Indeed, some currents in modern criticism have shown the potential value of certain types of biographically or psychologically oriented projects, in some of which critics have also elaborated the methods and theories underlying their readings. The novels are grouped into three categories, which follow the chronology of their publication and the geography of their fictional locales.
The study concludes with a very brief summary of the aims and contents of the three main chapters. Privileging in the end the development of the personal myth over the collective in Puig's novels, Corbatta also proposes a classification of his texts in terms of the lesser or greater degree of authorial identification with the fictional protagonists The brief discussions of the texts enumerate themes and paraphrase a good deal of the novels' anecdotal material; they also briefly describe the salient technical features and cultural models of each work.
Extensive use is made of selected interview materials, which provide authorial statements not only about Puig's biography but also about his intended aims in writing and his explanations of particular texts. In the end, the study disappoints our expectations for an insightful addition to Puig criticism which might also include an exhaustive and accurate biography of the author or for a demonstration of how attention can profitably be paid to the relation between authorial biography and literary production.
A companion volume to a major retrospective of Argentine cinema scheduled at the National Film Theatre in London in , this book is an important addition to the growing bibliography on Latin American cinema, while at the same time offering a comprehensive view of contemporary culture in Argentina. To achieve this double objective John King University of Warwick and Nissa Torrents University College, London have assembled a series of essays by American, Argentine, and European scholars reviewing the major developments in Argentine cinema over the past fifty years.
King opens the volume with a brilliant synthesis of Argentine history from mid-nineteenth century to the s. This study makes helpful references to other essays in the book that more fully address the issues he raises, as well as to films that readers can use to enhance their knowledge of the period. Nick Caistor Latin. Couselo's account certainly justifies the priority he gives to the consideration of intrastructural matters over artistic and a esthetic concerns.
In Argentina, however, harsh political repression and severe censorship cancelled the aspirations for a news ideologically-committed cinema. When the military dictatorship came to an end in December, , the momentum had been lost and other, milder forms of politically-oriented cinema emerged from the drive towards a pluralistic and moderate society. Guido -in what must have been one of the last interviews she conceded before her death in March, gives valuable information about the life and work of her late husband, film-maker Leopoldo Torre Nilsson, and about her own work and life.
Especially interesting are her remarks and Bemberg's own commentaries on the condition of women as intellectual workers in contemporary Argentina. The volume closes with a selective but extremely informative Bibliography, and Filmographies of twenty directors featured in the program of Argentine cinema screened at the National Film Theatre. Well-organized, superbly researched and edited, The Garden of the Forking Paths: Argentine Cinema is a valuable contribution to the understanding of the state of film culture in contemporary Argentina and Latin America.
But what they have included provides in a manageable and relatively unintimidating format an excellent overview of Brazilian cinema in its various movements and salient works. Yet it does not commit the sin of the survey, as the individual parts are not lost in the whole. This book will serve the scholar already working within the field, both as a ready reference and as a handy digest of criticism, while for the non-specialist it remains readily accessible and highly informative as a pointed and practical introduction. All the articles are in English -though some knowledge of Portuguese is useful-, making it particularly appropriate for American students of cinema.
In light of the frequent comparisons they make between Brazilian film and that of other national traditions, the editors are careful neither to idealize nor to minimize their subject. They make their movies move and set the pictures they depict in motion. The next section of the book is a selection of pieces by various filmmakers speaking about themselves, their art, and, on occasion, each other. It is an ruminating cross-section which, if it omits certain articles and authors, includes a serviceable number.
That is, the editors nave selected pieces where the critical hypotheses to not obstruct the filmic medium, but rather illuminate it. Many of the selections here are polemical and provocative, raising aesthetic, political, or commercial issues not necessarily familiar to American students of the cinema. Often they seem to speak in a language that is more visual than verbal, alluding rather than defining, suggesting rather than categorizing and confining.
The next section of the book focuses still more intently on the films per se. It is varied reading which offers tantalizing insights, though, by its very nature, it has no common format, beyond the fact that all the pieces focus somehow on Brazilian films and filmmaking.
It leaves the reader with a desire to know -and especially to see- more, realizing that further investigation of the subject will truly be rewarding because of the often superior quality, the distinctive aesthetic and even intellectual appeal, and the cultural flavor of the films discussed.
Brazilian Cinema , while appealing to aficionado and expert alike, surely will win new admirers, if not devotees, of Brazilian cinema in the English-speaking world. The book is divided into four major units: I. Argumentation, II. Description, III. Narration, and IV.
Its other major strength is the many different kinds of texts: journalistic, legal, historical, philosophical, literary poems, prose , essay, advertisements, and even comic strips. Another positive feature of the book are the appendices in which a glossary of linguistic and literary terms is provided.
Based on the framework of the book itself, it is safe to conclude that most of the "linguistic" exercises undermine the book's numerous, varied and worthwhile readings. Instead of developing a better appreciation of reading, along with an increased vocabulary, a student is more likely to develop a dislike for what the author has defined as linguistic analysis.
Although this book may suit the framework for which it was designed -the high school curriculum in Spain- it is not recommended for use at the secondary or post-secondary levels in the U. There have been relatively few textbooks published for this level, and one of the popular ones went through about fifty printings without ever being purged of its typographical mistakes.
Granted, the market is not very large, but, still, corrections should be made. The book being reviewed is the fourth printing, and it is a very clean one. Each of the fourteen lessons begins with a lectura whose purpose is to set up the grammatical content of the lesson. These lecturas are by Spaniards as well as Latin Americans, and represent the gamut between high literature and journalistic style.
Interesting readings. The second set of questions, opiniones , requires personal reactions to events of the readings, and this is a very attractive part of the lesson. Here are some examples. After reviewing the use of si in conditional clauses si ellos lo hubieran sabido antes I will wager that most students have never seen that construction before, yet it is appropriate to learn. In the section about reflexive verbs, after it tells about verbs that are always reflexive, and transitive verbs used reflexively acostarse , it goes on to explain that Spanish transitive verbs require the reflexive form when no other direct object is expressed quite unlike English : Si la ropa no se seca pronto This is a particularly difficult concept for English speakers to get used to, owing to the interference from English.
Another nice thing about the grammar sections is that they include lists of expressions revolving around a central item from the section. This ties the grammar to the reading neatly, and vice versa. There is a very clear. There is also a separate answer key the publisher will provide to help in correction. This book is decidedly worth a try in the classroom -a breath of fresh air, different from what instructors doubtless have been using. Its clear explanations make it something easy to utilize. The program consists of video cassettes, audio cassettes, the book itself, a text-workbook, and a teacher's guide.
The content of the material is functional and, by the end of the course, students should be able to handle shopping, ordering meals, asking directions, simple conversations about work, weather, and self, and other everyday situations. The book has fifteen units that correspond to most of the material presented in the audio and video cassettes. Each unit begins with dialogues with the key words and phrases appearing alongside. There is a quick comprehension check in English following each dialogue. Vocabulary lists are kept short and are from Spanish to English.
The grammar explanations are in English with Spanish examples. Each unit contains a short pronunciation section. Structures are checked in a two to three page practice section of functional activities. Each unit ends with a cultural note written in English about areas, towns, customs, or behavior mentioned in the video cassette. The appendix of the book contains the scripts for additional dialogues that are on the tapes or video, a five-page grammar summary, a pronunciation guide, answers to the comprehension checks and the practice exercises, groups of vocabulary words organized by themes, and a Spanish-English vocabulary of all words that appear in the book.
The text-workbook is essential for those who use the video cassette program. The material in the text-workbook corresponds to the theme of the units in the main book discussed above. Each unit begins with a Spanish-English vocabulario followed by a short pronunciation section that is also on the audio tapes. The cultural units, Reportaje , are again treated here.
By using the text-workbook, students are presented with a more complete grammar of the style found in more traditional Spanish texts. The units take students from the study of gender and number through si clauses. The second half of this text-workbook contains the complete videoscript, the Spanish alphabet and a pronunciation guide, a list of proper names, verb charts, definitions of grammatical terms, a Spanish-English dictionary, lists of functional words according to themes, a short bibliography of books on Spain, and an index to the grammar and the functions.
The Teacher's Guide contains the complete text of the audio cassettes and seven short suggested teaching approaches. This resource is the weakest element of the program. Many teachers will expect the elaborate and helpful teacher's manuals available from other publishers and will not find it here. A complete, well-organized manual would be a great asset to this series. The audio program comes on three, double-sided cassettes packed in a plastic storage case.
The tapes contain the dialogues in the book that are marked with an audio cassette icon and some of the audio of the video program. Pronunciation practice and exercises are also included. It is a beautifully filmed, contemporary look at Spain and its people. The language level of the teaching scenes or dialogues is coordinated with the exercises found in the book and text-workbook.
Culture is presented in the Reportajes found in each unit. Although the level of language is not at all consistent with the level of the dialogues in the unit, the author does not expect students to understand everything. The segments are intended to show the beauty of Spain through a wide range of cultural topics, thirty-one in all. The weak teacher's manual could be improved by putting the transcripts. Understanding Research in Second Language Learning should be a welcome addition to the library of language teacher and researcher alike. The author specifies five overall goals for the volume: 1 explaining basic terms in statistics, 2 explaining how tables, charts, and graphs work, 3 explaining the use of research designs, 4 explaining the logic underlying the use of various statistics, and 5 explaining how to assess and critique statistical research.
The book is divided into three main areas. The first five chapters introduce much of the terminology necessary to read and understand statistical studies. Some of the topics include a discussion of variables, the organization and types of data, and how to critique a statistical study.
Chapters dearly and concisely cover descriptive and testing statistics, including measures of central tendency and dispersion, probability, and validity. Chapter 9 lets the reader explore the issue of statistical logic by showing researchers' logical processes as they develop a study. The third division of the book reads appreciably more slowly, as the author utilizes case studies to demonstrate the applications of correlation statistics and those that compare means and frequencies. It is at this point that the reader encounters statistical devices such as the Pearson product-moment correlation coefficient, regression analysis, t tests, chi-square, and others.
The case studies always relate to some aspect of language learning, such as the effect of extra language laboratory training on proficiency, or parental attitudes toward foreign language study. Each chapter concludes with a list of terms and symbols, review questions, and an applications section geared toward language learning. Although Brown does an excellent job of introducing basic statistical concepts to the beginner, the final chapters covering applications may require more than one reading.
The previously mentioned statistical devices are covered in some detail in the case studies. Some of these related analyses are discussed more thoroughly than others. Some readers might appreciate this book more if it contained a reference appendix that grouped the various types of analyses as they are presented in the applications chapters. Such an appendix might elaborate on the statistics not developed in the text and might well include appropriate formulae , some of which are conspicuously, albeit intentionally, missing from the text.
Nevertheless, in this volume, Brown has provided an important tool for the language teacher or would-be researcher who suffers from statistical anxiety. Readers should enjoy the clear, basic explanations, the generally very readable style, and the numerous examples and applications developed specifically for the language teaching professional. McDavid, Jr. A modo de ejemplo citaremos: Arnulfo G.
Our colleagues in Germany, however, do not enjoy all the benefits of the vast AATSP organization and American educational market which facilitate the publication and dissemination of research and the production of instructional materials. Their discussions published here represent a vigorous effort to enhance the quality of instruction within their decidedly local community.
The studies in this volume address either content for Spanish classes or methodologies more properly defined. The former are the more successful, although of limited application to classrooms other than the authors' own. The remaining seven essays, while professedly. The author, lamenting the lack of research that would guide the establishment of an objectively reliable sequence of speaking skills -a good deal of research on language functions and their natural sequencing is in fact available: cf.
The volume on the whole suggests somewhat limited horizons. Many clarinistas will find much to fault in this editing, introduction, translation and notes to Leopoldo Alas's Cuentos morales Nonetheless, the translations themselves should be serviceable to those readers and teachers of English-language classes who interest themselves in the short fiction of late nineteenth-century Europe. The problems with the present volume begin with the table of contents vii , its introduction ix-xvi and bibliography xvi-xviii.
The translation itself is, as was said above, serviceable. These practices alter reader perception of Alas's style. Furthermore, in certain stories unfortunate translating decisions have been made.
But Breaker, at his forty years of age, is more the pathetic human gorilla than the undisciplined, idle boy. Lastly, a few words about the textual notes are in order. Six of the historical fictions that comprise Los usurpadores were written in the s while Ayala was living in Argentina.
The present translation is of the expanded text of , which added a seventh story. In her introduction, Richmond indicates that she has attempted to provide as faithful a recreation of Ayala's text as possible. To this end, she intends to respect sentence length. To compensate for the American reader's probable lack of familiarity with Spanish history, she decided to use informational footnotes.
While one might expect a methodology so defined to result in a ploddingly literal translation with painfully Hispanized syntax, quite the opposite is true. Richmond's English-language text is a pleasure to read. It flows so gracefully that the translation becomes invisible. Where Richmond retains the longer sentences characteristic of literary Spanish and indeed she does divide some, typically replacing semicolons with periods , the stylistic effect is appropriate to historical fiction.
Ayala's ironic style shines through, and the infrequent, brief footnotes, while perhaps not all equally necessary, are never distractive. The translation incorrectly maintains false cognates, which Richmond renders accurately; her thorough understanding of the original text, coupled with her own sensitivity to style, yields a more natural English. Richmond's desire to re-create faithfully the original text leads her to pay attention to stylistic details. The lyric epilogue, Ayala's Spanish elegy.
Francisco Ayala is one of Spain's greatest writers of the twentieth century. Over the years, some of his stories and novels have been translated to English, but he has not yet achieved the recognition that he richly deserves. Carolyn Richmond's careful, sensitive, and elegant translation of the Usurpers should contribute measurably to his reputation in the United States.
En suma, ocho libros representados. Este verso repite la rima interior -ea en lenta, repta y sentencia. Ruler y no king , que hubiese eliminado la paridad aliterativa. The novel translated by Zatz concerts the encounter of two worlds and two cultures centuries apart. The lesser-known opera of Antonio Vivaldi, Motezuma , which is based upon Giusti's historically deformed and anacronistic libretto on Montezuma and the Spanish conquest of Mexico, is the vehicle which Carpentier utilizes as the link for the temporal and spatial syncretic encounter between the Old and the New.
The baroque concert is the main subject of the discourse. His commentaries would be useful to the uninitiated reader as an introduction to Carpentier. Asa Zatz has had a long career as a translator. Now, he offers us an excellent translation of Concierto barroco , notwithstanding the following observations. A comparison of the Spanish and the English texts immediately exposes to view a fairly radical difference in the physical aspect of the written discourse.
That is, while Carpentier preferred very long paragraphs for example, two in Chapter I, three in Chapter II, and one in Chapter III , Zatz chose to fragment the narrative into shorter paragraphs in the same chapters mentioned above, eight, fourteen and eight, respectively. This pattern of having many more paragraphs in the translation is obvious, as well, in each of the remaining chapters of the novel.
One could assume that the translator did this in order to achieve unity and balance of particular points. However, Carpentier may have wanted to achieve a totally contrary effect, more characteristic of the language of music and the graphic shape of a staff. There is a tendency in the translation toward condensation, which at times does not convey exactly the same meaning.
In an effort to keep the same tone of the narration, Zatz tries to use equivalent proverbs and idiomatic expressions. Still, the same meaning is not always clearly rendered. This, because it is not a much-used expression as is the Spanish proverb, may present difficulties in understanding. Any translation of a text depends, primarily, upon the interpretation given to it. It is proof, once more, of the difficult task of translating. The many redeeming features of the translation far outweigh the few less desirable ones. For the most part, the translator maintains in his work strict adherence to the original text, without being literal.
With respect to the poems and songs in the novel, Zatz's handling of the rhyme is generally effective. He has accomplished a very enjoyable translation of this superb novella, and should be commended for making it accessible to the English-speaking reader. Over the last few decades the production and dissemination of Hispanic literature in the U. At one time in the not too distant past, works by Spanish American authors were inaccessible to English-language readers; if the books could be acquired at all, they were generally available only in the original Spanish-language editions.
Practically overnight, readers in the U. Nowadays, translations appear almost simultaneously with the original editions and, in some cases, even prior to the Spanish-language versions. Also, Hispanic writers , particularly those living in the U. This work, the title of which comes from a song by Paul Anka, pays homage to Manuel Puig by depicting the enormous influence popular or mass culture has exerted on contemporary life and fiction, a phenomenon evident here in ubiquitous references to North American pop songs, movies, music videos, etc.
His treatment of this subject matte reexamines the clash between personal aspirations and familial obligations and the attempt to reconcile Hispanic traditions, such as the concept of the extended family, with the alien cultural patterns of North American life, where young adults are encouraged to live on their own and families consign their elderly to nursing homes. He employs frequent shifts in time and place, breaks in linear temporal sequence, and narration by means of a questionnaire where the reader sees the answers but not the questions , to produce a text which is purportedly the autobiography of a Cuban-American musician, Julian Toledo.
Julian's book, which he began writing as a form of therapy, includes letters from his sister a counterpoint to his own recalled experiences , and transcriptions of interviews, conversations, and family tape recordings. He recounts the loss of childhood innocence learning that presents do not come from the Reyes Magos , his exposure to violence, and his sexual awakening, the latter brought on by numerous encounters of a perverse nature.
During the course of his cathartic narrative, which he records in English, Julian is forced to come to terms with his ethnicity. His name, Julian the Anglicized form without the written accent , encapsulates this central issue of selfhood. Although he has achieved success as a musician, he has become established by prostituting himself -abandoning his cultural roots to do North American popular music. In order to purge his guilt and forge his own self-image he must resolve the dichotomy of his status as a Cuban native living in the U. Ballad of Another Time also treats the subject of personal growth and development, in this case with emphasis on inter-personal relationships.
He frequently informs the reader of his characters' thoughts. These figures think and act more according to stereotypical patterns of behavior than as individuals. Rosendo's journey takes him far from his home and brings him in contact with varieties of island culture different from his own. While on his quest, he encounters a black woman who practices what he calls witchcraft. Disregarding her warning he continues his pursuit.
Fico, who has served time in prison for causing a disturbance in a brothel, is, nevertheless, inexperienced sexually, a condition which causes him great anxiety. Dominga confesses to Fico that once she was in love with Rosendo, but somehow she allowed her love for him to die.
The novel builds to a suspenseful climax in which Rosendo, having found his wife and her companion in a farmhouse, eavesdrops on their conversation. While listening to their stories, he becomes aware of their feelings and, at the same time, undergoes a self-discovery.
Crazy Love and Ballad of. Tres miradas sobre el arte.
Barcelona: Destino, Madrid: Castalia, Las mocedades de Ulises. Barcelona: Destino, 2 ed. Madrid: Editorial Playor, Buenos Aires. La media distancia. Primer Romancero Gitano. Mahji's ABC's. Seattle: Open Hand Publishing, Inc. New York.
Grammar in Use. Answer Key. New York: Cambridge University Press, Activities for Creative Communication. El humor en la obra de Fernando Arrabal. El diablo cojuelo. For All Levels and All Languages. Book Reviews. Keller, John E. Dennis P. Newark: Juan de la Cuesta Hispanic Monographs, Surtz, Ronald E. Testa, editors. Wiltrout, Ann E. London: Tamesis Books Limited, Damiani, Bruno. Moralidad y Didactismo en el Siglo de Oro Weiger, John G. In the Margins of Cervantes. Varey, J. Los arriendos de los corrales de las comedias de Madrid: Londres: Tamesis Books Limited, Pamplona: Ediciones Universidad de Navarra , Quevedo, Francisco de.
Edited by Alva V.
Valencia: Albatros Ediciones , Edited by James Iffland. Newark, Delaware: Juan de la Cuesta, Polt, John H. Berkeley: University of California Press, Mayberry Robert and Nancy Mayberry. Boston: Twayne Publishers, Nicholas, Robert L. Unamuno, narrador. Madrid: Editorial Castalia, Wilcox, John C. Urbana and Chicago: University of Illinois Press, El secreto del Acueducto. Nigel, Dennis, ed. Ottawa Hispanic Studies 2. Ottawa: Dovehouse Editions Canada, Halsey, Martha T. The Contemporary Spanish Theater. A Collection of Critical Essays. Lanham: University Press of America, Bell-Villada, Gene H.
Williamstown, Massachusetts: Williams College, Irizarry, Estelle. Madrid: Editorial Pliegos, Cruz, Julia G. Miami: Ediciones Universal, The Name Game. Coddou, Marcelo. Para leer a Isabel Allende. Add to Wishlist. USD 8. Sign in to Purchase Instantly. It is a story that is both mythical and historical, current and ancestral.
Due to its deep reflection about existence, it surpasses the Mayan cultural dimension and it becomes a universal work. In order to achieve that reading that was intended, the text was aligned to the right. Product Details. Average Review. Write a Review. Related Searches. View Product. Armada Spanish Edition. Catwoman: Soulstealer Spanish Edition. Selina Kyle es Catwoman. Selina Kyle es una ladrona. Crescendo Spanish Edition. Eva Spanish Edition. No me tengas por una de esas burguesitas perdidas entre las filas obreras.