La disciplina de la derrota (Narrativa) (Spanish Edition)


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Hispania. Volume 77, Number 1, March 1994

It reminds of Cortazar's style. His writing style is categorize as Cuban Baroque. View 2 comments. Oct 29, Laurenz E. Brillante, fuera de serie. Bizarre, but very entertaining and interesting. William Cordray rated it really liked it Jul 01, Nancy rated it really liked it Feb 02, Alejandro Arroyo rated it really liked it Jun 07, L rated it really liked it Feb 23, Avec Laudenum rated it really liked it Jan 27, Hhaller rated it really liked it Aug 18, Nachita Zaragoza rated it really liked it Aug 08, Jack rated it really liked it Jul 20, Jose Castellanos rated it really liked it Jan 02, Gene rated it really liked it Dec 17, Jason rated it really liked it Aug 02, Doris Jafif rated it really liked it May 22, Jim rated it really liked it Oct 08, Gabi rated it really liked it Sep 28, Andrew rated it really liked it Jul 07, There are no discussion topics on this book yet.

Readers also enjoyed. About Reinaldo Arenas. Reinaldo Arenas. In , he moved to Havana to enroll in the School of Planification and, later, in the Faculty of Letters at the Universidad de La Habana, where he studied philosophy and literature without completing a degree. His Hallucinations was awarded "first Honorable Mention" in although, as the judges could find no better entry, no First Prize was awarded that year.

His writings and openly gay lifestyle were, by , bringing him into conflict with the Communist government. From to he was a journalist and editor for the literary magazine La Gaceta de Cuba. In , he was sent to prison after being charged and convicted of 'ideological deviation' and for publishing abroad without official consent. He escaped from prison and tried to leave Cuba by launching himself from the shore on a tire inner tube.

The attempt failed and he was rearrested near Lenin Park and imprisoned at the notorious El Morro Castle alongside murderers and rapists. He survived by helping the inmates to write letters to wives and lovers. He was able to collect enough paper this way to continue his writing.

However, his attempts to smuggle his work out of prison were discovered and he was severely punished. Their work and notes can be found mixed in with Revueltas' original work. The fourth series, Activities and Organizations , includes materials created and collected by Revueltas in relation to his political activities, his involvement with a number of professional organizations, his teaching career, and his work for the Secretary of Public Education. The fifth series, Contact Information and Calendars , is comprised of business cards, address books, agenda books, and calendars.

The sixth series, Photographs and Audiovisual Material s , contains both professional photographs and family photographs of Revueltas from the s as well as photographs of family members, various individuals, and various locations. Audiotapes include recording readings of Revueltas' written works, lectures given by Revueltas at Berkeley in , and an interview with Olivia Peralta.

The seventh series, Collected Materials , consists of clippings and publications both by Revueltas and others. The majority of the clippings and publications were collected by Revueltas about various subjects of interest. The rest of the series consists of various materials collected by Revueltas. The eighth series, Olivia Peralta Revueltas Papers , consists of the personal papers of Revueltas' first wife, Olivia Peralta. The series consists of diaries written by Peralta from , correspondence, photographs, and various materials.

The ninth series, Andrea Revueltas , includes materials created and collected by Revueltas' daughter, Andrea Revueltas. The first subseries, Personal and Biographical, consists of materials Andrea Revueltas collected about her family members including her father and her uncle, Silvestre Revueltas. The second subseries, Correspondence, includes personal and professional correspondence. The tenth series, Oversized Material , consists of oversized materials including posters, photographs, scrapbooks, and clippings.

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Accessing Materials Described Here. Sindicato de Trabajadores de la Produccion Cinematografica, Manuscript manterials for El luto humano are housed in box 47, folders as originally organized in the "Notas" file under the title "Las huellas habitadas". Ensayo sobre el proletariado sin cabeza , I , , N. Por que no vuelva a suicidarse Mayakovski; La carta de padilla y las palabras de Fidel, , N.


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Apuntes sobre el materialismo dialectico y el realismo socialista, Presiciones en las discrepancias", Entre la retama y el laurel originales y copias de orginales , , N. Una semblanza de Silvestre Revueltas , Las evocaciones requeridas: texto inedito de Revueltas removed to Box , Folder 2 in Oversized Materials. Protesta desde la izquierda comunista contra la "Carta de V. Rico Galan", , N.

Guiones y Adaptaciones J. Guerrero; Entre el infierno ya la luz, , N. De la Superacion de la Religion a la Superacion de la Filosofia, Jose Revueltas Programa de Accion removed to Box in Oversized Materials. Los Problemas Internos a la U. Secretary of Public Education Binder , Photographs and Audiovisual Materials , s Oversized Photographs were removed and placed with the Oversized Materials. Paper materials related to these cassette tapes are located in Box 72, Folder 1. Among the possible influences on this text are Brecht and modernist fiction writers, who emphasize estrangement techniques, and Barthes and Jakobson, whose ideas on deconstruction are plainly discernible.

Important aspects of this novel, we are told, include elements of the absurd, parallels between linguistic and physical violence, and echoes of Milan Kundera's fiction. Para leer al pato Donald , Dorfman's best-known treatise on pop culture, is the principal subject of Oropesa's final chapter, which analyzes this well-known essay both as an example of postmodernism and as a Marxist attack on the capitalistic ideology conveyed by the eponymous Disney cartoon.

Salvador Oropesa's monograph is marred by printing errors, but his scholarly study represents a fine contribution to the bibliography on an internationally acclaimed writer. Her study becomes more interesting when she moves away from critics and definitions and concentrates on the many and varied uses of the carnivalesque in the four novels analyzed. Similarly, she perceives an overabundance of religious symbolism in El general en su laberinto , as well as a surprising presence of the author in the text.

She identifies many and varied illustrative examples from the novels in question, and also accurately observes the presence of abundant biblical and literary allusions and religious symbolism. But she exaggerates some points and overexplains other rather simple ones, such as St. Peter's denial of Christ. Useful contributions are somewhat obscured, as well, by an abundance of typing or printing errors [73] which a good editor or a more careful rereading might have caught, resulting in a much more readable work. Shaw, Donald L. Borges: Narrative Strategy. Leeds: Francis Cairns, Borges scholarship is currently being produced at such a phenomenal rate that scholars now have to be more selective than ever in their reading.

This intellectually stimulating volume adds significantly to the ongoing critical discussion. The subject matter is Borges's literary craftsmanship, namely his fictional technique, rather than the meaning of his stories. The second chapter concerns narrative techniques in Borges's earliest collection of stories, Historia universal de la infamia.

Successive chapters treat opening strategies, framing devices, pivotal episodes and shifting themes, interludes and inlaid details, narratorial stances, and finally, closing strategies. Throughout this study, Shaw highlights Borges's contributions toward dismantling the typical straightforward, linear style of narration based on the generally accepted view of reality as the product of cause and effect. Borges interprets reality as something much less predictable and more chaotic than the version offered by previous narrators, and his writings call into question the notion that it can be perceived or communicated in a rational, orderly manner.

It is, therefore, not surprising that he employs nontraditional patterns to describe that reality. This is a necessary recourse because the solutions offered by popular fiction are unconvincing; real-life endings cannot always be so tidy. Shaw also focuses on the close correlation between technique and theme.

The tight interweaving of form and content and the skillful blending of the real and the imaginary undermine deeply-rooted beliefs concerning existence, identity, and the nature of reality. Shaw occasionally becomes contentious when taking issue with other critics. Readily acknowledging that there is more than one way to read Borges, he nevertheless deliberately? Borges would appreciate the irony. The study concludes with a selective bibliography of secondary sources treating Borges's narrative techniques and a quick-reference index to all the stories discussed.

In the face of the infinite, chaotic stream of critical writing on Borges, this is one contribution that will not get lost in the shuffle. Elzbieta Sklodowska has written a fine introduction to the testimonio and its status in Latin American letters. In this timely book, she identifies many of the complexities inherent in the [74] nature of the testimonio and questions the haste with which such a problematic form of discourse has been canonized by scholars.

While recognizing the contributions of other researchers, she convincingly argues that many of the assertions that have been made about testimonial literature to date do not stand up well to critical scrutiny. The author dedicates the first half of her book to theoretical issues involved in the production and criticism of testimonial literature. To define testimonio , they borrow the conventions of realist literature, conventions that are anachronistic in a postmodern context. She discusses the analogies between the testimonio and the discourse of modern ethnography, and points out the problematic relationship between the editor and informant, as well as the political issues raised by these two forms of discourse.

The second half of the book treats four mediated testimonial texts. The relationship between informants, editors, and the targeted reading public is complex and troublesome. Sklodowska believes that a defect of many testimonios is that they avoid or cover up these tensions in their meta-discourses. For the critic, this self-examination of the contradictions of testimonial literature is not only a more honest approach, but one that makes for more effective texts.

Sklodowska's arguments are well-reasoned and articulately stated.

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Her book -the recipient of the Northeast Modern Language Association Foreign Language Award-, raises questions that will enhance the discussion over testimonial literature and stimulate further research into this interesting phenomenon. Tittler, Jonathan. Manuel Puig.

New York: Twayne Publishers, Through a close reading that draws upon Freud' psychoanalysis and Bakhtin's theories of narrative, Tittler offers a remarkable study of Puig's eight novels and some of his works in other genres. Tittler not only acknowledges Puig's innovative narrative techniques, but reveals the crucial link between his style and thematic. He declares that Puig's innovation in the novel consists in his incorporation of mass-entertainment products and in his replacement of the patriarchal ethereal discourse by a polyphonic decentered one, that not only eliminates the hierarchy of the narrative but also attacks the absolutist society and its power structures.

Puig, through an already deviated narrative form, questions the proper novelistic discourse and experiments with new strategies. Colloquial language becomes literary and the idiom of Hollywood is used to express the [75] sublime.

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The first transgression is the fragmentation of the textual totality. In Heartbreak Tango, the parts, the isolated effects, are more important than the whole. Pubis Angelical 's dream scene, according to Tittler, encloses a very strong metatextual statement. It is the answer to the patriarchal resistance to change. Eternal Curse on the Reader of These Pages makes the erasure motif a central theme. Tittler shows us how Puig continues to try new ways of conveying meaning in a world where, in many cases, the image is stronger than the word.

There is no doubt that Jonathan Tittler has long pondered what he so clearly develops here. The volume concludes with a brief, two-essay segment on the oral literary tradition in Mexico. By and large, the intellectual and scholarly quality of the thirty-two essays is very good, and the two volumes are meticulously proved and attractively bound. Some of the strongest essays are penned by guest-contributors. The conscious decision to present the widest-ranging scope of the current research interests of the CELL faculty necessarily results in a lack of a cohesive focus in the collection, both in the individual volumes themselves and in the subsections of each volume.

Likewise, there is a perhaps understandable lack of balance in the section of the Literature volume dedicated to literature in Spanish from the Colonial period to the present, since seven of the thirteen essays in question deal with Mexican topics. This is neither a reference grammar of Spanish nor an inquiry into the nature of grammar itself.

Instead, it is a discourse on some areas that tend to prove problematic for the English-speaking student of Spanish. The book consists of ten chapters of grammatical analyses and exercises, to which are appended seven short stories as foci and exemplars of the linguistic arguments expounded in the body of the text.

There is in addition a useful Instructor's Manual of thirty eight pages. For some reason this is in English, even though the rest of the text is in Spanish and one presumes that the class discussions will be in Spanish. The first section in each chapter is titled Para Empezar. This often includes a translation exercise Spanish to English that dwells on the problems to be tackled in the chapter. This is really the core of each chapter. It offers grammatical explications as well as exercises specific to the points being discussed. The exercises here could usually be handled either as written or oral.

In this part students are required to find and interview native speakers of Spanish in an attempt to elicit various speech patterns. The authors maintain that finding native speakers is rarely a problem if students spend enough time looking. While this might be true in large areas of the country, it is still quite untrue for even larger areas. Hence these exercises would have to be ignored or adapted when compliant native speakers of Spanish prove impossible to find.

Finally, an attempt is made to apply the grammar in Lecturas , the seven short stories [77] included at the end of the text. Quite a few of the sample sentences used throughout the book to exemplify particular grammatical points are drawn from these readings. The concentration is on uses of the language in these short stories, rather than characterization or theme, but for many instructors the presence of these short stories could provide opportunities for introductory literary analysis.

Not all the other selections are of outstanding intrinsic interest. Though one might hope that all students at this level would possess their own Spanish-English dictionary, it might have been useful to offer a more comprehensive gloss of the words used in the readings.

The book does offer a glosario, but this is used for defining grammatical terms, not for the lexicon used in the readings. Regrettably, the book provides no index of topics treated. Apart from the literary readings, each chapter uses sentences or whole paragraphs to exemplify particular points. These selections can be a little grating. For instance, is a long paragraph on the British royal family or fairy tales such as Little Red Riding Hood and Goldilocks appropriate for this kind of book?

The Instructor's Manual, too, is marred from time to time by a slightly patronizing attitude to teachers of Spanish, e. Manual 2. It is probably inevitable that some elements in extensive discussions of grammar such as contained in this or any book will provoke less than unanimous agreement among readers. Several formulations offered by Lunn and DeCesaris are at least highly debatable, if not erroneous.

Does any native speaker of Spanish really construe the future tense as employed in a Spanish weather forecast to be the future of probability 13? Of course there are. They are usually identical in form with the infinitive, but they are still subjunctives, e. Or think of a doublet such as I insist that Patrick works here versus I think that Patrick work here. There are other cases where at least one reader would differ from these authors. For instance, they follow the old analysis of deriving command forms haga algo from a putative underlying form such as yo quiero que usted haga algo.

But if this is valid, how is it that affirmative familiar commands don't obey the paradigm? The authors see their book as oriented towards advanced students. However, quite a few of the topics dealt with do not appear too advanced. For instance, there are two pages on the formation of adverbs, not exactly a difficult matter in Spanish. And the exposition of hay seems unnecessarily long.

For students of Spanish at this level, is it really necessary to point out that usted and ustedes behave like third person pronouns? The level of discourse when treating other topics is sometimes less than advanced. These common expressions are seldom introduced in our elementary and intermediate texts, and a student can go through an entire program in Spanish without ever coming across them.

Here too might have fitted an extended treatment of gustar , a construction which even our best undergraduate students never appear to master. There are many other cases where one feels that the book might have offered the advanced student a somewhat richer diet. As for the subjunctive: the book does add somewhat to explanations which students will have previously encountered in beginning and intermediate textbooks. For instance, it ties together para que and antes de que. Even those non-native speakers of Spanish who think they know all the rules are sometimes surprised by a native speaker's choice of aspect in the past tense.

The authors offer an interesting but short exposition on journalistic uses of the preterite and imperfect, but a book at this level could have expanded on these non-paradigmatic uses. There are lots of good things in the book, and the authors illuminate many subtleties of Spanish that rarely receive comment.

Take their treatment of the distinction between simple future and ir a future And it is an interesting insight to link verbs that always carry the reflexive pronoun, such as quejarse , atreverse , with a verb like suicidarse that is explicitly reflexive. The treatment of se is very comprehensive, though students at this level need to be alerted to the morphology of a phrase like se le vio. The book's production quality is good, the only misprint noticed being matromonio The Spanish-language and punctuation -in which the book is written would scarcely be typical of that of a similar book produced in Spain, but only one Anglicism stands out Lunn and DeCesaris believe that a detailed linguistic study of a language will yield long term benefits in both listening and speaking.

In their view this book will help students not just in the acquisition of Spanish but also in the ability to think and make generalizations about language itself. One can differ with some of their formulations and disagree with choices and emphases the authors have made. However, this should not cloud the fact that Lunn and DeCesaris have produced a workman-like text that provides a welcome addition to our rather sparse shelf of advanced grammar textbooks.

Divided into sixteen chapters organized around a variety of themes, such as the family, student life, and tourism, each chapter contains dialogues, one or two communicative functions, a grammar section, a reading, and dialogue translations. A Spanish-English dictionary and a grammar index round out the text. No answer key is provided. Grammar topics have been carefully chosen and limited, and include, for example, the present, the present progressive, the preterite and imperfect, formal commands, present subjunctive, and the essential pronouns.

Grammar presentations are contrastive and given in English. Explanations are simple, minimal and explicit, and tend to be followed immediately by an application, usually a drill. Lecturas begin in chapter 1 and gradually increase in length and complexity. Readings and dialogues often have footnoted information of cultural interest, given in Spanish after the first [79] chapter. Supporting cultural learning as well are the numerous newspaper ads and print realia interspersed throughout the text.

Active vocabulary is presented in complete Spanish sentences in Palabras en contexto at the beginning of each chapter. Students unable to intuit word meaning by context can turn to the dictionary for an English equivalent and the number of the chapter where the word first appears. Graphic images are imprecise.

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Typographical errors include incorrect capitalization in the Table of Contents iii. Viernes 42 and pomelo are active lexical items not found in the text dictionary. Maja appears in a dialogue, but no meaning or translation is given. One dialogue translation is missing an entire line compare with , while another is mistranslated.

Survey courses in Spanish literature are common college offerings but good published anthologies for them are rare. Compiling one is daunting for any individual because he or she will inevitably be forced to work beyond his or her own area of expertise. It is distinctive in several ways.

Textos narrativos

First, there is a marked preference for prose over poetry. Machado, seven pages by Lorca and six by Aleixandre. Second, the anthologist minimizes material from medieval and Renaissance Spanish literature in favor of more contemporary selections, especially from twentieth-century authors whose works fill the last third of the book. She may cover fewer of the big names, but students should be able to get a feel for the style and message of the writers whose thoughts they do read.

She is certainly correct that women writers have been systematically denied their just access to the public and to academic i. Her title, Texto y vida , is meant to allude [80] to a student's need -and a teacher's responsibility- to take critical stock of this material. A course in Spanish literature should not be simply another language class with antique examples. The readings themselves are prefaced with informative and helpful essays on the period and author, and are complemented by up-to-date bibliographies for further reading.

There are copious notes on vocabulary, with Spanish synonyms when feasible. Finally, there are follow-up sections to guide students through questions of content, literary analysis and the broader significance of the themes which underlie the selection. Los peregrinos pecan por ser bastante derivativos de obras ya publicadas o las narrativas publicadas se derivan de estos cuentos. Los otros, sin embargo, no tuvo aliento para terminarlos y los temas son archivados con la libreta.

Pero, en el proceso de recordarlos, les pierde el entusiasmo y los vuelve a archivar. Madrid: Alfaguara, Indica asimismo que ha escondido su obra por los infinitos recovecos del archivo para que su suerte quede al arbitrio del azar. Si Bustarga retraza con progresivo desencanto [82] los pasos de su admirado Saelices, la novela parece asimismo incumplir las expectativas de peripecia y sorpresa que despierta al comienzo. Montero , Rosa. Bella y oscura.

Barcelona: Seix Barral, Rosa Montero's readers will find in her most recent novel much that is familiar reflections on the importance of love, the difficulty of male-female relationships, and problems of communication, as well as an obsession with death and the passage of time. The setting for Bellay oscura is El Barrio, a tough neighborhood that is on the outskirts of a large city and borders on a shanty town. Montero thus situates the action in a marginal world of marginal beings, an ex-centric space that is populated by social outcasts.

Although the vision is the child's, the voice and diction are those of an older person. The symbolism of the names is evident. The female characters are the center of attention; the males, most of whom are cruel and bestial, are relegated to the sidelines, with the exception of Chico. The boy, terrified of the brutality around him, imitates the chameleon and adopts the coloration of his surroundings in order to fade into the background and escape his father's wrath.

Montero contrasts the sordid reality of the adult world, with its betrayal, cruelty, and degradation, to the innocence -or ignorance- and incomprehension of the children, who are the victims of their elders' violence. Some of the most poetic passages of the novel are those devoted to Airelai's marvelous stories, such as the one in which she explains her special gift, the price she has paid for it, and how all her wishes will come true when the comet that coincided with her conception again blazes its way across the heavens.

Her prophecy is fulfilled, ironically, at the novel's conclusion with the plane explosion that kills the midget and the man she loves. The irony is intensified by the narrator's joy at what she regards as proof that desires are always fulfilled, when in fact the explosion destroys the possibility of her being reunited with her father. The closing chapter illustrates Montero's thesis that life is a blend of beauty and horror.

On several occasions Montero has commented that one of the challenges facing women writers is that of creating new myths that would broaden our cultural horizon, currently dominated by male-generated myths, and in Bella y oscura she has rewritten both Plato's parable of the circular beings who existed prior to the division of humans into male and female halves, and the story of Paradise and expulsion from it.

In Montero's version the earth was once an Eden populated by genderless double beings: giants who bore midgets on their shoulders. The former were strong, audacious, intuitive, and sensual, whereas the latter were intelligent, imaginative, and sensitive. Each was the companion for and complement of the other, but one midget's desire brought an end to these perfect unions and condemned us to incompleteness and the endless search for our lost soul mate. Airelai, incidentally, dismisses as utter nonsense the biblical tale about an apple.

Montero is adept at finding the telling detail [83] that makes a scene come to life, and she excels in creating memorable characters. Her battle against oblivion is an expression of Montero's preoccupation with the ephemerality of existence and the precariousness of memory. Bella y oscura is well-written and carefully constructed. The opening sentence presents in capsule form the main elements of the plot, and the pictures that decorate Airelai's trunk are the thread that links her most important narratives.

Although the message and symbolism of the novel are perhaps too obvious, the presentation of a number of strong female characters, the emphasis upon women's wisdom, o and the revisionist mythmaking are likely to interest many readers. Sarduy, Severo. Barcelona: Tusquets, The presence of the semiotics of both Roland Barthes and Jacques Derrida informs the novel, and it continues the same kaleidoscopic, experimental tradition seen in his earlier volume, Cocuyo As Siempreviva continues her search, she has flashbacks to her fife as Sonia and of the madness that caused her to have an automobile accident in her blue Bugatti.

The fact that she survived the ordeal resulted in the nickname Siempreviva. Wearing her art nouveau hat, she leaves the superhighway and the snack bar behind and walks indecisively along the waterfront. Should she return to the manor house and its idiosyncratic cast of characters, she asks herself? Should she stay at the beach, or should she try yet a third time to recapture her lost youth? The unsigned poems on the first seven pages recall incidents in the novel, especially incidents relating to the process of recapturing lost youth.

It is the last poem, however, that brings the novel to a kind of closure. In the early sixties he went to Madrid and then to Paris to study art history. He spent the rest of his life in Paris and began his career as a novelist with such complex works as De donde son los cantantes and Cobra.

It is somewhat less accessible than Cocuyo , but at the same time it is a work of merit and import. Solares, Ignacio. El gran elector.

La disciplina de la derrota (Narrativa) (Spanish Edition) La disciplina de la derrota (Narrativa) (Spanish Edition)
La disciplina de la derrota (Narrativa) (Spanish Edition) La disciplina de la derrota (Narrativa) (Spanish Edition)
La disciplina de la derrota (Narrativa) (Spanish Edition) La disciplina de la derrota (Narrativa) (Spanish Edition)
La disciplina de la derrota (Narrativa) (Spanish Edition) La disciplina de la derrota (Narrativa) (Spanish Edition)
La disciplina de la derrota (Narrativa) (Spanish Edition) La disciplina de la derrota (Narrativa) (Spanish Edition)
La disciplina de la derrota (Narrativa) (Spanish Edition) La disciplina de la derrota (Narrativa) (Spanish Edition)
La disciplina de la derrota (Narrativa) (Spanish Edition) La disciplina de la derrota (Narrativa) (Spanish Edition)
La disciplina de la derrota (Narrativa) (Spanish Edition) La disciplina de la derrota (Narrativa) (Spanish Edition)

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