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"Bullfights History."
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Les Courses de taureaux
Extrait: \"Nous renonçons, malgré nos incursions nombreuses à travers les textes tauromachiques, à fixer d'une façon absolue l'origine précise des courses de taureaux en Espagne. Parmi les nombreux auteurs qui ont traité cet intéressant sujet, en est-il deux, d'ailleurs, qui aient assigné la même date initiale à ces fêtes héroïques? L'un affirme très sérieusement que les cavaliers d'Asdrubal montés sur leurs chevaux numides couraient les taureaux sauvages...\"À PROPOS DES ÉDITIONS LIGARANLes éditions LIGARAN proposent des versions numériques de qualité de grands livres de la littérature classique mais également des livres rares en partenariat avec la BNF. Beaucoup de soins sont apportés à ces versions ebook pour éviter les fautes que l'on trouve trop souvent dans des versions numériques de ces textes.LIGARAN propose des grands classiques dans les domaines suivants: • Livres rares
• Livres libertins
• Livres d'Histoire
• Poésies
• Première guerre mondiale
• Jeunesse
• Policier
eBook
Death and money in the afternoon : a history of the Spanish bullfight
Bullfighting has long been perceived as an antiquated, barbarous legacy from Spain's medieval past. In fact, many of that country's best poets, philosophers, and intellectuals have accepted the corrida as the embodiment of Spain's rejection of the modern world. In his brilliant new interpretation of bullfighting, Adrian Shubert maintains that this view is both the product of myth and a complete misunderstanding of the real roots of the contemporary bullfight. While references to a form of bullfighting date back to the Poem of the Cid (1040), the modern bullfight did not emerge until the early 18th century. And when it did emerge, it was far from being an archaic remnant of the past--it was a precursor of the 20th-century mass leisure industry. Indeed, before today's multimillion-dollar athletes with wide-spread commercial appeal, there was Francisco Romero, born in 1700, whose unique form of bullfighting netted him unprecedented fame and wealth, and Manuel Rodriguez Manolete, hailed as Spain's greatest matador by the New York Times after a fatal goring in 1947. The bullfight was replete with promoters, agents, journalists, and, of course, hugely-paid bullfighters who were exploited to promote wine, cigarettes, and other products. Shubert analyses the business of the sport, and explores the bullfighters' world: their social and geographic origins, careers, and social status. Here also are surprising revelations about the sport, such as the presence of women bullfighters--and the larger gender issues that this provoked. From the political use of bullfighting in royal and imperial pageants to the nationalistic \"great patriotic bullfights\" of the late 19th and early 20th centuries, this is both a fascinating portrait of bullfighting and a vivid recreation of two centuries of Spanish history. Based on extensive research and engagingly written, Death and Money in the Afternoon vividly examines the evolution of Spanish culture and society through the prism of one of the West's first--and perhaps its most spectacular--spectator sports.
eBook
Bullfighting in Southern France
Abstract Drawing on ethnographic research among bullfighting professionals and audiences in Spain and France, this report assesses the current health of bullfighting in Arles as a means to grapple with broader questions surrounding the cultural and political standing of this increasingly controversial activity on both sides of the Pyrenees.
Journal Article
Bullfights Redux: Business, Politics, and the Failure of Transnational Cultural Transfer in 1920s Budapest
Spanish bullfights have been organized twice in Hungary: in 1904 and 1924. Unlike in 1904, when the bullfights arrived in Budapest from Paris and were held with the city's urban tourism promotion interests in mind, the 1924 corrida was connected to the internationalization of Spanish bullfights through their support by fascist Italy, causing a domestic political imbroglio in Hungary due to competing political and business interests at home. At the same time, the bullfights represented another novelty in the field of transnational popular entertainment, whose different waves had continuously reached Budapest since the late nineteenth century. Focusing on the 1924 event, the article argues that the bullfights organized in Budapest that year need to be understood from the perspective of interactions between postwar European authoritarian cultural politics, the domestic political scene in Hungary, and Spanish attempts to turn the bullfights into a transnational spectacle rivaling the popularity of British football. Although the bullfights did not take root in Hungary, their organization in Budapest represents an important chapter in the global advance of twentieth-century popular culture, a historically informed understanding of the formation of which requires consideration not just of successful but also failed processes of cultural transfer.
Journal Article
Bullfights in Budapest: City Marketing, Moral Panics, and Nationalism in Turn-of-the-Century Hungary
At the beginning of June 1904, the Hungarian capital was in a state of frenzy. The bullfights, starring Pouly fils—a toreador from Nîmes, France—as the matador, and scheduled to take place in a recently built 15,000-seat bullring in the Budapest City Park, attracted everyone's attention. Reporting a wave of “Spanish fever” spreading among inhabitants of the city, the newspapers highlighted the fact that a large percentage of the population was talking about “toreadors, picadors, matadors, and bulls.” The toreadors dressed in their “exotic costumes” caused a stir everywhere they went (Figure 1). As the toreadors visited Budapest's tourist attractions many female passersby noticed their “suntanned faces and muscular bodies.” The matador's collar ornament, consisting of two studs representing two “miniature diamond bulls,” was a subject of conversation on everyone's lips. Local tailors proposed “Spanish collars” replicating those worn by Pouly as the ne plus ultra of fashion to their customers. Furniture makers and carpenters witnessed their sales of Spanish dressing-screens skyrocket. Surfing the wave of public interest, the Uránia, a local association for the popularization of science, scheduled slide shows about Spain. The Budapest Orpheum hired Tortajada, a well known Spanish female dancer, for several appearances on its stage. Parodic plays, mimicking a bullfight, were staged throughout June both on the site of Ős Budavára (Ancient Buda Castle), a historical theme park that opened in the City Park in 1896, and on an improvised outdoor stage on the Margaret Island. Theaters also claimed their share by scheduling operas such as Carmen, the Marriage of Figaro, and the Barber of Seville. Restaurants offered a new cocktail drink called “Krampumpouly.” Journalists turned into impromtu poets and wrote poems dedicated to the bulls. Even politicians joined in the popular enthusiasm for the bullfights, declaring in the Budapest parliament, as a journalist sarcastically remarked, that for the local political body from that moment on: “Vox popouly” is “vox dei.”
Journal Article
Ella es el matador
Ella es el Matador (She is the Matador) For Spaniards – and for the world – nothing has expressed the country's traditionally rigid gender roles more powerfully than the image of the male matador. So sacred was the bullfighter's masculinity to Spanish identity that a 1908 law barred women from the sport. Ella Es El Matador (She Is The Matador) reveals the surprising history of the women who made such a law necessary, and offers fascinating profiles of two female matadors currently in the arena, the veteran Maripaz Vega and neophyte Eva Florencia. These women are gender pioneers by necessity. But what emerges as their truest motivation is their sheer passion – for bullfighting and the pursuit of a dream. SINOPSIS EN ESPAÑOL Para los españoles – y para el resto del mundo – no hay símbolo de masculinidad que se exprese de forma más clara que la imagen del matador. De hecho, para preservar la masculinidad del torero, en 1908 se prohíbe que las mujeres participen en la fiesta. Ella es el Matador (She is the Matador) revela la sorprendente historia de las mujeres que hicieron que esta ley fuera derogada. La película ofrece retratos fascinantes de dos mujeres que hoy participan en la fiesta: la veterana Maripaz Vega y la novillera italiana, Eva Florencia. Estas mujeres son pioneras por necesidad y lo que el espectador descubre es su verdadera pasión por el toro y por la realización de un sueño. https://www.gemmacuberofilms.com/.
Streaming Video
The bullfight gentrified
The breeding-down and gentrification of fighting bulls in Spain reflects a change in Spanish life and society. McCormick explains how changes in bullfighting that are sad reflect the loss of something good in Spain.
Journal Article