The consolidation of law and the development of legal writing during Spain's Golden Age not only helped that country become a modern state but also affected its great literature. In this fascinating book, Roberto Gonzalez Echevarria explores the works of Cervantes, showing how his representations of love were inspired by examples of human deviance and desire culled from legal discourse. Gonzalez Echevarria describes Spain's new legal policies, legislation, and institutions and explains how, at the same time, its literature became filled with love stories derived from classical and medieval sources. Examining the ways that these legal and literary developments interacted in Cervantes's work, he sheds new light on "Don Quixote "and other writings.

While Fernando Ortiz's contribution to our understanding of Cuba and Latin America more generally has been widely recognized since the 1940s, recently there has been renewed interest in this scholar and activist who made lasting contributions to a staggering array of fields. This book is the first work in English to reassess Ortiz's vast intellectual universe. Essays in this volume analyze and celebrate his contribution to scholarship in Cuban history, the social sciences notably anthropology and law, religion and national identity, literature, and music. Presenting Ortiz's seminal thinking, including his profoundly influential concept of 'transculturation', Cuban Counterpoints explores the bold new perspectives that he brought to bear on Cuban society. Much of his most challenging and provocative thinking which embraced simultaneity, conflict, inherent contradiction and hybridity has remarkable relevance for current debates about Latin America's complex and evolving societies."

Explores the rich history of baseball in Cuba and the social, political, and cultural climate through which the game has thrived.

This book offers a theory about the origin and evolution of the Latin American narrative, and about the emergence of the modern novel. It argues that the novel developed from the discourse of the law in the Spanish Empire during the sixteenth century, while many of the early historical documents concerning the New World assumed the same forms, furnished by the notarial arts. Thus, both the novel and these first Latin American narratives imitated the language of authority. The book explores how the same process is repeated in two key moments in the history of the Latin American narrative. In the nineteenth century, the model was the discourse of scientific travellers such as von Humboldt and Darwin, while in the twentieth century, the discourse of anthropology - the study of language and myth - has come to shape the narrative. Professor Gonzalez Echevarria's theoretical approach is drawn from a reading of Carpentier's Los pasos perdidos, and the book centres on major figures in the tradition such as Columbus, Garcilaso el Inca, Sarmiento, Gallegos, Borges and Garcia Marquez.

This casebook gathers a collection of ambitious essays about both parts of the novel (1605 and 1615) and also provides a general introduction and a bibliography. The essays range from Ramon Menendez Pidal's seminal study of how Cervantes dealt with chivalric literature to Erich Auerbachs polemical study of Don Quixote as essentially a comic book by studying its mixture of styles, and include Leo Spitzer's masterful probe into the essential ambiguity of the novel through minute linguistic analysis of Cervantes prose. The book includes pieces by other major Cervantes scholars, such as Manuel Duran and Edward C. Riley, as well as younger scholars like Georgina Dopico-Black. All these essays ultimately seek to discover that which is peculiarly Cervantean in Don Quixote and why it is considered to be the first modern novel.

The "Canto General," thought by many of Neruda's most prominent critics to be the poet's masterpiece, is the stunning epic of an entire continent and its people.

This book offers a theory about the origin and evolution of the Latin American narrative, and about the emergence of the modern novel. It argues that the novel developed from the discourse of the law in the Spanish Empire during the sixteenth century, while many of the early historical documents concerning the New World assumed the same forms, furnished by the notarial arts. Thus, both the novel and these first Latin American narratives imitated the language of authority. The book explores how the same process is repeated in two key moments in the history of the Latin American narrative. In the nineteenth century, the model was the discourse of scientific travellers such as von Humboldt and Darwin, while in the twentieth century, the discourse of anthropology - the study of language and myth - has come to shape the narrative. Professor Gonzalez Echevarria's theoretical approach is drawn from a reading of Carpentier's Los pasos perdidos, and the book centres on major figures in the tradition such as Columbus, Garcilaso el Inca, Sarmiento, Gallegos, Borges and Garcia Marquez.

This casebook gathers a collection of ambitious essays about both parts of the novel (1605 and 1615) and also provides a general introduction and a bibliography. The essays range from Ramon Menendez Pidal's seminal study of how Cervantes dealt with chivalric literature to Erich Auerbachs polemical study of Don Quixote as essentially a comic book by studying its mixture of styles, and include Leo Spitzer's masterful probe into the essential ambiguity of the novel through minute linguistic analysis of Cervantes' prose. The book includes pieces by other major Cervantes scholars, such as Manuel Duran and Edward C. Riley, as well as younger scholars like Georgina Dopico Black. All these essays ultimately seek to discover that which is peculiarly Cervantean in Don Quixote and why it is considered to be the first modern novel.

The consolidation of law and the development of legal writing during Spain's Golden Age not only helped that country become a modern state but also affected its great literature. In this fascinating book, Roberto Gonzalez Echevarria explores the works of Cervantes, showing how his representations of love were inspired by examples of human deviance and desire culled from legal discourse. Gonzalez Echevarria describes Spain's new legal policies, legislation, and institutions and explains how, at the same time, its literature became filled with love stories derived from classical and medieval sources. Examining the ways that these legal and literary developments interacted in Cervantes's work, he sheds new light on Don Quixote and other writings.

Published in 1499 and centered on the figure of a bawd and witch, Fernando de Rojas' dark and disturbing "Celestina "was destined to become the most suppressed classic in Spanish literary history. Routinely ignored in Spanish letters, the book nonetheless echoes through contemporary Spanish and Latin American literature. This is the phenomenon that "Celestina's Brood" explores.
Roberto Gonzalez Echevarria, one of the most eminent and influential critics of Hispanic literature writing today, uses Rojas' text as his starting point to offer an exploration of modernity in the Hispanic literary tradition, and of the Baroque as an expression of the modern. His analysis of Celestina reveals the relentless probing of the limits of language and morality that mark the work as the beginning of literary modernity in Spanish, and the start of a tradition distinguished by a penchant for the excesses of the Baroque. Gonzalez Echevarria pursues this tradition and its meaning through the works of major figures such as Cervantes, Lope de Vega, Calderon de la Barca, Alejo Carpentier, Carlos Fuentes, Gabriel Garcia Marquez, Nicolas Guillen, and Severo Sarduy, as well as through the works of lesser-known authors.
By revealing continuities of the Baroque, "Celestina's Brood" cuts across conventional distinctions between Spanish and Latin American literary traditions to show their profound and previously unimagined affinity.

By one of the most original and learned critical voices in Hispanic studies-- a timely and ambitious study of authority as theme and authority as authorial strategy in modern Latin American literature.

An ideology is implicit in modern Latin American literature, argues Roberto Gonzalez Echevarria, through which both the literature itself and criticism of it define what Latin American literature is and how it ought to be read. In the works themselves this ideology is constantly subjected to a radical critique, and that critique renders the ideology productive and in a sense is what constitutes the work. In literary criticism, however, too frequently the ideology merely serves as support for an authoritative discourse that seriously misrepresents Latin American literature.

In The Voice of the Masters, Gonzalez Echevarria attempts to uncover the workings of modern Latin American literature by creating a dialogue of texts, a dynamic whole whose parts are seven illuminating essays on seminal texts in the tradition. As he says, "To have written a sustained, expository book ... would have led me to make the same kind of critical error that I attribute to most criticism of Latin American literature.... I would have naively assumed an authoritative voice while attempting a critique of precisely that critical gesture."

Instead, major works by Barnet, Cabrera Infante, Carpentier, Cortazar, Fuentes, Gallegos, Garcia Marquez, Roa Bastos, and Rodo are the object of a set of independent deconstructive (and reconstructive) readings. Writing in the tradition of Derrida and de Man, Gonzalez Echevarria brings to these readings both the penetrative brilliance of the French master and a profound understanding of historical and cultural context. His insightful annotation of Cabrera Infante's "Meta-End," the full text of which is presented at the close of the study, clearly demonstrates these qualities and exemplifies his particular approach to the text.

The Oxford Book of Latin American Short Stories is the only anthology of its kind to include texts from the colonial period and to encompass both Spanish American and Brazilian authors. The anthology makes available to English-language readers an extensive sampling of Latin America's most celebrated authors, such as Quiroga, Borges, Carpentier, Garcia Marquez, Fuentes, Guimaraes Rosa, and Asturias, as well as lesser-known but superb writers such as Clarice Lispector, Calvert Casey, and Maria Luisa Bombal, with many selections in English translation for the first time.

The first European novel, exquisitely translated by Margaret Sayers Peden A timeless story of love, morality, and tragedy, Fernando de Rojas's Celestina is a classic of Spanish literature. Second only to DonQuixote in its cultural importance, Rojas's dramatic dialogue presents the elaborate tale of a star-crossed courtship between the young nobleman Calisto and the beautiful maiden Melibea in fifteenth-century Spain. Their unforgettable saga plays out in vibrant exchanges, presented here in a brilliant new translation by award-winning translator Margaret Sayers Peden. After a chance encounter with Melibea entrances Calisto, he enlists the services of Celestina, an aged prostitute, madam, and procuress, to arrange another meeting. She promptly seizes control of the affair, guiding it through a series of mishaps before it meets its tragic end. At times a comic character and at others a self-assertive promoter of women's sexual license, Celestina is an inimitable personality with a surprisingly modern consciousness, certain to be relished by a new generation of readers.

Alejo Carpentier was one of the greatest Latin American novelists of the twentieth century, as well as a musicologist, journalist, cultural promoter, and diplomat. His fictional world issues from an encyclopedic knowledge of the history, art, music, and literature of Latin America and Europe. Carpentier's novels and stories are the enabling discourse of today's Latin American narrative, and his interpretation of Latin American history has been among the most influential. Carpentier was the first to provide a comprehensive view of Caribbean history that centered on the contribution of Africans, above and beyond the differences created by European cultures and languages. Alejo Carpentier: The Pilgrim at Home, first published in 1977 and updated for this edition, covers the life and works of the great Cuban novelist, offering a new perspective on the relationship between the two. Gonzalez Echevarria offers detailed readings of the works La musica en Cuba, The Kingdom of This World, The Lost Steps, and Explosion in a Cathedral. In a new concluding chapter, he takes up Carpentier's last years, his relationship with the Cuban revolutionary regime, and his last two novels, El arpa y la sombra and La consagracion de la primavera, in which Carpentier reviewed his life and career.

In the 1960s, Latin American literature became known worldwide as never before. Writers such as Jorge Luis Borges, Gabriel Garcia Marquez, Carlos Fuentes, Pablo Neruda, Octavio Paz, and Mario Vargas Llosa all became part of the general culture of educated readers of English, French, German, and Italian. But few know about the literary tradition from which these writers emerged. This Very Short Introduction remedies this situation, providing an overview of modern Latin American literature from the late eighteenth century to the present. Roberto Gonzalez Echevarria covers a wide range of topics, discussing the birth of Modernismo, the first Latin American literary movement; how the end of World War I and the Mexican Revolution produced the avant-garde; and how the Cuban Revolution sparked a movement in the novel that came to be known as the Boom. Within this narrative, the author covers many of the major writers of Latin American literature, from Andres Bello and Jose Maria de Heredia through Borges and Garcia Marquez to Fernando Vallejo and Roberto Bolano. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

A classic work of Latin American literature, Domingo SarmientoOCOs "Facundo" has become an integral part of the history, politics, and culture of Latin America since its first publication in 1845. Partially translated into English when it was first published, this foundational text appears here for the first time in its entirety. An educator and writer, Sarmiento was President of Argentina from 1868 to 1874. His "Facundo" is a study of the Argentine character, a prescription for the modernization of Latin America, and a protest against the tyranny of the government of Juan Manuel de Rosas (1835OCo1852). The book brings nineteenth-century Latin American history to life even as it raises questions still being debated todayOCoquestions regarding the civilized city versus the barbaric countryside, the treatment of indigenous and African populations, and the classically liberal plan of modernization. "FacundoOCOs" celebrated and frequently anthologized portraits of the "caudillo" Juan Facundo Quiroga and other colorful characters give readers an exhilarating sense of Argentine culture in the making.Kathleen RossOCOs translation renders SarmientoOCOs passionate prose into English with all its richness intact, allowing the English-language reader the full experience of "FacundoOCOs" intensity and historical reach."