, the Ovide moralisé, and ends with works connected with the Burgundian court.

An edition of the work. "El Cancionero de obras de burlas provocantes a risa, publicado en Valencia por Juan de Viñao, en 1519, sobrevive hoy en una sola copia que se encuentra en el Museo Británico de Londres. De dicho ejemplar sacó en 1841 don Luis Usoz y Río el texto para la única edición moderna del Cancionero de la cual se imprimieron sólo doscientos ejemplares. Desafortunadamente, estos pocos ejemplares se han quedado exclusivamente en manos de bibliófilos y bibliotecarios y, por consiguiente, no han sido fácilmente asequibles a los estudiantes e investigadores de la literatura española. Con su atenta edición del Cancionero de burlas, el prof. Frank Domínguez pone ahora al alcance de todo hispanista una de las más singulares colecciones de poesía del renacimiento español (Bruno Damiani, Hispania 63.2 [1980]: 429-430). A more recent edition of one of the texts of this cancionero and its translation into modern Spanish and English is available in my Carajicomedia: Parody and Satire in Modern Spain (2015).

This article examines the description of places and buildings in a selection of classical, medieval, and Renaissance texts by analyzing their use of  descriptio/ekphrasis and the technique of amplificatio (distributio and enumeratio) in order to reveal their cultural bases and differences. Several of the texts are well known, while others are not. The texts are: the Epistola 2.17 by Caius Plinius the Young (62-c. 117 AD); Petrarch’s letter describing his ascent of Mount Ventoux (1336), published in Familiares rerum libri 4.1; a Tratado de montería (written between 1453-1473) and an inspection visit report on the Montizón castle (1478; both concerning the Sierra de Segura of Jaen); and a poem called Terze Rime (1458) that describes a new palace built by Cosimo I de Medici in Renaissance Florence. The paper contains portions of lectures that I gave students over the years to make them aware of some of the changes in written texts that occurred  over the centuries treated.

The few words that Diego Fajardo utters in the brief prose account of his life at the beginning of Carajicomedia—“O ingrata patria no poseerás mi natura"—precede a command that his sexual organs be taken to the Roman Colosseum. The words recall a saying associated with Scipio Africanus— “ingrata patria, non possidebis ossa mea” or “ingrata patria, ne ossa quidem mea habes” (Valerius Maximus Facta et Dicta Memorabilia, 5.3.2) —with one modification. Scipio wanted his bones ("ossa") not to be interred in Rome because of the way its citizens had treated him. Fajardo replaces the word "ossa" with "natura" to refer to his sexual organs, which he wants taken from Castile, his "patria," to Rome, after being ridiculed by its whores. The action requested therefore reverses the thrust of Scipio's saying, but why does he order his organs taken to the Colosseum? This paper attempts to answer that question.

La mujer vidente en la literatura hispano-medieval no ha recibido la debida atención de la crítica literaria. Esto se debe a que la mayoría de los autores de la época ven la mujer como un ser con tendencias al mal . Esta opinión empieza a cambiar bajo la influencia del culto mariano. Aún así, el tema no se introduce en la literatura hasta mediados del siglo 15 con el Laberinto de Fortuna (1444) de Juan de Mena. En esta obra, hay una alusión a la Sibila de Cumas, quién el autor considera superada por una Divina Providencia. Sin embargo, la Sibila recibe mayor atención en la versión del Laberinto entitulada Las Trezientas (1499) que edita Hernán Núñez y, unos diecisiete años después, reencarna como agente del diablo en Carajicomedia (1516-1518), un contrafactum paródico de parte de Las Trezientas  . Este ensayo explica por qué Mena rechaza la tradición sibelina, nota el mayor peso de esa tradición en las glosas de Núñez, y traza su influencia en la caracterización de María de Vellasco y las putas valencianas como 'sibilas' en el mundo al revés de Carajicomedia.

The Cancionero de obras de burlas (1519) was specifically tailored to appeal to a Valencian audience. Most of the works it contains, Pleyto del manto, Aposento en Juvera, the two compositions ascribed to the Count of Paredes and Carajicomedia, for example, all have to do with the city or the interests of its inhabitants in one way or another.

The paper examines the juridical language of Pleyto, its antecedent and contemporary use in European literature among law students, and its connection to the 1508 trial for treason of Pedro Fernández de Córdoba y Pacheco, 1st marquess of Priego, who was known as Pedro de Aguilar.

"La muerte del conde de Niebla en El Laberinto de Fortuna de Juan de Mena" y el poema atribuído a Juan de Hempudia en Carajicomedia, abordan el tema de la guerra, uno de los más frecuentes de la literatura de ficción. Aún así, las descripciones de combates en la poesía medieval y renacentista apenas han despertado interés entre los estudiosos que las han examinado. Su contribución para este volumen contrasta tres textos en que la guerra es materia descriptiva: la sección de El Laberinto de Fortuna que Juan de Mena dedica al conde de Niebla, que asalta y muere ahogado ante el castillo de Gibraltar, con su parodia en el segundo poema de la Carajicomedia, pasando por la descripción que hace el marqués de Santillana de la desastrosa batalla naval en que cae prisionero Alfonso V de Aragón en su Comedieta de Ponza. Estos autores conocían bien la retórica y los lugares comunes que tienden a aparecer en las descripciones de batalla, y que han sido estudiados por Ernst Robert Curtius, pero sus obras se aproximan al conflicto armado a través de ópticas totalmente diferentes. Mena se sirve de ellos para aleccionar, Santillana para alabar a los castellanos y la Carajicomedia para burlarse de alguien que no se identifica excepto con el nombre de Diego Fajardo.

Laberinto de Fortuna, compuesto por Juan de Mena en 1444, alude a la leyenda de Teseo y el Minotauro sólo cuatro veces. Una de estas citas es a la primera persona que ve en el círculo de la Luna, y a quien Mena identifica a través de una alusión a su padre, pero sin decir el nombre de ninguno de los dos (Weiss y Cortijo copla 63; 127). Se trata de Hipólito, hijo de Hipólita, la Amazona, y de Teseo, el que mató al Minotauro. El único otro participante en la historia del Minotauro que es parte de la visión es Pasífae, mencionada a su vez en la copla 104 (Weiss y Cortijo 188). Las otras citas a la leyenda no son visiones de personajes;; en la primera, Mena dice que el nombre de la isla Icaria se debe a la caída al mar de Ícaro hijo de Dédalo en la copla 52 (Weiss y Cortijo 113); y en la copla 142 compara el trono de Juan II con la obra del arquitecto Dédalo (Weiss y Cortijo 307).  Estas pocas alusiones al mito en un poema que tiene entre doscientas noventa y siete o trescientas octavas de arte mayor indican, por su parquedad, que la leyenda no afecta substancialmente la obra. Este ensayo explica por qué.

The Fiesta de Aranjuez and Lope de Vega's El Vellocino de oro have a strong debt to the wedding of Cosimo de Medici. This article examines that debt. It was made possible by the ease of online access the Medici Archive Project/BIA provides to the diplomatic correspondence between Spain and Florence. The document reference numbers are:

page 39: MAP Doc. ID# 7726: Nov. 28, 1620, Mediceo del Principato 4949, fo. 649; MAP Doc. ID# 7726: Aug. 19, 1621, Mediceo del Principato 4949, fo. 951
page 43: MAP Doc. ID# 84: Mediceo del Principato 5052, 637
page 45: MAP Doc. ID# 84: Dec. 2 and 4, 1608, Mediceo del Principato 5052, 664, 665
page 46: MAP Doc. ID# 90: 1609, Mediceo del Principato 302, fo. 1; MAP Doc. ID# 84: Feb. 9, 1609, Mediceo del Principato 5052, 716; MAP Doc. ID# 84: May 7, 1608, Mediceo del Principato 5052, 552; MAP Doc. ID# 90: Oct. 13,1609, Mediceo del Principato 302, fo. 19; MAP Doc. ID# 7726: Sept. 2, 1619, Mediceo del Principato 4949, fo. 125

page 48: MAP Doc. ID# 456: April 4, 1623, Mediceo del Principato 4952

in the notes:

note 10: MAP Doc. ID# 108: July 17, 1609, Mediceo del Principato 5080, fo. 1018
note 16: MAP Doc. ID# 108: July 17, 1609, Mediceo del Principato 5080, fo. 1018; MAP Doc. ID# 404: Dec. 29, 1608, Mediceo del Principato 2944, fo. 616
note 20: MAP Doc. ID# 84: Oct. 20, 1608, Mediceo del Principato 5052, fo. 622; italics mine
note 21: MAP Doc. ID# 84: Mediceo del Principato 5052, fo. 708
note 22: MAP Doc. ID# 84: November 28, 1609, Mediceo del Principato 5052, fo. 649l
note 24: MAP Doc. ID# 290: June 28, 1619, Mediceo del Principato 4949, fo. 42
note 25: MAP Doc. ID# 375: Mediceo del Principato 5079, 870-873
note 40: MAP Doc. ID# 7726: Jun. 23, 1621, Mediceo del Principato 4949, fo. 886

There seems to be no comprehensive overview of Spanish burlesque literature in English or in Spanish since Kenneth R. Scholberg’s two books, Sátira e invectiva en la España medieval  and  Algunos aspectos de la sátira en el siglo XVI. Spanish titles tend to be absent from general studies like Simon Dentith’s “Parody in the Ancient and Medieval Worlds”(39-54) or Laura Kendrick’s “Medieval Satire”. This last only mentions the Latin Tractatus Garciae, which may or may not have been written in Castile.

The silence about the rather extensive corpus of Iberian burlesque poetry points out the difficulty that Hispano-medievalists and early modernists have with general studies. While excellent, these are biased toward the English or French traditions. In spite of this state of affairs, the present issue of La corónica reveals that Hispano-medievalists have written and continue to write a lot about the burlesque.

Stanza 28 of Carajicomedia and its gloss in Hernán Núñez's Las Trezientas suggest the identity of one of the individuals satirized by it.  Stanza 28 of Carajicomedia compares the voice of a character called María de Vellasco to the voice of another character named Santilario. The comparison is glossed with a prose fable that contains one of the few homosexual tales of the European Middle Ages. In it, a devil jumps from a rock onto the masturbating Santilario to take his soul, but slips and is impaled by the latter's prick. This paper argues that Santilario is a mask for Cardinal Francisco Jiménez de Cisneros, who was called a Segundo Santo Hilario, and explains why Santilario is portrayed as a rustic "vaquero".

Comentarios sobre la apreciación del traductor y compilador de obras latinas en el siglo quince y dieciséis han sido frecuentemente estudiados por la crítica. Menor atención, sin embargo, se ha prestado a la parodia de la traducción y del traductor por sus propios contemporáneos. Este ensayo examina la parodia que hace Carajicomedia dé Fray Ambrosio Montesino y Fray Juan de Hempudia y explora el porqué de su presencia en la obra.

Many critics have studied Memorias by Leonor López de Córdoba as an independent account of the aftermath of the execution of Leonor’s father, Martín López de Córdoba, maestre of Alcántara and Calatrava, by Enrique II. No one has considered the extent to which Memorias is similar to other testimonials of the miracles of the Virgin, but the narrative clearly states its intention is to record such miracles performed on Leonor’s behalf so that they can be remembered after her death (‘sepan la relación de todos mis echos é milagros que la Virgen Santa Maria, me mostro, y es mi intención que quede por memoria’ [Ayerbe-Chaux 16]). This essay examines how Memorias is and is not similar to other such testimonials in the manner it refers to historical events and manipulates objects that share some of the same metaphoric associations: cadenas and collares de oro in the early part of the story, and the rosario or chain of prayers in the second part.

Two Spanish works bracket the early period of Spanish exploration, conquest, and settlement spanning about a hundred years. Columbus's Diario de abordo (1492) is a factual account of the first voyage to America, while Cervantes's Los trabajos de Persiles y Sigismunda (l6l7) is a fictional account of a pilgrimage to Rome. Both texts describe ships and their journeys to and from islands, and both contain accounts of storms at sea and shipwreck. But the texts differ in their use of chronology, and the ways they describe and resolve situations that occur during the voyage. The two vastly different narrative styles arise not only from the different genres to which they belong, but from the writers' perceptions of the universe and their protagonists' places in it. This paper analyzes these differences through the use of language describing time, ships, and sailing.

The main character of Carajicomedia, Diego Fajardo, has been misidentified as a son of Alonso Fajardo ‘el Africano’. I propose instead that the work alludes to events that happened during the marriage of Fernando V to Germana de Foix, and that the king and María de Velasco, one of the ladies-inwaiting of Germana, are the real targets of its parody/satire. María de Velasco was the person who gave Fernando a potion to restore his manhood that may have resulted in his death, and the circumstances of the king’s death strangely echo those of Diego Fajardo in the poem. Therefore, I believe that Carajicomedia is not about the last years of the reign of Isabel, as commonly thought, but about the regency and death of Fernando el Católico. consequently, the poem was probably written shortly after the king died in 1516.

This paper explores the  reason why Carajicomedia calls its supposed author Fray Bugeo by exploring how it uses a well established allegorical interpretation of the monkey to allude to Ambrosio Montesino and to the taking of the North African city of Bujía by Francisco Jiménez de Cisneros.

Although no straight line of development characterizes Spanish literature, the continuing strength of certainthemes, qualities, and genres can be discerned: the use of heroic motifs; the soaring lyricism of its poetry; the tension between idealism and a cynical realism; the satirical, self-critical bent shared by writers of intense patriotism and religiosity; and the ingenious mixing of the traditional with the new. The development of the literature, however, was slow. There was no Spanish literature as such before the formation of the Spanish state under Charles V at the beginning of the 16th century. Before that time, there were only the literatures of individual kingdom This essay attempts to characterize this literature in reference to the 1) Middle Ages, 2) Renaissance and Baroque, 3) Eighteenth century, 4) Nineteenth Century: Romanticism and Realism, 5) Twentieth Century.

In copla 13 of the Coplas, Manrique refers to the soul/body dichotomy with a metaphor that identifies the body with a "sierva" (slave) and the soul with a "señora"  (mistress). This article explores the sources of this metaphor and traces its roots to a general condemnation of cosmetics in ancient literature before considering the proper adornments for the soul.

Key Words: Jorge Manrique, Spanish Medieval poetry, cosmetics, cativa, sierva, señora, elegy, defunzion, slave, mistress, body and soul

El presente trabajo tiene como objetivo el dar a conocer y editar un tercer manuscrito de las Coplas de la panadera perteneciente a la biblioteca Colombina y Capitular de Sevilla y que se encuentra en el volumen 63-9-71 de Varios (fols. 107-112).

The article studies Lope's use of the central image of his comedia de santo known as El divino africano, its connection to the Pauline image of robing Christ and disrobing paganism, the Aeneid, and Garcilaso's sonnet known as "Oh dulces prendas..."

A study of the source Fernandez de Heredia's story of the Argonauts. At first glance, the Grant Cronica seems to follow the Roman de Troie en prose, but his version differs from it in various important details making it quite likely that there is an intermediate version between one and the other, and not, the Histoire Ancienne. To my knowledge, there are no Spanish Troy histories antedating the Grant Cronica that include an Argonautica derived from the prose Roman. Several, however, do exist in Italian and one of these, the Versione d'anonimo or a text like it, is the likeliest source of Fernandez de Heredia's narrative.

The  version was included with some revisions with the following texts: Avenidas, Intercambios, Plazas, Poco a poco, Puentes, Spanish for Life, Interacciones, Temas, Tú dirás, Spanish for Business Worktext, ¡Así es!,  Plazas, Spanish for Health Worktext, Spanish for Law-enforcement Worktext, Spanish for Life Worktext, De paseo, Siempre adelante, El arte de la conversación, El arte de la composición, Generaciones, ¡A que sí!)

The University of North Carolina (UNC)/IBM Courseware Development Project has been successful in the creation of high-quality college level educational computer materials. This paper provides an overview of the development of the Project, of the difficulties encountered along the way, and of the solutions found to overcome them. It advocates the use of a team approach to the development of quality computer materials, and provides a model to follow.

As computer-assisted foreign language instruction programs become more sophisticated, more complete systems of reference and grammatical analysis will be required of the software. Inevitably, these programs must incorporate complex database management systems in order adequately to address one of the most important tasks facing the developer: morphological analysis of user input. The first step toward a complete morphological analysis program is the construction of a database consisting of an adequate vocabulary list and a driver program that is able to recognize any word in the vocabulary list as well as all inflected forms of each word. There have been several attempts to provide this foundational driver program, and this paper describes a system that has been developed at the University of North Carolina at Chapel Hill for Spanish MicroTutor, a Spanish grammar tutorial for the IBM-PC developed at the University of North Carolina at Chapel Hill in the early 80's.

This mini-conference/homage took place last year in honor of my grandfather, Francisco Domínguez Mosquera. Videos of the talks can be found at this address on YouTube:

https://www.youtube.com/playlist?list=PLfvuMtgFMOh9EQo75BRQnsGGZIUPkfVzU

Reúne trece trabajos leídos en un seminario celebrado en Valladolid por un conjunto de estudiosos del latín y romances hispánicos en 2017. Su propósito es estudiar el vocabulario asociado con el paisaje en textos medievales españoles en su mayoría anteriores as siglo XIII. El término paisaje se define como 1) "territorio" político o natural, 2) propiedad urbana o rural, 3) lugar transformado por la labor del hombre, o cómo 4) plasmación subjetiva.

La canción de amor contains the literary-historical analysis of the development of the medieval Castilian canción. El estilo de la lfrica cortés, on the other hand, is a computer-based analysis of the vocabulary of one hundred and forty canciones.

the influence of the Cabala in the works of Luis de León, Teresa de Jesús, and Juan de la Cruz. It seeks to answer two principal questions: What aspects of the Jewish Cabala remained in Christian Spain after the expulsion of the Jews,  andd how did the Cabala endure in an atmosphere that should have been inimical to it?

Fashioned Texts and Painted Books examines the folding fan’s multiple roles in fin-de-siècle and early twentieth-century French literature. Focusing on the fan’s identity as a symbol of feminine sexuality, as a collectible art object, and, especially, as an alternative book form well suited to the reception of poetic texts, the study highlights the fan’s suitability as a substrate for verse, deriving from its myriad associations with coquetry and sex, flight, air, and breath. Close readings of Stéphane Mallarmé’s éventails of the 1880s and 1890s and Paul Claudel’s Cent phrases pour éventails (1927) consider both text and paratext as they underscore the significant visual interest of this poetry.

Works in prose and in verse by Octave Uzanne, Guy de Maupassant, and Marcel Proust, along with fan leaves by Edgar Degas, Édouard Manet, Berthe Morisot, and Paul Gauguin, serve as points of comparison that deepen our understanding of the complex interplay of text and image that characterizes this occasional subgenre. Through its interrogation of the correspondences between form and content in fan poetry, this study demonstrates that the fan was, in addition to being a ubiquitous fashion accessory, a significant literary and art historical object straddling the boundary between East and West, past and present, and high and low art.

Winner of the Premio Roggiano para la Crítica Literaria Latinoamericana 2018, awarded by the Instituto Internacional de Literatura Iberoamericana (IILI).

Mujeres en tránsito examines in detail the insightful accounts of four prominent female writers who traveled to and from Latin America in the nineteenth century: the French Peruvian socialist and activist Flora Tristan (1803-44), the Argentines Juana Manuela Gorriti (1816-92), Eduarda Mansilla (1834-92), and the Peruvian Clorinda Matto de Turner (1852-1909). Each author traveled and wrote in different and significant moments in the history of the Latin American nations, and their texts touch upon the nature of hemispheric and European cross-cultural relations.

Mujeres en tránsito revises the limited consideration that women’s travelogues have received within the Latin American literary tradition. It demonstrates how women’s commentaries on their own and other nations speak to their own engagement in the project of modern citizenship. More importantly, the act of traveling often helps female authors challenge the strictly political, legal, and geographic conceptions of nationhood and national identity articulated in canonical texts. Their improved yet marginal position in society as women, their particular reasons to travel, and the personal and symbolic connections with more than one nation or culture lead these four women to articulate a “transnational imaginary” through which they revise the categories of gender, class, modernity, and cultural homogeneity that shaped nineteenth century Latin American societies.

Modernismo, Latin America’s first homegrown literary movement, has garnered critical attention for its political and social import during a time of intense nation building and efforts to propel the region into modernity. LaGreca’s Erotic Mysticism explores two dominant discourses of the period, Catholicism and positivism, which sought to categorize and delimit the desires and behaviors of the ideal citizen. These discourses, LaGreca argues, were powerful because each promised to allay the individual’s existential fears. Yet the coexistence of these two competing ideologies, one atheist and one religious, sowed doubt and unease in the modern intellectual who sought an alternative mode of understanding the human condition. From these uncertainties sprang a seductively liberating mode of writing: non-theistic erotic mysticism. Through analysis of key essays and fiction of Carlos Díaz Dufoo (Mexico), Manuel Díaz Rodríguez (Venezuela), José María Rivas Groot (Colombia), Aurora Cáceres (Peru), and Enrique Gómez Carrillo (Guatemala), LaGreca establishes erotic mysticism as a central philosophical substratum of the movement that anticipated the work of twentieth-century theorists such as William James and Georges Bataille. In modernista texts, the mystic’s ecstatic state is achieved through a sublime erotic or sensual experience. The noetic mystical state expands one’s consciousness, opening his or her mind to embrace diverse ways of loving and engaging. While science and religion sought to mold heteronormal and pragmatically useful citizens, modernista writers employed mystical discourse to transcend boundaries, opening readers’ minds to alternative notions of sexuality, gender, desire, acceptance, and, ultimately, art.

Pedro de Peralta Barnuevo (1664-1743), a writer of early eighteenth-century viceregal Peru, believed that his epic poem Lima Fundada (1732), in tandem with Historia de España Vindicada (1730), were his crowning literary achievements. His instincts have proven correct. However, in spite of the fact that Lima Fundada is Peralta’s most cited work, it has not been published in its entirety since it appeared. For the first time in more than 280 years, Slade and Williams have edited the entire poem, including all of its original paratexts, introductory compositions, prologue, footnotes, marginal notes and index.

Lima Fundada by Pedro de Peralta Barnuevo: A Critical Edition recounts the founding of Peru’s capital city by Fernando Pizarro, a hero that gives shape to a conflicted discourse about colonization and empire. Lima fundada is implicitly about criollo identity, history, and power in the face of a hierarchical system that gives preference to the Peninsular-born. The text is a complex history of the conquest in which a cast of nations, empires, rulers and peoples join to create Peralta’s vision of Peru, while celebrating creoles as the true inheritors of the city’s heroic founding.

Drawing on feminist psychoanalysis and Greek mythology, La madre muerta explores how matricide and unconscious matricidal fantasies have been portrayed in Spanish narrative, drama, and film. The book examines individual and social perceptions regarding gendered subjectivity, the operation of power relations, gender violence, and the economies of desire. It provides a comparative study of different theoretical approaches to matricide and a close reading of five films–Furtivos (1975) by José Luis Borau, Sonámbulos (1978) by Manuel Gutiérrez Aragón, La madre muerta (1993) by Juanma Bajo Ulloa, La madre(1995) by Miguel Bardem, and Los ojos de Julia (2010) by Guillem Morales; three novels–La familia de Pascual Duarte (1942) by Camilo José Cela, Isabel and Maria (1992) by Mercé Rodoreda, and La intimidad(1997) by Nuria Amat; and two plays–Clitemnestra (1986) by María José Ragué i Arias, and La reivindicació de la senyora Clito Mestres (1990) by Monserrat Roig. This study attempts to unveil the mechanisms by which the matricidal myth has been introduced and continues operative in twentieth and twenty-first century Spanish literature and film. It also explores the process of continuous reprojection of a phobic, monstrous mother figure associated with danger, persecution, and abjection, and suggests that the male fantasy of matricide does not necessarily reveal itself in the literal murder of the mother, but it is projected onto other women, thus leading to various acts of gender violence. In this study, Gómez claims that the absence of a positive symbolic mediation with the maternal body is detrimental for the configuration of gendered identities.

Reading, Performing, and Imagining the Libro del Arcipreste examines how reading, writing, and interpretation reside at the core of the cultural history of the Castilian Libro del Arcipreste (often called the Libro de buen amor) from the moment of its creation in the first part of the fourteenth century. The study comprises three sections. In the first, the author situates the Libro within the tradition of Augustinian hermeneutics and exegetics, relating the work to the schools at Toledo and Salamanca. The detailed argument makes notable connections between contemporary reception theory and medieval reading and scholarly practices. The second part develops hypotheses concerning the performative cues in the Libro, emphasizing the audible/visible aspect of medieval reading and performance. Here Gerli focuses on the orthodoxy of the Libro, revealing how by presenting heretical content in accordance with Augustinian/ethical reading strategies, the work advances the novel and convincing hypothesis that the Libro provides its audience an opportunity to recognize heterodoxy rather than espouse it. The final section deals with the rewriting and reimagining of the Libro on into modernity. Significantly, Gerli demonstrates the manner in which the work served as a poetic manifesto for fifteenth-century cancionero poets, especially in relation to the Cancioneros de Baena, Estúñiga, and Palacio, and how it formed part of the horizon of expectations of courtly audiences. The last chapter of this section presents a troubling case study of the modern American reception of the book and the figure of its putative author, Juan Ruiz, as it tells a gripping tale about a Libro scholar and translator of the work, Elisha Kent Kane. But it is not just a great story–it is a profound one–that constitutes another ethical parable of interpretation generated by the Libro itself and raises two abiding questions: Was the great scholar in question an innocent and mischievous wit–a carefree bon vivant–or was he a philandering, callous murderer?

Histéresis creativa traces how courtly spectacles, short and full-length plays, and picaresque narratives arose under Philip III of Spain, and were then adopted by popular culture. The book focuses on some of the most prominent writers of the early, middle, and late Baroque (Miguel de Cervantes, Lope de Vega and Alonso de Castillo Solórzano) but considers their works through the optic of creative hysteresis, i.e., the artistic appropriation of the past to defend the present. The prestige system under Philip III was in need of justifying the imbalance between the increasing material and symbolic power of their patrons, their courtly prestige, and the consent of their subjects. These writers’ commitment to the principles of distributive justice and their application to the acts of court oligarchs is reflected in the fundamentals of many of the spectacles and literary works produced during this period

Has Chilean author Roberto Bolaño (1953-2003) written the final word on Latin America’s insufferable modernity? This investigation asserts that Bolaño’s novels, short stories, poetry and essays examine to a point of exhaustion the most important aspects of Latin America’s modern literary tradition. Bolaño’s critique of modernity as a violent historical condition is a radical mode of literary articulation. With it, the current models of criticism—world literature, the global novel, postcolonial and transatlantic studies—are undermined, while the very notions of margin and center are ultimately disolved. Oswaldo Zavala contends that Bolaño deliberately dismantles the symbolic capital of the Western literary tradition by generating a counterhegemonic horizon of meaning that arises from and defines Latin American writing. The book offers innovative readings of Distant Star, By Night in Chile, The Savage Detectives, Last Evenings on Earth and 2666, among other works. It ultimately demonstrates that Bolaño transcends the neoliberal dream of a global consciousness by revealing the discontinuous, cont

Materia médica explores the intersection of the sciences and humanities in Spanish 16th and 17th centuries representations of the extraordinary within the larger scheme of the Baroque. Medical and chirurgical treatises, discourses, letters, broadsheets, and paratexts of the period share with the humanities thought processes, methods, patterns, and—most importantly—some forms of description. Archival evidence broadens the spectrum of these texts, and cases are frequently compared to similar instances in disciplines such as theology, literature, and the law.

Materia médica maps, among other notions, the imagination, the spectacular, the legendary and the “novelesque” in scientific writing, and examines the influence of the theatrical in representations of medical cases as stated by doctors themselves. The analyses of Materia médica tilt between the world of fact and fantasy, and explore the effect of the descriptions of its cases on the social sphere. An eclectic monograph, it is intended for specialists in both early-modern culture and intellectual history. It also appeals to scholars who are particulary interested in the history of the rare, the unusual, and the monstrous, a fertile niche that is very much in the spirit of 16th and 17th century Western thought.

This is a critical study of the construction of gendered spaces through feminine labor and capital in Puerto Rican literature and film (1950-2010). It analyzes gendered geographies and forms of emotional labor, and the possibility that they generate within the material and the symbolic spaces of the family house, the factory, the beauty salon and the brothel. It argues that by challenging traditional images of femininity texts by authors and film directors like Rosario Ferré, Carmen Lugo Filippi, Magali García Ramis, Mayra Santos-Febres, Sonia Fritz and Ana María García, among others, contest the official Puerto Rican cultural nationalist discourse on gender and nation, and propose alternatives to its spatial tropes through feminine labor and solidarities.

The book’s theoretical framework encompasses recent feminist geographers’ conceptualizations of the relationship between space and gender, patriarchy, knowledge, labor and the everyday. It engages with the work of Gillian Rose, Rosemary Hennessy, Doreen Massey, Patricia Hill Collins, and Katherine McKittrick, to argue that spaces are instrumental in resisting intersecting oppressions, in subverting traditional national models and in constructing alternative imaginaries. By introducing Caribbean cultural production and Latin American thought to the concerns of feminist and cultural geographers, it recasts their understanding of Puerto Rico as a neo-colonial space that urges a rethinking of gender in relation to the nation.

Mapping the Landscape, Remapping the Text: Spanish Poetry from Antonio Machado’s Campos de Castilla to the First Avant-Garde (1909-1925) explores the mapping of identity and memory in Antonio Machado’s (1875-1939) Campos de Castilla (1912, 1917) before studying its disruption by the avant-garde movements Ultraísmo (1918-1925) and Creacionismo (1910s-1930s). Machado’s attribution of identity to the landscape was remapped by the first avant-garde in order to circumvent the placement of identity in textual landscapes that are coded as national or regional, transform the conception of subjectivity and identity through a reconstruction of poetic form, and reposition Spain at the center of the European avant-garde.

This book examines certain of Loti's important novels to show how he managed to reproduce with words what Monet was doing in oils. It also shows how the author came to theorize about the effects of Impressionism on the reader-viewer. Finally, it demonstrates how and why, in one of his last novels, Loti undertook to reproduce the style of one of the painters most admired by Monet: Rembrandt van Rijn, whom the nineteenth-century French rediscovered in part because they could present his sketchy biography as a demonstration of many of the things liberal art historians and painters believed the ideal artist should be.

Etnografía, política y poder a finales del siglo XIX: José Martí y la cuestión indígena  traces the development of José Martí’s ideas about progress, the market, and the educational reforms carried out by liberal governments in Central America, Argentina, and the United States at the end of the 19th century. Unlike previous work in the area that tends to focus on Martí’s famous essay “Our America”, Camacho shows his support of laws and military acts that were very detrimental to the Indians during this time. Among these acts were Julio Roca’s genocidal “campaign” in Argentina that virtually wiped out the indigenous population in La Pampa and General Rufino Barrios’ expropriation and commercialization of indigenous lands in Guatemala. The book also sheds light on Martí’s ideas about social-evolution and race, discourses that were frequently used by the cultural elites to justify their acts.

The Triumph of Brazilian Modernism studies the first steps of the movement in Brazil and some of its texts. Its first part explains how modernists produced a meta-discourse that legitimized their own work, and how state cultural policies assured their canonization by disseminating overviews, anthologies, and histories of Brazilian Modernism throughout the educational system. From the 1950s onwards, Brazilian criticism and historiography incorporated many of these self-legitimizing arguments into a totalizing narrative of triumph and maturity of Brazilian literary expression.
The second part looks at aspects of Brazilian Modernism that were overlooked by this totalizing narrative. Its three chapters examine the ambiguous relationship with modernity expressed in themes of Paulista identity and hegemony in the works of Paulo Prado, Mário de Andrade, and Oswald de Andrade.

In 1526 Emperor Charles V arranged the wedding of Ferdinand of Aragon, the dethroned heir of Naples, to Germana de Foix, the widow of Ferdinand the Catholic, and appointed them viceroys of Valencia. In the decade that followed, these two royal personas invited some of the best poets and musicians to their Valencian palace with the purpose of recreating the aulic life that they had enjoyed in their youth. In Ilusión áulica e imaginación caballeresca en El Cortesano de Luis Milán, Ignacio López Alemany applies the concept of "soft power" created by George Duby and Norbert Elias to interpret its descriptions of games, banquets, conversations, performances, literary competitions, and chivalric recreations--in other words, to examine every aspect of the Valencian courtly culture. This extraordinarily rich book addresses several understudied fields: Spanish literature outside of Castile, court celebrations and entertainments, drama, and literary works not belonging to the major genres.

Instable Puente: La construcción del letrado criollo en la obra de Juan de Espinosa Medrano is the first complete study of the life and works of this 17th century Peruvian priest who is considered today the most significant letrado criollo (creole man of letters). In particular, the book focuses on how Juan de Espinosa Medrano composes an ensemble of texts (a treatise on poetry, theater, and several sermons) that demonstrates his ability to master the European literary code, while simultaneously undermining the supposed natural preeminence of Spanish intellectuals over the colonized. The book integrates Peninsular Spanish and Latin American cultures through the common field of the Baroque, without losing track of the explicit differences of each. Instable Puente undertakes a comprehensive analysis of the complete works of Espinosa Medrano in the context of the cultures, religious beliefs, economic structures, and political institutions of its day.

The promotion of state ideology was pervasive in early modern Spain and its New World colonies. One cultural medium affected, theater--the most popular and viable form of mass entertainment at the time--frequently played a role in the advancement of imperial rule. However, despite censorship and the state control of theaters, early modern dramatists also found novel and covert methods to criticize Spain's handling of its imperial affairs by proposing alternative solutions to the problems with which they dealt.
Imperial Stagings: Empire and Ideology in Transatlantic Theater of Early Modern Spain and the New World shows how the dramas of Lope de Vega, Juan Ruiz de Alarcón, Pedro Calderón de la Barca, and Sor Juana Inés de la Cruz confronted the economic, legal, socio-political, and religious problems of Spain and its colonies. It studies how drama, a reciprocal transatlantic phenomenon, interacted with Spanish imperial ideology as it attempted to foster the creation of a national identity.

Driven by a dual analysis, Encounters with Bergson(ism) in Spain looks at French philosopher Henri Bergson (1859-1941) in Spain--his more or less direct influence on Spanish letters--and also at Bergsonism in Spain--the more indirect resonance with his methodological posture--articulated through Spanish texts as well as theoretical approaches to film and urban space. Through this twin investigation, one part historical and the other part methodological, Benjamin Fraser seeks to broaden the scope of interest in Bergson's philosophy, to emphasize the interdisciplinary nature of Bergson's thought, and to insist upon the relevance of Bergson's methodological premise to two of the most important cultural studies disciplines today--film studies and urban geography.
Following an eclectic and interdisciplinary methodology that the French philosopher himself advocated, Fraser reconciles works by some of the most notable twentieth-century authors and critics with compelling aspects of Bergsonism. From novelists Pío Baroja, Miguel de Unamuno, Juan Benet and Belén Gopegui to filmmakers Víctor Érice (El sol del membrillo), Alejandro Amenábar (Abre los ojos) and Carlos Saura (Taxi), as well as urban theorists Henri Lefebvre and Manuel Delgado Ruiz, this work takes up philosopher Gilles Deleuze's call for a "return to Bergson," pushing past the established boundaries of interdisciplinary to what lies beyond.

Influenced by trends in medicine, town planning and social etiquette, Madrid's middle class viewed urban growth with apprehension in the second half of the nineteenth century. In Mapping the Social Body, Collin McKinney examines manifestations and critiques of that reaction in the work of Benito Pérez Galdós, Spain's greatest modern novelist. Drawing on a wide range of recent cultural theory as well as contemporary non-literary texts, this book provides modern readers with a metatextual map of Galdós's Madrid and Spanish society as they experienced urbanisation.
In a century obsessed with all things visual, the map became a useful model with which the recently formed middle class hoped to reform a social body ravaged by disease, crime, prostitution, and class conflict. This study finds that Galdós's attitude toward the middle class and its mapping enterprise changes over time. Whereas his early novels depict dividing practices as reliable and perhaps necessary, his later works show Spain's social maps to be subjective and discriminatory. In La desheredada, Tormento, and La de Bringas the social body is mapped according to class, genealogy, gender and physical difference. Physically and morally ambiguous, the characters in Fortunata y Jacinta, Nazarín, and Misericordia are unmappable and thus resistant to the bourgeois categorising gaze.

This is the first complete edition of an anonymous late medieval Catalan translation of Italian writer Bernardo Illicino's commentary on Petrarch's Triumphs. Although the translation of Illicino’s commentary is considered a classic of Catalan prose by scholars, until now, no one has undertaken the task of preparing a complete edition because of the complexity of the prose, and because the original manuscript survives in two pieces in two different libraries: the National Library of France in Paris and the Ateneu in Barcelona. The original document, reproduced here, represented the first attempt to introduce Petrarch's Triumphs to Peninsular readers and constituted an essential document for the study of the introduction and development of Iberian Petrarchism. This translation of the Triumphs is different from later renditions by the order and content of its chapters.
The introduction to this volume raises interesting questions about the translation’s nature and about the readers for which it was intended, while underscoring the fact that Italian Humanism was introduced in the Iberian Peninsula through the Catalan-speaking intellectuals in the Aragonese Crown. Written in Spanish with Petrarch’s verses preserved in the original Italian.

Escape from the Prison of Love is an exploration of medieval modes of subject constitution and their transformation in fifteenth-century Spanish sentimental romance, with a particular focus on Diego de San Pedro’s Cárcel de amor.

Drawing on premodern psychological models, Robert Folger argues that courtly self-fashioning through amatory performance provided an alternative and threat to the medieval gradual build-up of the self through hexis and habitus. In the light of the unsettling gender implications for the courtly lover, says Folger, the authors of sentimental fiction explored new ways of subject constitution based not on passionate attachment but on identification. Cárcel de amor shows how new forms of writing and reading techniques and authorship provided an avenue for a new notion of interiority that was essential to the Golden Age of Spanish literature.

The monster is a key figure in Spanish early modern cultural production, both literary and artistic. It embodies a revolutionary fictional discourse that reflects violence and ugliness, but also freedom and spectacle. Beyond the perverse implications of the abject, the monster has been linked to an excess of imagination and artificial creation from Aristotle to twenty-first-century cloning. Rogelio Miñana focuses on three of Miguel de Cervantes' most representative works: the short novel ""El coloquio de los perros,"" the play El rufián dichoso, and the novel Don Quijote de la Mancha.

Employing both close readings and monster theory, Miñana argues that Cervantes' protagonists--as well as the very discourse that forges them--are monstrous: extreme, beyond the norm, threatening and threatened, spectacular, and fluid in identity, form, and behavior. Cervantes' pervasive discourse of monstrosity ultimately destabilizes fixed meanings and identities as it interrogates biological, social, legal, religious, and aesthetic orders. As extraordinary beings that test the limits of identity and narrative, Miñana argues, Cervantine talking monsters ultimately reveal the interpretive and discursive nature of the modern subject.

Reading the Exemplum Right situates Juan Manuel at the apex of the European literary tradition of the exemplum and demonstrates how he puts the coercive power and authority of the illustrative tale on display for his audience. Following the medieval modes of reading and writing that structure Juan Manuel's text, Jonathan Burgoyne uncovers a rhetorical lesson woven into the entire five-part Conde Lucanor that lays bare the inherent ambivalence of the exemplum as a narrative sign. Burgoyne then traces the earliest response to Juan Manuel's work as it can be uncovered in the layout, variance, interlineations, and marginalia found in the various late medieval and early modern manuscript witnesses of El Conde Lucanor. The study concludes by testing the hypothesis that a work's earliest audience can establish a tradition of reading that effectively prevents alternative interpretations and fixes an orthodox meaning of the text for future generations.

Through a political and cultural reading of Rubén Darío's canonical works, Francisco Solares-Larrave articulates an innovative view of Spanish American modernismo as a cultural reply to Europe. Unlike other studies of the politics of the movement, which explore Darío's overt political works, this study looks for the covert, less evident political statements in his artistic literary and journalistic prose. Solares-Larrave demonstrates the cultural transformations of the time while presenting Darío's contributions to Spanish American literature as his reply to Europe, the cultural center of the time. The rebelliousness, political awareness, and cultural criticism that appear in Darío's prose make a sharp contrast to his traditional image as a writer blind to the political and social circumstances of the time, whose work was derided as escapist and shallow.

An in-depth examination of the cultural functions of the pastoral in Spain, this study of Montemayor's La Diana and Cervantes's pastoral texts moves away from studies that consider this literature as purely escapist and imitative. Rosilie Hernández-Pecoraro considerably expands the discussion of the importance of the pastoral genre to early modern Spanish studies and supplements the ways in which Hispanists have conventionally considered these texts.

The "I" of History: Self-Fashioning and National Consciousness in Jules Michelet examines the poetics of the historian's self-portraiture as it intersects with nation and history. History exists because someone tells the story, but in Michelet's unique staging and performance of the past, the way the story is told is the real story. Long before Charles de Gaulle, Michelet asserted that he "was" France. His self-representation as the "I" of the nation and the embodiment of history ("moi-histoire") takes form as a rhetorical personification that shapes the historian's writing, even as it informs his project to use history to construct the nation. Offering a new multidisciplinary perspective, The "I" of History both exposes Michelet's vision of France, his grand narrative, and demystifies that narrative in its analysis of Michelet's final text, History of the Nineteenth Century.

Jean-Jacques Poucel provides a comprehensive introduction to the poetry and novels of Jacques Roubaud, a prominent member of the French experimental group OuLiPo (Ouvroir de Littérature Potentielle, or Workshop of Potential Literature). Drawing from a variety of literary theories, Poucel argues that the Oulipian practice of writing under constraint provides a new vehicle for literary memory, one that strengthens the terms by which poetic traditions are condensed, transformed, and transmitted. In addition to situating the importance of Roubaud's work within a broad contemporary context, the eight chapters of this study focus on the specific sites of interest in some of Roubaud's favorite source texts, including key fragments culled from troubadour poetry, the tradition of the sonnet and the Canzoniere, Japanese short forms (waka), early surrealist writing, the mathematics of Bourbaki, and the work of Oulipian writers such as Raymond Queneau, Georges Perec, and Italo Calvino.

In 1624 the German erudite Kaspar Barth translated the Spanish book Celestina (1499) into Neo-Latin with the title Pornoboscodidascalus ("teacher of the brothel master"). The translation, intended for the cultivated readers who still used Latin as their lingua franca, contained an extensive prologue and numerous translation notes. This first critical edition of Barth's translation is a valuable tool not only for Celestina scholars, but also for Neo-Latin scholars and for those interested in the history of translation and in early modern Europe. With such a wide readership in mind, the edition contains the transcription of the Neo-Latin text, as well as the English translation of Barth's prologue and notes. It also includes a critical apparatus, notes with full references to the sources quoted by Barth, and an introduction to the most relevant aspects of Barth's translation.

Moderating Masculinity in Early Modern Culture proposes a definition of gender based on a ternary model in which moderation and masculinity are inextricably linked. Like the Aristotelian virtue of moderation, which requires the presence of excess and lack in order to exist, what Todd W. Reeser terms "moderate masculinity" requires two non-moderate others--one incarnating excess and one embodying lack--for its definition. This type of alterity takes a number of different forms--including women/effeminacy, the new world native, the nobility, the hermaphrodite, and the sodomite. The book begins with a reading of this brand of masculinity in Aristotle and then proceeds to textual analyses of canonical and non-canonical writers of the Renaissance, such as Rabelais, Montaigne, Erasmus, Léry, and Artus. These writers are placed in dialogue with key cultural sites where this unstable model operates--especially pedagogy, marriage, male-male friendship, travel narratives, politics, etymology, and rhetoric. With its interdisciplinary implications, Moderating Masculinity should be of interest to students and scholars in gender studies, Renaissance/early modern studies, and French studies

Mariselle Meléndez studies the dynamics of colonial subject identity construction as elaborated in the exemplary eighteenth-century travel book, El lazarillo de ciegos caminantes (A Guide for Inexperienced Travelers ). She analyzes elements of race and gender to argue that they become essential parts of the colonialist project which the author articulates throughout his travel diary by means of the voices of his two narrators: the Spanish Visitador Alonso Carrió de la Vandera and his companion and amanuensis, Calixto Bustamente Carlos Inca. Meléndez shows how racial and cultural hybridity constitute unstable elements for the colonialist agenda proposed by the author.

Noting significant differences between the individual tragedies of Racine and the many current notions of what "Racinian tragedy" is deemed to imply, John Campbell explores the identity and meaning of the modern "Racine." He asks if any one critical paradigm, propounded to explain what is commonly called "Racinian tragedy," even permits a convincing interpretation of any single play. He expresses skepticism as to whether the various tragedies can together constitute a body of work methodologically and ideologically cohesive enough to demonstrate any set of clearly identifiable patterns.
Campbell's examination of the individual tragedies suggests the works are marked by difference, difficulty, uncertainty, and irresolution. This focus is a reminder that "Racine" is a critical fiction, and that "Racinian tragedy" is in reality a series of separate entities, individual dramatic works created as such.

By analyzing testimonial writing, works of fiction, and critical theory, Joanna R. Bartow examines the self-representation of testimonial subjects. She questions limits on reading testimonio that until recently have delegitimated the testimonial subject's autonomy. In addition, Bartow shows the importance of a feminist perspective on testimonio, a perspective met with some resistance. In specific ways, feminist theory sheds light on the construction of the testimonial subject, and testimonial writing highlights questions of agency across differences in feminist theory. Subject to Change does not approach testimonial writing as raw material for theory, but rather reads Latin American testimonio--and the testimonial speaking subject--as an equally sophisticated interlocutor in debates on difference.

Bartow explores theories of violence, sacrifice, displacement, nomadism, and female identity through works by Rigoberta Menchú, Carolina Maria de Jesus, Elena Poniatowska, Clarice Lispector, and Diamela Eltit.

In an examination of eyewitness travel writing in thirteenth- through sixteenth-century France, Andrea Frisch studies the figure of the witness at a historical juncture and in a cultural context in which that figure is generally thought to have begun to assume a recognizably modern form and function. Whereas most accounts of early modern travel literature tend to read modern presuppositions about witnessing and testimony back into the material, Frisch approaches the early modern witness in terms of the cultural legacy of the Middle Ages. Through primary readings in law and theology, Frisch documents the tension between the ethical witness (the characteristic witness of premodernity) and the epistemic witness (the modern witness) and explores the impact of that tension on the figure of the witness in pre- and early modern French-language travel literature.

Why is science often considered the opposite of literature? Lars O. Erickson examines the relationship between these two fields in eighteenth-century France and finds that the major intellectual and scientific transitions of the period can be better understood by paying attention to literary developments, particularly in genres not traditionally associated with learned societies. Erickson examines works by Diderot and Maupertuis and identifies a shared renegade spirit he calls "essayistic science." He demonstrates how the essay, a vague genre characterized by an openness to lay audiences, a self-reflective character, and an insistence on broad overviews, was used to react to a crisis in knowledge and to question the production of facts. Consequently, essayistic science does not deal with facts but with "metafacts," breaking down scientific traditions and bridging objective science with subjective literature.

This book examines poetic adaptations of painterly techniques in works by writers such as Guillaume Apollinaire, Pierre Reverdy, André Breton, Frank O'Hara, and John Ashbery--all chosen for the experimentalism of their poetry as well as for the quality of their critical writings on art. Close attention is paid to essays on painters identified with Cubism, Futurism, and Dada-Surrealism in France and with Abstract Expressionism and New Realism in the United States.

Selected poems are examined in light of the critical essays and are taken either as illustrations of a new plastic poetic or as novel hybrids of plastic and literary strategies. Although the parallels between modern poetry and painting go beyond avant-garde techniques, this book emphasizes such innovations as collage, chance operations, and automatism to demonstrate the shift in aesthetic attention from finished products to creative processes.

Tracing the beginnings of a bourgeois literature in Golden Age Spain, Francisco Sánchez examines works by Baltasar Gracián (1601-1658), major picaresque texts--particularly Lazarillo de Tormes (1554) and Mateo Alemán's Guzmán de Alfarache (1599-1604)--and contemporary writings in which political economists and jurists look at new economic and political circumstances.

Using the term república to describe an economic sphere of social life under the constrictions of both the monarchy and the privileges of the seignorial system, Sánchez investigates notions of person, culture, and life in these texts. He also analyzes the formation of a private sphere of social action and the emergence of a literary sphere to represent early bourgeois values and sensibilities. Sánchez argues that this literature represents culture as intellectual and verbal skills for the social and economic advancement of a Christian but secularized person.