The story, written in the first person, is a collection of messages which form Maria's monologue with the world. Through her e-mails we find out about the questions she is facing and sense the answers she is considering. The protagonist shares with us a story which will, inevitably, be the turning point in her life.
Álex de la Iglesia, initially championed by Pedro Almodóvar, and at one time the enfant terrible of Spanish film, still makes film critics nervous. The director of some of the most important films of the Post-Franco era – Acción mutante, El día de la bestia, Muertos de risa – receives here the first full length study of his work. Breaking away from the pious tradition of acclaiming art-house auteurs, The cinema of Álex de la Iglesia tackles a new sort of beast: the popular auteur, who brings the provocation of the avant-garde to popular genres such as horror and comedy. This book brings together Anglo-American film theory, an exploration of the legal and economic history of Spanish audio-visual culture, a comprehensive knowledge of Spanish cultural forms and traditions (esperpento, sainete costumbrista) with a detailed textual analysis of all of Álex de la Iglesia’s seven feature films.
In Chariots of Ladies, Núria Silleras-Fernández traces the development of devotion and female piety among the Iberian aristocracy from the late Middle Ages into the Golden Age, and from Catalonia to the rest of Iberia and Europe via the rise of the Franciscan Observant movement. A program of piety and morality devised by Francesc Eiximenis, a Franciscan theologian, royal counselor, and writer in Catalonia in the 1390s, came to characterize the feminine ideal in the highest circles of the Iberian aristocracy in the era of the Empire. As Eiximenis's work was adapted and translated into Castilian over the century and a half that followed, it became a model of devotion and conduct for queens and princesses, including Isabel the Catholic and her descendants, who ruled over Portugal and the Spanish Empire of the Hapsburgs.Silleras-Fernández uses archival documentation, letters, manuscripts, incunabula, and a wide range of published material to clarify how Eiximenis's ideas on gender and devotion were read by Countess Sanxa Ximenis d'Arenós and Queen Maria de Luna of Aragon and how they were then changed by his adaptors and translators in Castile for new readers (including Isabel the Catholic and Juana the Mad), and in sixteenth-century Portugal for new patronesses (Juana's daughter, Catalina of Habsburg, and Catalina's daughter, Maria Manuela, first wife of Philip II). Chariots of Ladies casts light on a neglected dimension of encounter and exchange in Iberia from the late fourteenth to the mid-sixteenth centuries.
The Politics of Emotion explores the intersection of powerful emotional states—love, melancholy, grief, and madness—with gender and political power on the Iberian Peninsula from the Middle Ages to the early modern period. Using an array of sources—literary texts, medical treatises, and archival documents—Nuria Silleras-Fernandez focuses on three royal women: Isabel of Portugal (1428–1496), queen-consort of Castile; Isabel of Aragon (1470–1498), queen-consort of Portugal; and Juana of Castile (1479–1555), queen of Castile and its empire. Each of these women was perceived by their contemporaries as having gone "mad" as a result of excessive grief, and all three were related to Isabel the Catholic (1451–1504), queen of Castile and a woman lauded in her time as a paragon of reason. Through the lives and experiences of these royal women and the observations, judgments, and machinations of their families, entourages, and circles of writers, chronicles, courtiers, moralists, and physicians in their orbits, Silleras-Fernandez addresses critical questions about how royal women in Iberia were expected to behave, the affective standards to which they were held, and how perceptions about their emotional states influenced the way they were able to exercise power. More broadly, The Politics of Emotion details how the court cultures in medieval and early modern Castile and Portugal contributed to the development of new notions of emotional excess and mental illness.
The story, written in the first person, is a collection of messages which form Maria's monologue with the world. Through her e-mails we find out about the questions she is facing and sense the answers she is considering. The protagonist shares with us a story which will, inevitably, be the turning point in her life.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.