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"Intellectuals Spain History 20th century."
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Lens, Laboratory, Landscape
Lens, Laboratory, Landscape focuses on competing views
about the power of vision in Spain between the 1830s and the 1950s.
The photographic lens, laboratory microscope, \"retinal vision\" of
philosopher José Ortega y Gasset, and the topographical studies of
Manuel de Terán are woven together in and around a European
cultural milieu that gave observation primacy. For once, Spain-now
bereft of its empire-was not on the outside of such debates.
Whether in the laboratory, family home, darkroom, art gallery, or
on the road, in Cuba or Zaragoza, Madrid or Massachusetts, Spanish
artists and scientists were engaged with the social and economic
power of observation at a time when the speed of modern life made
observing a challenge. Claudia Schaefer brings the technologies of
the eye-photograph, microscope, lens, tools for land surveying-to
light as markers on the nation's touted path to modernity.
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Avant-Garde Cultural Practices in Spain (1914–1936)
This book offers a critical reinterpretation of the Spanish avant-garde, focusing on narrative, transculturality, and intermediality. Narrative, because it prioritizes the analysis of prose over poetry, against the traditional use of critical literature on the subject up to this point. Transculturality, because the Spanish avant-garde simply cannot be understood without the acknowledgement of its multi-linguistic reality and the transnational scope of the experience of Modernism in Europe - of which Spain was an integral yet underexposed component. And intermediality, because the interrelations of painting, photography, film, and literature articulate a correlation and mutual affect among different media, creating a rich cultural tapestry that needs to be addressed. Contributors: Rosa Berland, Jennifer Duprey, Marcos Eymar, Regina Galasso, Eduardo Gregori, Juan Herrero-Senés, John McCulloch, Andrés Pérez-Simón, Lynn Purkey, Domingo Ródenas de Moya, Evelyn Scaramella and Antonio Sáez Delgado.
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Barcelona and Madrid
For hundreds of years, Barcelona and Madrid have shared a deep rivalry. Throughout history, they have competed in practically every aspect of social life, sport, politics, and culture. While competition between cities is commonplace in many nations around the world, in the case of Barcelona and Madrid it has been, on occasion, excessively antagonistic. Over time they have each tried to demonstrate that one was more modern than the other, or more avant-garde, or richer, or more athletic, and so on. Fortunately, the Spain of today is a democracy and every nation and region of the State has the liberty to act. As such, the rivalry between these two capitals has become productive not only for the cities themselves, but also for Spain as a whole. One hundred years ago, at the onset of the Historical Avant-Garde in Spain, the connections between Barcelona and Madrid consisted of a complicated web of politics, friendships, publications, and inter-art collaborations. Over the last century, the antagonistic relationship between these two cultural capitals has been dismissed as simply a fact of life and thereby scholars, for the most part, have focused only on Barcelona or Madrid when addressing this cultural moment. By delving deep into the myriad of cultural and political complexities that surround these two cities from the onset of Futurism (1909) to the arrival of Surrealism in Spain (1929), a complex social and cultural network is revealed. Networking between artists, poets, journalists and thinkers connected avant-garde Barcelona and Madrid, thereby creating synergy for this artistic and literary movement. In a hybrid, transdisciplarian, translingual and historical approach using a wide range of visual and textual artifacts, the complexity of interactions described here opens our imagination to new ways of thinking about culture.
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Trafficking Knowledge in Early Twentieth-Century Spain
This study makes an original contribution to scholarship by tracking and evaluating the significance of the various individuals and (particularly) institutions responsible for the traffic of ideas both between Spain and the outside world, and also within Madrid and the interior. This has not been attempted before, and it is a necessary supplement to the usual focus on individual authors and texts, allowing us to appreciate the importance of setting the latter in the context of the circuits of knowledge functioning in Spain in their time. It looks in breadth and in detail at the nature of Spain's cultural and intellectual exchanges with Europe in the early decades of the twentieth century. Three features make it original in its approach. It focuses on a broad range of institutions, including publishing houses and journals, as \"centres of exchange\", and looks at how they promoted and facilitated Spain's contact with Europe. The second feature is that it foregrounds the idea of \"cultural imaginaries\" as the driving force behind Spain's exchanges with Europe. Thirdly, in terms of territory, it departs from a Franco/German-centred concept of Europe, paying particular attention to a Europe of the margins, in the form of England and Russia, as two countries that held particular attractions for the Spanish mind. While being centred on Madrid for its case-studies, it also pays specific attention to issues of internal dissemination. ALISON SINCLAIR is Professor of Spanish at the University of Cambridge.
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Toward a cultural archive of La Movida
Toward a Cultural Archive of la Movida revisits the cultural and social milieu in which laMovida, an explosion of artistic production in the late 1970s and early 1980s, was articulated discursively, aesthetically, socially, and politically. We connect this experience with a broader national and international context that takes it beyond the city of Madrid and outside the borders of Spain. This collection of essays links the political and social undertakings of this cultural period with youth movements in Spain and other international counter-cultural or underground movements. Moving away from biographical experiences or the identification of further participants and works that belong to laMovida, the articles collected in this volume situate this movement within the political and social development of post-Franco Spain. Finally, it also offers a reading of recent politically motivated recoveries of this cultural phenomenon through exhibitions, state sponsored documentaries, musicals, or tourist itineraries. The perception of Spain as representative of a successful dual transition from dictatorship to democracy and free market capitalism created a “Spanish model” that has been emulated in countries like Portugal, Argentina, Chile and Hungary, all formerly ruled by totalitarian regimes. While social scientists study the promises, contradictions and failures of the Spanish Transición—especially on issues of memory, repression, and (the lack of) reconciliation —our approach from the humanities offers another vantage point to a wider discussion of an unfinished chapter in recent Spanish history by focusing on laMovida as the “cultural archive” whose cultural transitions parallel the political and economic ones. The transgressive, urban nature of this movement demonstrated an overt desire, especially among Spanish youth, to reach onto a global arena emulating the punk and new wave aesthetic of such cities as London, New York, Paris, and Berlin. Art, design, film, music, fashion during this period helped to forge a sense of a modern urban identity in Spain that also reflected the tensions between modernity and tradition, global forces and local values, international mass media technology and regional customs.
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Bibliophiles, Murderous Bookmen, and Mad Librarians
The word bibliophilia indicates a love of books, both as texts to be read and objects to be cherished for their physical qualities. Throughout the history of Iberian print culture, bibliophiles have attempted to explain the psychological experiences of reading and collecting books, as well as the social and economic conditions of book production.
Bibliophiles, Murderous Bookmen, and Mad Librarians analyses Spanish bibliophiles who catalogue, organize, and archive books, as well as the publishers, artists, and writers who create them. Robert Richmond Ellis examines how books are represented in modern Spanish writing and how Spanish bibliophiles reflect on the role of books in their lives and in the histories and cultures of modern Spain. Through the combined approaches of literary studies, book history, and the book arts, Ellis argues that two strains of Spanish bibliophilia coalesce in the modern period: one that envisions books as a means of achieving personal fulfilment, and another that engages with politics and uses books to affirm linguistic, cultural, and regional and national identities.
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The Everyday Atlantic
In The Everyday Atlantic , Tania Gentic offers a new
understanding of the ways in which individuals and communities
perceive themselves in the twentieth-century Atlantic world. She
grounds her study in first-time comparative readings of daily
newspaper texts, written in Spanish, Portuguese, and Catalan. Known
as chronicles, these everyday literary writings are a precursor to
the blog and reveal the ephemerality of identity as it is
represented and received daily. Throughout the text Gentic offers
fresh readings of well-known and lesser-known chroniclers
( cronistas ), including Eugeni d'Ors (Catalonia), Germán
Arciniegas (Colombia), Clarice Lispector (Brazil), Carlos Monsiváis
(Mexico), and Brazilian blogger Ricardo Noblat. While previous
approaches to the Atlantic have focused on geographical crossings
by subjects, Gentic highlights the everyday moments of reading and
thought in which discourses of nation, postcolonialism, and
globalization come into conflict. Critics have often evaluated in
isolation how ideology, ethics, affect, and the body inform
identity; however, Gentic skillfully combines these approaches to
demonstrate how the chronicle exposes everyday representations of
self and community.
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Iberianism and Crisis
Robert Patrick Newcomb'sIberianism and Crisisexamines how prominent peninsular essay writers and public intellectuals who were active around the turn of the twentieth century looked to Iberianism to address a succession of political, economic, and social crises that shook the Spanish and Portuguese states to their foundations.
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The Censorship Files
Drawing on extensive research in the Spanish National Archive, Alejandro Herrero-Olaizola examines the role played by the censorship apparatus of Franco's Spain in bringing about the Latin American literary Boom of the 1960s and 1970s. He reveals the negotiations and behind-the-scenes maneuvering among those involved in the Spanish publishing industry. Converging interests made strange bedfellows of the often left-wing authors and the staid officials appointed to stand guard over Francoist morality and to defend the supposed purity of Castilian Spanish. Between these two uneasily allied groups circulated larger-than-life real-world characters like the Barcelona publisher Carlos Barral and the all-powerful literary agent Carmen Balcells. The author details the fascinating story of how novels by Mario Vargas Llosa, Guillermo Cabrera Infante, Gabriel García Márquez, and Manuel Puig achieved publication in Spain, and in doing so reached a worldwide market. This colorful account underpins a compelling claim that even the most innovative and aesthetically challenging literature has its roots in the economics of the book trade, as well as the institutions of government and the exigencies of everyday politics and ideology.
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