The Department of German and Romance Languages and Literatures announces the Severn Teackle Wallis Memorial Prize. The amount of $250 shall be awarded for an essay or other original work on Spanish or Latin American literature, literary history, culture, or art.
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Borges cites innumerable authors in the pages making up his life’s work, and innumerable authors have cited and continue to cite him.
In his latest book, William Egginton laments the current debate over religion in America, in which religious fundamentalists have set the tone of political discourse—no one can get elected without advertising a personal relation to God, for example—and prominent atheists treat religious belief as the root of all evil.
Atheists and religious fanatics are equally wrong about God, argues professor and philosopher William Egginton. To do right by humankind, he says, just a little belief means a lot.
The literature of Cuba, argues Eduardo González, takes on quite different features depending on whether one is looking at it from “the inside” or from “the outside,” a view that in turn is shaped by official political culture and the authors it sanctions or by those authors and artists who exist outside state policies and cultural politics.
The Theater of Truth argues that 17th-century baroque and 20th-century neobaroque aesthetics have to be understood as part of the same complex.
A Companion to Latin American Literature and Culture reflects the changes that have taken place in cultural theory and literary criticism since the latter part of the 20th century.
This book is about interpretation as it pertains to literature, philosophy, and psychoanalysis.
The application paradigm of literary studies, in which one spices up a text with fashionable theory, represents the bankrupt extreme of theoretical tendencies, while the denigration of theory in the name of historical accuracy at times covers for a simple and lamentable lack of anything interesting to say.
In an analysis of Cuban literature inside and outside the country’s borders, Eduardo Gonzalez looks closely at the work of three of the most important contemporary Cuban authors to write in the post-1959 diaspora.