The Spirit of Spanish America. A Cultural Reader including Simplified Selections from Outstanding Spanish American Writers. By Marie B. Rodriguez. New York, Appleton-Century-Crofts, 1957; Introduction to Brazilian Portuguese. A Grammar and Conversational Text. By Guy J. Riccio. Annapolis, Md., U. S. Naval In stitute, 1957The Spirit of Spanish America. A Cultural Reader including Simplified Selections from Outstanding Spanish American Writers. By Marie B. Rodriguez. New York, Appleton-Century-Crofts, 1957. $3.00.Introduction to Brazilian Portuguese. A Grammar and Conversational Text. By Guy J. Riccio. Annapolis, Md., U. S. Naval In stitute, 1957. $4.50.

Author(s):  
J. H. P.
Author(s):  
Andrey Iserov

Francisco de Miranda (March 28, 1750, Caracas, Venezuela—July 14, 1816, La Carraca, Spain) was a Spanish American revolutionary who after a career in the Spanish Army from 1783 devoted his life to the cause of Spanish American independence. The various designs of Miranda in the 1780s–1800s were founded upon the idea of a military liberation expedition to Spanish America led by him and organized with the support of a power (Great Britain, United States, France) in conflict with Spain that would then foment existing discontent and lead to a wide-scale revolt and independence. Though these plans failed, as did his attempt to organize an expedition from New York without the support of any power (1805–1807), in 1810 the revolution in Spanish America started without his participation as a consequence of the Napoleonic invasion of Spain. Miranda was called to Caracas and eventually led the short-lived First Venezuelan Republic in 1812. After its defeat he spent the last years of his life in Spanish jails. Miranda’s failure influenced the South American revolutionaries who adopted the tactics of unconditional warfare against the Spanish troops from 1813. A shrewd and sophisticated expert in world affairs and political intrigues and an acclaimed military commander, Miranda was persistently trying to use the conflicts between great powers to achieve his goal though he knew that these powers’ leaders were eager to use him as a trump card against the Spanish Empire in their geopolitical games. His contacts ranged from US Founding Fathers, British Prime Minister William Pitt the Younger and Viscount Melville to the Prussian king Friedrich II and the Russian empress Catherine II. He was a respected peer in the high society of the European “republic of letters” in the Age of Enlightenment. In the United States his friends belonged to the Federalist Party, which represents an interesting phenomenon since Federalists are usually viewed as being generally skeptical toward foreign revolutions. In Spanish America Miranda’s ideas received no support until 1810–1812, as his failed expedition clearly shows—this is an excellent example of the interplay between “evental history” (histoire évenémentielle) and the longue durée, demonstrating how fast and unpredictable radical historical change may be. In spite of this long political solitude, Miranda entered the Spanish American symbolic pantheon as the precursor of independence.


Five Centuries of Spanish Literature: From the Cid Through the Golden Age. An Anthology Selected and Edited for Students of Spanish by Linton Lomas Barrett. New York — Toronto, Dodd, Mead & Company, 1962; An Outline History of Spanish American Literature, Third Edition, Englekirk, Leonard, Reid and Crow. New York, Appleton-Century- Crofts, 1965; Lecturas Intermedias: Prosas Y Poesias, Anderson, Davison, Smith. New York, Harper & Row, 1965; Los Duendes Deterministas Y Otors Cuentos, Enrique Anderson Imbert, Edited by John Y. Falconieri. Englewood Cliffs, New Jersey, Prentice-Hall, 1965; Hoy Es Fiesta, Antonio Buero Vallejo. Edited by J. E. Lyon, With Vocabulary by K. S. B. Croft. London, George G. Harrap (Toronto, Clarke, Irwin), 1964; Voces Españolas de Hoy, Edited by Duran and Alvarez. New York, Harcourt, Brace & World (Toronto, Longmans Canada), 1965; Selecciones (Textes Espagnols À L’usage Des Canadiens-Français; Spanish Readings for English-Canadian Students), S. Fielden-Briggs. Montreal, Beauchemin, 1965; Cuentos Americanos de Nuestros Dias: Ten Spanish American Short Stories, Edited by Jean Franco. London, Harrap (Toronto, Clarke, Irwin), 1965; La España Moderna Vista Y Sentida Por Los Españoles, Edited by Thomas R. Hart and Oarlos Rojas. Englewood Cliffs, New Jersey, Prentice-Hall, 1966; Don Brazazo de La Carretera: An Elementary Spanish Reader, Richard Musman. London, G. Bell and Sons (Toronto, Clarke, Irwin), 1964; Ortega Y Gasset: Sus Mejores Paginas, Edited by Manuel Durán. Englewood Cliffs, New Jersey, Prentice-Hall, 1966; de Cela a Castillo-Navarro: Veinte Años de Prosa Española Contemporanea, Edited by Carlos Rojas. Englewood Cliffs, New Jersey, Prentice-Hall, 1965; Palabras Modernas, J. R. Jump. London, George G. Harrap (Toronto, Clarke, Irwin), 1965;Five Centuries of Spanish Literature : From the Cid Through the Golden Age. An Anthology Selected and Edited for Students of Spanish by Linton Lomas Barrett. New York — Toronto, Dodd, Mead & Company, 1962. Pp. x, 352.An Outline History of Spanish American Literature, Third Edition, Englekirk, Leonard, Reid and Crow. New York, Appleton-Century- Crofts, 1965. Pp. xiii, 252. $2.95.Lecturas Intermedias: Prosas y Poesias, Anderson, Davison, Smith. New York, Harper & Row, 1965. Pp. x, 333. (Plus Instructor’s Manual, 75 pages.)Los Duendes Deterministas y Otors Cuentos, Enrique Anderson Imbert, Edited by John Y. Falconieri. Englewood Cliffs, New Jersey, Prentice-Hall, 1965, Pp. ix, 192. $3.75.Hoy Es Fiesta, Antonio Buero Vallejo. Edited by J. E. Lyon, with vocabulary by K. S. B. Croft. London, George G. Harrap (Toronto, Clarke, Irwin), 1964, Pp. 192. $2.25.Voces Españolas de Hoy, edited by Duran and Alvarez. New York, Harcourt, Brace & World (Toronto, Longmans Canada), 1965. Pp. vili, 216. $3.25.Selecciones (textes espagnols à l’usage des canadiens-français; Spanish readings for English-Canadian Students), S. Fielden-Briggs. Montreal, Beauchemin, 1965. Pp. 149.Cuentos Americanos de Nuestros Dias: Ten Spanish American Short Stories, edited by Jean Franco. London, Harrap (Toronto, Clarke, Irwin), 1965. Pp. 179. $2.55.La España Moderna Vista y Sentida por Los Españoles, edited by Thomas R. Hart and Oarlos Rojas. Englewood Cliffs, New Jersey, Prentice-Hall, 1966. Pp. xiii, 341. $5.95.Don Brazazo de la Carretera: An Elementary Spanish Reader, Richard Musman. London, G. Bell and Sons (Toronto, Clarke, Irwin), 1964. Pp. 96. $0.95.Ortega y Gasset: SUS Mejores Paginas, edited by Manuel Durán. Englewood Cliffs, New Jersey, Prentice-Hall, 1966. Pp. vi, 250. $3.95.De Cela a Castillo-Navarro: Veinte Años de Prosa Española Contemporanea, edited by Carlos Rojas. Englewood Cliffs, New Jersey, Prentice-Hall, 1965. Pp. ix, 213. $2.95.Palabras Modernas, J. R. Jump. London, George G. Harrap (Toronto, Clarke, Irwin), 1965. Pp. 85. $1.10.

Author(s):  
J. H. P.

Author(s):  
Mark J. Noonan

This chapter demonstrates that the fight for greater realism in literature and life was long-lasting and transpired not on a single front but across many battlefields involving a wide variety of actors. Often, war itself was the impetus, first in the rewriting of the “facts” and significance of the Civil War and later as a means of response to the masculine bluster and bloodlust wrought by the Spanish-American War. The gender and class wars of the 1880s and 1890s were also relevant to this embattled genre, as were the effects of industrialization and immigration, which led to the massive growth of New York at this time, where so many of the newspapers and magazines promoting the various strands of realism were based. New York, war, and social issues were all entangled in the emergence of this genre, as numerous New York authors and artists sought to make sense of modern America and mold it to their own visions.


2003 ◽  
Vol 21 (3) ◽  
pp. 149-174
Author(s):  
Eugenia Houvenaghel

The Mexican diplomat Alfonso Reyes (1889––1959) was notable in the cultural panorama of Spanish America in the first half of the 20th century for his acquaintance with classical rhetoric, a discipline rarely studied at that time in that part of the world. This article distinguishes four aspects of rhetoric throughout Reyes' oeuvre: (i) a vulgar sense, (ii) an erudite sense, (iii) classical theories, (iv) and modern applications. In his early work, Reyes uses rhetoric in a pejorative and vulgar sense. Around the year 1940, Reyes starts to show a lively interest in rhetoric, opts definitively for an erudite sense of the term, and initiates the study of the classical art of persuasion. In his third phase, Reyes gains deeper knowledge of rhetoric, lectures on the subject, and explains his favorite orators andtheorists. Finally,his use of rhetoric reveals a commitment to the reality of Spanish America. Reyes' rhetoric is an "actualised" and "Americanised" version that shows the possibilities of the classical art of persuasion in Spanish American society.


1972 ◽  
Vol 28 (4) ◽  
pp. 429-440
Author(s):  
Randolph Campbell

It is well known that the initial task of interpreting the Monroe Doctrine as a functional policy in international relations fell largely on John Quincy Adams. Somewhat ironically, the noncolonization principle in Monroe's famed Annual Message of 1823 for which Adams, then Secretary of State, was most responsible, received relatively little attention in the 1820's. Leaders in the United States and Spanish America alike were more concerned with the meaning of the other main principle involved in the Message—nonintervention. What were the practical implications of Monroe's warning that the United States would consider intervention by a European power in the affairs of any independent American nation “ as the manifestation of an unfriendly disposition toward the United States ” ? John Quincy Adams laid the groundwork for an answer to this question in July, 1824, when Colombia, alarmed by rumors of French interference in the wars for independence, sought a treaty of alliance. The President and Congress, Adams replied, would take the necessary action to support nonintervention if a crisis arose, but there would be no alliance. In fact, he added, it would be necessary for the United States to have an understanding with certain European powers whose principles and interests also supported nonintervention before any action could be taken or any alliance completed to uphold it. The position taken by the Secretary of State cooled enthusiasm for the Monroe Doctrine, but Spanish American leaders did not accept this rebuff in 1824 as final.


Author(s):  
Dagmar Vanderbosch

Ultraísmo is an early twentieth-century art movement which developed in Spain around 1920 and was introduced to Argentina by Jorge Luis Borges in 1921. It was strongly influenced by European avant-garde movements, particularly Cubism and Dadaism, and by the Chilean poet Vicente Huidobro’s Creationism. The poets of Ultraísmo rejected the fin de siècle aesthetics of Spanish and Spanish-American modernism and experimented with the graphic and acoustic dimensions of poetry, emphasising rhythm over rhyme. The origins of Ultraísmo go back to late 1918, when Vicente Huidobro visited Madrid for a short period, and Rafael Cansinos Assens, host of a literary circle in the Café Colonial, wrote the first Ultraist Manifesto, published in the magazine Grecia in January 1919 (Videla 1963: p. 27). Other founding texts of the movement are El movimiento ultraísta español and Manifiesto Vertical, both written by Guillermo de Torre in 1920. The movement of Ultraísmo was oriented both toward Europe and Spanish America. Ultraísmo adopted ideas from different European avant-garde movements in an effort to reduce the cultural distance between Spain and the rest of Europe, rather than develop an original programme. Their poetry gives importance to images and metaphors, experiments with typography and calligrams, rejects punctuation and often rhyme, and focuses on poetic rhythm. Ultraísmo developed in Spanish America when Jorge Luis Borges, who had spent several years in Spain and had published poems in Ultraist magazines, introduced the movement in the literary circles of Buenos Aires upon his return to Argentina in 1921.


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