Christina Civantos is Associate Professor of Languages and Literatures at the University of Miami and the author of Between Argentines and Arabs: Argentine Orientalism, Arab Immigrants, and the Writing of Identity, also published by SUNY Press.
In focusing on individual motifs as they appear in different ballads, different languages, and different periods, Rogers proves the existence of a reliable lingua franca of symbolism in European balladry. Lines or even whole stanzas that have defied interpretation often come to life when the reader is aware of the meaning of a particular motif in such an international vocabulary of images. Thus this book makes available important new critical tools sure to have significant results for ballad scholarship.
From comic and tragic drama to picaresque narrative and eight other genres, possession worked as a paradigm through which authors could convey extraordinary experience, including not only demonic possession but also madness or even murder. The devil was thought to be able to enter the bodily organs and infect memory, imagination, and reason. Some came to believe that possession was tied to enthusiasm, poetic frenzy, prophecy, and genius. Authors often drew upon sensational details of actual exorcisms. In some cases, such as in Shakespeare, curing the body (and the body politic) meant affirming cultural authority; in others, as with Zamora, it clearly meant subverting it. Drawing on the disciplines of literary theory and history, Exorcism and its Texts is the first comprehensive study of this compelling topic.
Full literary analysis is given for One Hundred Years of Solitude, as well as Chronicle of a Death Foretold (1981), Love in the Time of Cholera (1985), two additional novels, and five of Garc^D'ia M^D'arquez's best short stories. Students are given guidance in understanding the historical contexts, as well as the characters and themes that recur in these interrelated works. Narrative technique and alternative critical perspectives are also explored for each work, helping readers fully appreciate the literary accomplishments of Gabriel Garc^D'ia M^D'arquez.
The House of Ulloa follows pure and pious Father Julián Alvarez, who is sent to a remote country estate to put the affairs of the marquis, an irresponsible libertine, in order. When he discovers moral decadence, cruelty and corruption at his new home, Julián's well-meaning but ineffectual attempts to prevent the fall of the House of Ulloa end in tragedy. The House of Ulloa is the finest achievement of Emilia Pardo Bazán, a prolific writer, feminist, traveller and intellectual, and one of the most dynamic figures of her time.
Fans of Zola or Hardy will enjoy the novel's rich naturalism, which combines gothic elements with evocative descriptions of Spanish customs and the countryside. At the same time, the novel evokes the social comedy of a Dickens or Thackeray with its biting social satire, frank exposure of sexual mores, and gentle mockery of its innocent hero-priest.