Quiero leer mas libros en espanol. Alguien me puede recomendar algunos autores contemporaneous - espanoles o latinoamericanos? Lizamarie Serrano Rodriguez Saludos. Espero que algo de esto te sirva. Lists with This Book. Aug 07, Rodolfo Anzaldua rated it it was amazing Shelves: Que si el narrador en tercera persona, que si la simplicidad de los personajes, que la longitud, etc. Sinceramente creo que lo interesante en una historia no es la trama, sino la manera de contarla. La manera en la que Julia Navarro va contando la historia de Amelia es de verdad envolvente.
View all 7 comments. Lo mejor del libro es que es bastante entretenido. Pocas veces aburre de verdad.
Pero como bien dice una Lo mejor del libro es que es bastante entretenido. Mata-Hari se queda corta, pobre mujer. Que tiemblen Juana de Arco y Policarpa Salavarrieta. View all 10 comments. Un libro altamente recomendable que pasa a mi "estante" de libros favoritos. Feb 23, Sabellaki rated it it was ok.
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El gran problema del libro: Pero, en realidad, cuando lees lo que te trasmite, es la incapacidad de esta mujer de amar realmente. Aug 29, Xabi rated it liked it. Dec 23, Pablo rated it did not like it. Aug 13, Luis Fernandez rated it it was amazing. Si bien la protagonista suele desesperarte en algunos momentos, vale la pena leerlo.
Nov 06, Sandra rated it it was ok. De Julia Navarro, por ejemplo, tengo tres novelas: En cuanto a la gran bisabuela Amelia, es una petarda literaria. View all 6 comments. Um livro que nos lembra as atrocidades cometidas pelas ditaduras de Franco, Mussolini e do maior dos loucos, Hitler. Sep 26, Cathy Charles rated it it was amazing.
I bought the book 2 years ago, waiting on my bookshelf crying all the time " read me, read me". Today I red the last page and closed the book. I must say during the time I was reading the book I was only physically present. Mentally I was walking aside Amelia traveling with her, feeling the tortures, the courage, the love and the pain she endured. It's been a long time I've been reading such a good novel. Thank you Julia Navarro. View all 3 comments. No fim acabamos por ficar com pena de que teremos mesmo de nos despedir de uma mulher fort levei tempo a acabar este livro porque a primeira parte se concentrou demasiado na guerra civil espanhola o que, no meu entender, fez com o que a narrativa se torna - se um pouco chata.
Uma leitura que aconselho sem reservas.
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Apesar disto adorei o livro. Iako Amelija nije stvarni lik ipak mislim da je u historiji bilo puno "Amelija" o kojima se nikada nije saznalo. The volume moves to the early nineteenth century with Wadda C. Rafael Huertas picks up the med- ical thread of the volume as he studies the representation of emotion in asylum texts from the late nineteenth to the early twentieth century. No expansive volume would be complete without a section on the Spanish Civil War, and Engaging Emotions does not disappoint.
I highly recommend the book to those interested in Spanish history, politics, and culture and to professors keen on developing a panoramic approach to the study of Spanish culture and civilizations based on the emotions. U of Toronto P, He uses the lan- guage of dissection to uncover the association between anxiety and the internal spaces of the body, such as the heart, head, and other organs, as well as human psy- chology.
The author also explains that this practice was met with fear and distrust in Spain due to the pervasiveness of religious orthodoxy in an absolutist state.
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Consequently, the texts considered in this study are not accounts of enlight- ened self-discovery through introspection, but rather descriptions of sacrificial vic- tims whose interiority is dangerously exposed. In Chapters 2 and 3, the author analyzes works by Granada and Quevedo, respec- tively, as examples of dissective narratives that demonstrate the complexity of interi- ority through anatomical references. These works, unlike those by Granada and Quevedo considered in previous chapters, do not include allusions to anatomical dissection. Neverthe- less, they can be considered dissective narratives because they expose the risks inherent in cultivating private, autonomous spaces.
In addition, the use of images from medical texts in the introduction, chapter 1, and chapter 4 not only represent the scientific prac- tices discussed in the study, but also illustrate the cultural anxiety surrounding inte- riority that is also present in the works of Granada, Quevedo, Cervantes, and Zayas. El intelectual y la cultura de masas: The text is divided into five chapters, which are preceded by an introduction and followed by concluding remarks. Consequently, he approaches his analysis through the conceptual framework of cultura de masas 3.
His investigation, therefore, explores how television, radio, and marketing at kiosks respond to the ever-changing demands of the market. The relationships between the intellectual and historical experiences define an autonomous culture This title forms the part of the series Charlemagne: He further examines how, as the centuries passed, a nationalistic identity eventually emerged causing the focus to shift from Charlemagne and Roland to local heroes who defend- ed their homeland, being personified at some indeterminable point in the fictional warrior Bernardo del Carpio.
The author allies herself with those who argue that the figure of Bernardo dates from the end of the tenth century to the beginning of the eleventh, thereby predating the old French epic and the tales of Charlemagne at Roncesvalles. First, citing the influence of the ancient Asturian tradition of a matrilineal system of succession, Pick argues that an uneasy tension exists between the king and his suc- cessor, the son of his sister.
Book reviews In the third essay, Mercedes Vaquero examines the dialogue between the French and Spanish epics and songs. The stories originated in France, but as the Spanish epic matured, it introduced new motifs to the north of the Pyrenees, giving a regenerative boost to the French epic. Vaquero concentrates her study primarily around the shared motif of the morally ambiguous old advisor found between the French Chanson de Roland and the Spanish The Division of the Kingdoms by Fernando I and the Siete infantes de Lara.
The many shared motifs, themes and formulas found in the epics and songs indicate that they sprang naturally from the same oral tradition. Cuento del enperador Carlos Maynes de Roma e de la buena enperatris Sevilla, su mujer. This essay provides a fascinating blueprint for the analysis of other medieval works through this approach. The medieval listeners, already familiar with Charlemagne, knew how to fill in the gaps of any lack of descriptive detail.
Giles deftly explains how the above-named adaptation of a French work, published in , reflects the recent political history regarding forced conversions of the recently-conquered Muslims at the hands of the Christians in Spain at the turn of the fifteenth century. This show of empathy perhaps indicates that Piamonte was a converso.
Giles points out the ambiguity felt on both sides as Charlemagne states that the converted should both love and fear their converters. The essays in this collection succeed in illustrating the trajectory of the enduring presence of the great emperor in Spain in history and myth throughout more than sev- en centuries following Roncesvalles.
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The reader finds under one umbrella an absorb- ing examination of the varying literary, political, and historical perspectives in which Spanish poets and writers, encompassing a variety of genres, at first addressed, and then appropriated Charlemagne and his legend. Universidad de Deusto, A esta le suceden dos grandes apartados: Casting Masculinity in Spanish Film: Negotiating Identity in a Con- sumer Age.
Building on an amalgamation of Spanish cultural studies, psychoanalytical theory and masculinities scholarship, Hartson con- vincingly argues that the onset of a consumer society in the s rendered the stern, austere patriarch redundant, and introduced a sybarite, highly individualistic model of manhood. The period from to the present comprises the final section of the volume. In my view, this theoretical section would have been enriched by references to the work of Zygmunt Bauman on consumer society. The allusions to R.
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Connell are insufficient for a study focused on masculinity, and should be complemented with a more profound engagement with not only the multi- ple publications of Connell, but also the booming field of masculinities theory. The enshrining of a collectively-oriented male model pre-empted any disputa- tion of the legitimacy of the Regime, and its hierarchical structure.
In Chapter Two, Hartson focuses on the difficult s, a period during which Spanish men struggled to reconcile the two antithetical models, and also the increasing emancipation of women. Chapter Three concentrates on the more consensual representations of con- sumerist males in the s and early s. Chapter Four focuses on the rise of a hyper-individualistic male identity that fre- quently borders on the self-indulgent and narcissistic in films such as Huevos de oro and Hombres felices.
The masculine striving to rede- fine the family centers on El Bola and Cacharro is similarly flawed by the lack of engagement with pertinent scholarship. Book reviews These, however, are minor quibbles in what is a substantial, well-written and engaging monograph that will be of value to gender and cultural studies scholars in Hispanic studies.
Hartson painstakingly and convincingly illustrates the shifts in Spanish gender ideology that witnessed the transformation of Spanish subjects from stern patriarchs to individualistic consumers in both society and on screen. The monograph is eminently suitable for classroom use, especially at graduate level.
Moors Dressed as Moors: U Toronto P, In his most recent book, Moors Dressed as Moors: The author reframes the issue of Moorish dress through an interdisciplinary reading of its social and commercial value as a vehicle for economic mobility, against the common tendency to read Moorish cloth- ing exclusively as a marker of religious and ethnic identity. Chapter 2 chroni- cles the trickle-down effects of these equestrian performances at the municipal level, funneled through real motivations and not simply nostalgic or folkloric imaginings of otherness.
Once again, the author does well to prove that these liveries had real and not just imagined value, and that they had a hand in cementing the social and economic landscape of seven- teenth-century Iberia. The second part of the book ventures into the moralist thought of royal authority and town councils, arguing that legislation, akin to visual representation e. Chapter five elucidates how legal texts policed the sartorial differences they created, and wielded those differ- ences to equate Moriscos with commoners and heretics , eclipsing, rather than forcing, their assimilation into cultural reality.
Finally, Chapter 8 argues that plays produced after the expulsion, based as they were on detemporized readings of legislation and historiography, furthered contrived views of Moriscos as exoticized bodies that have impacted the visual imaginary of Iberian cultural productions throughout modernity, and ought to be read and interpreted as from within a generational gap. Nonetheless, challenging the facile reading that Moorish distinction was undesirable in cultural actuality, the author offers a fresh perspective for considering the motives of sartorial legislation from within the domain of material culture and its specific historical values.
This fascinating collection of interviews with canonical Hispanic authors is guided by two main orientations: Julia Kushigian addresses the presence of these topics in several works by the authors, all the while asking provocative questions about different literary and cultural theories, their literary influences, writing process, creative inspiration, and literary goals. The last section of the volume includes photographs of the authors taken by Kushigian as well as letters.
Indeed, Kushigian defends the enlightening and transforma- tive potential of multiple types of orientalist analyses through which centers of peripheries, or south-to-south peripheries, can have a fruitful dialogue. Kushigian also looks at aspects dealing with archetypes, rites of passage, self-ful- fillment and self-discovery, as reflected in the Latin American Bildungsroman. In her view, the Latin American Bildungsroman version veers away from the classic Bil- dungsroman model, dislocating the typical biological and psychological phenomena by reflecting the political voice of marginal groups women, homosexuals, transves- tites and the collective or national consciousness.