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The Spanish Civil War (1936-1939) pitted conservative forces
including the army, the Church, the Falange (fascist party),
landowners, and industrial capitalists against the Republic,
installed in 1931 and supported by intellectuals, the petite
bourgeoisie, many campesinos (farm laborers), and the urban
proletariat. Provoking heated passions on both sides, the Civil War
soon became an international phenomenon that inspired a number of
literary works reflecting the impact of the war on foreign and
national writers. While the literature of the period has been the
subject of scholarship, women's literary production has not been
studied as a body of work in the same way that literature by men
has been, and its unique features have not been examined.
Addressing this lacuna in literary studies, this volume provides
fresh perspectives on well-known women writers, as well as less
studied ones, whose works take the Spanish Civil War as a theme.
The authors represented in this collection reflect a wide range of
political positions. Writers such as Maria Zambrano, Merce
Rodoreda, and Josefina Aldecoa were clearly aligned with the
Republic, whereas others, including Mercedes Salisachs and Liberata
Masoliver, sympathized with the Nationalists. Most, however, are
situated in a more ambiguous political space, although the ethics
and character portraits that emerge in their works might suggest
Republican sympathies. Taken together, the essays are an important
contribution to scholarship on literature inspired by this pivotal
point in Spanish history.
The Spanish Civil War (1936-1939) pitted conservative forces
including the army, the Church, the Falange (fascist party),
landowners, and industrial capitalists against the Republic,
installed in 1931 and supported by intellectuals, the petite
bourgeoisie, many campesinos (farm laborers), and the urban
proletariat. Provoking heated passions on both sides, the Civil War
soon became an international phenomenon that inspired a number of
literary works reflecting the impact of the war on foreign and
national writers. While the literature of the period has been the
subject of scholarship, women's literary production has not been
studied as a body of work in the same way that literature by men
has been, and its unique features have not been examined.
Addressing this lacuna in literary studies, this volume provides
fresh perspectives on well-known women writers, as well as less
studied ones, whose works take the Spanish Civil War as a theme.
The authors represented in this collection reflect a wide range of
political positions. Writers such as Maria Zambrano, Merce
Rodoreda, and Josefina Aldecoa were clearly aligned with the
Republic, whereas others, including Mercedes Salisachs and Liberata
Masoliver, sympathized with the Nationalists. Most, however, are
situated in a more ambiguous political space, although the ethics
and character portraits that emerge in their works might suggest
Republican sympathies. Taken together, the essays are an important
contribution to scholarship on literature inspired by this pivotal
point in Spanish history.
Provides an illuminating explanation of the origins and meaning of romantic love and shows how a proper understanding of its psychological dynamics can revitalize our most important relationships.
A revised edition of a landmark work of psychology; the author uses the ancient myth of Amor and Psyche as the springboard for a brilliant, perceptive exploration of how one becomes a mature and complete woman.
Presenting an original and vital model for psychological development, the brilliant and pioneering author of He, She, and We offers a new understanding of the stages of personal growth through which maturity and wholeness can be achieved. Using quintessential figures from classical literature--Don Quixote, Hamlet, and Faust--Robert Johnson shows us three clearly defined stages of consciousness development. He demonstrates how the true work of maturity is to grow through these levels to the self-realized state of completion and harmony. In Johnson's view, we all reach the stages depicted by Don Quixote, Hamlet, and Faust at various times of our lives. The three represent levels of consciousness within us, each vying for dominance. Don Quixote portrays the innocent child, while Hamlet stands for our self-conscious need to act and feel in control though we have no real connection to our inner selves. Faust embodies the master of the true self, who has gained awareness by working through the stages.
This volume brings together cutting-edge research on modern Spanish
women as writers, activists, and embodiments of cultural change,
and simultaneously honors Maryellen Bieder’s invaluable scholarly
contribution to the field. The essays are innovative in their
consideration of lesser-known women writers, focus on women as
political activists, and use of post-colonialism, queer theory, and
spatial theory to examine the period from the Enlightenment until
World War II. The contributors study women as agents and
representations of social change in a variety of genres, including
short stories, novels, plays, personal letters, and journalistic
pieces. Canonical authors such as Emilia Pardo Bazán, Leopoldo
Alas “ClarÃn,†and Carmen de Burgos are considered alongside
lesser known writers and activists such as MarÃa Rosa Gálvez,
SofÃa Tartilán, and Caterina Albert i ParadÃs. The
critical analyses are situated within their specific
socio-historical context, and shed new light on nineteenth- and
early twentieth-century Spanish literature, history, and culture.
Published by Bucknell University Press. Distributed worldwide by
Rutgers University Press.Â
This volume brings together cutting-edge research on modern Spanish
women as writers, activists, and embodiments of cultural change,
and simultaneously honors Maryellen Bieder’s invaluable scholarly
contribution to the field. The essays are innovative in their
consideration of lesser-known women writers, focus on women as
political activists, and use of post-colonialism, queer theory, and
spatial theory to examine the period from the Enlightenment until
World War II. The contributors study women as agents and
representations of social change in a variety of genres, including
short stories, novels, plays, personal letters, and journalistic
pieces. Canonical authors such as Emilia Pardo Bazán, Leopoldo
Alas “ClarÃn,†and Carmen de Burgos are considered alongside
lesser known writers and activists such as MarÃa Rosa Gálvez,
SofÃa Tartilán, and Caterina Albert i ParadÃs. The
critical analyses are situated within their specific
socio-historical context, and shed new light on nineteenth- and
early twentieth-century Spanish literature, history, and culture.
Published by Bucknell University Press. Distributed worldwide by
Rutgers University Press.Â
Offering a fresh, revisionist analysis of Spanish fiction from 1900
to 1940, this study examines the work of both men and women writers
and how they practiced differing forms of modernism. As Roberta
Johnson notes, Spanish male novelists emphasized technical and
verbal innovation in representing the contents of an individual
consciousness and thus were more modernist in the usual
understanding of the term. Female writers, on the other hand, were
less aesthetically innovative but engaged in a social modernism
that focused on domestic issues, gender roles, and relations
between the sexes. Compared to the more conventional--even
reactionary--ways their male counterparts treated such matters,
Spanish women's fiction in the first half of the twentieth century
was often revolutionary.
The book begins by tracing the history of public discourse on
gender from the 1890s through the 1930s, a discourse that included
the rise of feminism. Each chapter then analyzes works by female
and male novelists that address key issues related to gender and
nationalism: the concept of intrahistoria, or an essential Spanish
soul; modernist uses of figures from the Spanish literary
tradition, notably Don Quixote and Don Juan; biological theories of
gender prevalent in the 1920s and 1930s; and the growth of an
organized feminist movement that coincided with the burgeoning
Republican movement.
This is the first book dealing with this period of Spanish
literature to consider women novelists, such as Maria Martinez
Sierra, Carmen de Burgos, and Concha Espina, alongside canonical
male novelists, including Miguel de Unamuno, Ramon del
Valle-Inclan, and Pio Baroja. With its contrasting conceptions of
modernism, Johnson's work provides a compelling new model for
bridging the gender divide in the study of Spanish fiction.
Offering a fresh, revisionist analysis of Spanish fiction from 1900
to 1940, this study examines the work of both men and women writers
and how they practiced differing forms of modernism. As Roberta
Johnson notes, Spanish male novelists emphasized technical and
verbal innovation in representing the contents of an individual
consciousness and thus were more modernist in the usual
understanding of the term. Female writers, on the other hand, were
less aesthetically innovative but engaged in a social modernism
that focused on domestic issues, gender roles, and relations
between the sexes. Compared to the more conventional--even
reactionary--ways their male counterparts treated such matters,
Spanish women's fiction in the first half of the twentieth century
was often revolutionary.
The book begins by tracing the history of public discourse on
gender from the 1890s through the 1930s, a discourse that included
the rise of feminism. Each chapter then analyzes works by female
and male novelists that address key issues related to gender and
nationalism: the concept of intrahistoria, or an essential Spanish
soul; modernist uses of figures from the Spanish literary
tradition, notably Don Quixote and Don Juan; biological theories of
gender prevalent in the 1920s and 1930s; and the growth of an
organized feminist movement that coincided with the burgeoning
Republican movement.
This is the first book dealing with this period of Spanish
literature to consider women novelists, such as Maria Martinez
Sierra, Carmen de Burgos, and Concha Espina, alongside canonical
male novelists, including Miguel de Unamuno, Ramon del
Valle-Inclan, and Pio Baroja. With its contrasting conceptions of
modernism, Johnson's work provides a compelling new model for
bridging the gender divide in the study of Spanish fiction.
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Broken (Hardcover)
Robert A. Johnson
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R1,271
Discovery Miles 12 710
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Ships in 10 - 15 working days
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Michael Green, a high-end fashion salesman with an overprotective
mother who wants no other woman to come between her and her son.
Michael meets Jazmyn, an up and coming fashion model and single
mother with a secret she does not speak about nor wants to
confront. Complications arise when that very secret threatens not
only their newfound relationship but his life. Should he fight for
the woman he has grown to love or walk away and leave the situation
as a life lesson learned?
The esteemed Jungian psychologist counsels on how to cope with
feelings of failure or regret in the latter half of life and how to
open to a more meaningful existence, even if outer circumstances
cannot be changed.
In "Living Your Unlived Life," the renowned therapist Robert A.
Johnson, writing with longtime collaborator and fellow Jungian
psychologist Jerry M. Ruhl, offers a simple but transformative
premise: Our abandoned, unrealized, or underdeveloped talents, when
they are not fully integrated into our lives, can become profoundly
troublesome in midlife, leading us to depression, suddenly hating
our spouses, our jobs, or even our lives. When our unlived lives
are brought to consciousness, however, they can become the fuel
that can propel us beyond our limitations?even if our outer
circumstances cannot always be visibly altered.
Michael Green is a high-end fashion salesman with an overprotective
mother who wants no other woman to come between her and her son.
Michael meets Jazmyn, an up and coming fashion model and single
mother, with a secret she does not speak about nor wants to
confront. Complications arise when that very secret threatens not
only their newfound relationship but his life. Should he fight for
the woman he has grown to love or walk away and leave the situation
as a life lesson learned?
|
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