Wyniki wyszukiwania:

The relationship between fiction and historiography in Francoist Spain (1939-1975) is a contentious one. The intricacies of this relationship, in which fiction works to subvert the regime's authority to write the past, are the focus of David K. Herzberger's book.
The narrative and rhetorical strategies of historical discourse figure in both the fiction and historiography of postwar Spain. Herzberger analyzes these strategies, identifying the structures and vocabularies they use to frame the past and endow it with particular meanings. He shows how Francoist historians sought to affirm the...

This book provides the most comprehensive study to date of the full range of Marias' writing, including discussion and analysis of his literary and intellectual formation, his development as a novelist and short story writer, and his unique perspective offered in nearly twenty-five years of newspaper columns on topics ranging from religion to football. Above all, Marias is examined as a writer of fictions. As a translator of several canonical works from English to Spanish, Marias came to appreciate the preciseness of words as well as their ambiguity, their capacity to represent as well as...

The relationship between fiction and historiography in Francoist Spain (1939-1975) is a contentious one. The intricacies of this relationship, in which fiction works to subvert the regime's authority to write the past, are the focus of David K. Herzberger's book.
The narrative and rhetorical strategies of historical discourse figure in both the fiction and historiography of postwar Spain. Herzberger analyzes these strategies, identifying the structures and vocabularies they use to frame the past and endow it with particular meanings. He shows how Francoist historians sought to affirm the...

There are reasons to believe that Camilo Jose Cela knew perfectly well what he was doing as he wrote, between 1945 and 1950, La colmena, a novel that would counterweight the positive image the Franco regime was striving to build. In his foreword to the first edition Cela justifies and describes his text as a pale reflection ... a humble shadow of the daily, harsh, deep and painful reality. His portrait of a sad and desperate Madrid immediately drew the attention of the censors: the novel was banned in Spain until 1955, four years after its first edition was released in Argentina. The idea of...