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Spanish Cinema 1973-2010: Auteurism, Politics, Landscape and Memory
No full textThis collection of essays offers a new lens through which to examine Spain’s cinema production following the decades of isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of 35 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary). Both popular (Los Abrazos Rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la Ciudad de Sylvia/In the City of Sylvia, El Espíritu de la Xolmena/Spirit of the Beehive). They are made in different languages: English (as both first and second language), Basque, Castilian, Catalan and French
Entre la pantalla y el libro: Gabriel García Márquez y el cine
Get PDFGarcía Márquez’s relations with the cinema find their first expression in a series of film reviews that the author penned for the Colombian daily El Espectador, in the mid-nineteen fifties. There, he shows a particular predilection for Italian Neo-realism, for certain contemporary Italian films about women, and for the Bardem- Berlanga classic, ¡Bienvenido, Mr Marshall! Analysis of selected film reviews demonstrates surprisingly close connections with creative works by García Márquez, both at the level of narrative and in key areas of ideology and aesthetics.El origen de las relaciones entre la obra literaria de García Márquez y el cine se encuentra en una serie de reseñas de películas, que el autor colombiano escribe para el periódico bogotano El Espectador, a mediados de los cincuenta. En las páginas del diario capitalino, da a conocer por primera vez su afición por el neorrealismo italiano, por ciertas películas italianas contemporáneas de tema femenino, y por ¡Bienvenido, Mr. Marshall!, de Luis García Berlanga. Un análisis de algunas reseñas pertinentes revela sorprendentes conexiones entre la obra de García Márquez y media docena de películas, a los niveles de diseño narrativo y valores estéticos comunes
Borges and Sarmiento
No full textEl artículo sintetiza, para un lector de habla inglesa, una lectura del diálogo de Borges con la obra de Sarmiento en las coyunturas del nazismo y del peronismo. Los textos (prólogos y notas) se organizan de este modo en tres momentos: 1944, en las vísperas del fin del nazismo; 1957-1968, después de la caída del primer gobierno peronista; 1974, al retorno de Perón. Se retoman y sintetizan hipótesis desarrolladas en Breves intervenciones con Sarmiento y a la vez se amplía el corpus de textos borgianos, sobre todo en el período 1957-1968.Fil: Contreras, Sandra Claudia. Universidad Nacional de Rosario. Facultad de Humanidades y Artes. Instituto de Estudios Críticos en Humanidades. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Rosario. Instituto de Estudios Críticos en Humanidades; Argentin
Borges and the Banda Oriental
No full textA study of the presence and meaning of the Banda Oriental, the ancestral name of Uruguay, in the work of Jorge Luis Borges
Borges and the Argentine Avant-Garde
No full textThe years spent in Europe fuelled Borges’s desire to introduce avant-garde aesthetics to Argentina, as seen in his role founding the two iterations of the magazine, Proa. In addition to verbal material, visual images were also prominent in the magazine. Anonther key point of reference in the cultural sphere of mid-1920s Buenos Aires was the magazine, ’Martin Fierro’, to which Borges contributed. The spirit of questioning the old and seeking innovation left its mark on Borges as both critic and creative writer
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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