Search

Lo studio dei manoscritti coranici piu antichi e fondamentale per conoscere la prima diffusione del testo sacro e soprattutto la sua consistenza. In attesa, ormai fin troppo prolungata, di studi sui materiali ritrovati a Sanaa, lo studioso a cui si devono i maggiori contributi sull'argomento e senz'altro Fran50is Deroche. Suo e anche il piu recente saggio esaustivo e completo, nel quale analizza un esempla re manoscritto coranico, conservato tra varie biblioteche, probabilmente risalente alla fine del VII secolo.1 Si tratta della versione, benche incompleta, piu impor tante e antica e per tale ragione Deroche dedica a tale esemplare un'analisi mi nuziosa con un'acribia difficilmente superabile. La questione della storia del ma noscritto di probabile origine egiziana, le differenti (5) mani dei copisti, e le pe culiarita ortografiche di ognuno e nel complesso, rispetto alla versione contem poranea della vulgata di cUtman e ad altri esemplari antichi, sono tutte affronta te con una capacita e un equilibrio convincenti. L'ampia parte in arabo riprodu ce il testo segnalando ovviamente le peculiarita del ductus consonantico e anche cancellature, interventi di vario tipo e peculiarita di ogni genere. Inserito tra le due parti, un consistente apparato di immagini offre riproduzioni del manoscrit to e di altri materiali citati e utilizzati nel saggio. Il prodotto finale di un percor so cosi argomentato e condivisibile e la datazione del manoscritto e alcune fon damentali considerazioni sullo stato del testo coranico attorno all'ultimo quarto del VII secolo. Senza alcuna valutazione polemica e con un argomentare che procede spedito col fermo vincolo documentale e logico, Deroche seppellisce, se ancora ve ne fosse bisogno, le affascinanti interpretazioni di Wansbrough e quel le, piu recenti, che ipotizzano la circolazione di versioni coraniche alquanto di verse da quella Cutmanica. Allo stesso tempo, dimostra come la grafia coranica fu una costruzione progressiva, che nel caso specifico era gia frutto di una trasmis sione scritta del testo, quantunque continuamente rielaborata e perfezionata per almeno due secoli, giungendo a una fissazione non scevra da problemi e inconsi stenze che anche l'edizione cairina, considerata oggi standard, denota. La ricerca sul testo coranico, con lo spettro di ipotesi piu diverse, da quelle che accettano la visione islamica, a quelle piu scettiche, ha conosciuto negli ul timi anni un nuovo vigore. Il volume curato da Manfred S. Kropp e il piu recen

‘Excitement struggles with the restraint of form and language and the artifice of verbal repetition… runs riot.’ The repetition is more pronounced and personal here than in another Lesbia epigram, no. 70, where ‘the repetition dicit…dicit makes it certain that Catullus had [Callimachus, Ep. 25 Pf.] in mind’. Poem 70 illustrates how Catullus might allude to and adapt a Hellenistic model in expressing his personal feelings; while the longer elegiac poems in particular (and 66, the translation of Coma Berenices) show the depth of his engagement with Callimachean literary technique. We should not be surprised to find Callimachean elements here too, given the demonstrable correspondences with poem 68 in particular, a composition noted for its use of Alexandrian artifice. But while there are close echoes of the high emotion, the doctus poeta of 68 seems to be largely missing from 107. Here Catullus exults ipsa refers te / nobis (5–6); there his mistress se nostrum contulit in gremium (132).

"Dolor y gloria" (2019) de Pedro Almodóvar es una obra autorreferencial de ficción. Nuestro objetivo es establecer a qué categoría pertenece, especialmente a partir de las tres formas más frecuentes: la autobiografía, la autoficción y la ficción autobiográfica. Partimos de los postulados de Philippe Lejuene y de la teoría de la autoficción para realizar un análisis fílmico, e igualmente hemos considerado algunos textos del propio Almodóvar y entrevistas que, como paratextos, nos ayudan a comprender qué hay de personal en sus películas. También tendremos en cuenta "La ley del deseo" (1984) y "La mala educación" (2004) como dos obras anteriores con las que "Dolor y gloria" formaría una trilogía. A partir de La ley del deseo, en la que el autor empírico aparece en escena, dejará de tener presencia en sus obras y los autorretratos anteriores desaparecerán, pero mantendrá la representación de algunas vivencias a través de personajes delegados. En esa primera etapa encontramos autorretratos y posteriormente veremos momentos autobiográficos y autoficciones en los que algunos de sus personajes adoptan esas experiencias. El resultado de nuestro estudio es que transforma vivencias propias, cercanas y ajenas en narraciones de ficción. Las conclusiones son que no existe relato autobiográfico, en algunos casos hallamos autoficción y, principalmente, ficción autobiográfica., "Pain and Glory" (2019) by Pedro Almodóvar is a self-referential work of fiction. Our objective is to establish which category it belongs to, especially from the three most frequent forms: autobiography, autofiction and autobiographical fiction. We start from the postulates of Philippe Lejuene and the theory of auto-fiction to carry out a filmic analysis, and we have also considered some texts by Almodóvar himself and interviews which, as paratexts, help us to understand what is personal in his films. We will also take into account "The Law of Desire" (1984) and "Bad Education" (2004) as two previous works with which "Pain and Glory" would form a trilogy. From "The Law of Desire", where the empirical author appears on the scene, he will no longer have a presence in his works and the previous self-portraits will disappear, but he will maintain the representation of some experiences through delegated characters. In this first stage we find self-portraits and later we will see autobiographical moments and autofictions in which some of his characters adopt those experiences. The result of our study is that it transforms own, close and of others experiences into fictional narratives. The conclusions are that there is no autobiographical account, in some cases we find autofiction and, mainly, there is autobiographical fiction.

This paper examines Julian of Norwich’s representation of the Passion of Christ in herRevelation of Love, proposing that Julian reads the body of Christ through a medical hermeneutic which echoes vernacular texts of the spiritual ‘remedy’ genre. The essay’s overarching argument is that Julian’s engagement with humoral theory positions her as a participant in an emerging collective imaginary of vernacular medicine, related to the translation and transmission of medical texts in the late fourteenth and early fifteenth centuries. Comparing the Latin and Middle English versions of William Flete’sRemedies Against Temptationsand related works, I examine how this spiritual-medical discourse is expressed in vernacular texts contemporary to Julian’s life. I then consider Julian’s own sophisticated invocation of medical theory and practice in her description of the Passion, where she deploys diagnostic markers to depict an ‘ex-sanguination’ of Christ’s perfect disposition. These markers serve to reify the traditional figure of the ‘Man of Sorrows’ with a portrayal of Christ’s body as melancholic, a humoral affliction which reiterates both his suffering and his ‘love-longing’ for humanity. Finally, I show how this medical account functions in Julian’s optimistic theology, offering a reminder of the eternal presence of God’s love even in times of pain and disease.

Resumen El contraste entre la primera unidad narrativa de los recientemente publicados Soixante-quinze feuillets, “Une soirée à la campagne”, y “Combray”, primer capítulo de Por la parte de Swann, permite sacar nuevas conclusiones respecto al modo en que Marcel Proust construyó su obra. En ese sentido, el personaje de la abuela, protagonista en los fragmentos seleccionados de ambas versiones, constituye un punto de referencia central para el yo narrador. El presente análisis se aproximará puntualmente a ciertos aspectos de la personalidad de la abuela que tienen repercusión en la construcción de la perspectiva infantil y en la idea de arte del narrador: su modo de entender lo natural y su relación con el paseo y el desorden, su concepto de distinción social y la proyección de estos en los postulados estéticos presentes en la obra definitiva. Abstract The contrast between the first narrative unit of the recently published Les Soixante-quinze feuillets, "Une soirée à la campagne", and "Combray", the first chapter of Swann’s Way, allows us to draw new conclusions about the way in which Marcel Proust constructed his work. In this sense, the character of the grandmother, the protagonist in the selected fragments of both versions, constitutes a central point of reference for the narrator self. This paper will focus on certain aspects of the grandmother's personality that have repercussions on the construction of the narrator's childhood perspective and on his idea of art: her way of understanding nature and her relationship with walking and disorder, her concept of social distinction and the projection of these in the aesthetic postulates present in the final work. Resumo O contraste entre a primeira unidade narrativa dos Soixante-quinze feuillets, recentemente publicados, “Une soirée à la campagne” e “Combray”, o primeiro capítulo de No caminho de Swann, permite-nos tirar novas conclusões sobre a forma como Marcel Proust construiu a sua obra. Nesse sentido, o caráter da avó, protagonista nos fragmentos selecionados de ambas as versões, constitui um ponto central de referência para o narrador. Esta análise centrar-se-á em certos aspectos da personalidade da avó que têm repercussões na construção da perspectiva infantil e da ideia de arte do narrador: a sua forma de compreender a natureza e a sua relação com o caminhar e a desordem, o seu conceito de distinção social e a projeção destes nos postulados estéticos presentes na obra final.

This work was supported by the Templeton Religion Trust, TRT0354. Everyday objects have often been used in contemporary art since Marcel Duchamp introduced the concept of the ready-made. However, it is not clear how everyday objects are perceived in art contexts in comparison to everyday contexts. We investigated how individuals interpret pairings of images of everyday objects as artworks and as objects in everyday life. In Study 1, we found that participants evaluated pairings of unrelated images of objects as fitting together more under the art condition compared to the everyday condition. In Study 2, using the thought-listing technique, we found that participants ascribed symbolic meanings to everyday objects more often under the art condition. In Study 3, we found that associating unrelated images of objects under the art condition primes cognitive access to symbolic meanings of visual scenes. Overall, the studies show that everyday objects are interpreted differently in an art context as compared to an everyday context. Postprint

The emergence of the Musée du quai Branly project and its inauguration in Paris in 2006 have sparked off many controversies and stimulated numerous debates about the politics of representation, the colonial heritage in museum collections, the influence of art dealers, the role of indigenous communities, but also and above all the often antagonistic relationship between ethnographic and aesthetic approaches. It is not our intention here to reopen the controversy of the origins or to settle the alternative between the End of Art and the end of museum ethnography. On the contrary, we wish to place ourselves in a historical perspective, and to take advantage of this contribution to lay down some milestones in an intellectual journey that began more than a century ago and which is still often written in the mode of discontinuity.

In this qualitative study, nine adolescent girls between the ages of eleven and fourteen (M=12) reacted to how romance is depicted in The Hunger Games book and film series. Although some feminist researchers have been disappointed in the series ending, arguing that it reinforces post-feminist, repronormative and heteronormative ideas, most of the participants in this study felt that the inclusion of romance was appropriate for protagonist Katniss Everdeen, stating that this did not take away from what they saw as the “girl power” message of the series. Study participants believed that authors write heterosexual romance as a way of appealing to adolescent girl readers; several girls, however, expressed their desire to see this change. Furthermore, study participants provided alternative endings to the series that did not always include heterosexual romance or marriage for Katniss, thereby providing a nuanced critique of heteronormativity and gender roles in the series.

This article proposes that Charles Williams’s mid-twentieth-century noir fiction reshapes post-war representations of gender roles and paves the way for various renditions and developments of noir. Williams’s works are narratives of transgression meeting domesticity, crime meeting docility, and cunning meeting conformity; they portray a deadly recipe that comprises different, even conflicting ingredients of a fusion between domesticity, crime, and suspense. By examining the recurring figure of the criminal housewife in his work, especially Hell Hath No Fury (1953), this article argues that Williams brings forth a complex and subversive gender schema to trouble both the creed of domesticity popular in the 1950s and the stereotyping of the lethal seductress prevalent in noir fiction. By so doing, Williams’s noir not only brings the transgression of women to the fore but also displays a compelling picture of post-war gender roles in the US under McCarthyism.

Scholars have generally recognized the Ottoman poet Nefʿī (d. 1635) for his refinement of the panegyric in Turkish and his skill in its unflattering twin, the invective. They have thus paid little attention to the fact that he composed poems in Persian, and sufficient to compile a collection of them, simply viewing his output as a byproduct of his taste for the fresh style emanating from the East, particularly India, with no consideration of other factors at play. The article addresses this contextual gap by situating Nefʿī's engagement with the fresh style in relation to wider efforts at poetic renewal and also to literati disputes about the extent to which the fresh style and other currents from the East ought to be adopted and assimilated, in which differing formal and generic preferences, as well as linguistic and rhetorical concerns, were central. The article ultimately suggests that Nefʿī's overall work should be seen as part of those wider efforts that also aimed at making Ottoman practice distinctively fresh.

In this paper, I analyze Henri Bergson’s insightful and contrasted vision of poetry. First, I show in what sense Bergson sympathizes with the idea that the poet must be credited to surpass the novelist in offering to us an unparalleled emotional apprehension of the world. Second, I nonetheless underline how Bergson grants the product of the poet, i.e., the poem itself, a problematic linguistic status, inasmuch as the focus of his analysis shifts from an intersubjective poetical apprehension of feelings to their individual poetic appreciation, or from the spiritual dimension of poetry to its material dimension. Third, I further suggest to reconduct both the poet’s inspiration and the poem’s intention to their living matrix within the creative dimension of the poïen, whose main hallmark might be found in Bergson’s concept of addition. As a whole, the article argues that Bergson’s approach of poetry helps one in clarifying the delicate distinction that he draws between three possible attitudes that humans take vis-à-vis reality: that is, the standpoint of philosophy, or more accurately of metaphysics; the standpoint of art, or rather of literature in the context of my paper; and the standpoint of science, in its inherent ambiguity. In addition, I unveil some stimulating paradoxes regarding Bergson’s conception of language, and discuss his fascinating hypothesis concerning the absolute object of art.

The Daughter Zion allegory has previously been interpreted as a failed allegory for mystical union, both because it relies on personification allegory and because some versions do not actually portray intimate union between the soul and God. Focusing on the Middle Dutch incunable Vander dochtere van syon een deuoet exercitie (A Devout Exercise on the Daughter of Zion), printed by Gheraert Leeu in 1492, I will offer a different interpretation that is based on what the narrative does, rather than on what it does not do. By creating complex characters with inner lives and by fuelling speculation about their motivations, the text creates potent candidates for an intense, mediated relationship with the divine that is similar to parasocial relationships with fictional characters. The text helps the (likely female) reader to develop the devotional skills that will aid her in her spiritual progress.

This article highlights the interpictorality in two YA books by the Swedish writer and illustrator Anna Höglund, Om detta talar man endast med kaniner [This Is Something You Only Talk About with Rabbits] (2013) and Att vara jag [To Be Me] (2015). The analysis of the visual intertextuality between pieces of artwork by Peter Tillberg, Frida Kahlo, Lena Cronqvist, Richard Bergh and René Magritte and five pictures from Höglund’s books thematises school, body and identity. The discursive positioning in the artworks and in Höglund’s pictures directs the readers in their decoding of Höglund’s text, offers possibilities in their interpretations and challenges the adolescent readers to make connections across different formats, such as text and image, and between different images.

The goal of this article is to offer a new model for the study of ocularization in film grounded in the semiotic pragmatism of Charles Sanders Peirce. We first present a literature overview addressing the state of research regarding the theorization of ocularization in film studies. Second, we discuss Peirce’s three universal categories (Firstness, Secondness, and Thirdness) on which our model will be based. Third, we argue how the theme of ocularization in film, as outlined in the first part, can be theorized anew through these categories. This will result in the introduction of a nine-field matrix that will allow us to systemize all kinds of instances of subjectivity in cinema. Lastly, we will demonstrate the empirical usefulness of this model by illustrating each of the matrix’ nine categories through a discussion of Steven Soderbergh’s film Kimi (2022).

The paper refers to the problem of presence—accessibility of subjective truth about the world immersed in language to the artist and their works—in the meaning proposed by Zdzisław Łapiński, who disambiguates the sense of presence with the formula “natural supranaturalism,” adopted from Meyer Howard Abrams’ book Natural Supernaturalism. Tradition and Revolution in Romantic Literature. Rewievs by Joseph Hillis Miller and by Morse Peckham referred to in this paper are seen as a starting point to a further discussion about the problem of presence in Polish modernist literature in the context of questions about secularisation of Western theological tradition and about political consequences of aesthetic choices.

En el denso y complejo horizonte que ha puesto de manifiesto la pandemia derivada del COVID-19, el propósito de este texto es trazar algunos puntos de referencia en relación con los modos en que el campo de las artes en general, el quehacer de los artistas y la rehabilitación de los modos de educación artística, se han visto impactados. Con ello se plantea la urgencia de articular políticas culturales que mejoren la situación económica del sector y sean respetuosas de los derechos de los profesionales de la cultura. Se exploran fundamentalmente artículos y ensayos periodísticos, foros académicos, análisis y reflexiones de estudiosos de distintas procedencias disciplinares. En l'horitzó dens i complex que ha posat de manifest la pandèmia derivada de la COVID-19, el propòsit d'aquest text és traçar alguns punts de referència en relació amb les maneres en què el camp de les arts en general, el quefer dels artistes i la rehabilitació dels modes d'educació artística, s'han vist impactats. Amb això es planteja la urgència d'articular polítiques culturals que millorin la situació econòmica del sector i siguin respectuoses dels drets dels professionals de la cultura. S'exploren fonamentalment articles i assaigs periodístics, fòrums acadèmics, anàlisis i reflexions d'estudiosos de diverses procedències disciplinàries. In the dense and complex horizon that has revealed the pandemic derived from COVID-19, the purpose of this text is to highligth some reference about how the field of the arts, the work of artists, and the rehabilitation of artistic education modes have been impacted, trying creative ways to continue in activity, reflecting and rethinking the place of art in crisis contexts. The purpose is to raise the urgency of articulating cultural politics that improve the economic situation of the cultural sector and that are respectful of the rights of cultural professionals. Newspapers articles, essays, academic forums, analyses, and reflections from different academic disciplines are explored.

The objective of this article is to analyze the social, political and cultural changes that the city of Berlin has undergone during recent history. The analysis has focused on the city’s multiple facets as a historical phenomenon, analyzing the social-historic situation through several literary works that have been fundamental in order to understand the cultural evolution of Berlin since the beginning of the 20 th century through the fall of the Berlin Wall.

Due to the publication of the novel by Umberto Eco The name of the rose, the historical novel changed in style and narrative and these changes made possible for the genre to have a better reception among the readers. The resulting success produced an increase in the production of the historical novel and a change in the readers as it was aimed to a more general public. The article analyses the keys of this success and the influence this novel had on other genre works published in Spain in the last decades.

En este artículo me propongo estudiar la recepción de la obra de Dario Fo y de Franca Rame en España durante el periodo que va de los años setenta hasta finales de los años noventa. Para ello pasa-remos revista a las traducciones y a las representaciones que se realizan en estas tres décadas en España tanto en castellano como en catalán, analizando artículos, reportajes y entrevistas que sobre ellos se publican en la prensa diaria y en las revistas. 1997 es un año clave en la recepción porque la polémica concesión del Premio Nobel de Literatura a Fo pone a estas dos figuras en el centro de atención de nuestros medios escritos y aumenta considerablemen-te el número de publicaciones y representaciones de sus obras en España.

Este artículo trata de recordar a los autores y personajes del cómic italiano de los últimos 40 años de todos los géneros y para todo tipo de lectores que se han dado a conocer en publicaciones españolas. Entre los personajes más emblemáticas destacan: Lupo Alberto, Martin Mystère, Pimpa , Tex Willer, Cocco Bill, Corto Maltese o Valentina.

¿Oímos y expresamos/transcribimos los sonidos de la misma manera en las distintas lenguas de la península ibérica? El análisis de las interjecciones y onomatopeyas en las traducciones de Astérix en Hispanie tiene como objetivo ver cómo se recogen los valores que expresan y representan las interjecciones en las distintas lenguas peninsulares y si lo que sugieren acústicamente las onomatopeyas se recoge de la misma manera por los distintos traductores.

El presente artículo explora una cuestión que ha sido objeto de debate por parte de la crítica y el mundo académico: ¿cuál fue la primera traducción de la obra de Edgar Allan Poe al español? Partiendo de las tesis y las propuestas de una serie de académicos, las autoras cartografían el contexto en el que se tradujo y se recibió el trabajo de uno de los autores norteamericanos más importantes del siglo XIX.

We have analyzed the Spanish translation of the piece by Eduardo De Filippo’s Questi fantasmi ( These ghosts , 1945), carried out by Jaime de Arminan in 1959, and specifically required for the stage under the direction of Fernando Fernan Gomez, which was presented with the title Derecho a fantasma . Since the very title, not literally translated into Spanish, Jaime de Arminan’s text wants to merge the unknown, the magical, the surreal, the mystery of the piece , with the idea of a typically familiar boarding house ​ —which was quite common at that time in Spain—. We found out that while the original text was ironically more subtle and poetic —serving as a universal metaphor for the crisis of values in the second half of the twentieth century— the translation lightly alters the aim of the Italian comedy emphasizing the humour, sometimes senselessly, and making a large use of the digressions and compensations techniques. Moreover, the relationship described and analyzed in this translation is between the work by Eduardo De Filippo, Jaime Arminan’s translation and the drammatic thought of Fernando Fernan Gomez, with their respective poetry that derive from their worldviews, theatre ideas, and time. Even though the translation proves to be considerably affected by the fact of being designed for the adaptation for the stage, the two Spanish authors have had the merit of introducing Eduardo De Filippo’s theatre in Spain, a task which had eventually impacted on their activities.

Howard Goldblatt is recognized as one of the most renowned translators of Chinese literature. He has translated more than fifty books, including novels by the Nobel Prize winner Mo Yan. His other t...

(1994). Observations on Theatrical Translation. Translation Review: Vol. 46, No. 1, pp. 14-18.

This essay reviews the following works: The Lima Reader: History, Culture, Politics. Edited by Carlos Aguirre and Charles Walker. Durham, NC: Duke University Press, 2017, Pp. xv + 272. $26.95 paperback. ISBN: 9780822363484. Peru. 5 tomos. America Latina en la historia contemporanea. Dirigido por Carlos Contreras Carranza. Madrid: Fundacion MAPFRE, 2013–2015. Tomo 1, Crisis imperial e independencia, 1808–1830. Coordinado por Scarlett O’Phelan Godoy. Madrid: MAPFRE, 2013. Pp. 11–336. ISBN: 9788430607884. Tomo 2, La construccion nacional, 1830–1880. Coordinado por Carlos Contreras Carranza. Madrid: MAPFRE, 2014. Pp. 2–360. ISBN: 9788439607884. Tomo 3, La apertura al mundo, 1880–1930. Coordinado por Oscar Gonzales. Madrid: MAPFRE, 2015. Pp. 11–304. ISBN: 9788430607884. Tomo 4, Mirando hacia dentro, 1839–1960. Coordinado por Marcos Cueto. Madrid: MAPFRE, 2015. Pp. 13–312. ISBN: 9788430607884. Tomo 5, La busqueda de la democracia, 1960–2010. Coordinado por Antonio Zapata. Madrid: MAPFRE, 2015. Pp. 13–367. ISBN: 9788430607884.

This article examines two approaches to postdictatorship cinema: trauma theory, which has been especially popular in reading this corpus, and semiotics, which has regained popularity in film analysis in general but is not often employed when analyzing postdictatorship films. The article claims that, though highly productive in the 1990s, trauma theory has become less fruitful after decades of continuous scholarship and after the emergence of administrations that have made the representation of the dictatorship the center of their public policies, such as kirchnerismo in Argentina (2003–2015). While trauma theory yields ahistorical analyses, a semiotic approach that takes into account how indexical, iconic, and symbolic signs merge in the cinematic field allows for historical interpretations that are more adequate for reading postdictatorship films, especially after 2003. The article first outlines the main tenets of the two approaches (trauma theory and semiotics), then assesses their suitability for historical interpretation via a brief analysis of Andres no quiere dormir la siesta , a 2009 Argentine film on the country’s last dictatorship. Resumen Este articulo se propone examinar dos aproximaciones al cine postdictatorial: la teoria del trauma, que ha sido especialmente popular para leer este corpus, y la semiotica, un acercamiento que ha vuelto a ganar popularidad en el analisis filmico en general pero que no es frecuentemente utilizado en la interpretacion de este tipo de peliculas. El articulo argumenta que la teoria del trauma, aunque productiva en los anos noventa, se ha vuelto menos fructifera despues de varias decadas de produccion academica constante y de la emergencia de gobiernos que, como el kirchnerismo en Argentina (2003–2015), han puesto la representacion de la dictadura en el centro de sus politicas publicas. Mientras que la teoria del trauma resulta insuficiente para leer historicamente el cine postdictatorial, una lectura semiotica de como los componentes indiciales, iconicos y simbolicos se combinan en la imagen cinematografica resulta mas apropiada para llevar a cabo una interpretacion historica, especialmente despues del 2003. Luego de delinear estas dos aproximaciones, el articulo las reevalua mediante un breve analisis de una pelicula argentina reciente sobre la dictadura militar, Andres no quiere dormir la siesta.

This essay reviews the following works: Political Landscapes: Forests, Conservation, and Community in Mexico. By Christopher R. Boyer. Durham, NC: Duke University Press, 2015. Pp. xix + 337 pages. $27.95 paper. ISBN: 9780822358329. Dictablanda: Politics, Work, and Culture in Mexico, 1938–1968. Edited By Paul Gillingham and Benjamin T. Smith. Durham, NC: Duke University Press, 2014. Pp. vii + 444. $28.95 paper. ISBN: 9780822356370. The War Has Brought Peace to Mexico: World War II and the Consolidation of the Post-Revolutionary State. By Halbert Jones. Albuquerque: University of New Mexico Press, 2014. Pp. ix + 296. $55.00 cloth. ISBN: 9780826351302. Mexico’s Once and Future Revolution: Social Upheaval and the Challenge of Rule since the Late Nineteenth Century. By Gilbert M. Joseph and Jurgen Buchenau. Durham, NC: Duke University Press, 2013. $23.95 paper. Pp. x + 252. ISBN: 9780822355328. Instituting Nature: Authority, Expertise, and Power in Mexico’s Forests. Andrew S. Mathews. Cambridge, MA: MIT Press, 2011. Pp. xii + 304. $32.00 paper. ISBN: 9780262516440. The Logic of Compromise in Mexico: How the Countryside Was Key to the Emergence of Authoritarianism. By Gladys I. McCormick. Chapel Hill: University of North Carolina Press, 2016. Pp. xiv + 284. $32.95 paper. ISBN: 9781469627748. Myths of Demilitarization in Postrevolutionary Mexico, 1920–1960. By Thomas Rath. Chapel Hill: University of North Carolina Press, 2013. Pp. vii + 256. $29.95 paperback. ISBN: 9780807839294.

This essay reviews the following works: Hacer patria/To Build a Homeland. Dir. David Blaustein, Prod. Zafra Difusion S.A. and Tornasol Films S.A. Argentina, 2007, 127’. DVD. Estamos aqui (Danken Got)/Here We Are. Dir. Cintia Chamecki and Andrea Lerner. Prod. Chamecki Productions, 2013, Brazil, 79’. Film is available on Vimeo. El barrio de los judios/The Jewish Neighborhood. Dir. Gonzalo Rodriguez Fabregas. Prod. El Apapacho. Uruguay, 2011, 70’. Film is available on YouTube.

This essay reviews the following works: Worldly Philosopher: The Odyssey of Albert O. Hirschman. By Jeremy Adelman. Princeton, NJ: Princeton University Press, 2013. Pp. xv + 740. $39.95 cloth. ISBN: 9780691155678. Kalman Silvert: Engaging Latin America, Building Democracy. Edited by Abraham F. Lowenthal and Martin Weinstein. Boulder, CO: Lynne Rienner Publishers, 2016. Pp. vii + 195. $24.50 paper. ISBN: 9781626375550. Disciplinary Conquest: U.S. Scholars in South America, 1900–1945. By Ricardo D. Salvatore. Durham, NC: Duke University Press, 2016. Pp. xii + 329. $94.95 cloth. $26.95 paper. ISBN: 9780822360957.

This essay reviews the following works: Del proceso de paz a la masacre de Alaska: Guatemala 1994–2012. By Ricardo Falla. 'Al atardecer de la vida … Escritos de Ricardo Falla, SJ', Volume 1. Guatemala: AVANCSO, Asociación para el Avance de las Ciencias Sociales en Guatemala; IEHR, Instituto de Estudios del Hecho Religioso de la Universidad Rafael Landívar; Editorial Universitaria de la Universidad de San Carlos de Guatemala, 2013. Pp. xvii + 424. ISBN: 9789929663022. Cuadros sueltos que prefiguran el siglo XXI: Honduras 1993–2001. By Ricardo Falla. 'Al atardecer de la vida … Escritos de Ricardo Falla, SJ', Volume 2. Guatemala: AVANCSO, Asociación para el Avance de las Ciencias Sociales en Guatemala; IEHR, Instituto de Estudios del Hecho Religioso de la Universidad Rafael Landívar, 2014. Pp. xxxi + 448. ISBN: 9789929663046. Ixcán: el campesino indígena se levanta: Guatemala 1966–1982. By Ricardo Falla. 'Al atardecer de la vida … Escritos de Ricardo Falla, SJ', Volume 3. Guatemala: AVANCSO, Asociación para el Avance de las Ciencias Sociales en Guatemala; IEHR, Instituto de Estudios del Hecho Religioso de la Universidad Rafael Landívar; Editorial Universitaria de la Universidad de San Carlos de Guatemala, 2015. Pp. xxxviii + 600. ISBN: 9789929663053. Ixcán: Masacres y sobrevivencia: Guatemala 1982. By Ricardo Falla. 'Al atardecer de la vida … Escritos de Ricardo Falla, SJ', Volume 4 (a and b). Guatemala: AVANCSO, Asociación para el Avance de las Ciencias Sociales en Guatemala; IEHR, Instituto de Estudios del Hecho Religioso de la Universidad Rafael Landívar; Editorial Universitaria de la Universidad de San Carlos de Guatemala, 2016. Pp. xxxix + 703. ISBN: 9789929663077.

This essay reviews the following works: Chavez’s Legacy: The Transformation from Democracy to a Mafia State. By Ari Chaplin. Lanham, MD: University Press of America, 2014. Pp. vii + 230. $35.00 cloth. ISBN: 9780761862659. Dragon in the Tropics: Venezuela and the Legacy of Hugo Chavez, 2nd ed. By Javier Corrales and Mark Penfold. Washington, DC: Brookings Institution Press, 2015. Pp. ix + 237. $27.00 paper. ISBN: 9780815725930. Poder, petroleo y pobreza. By Jose Antonio Gil Yepes. Caracas: Libros Marcadores, 2015. Pp. 367. Paper. ISBN: 9789804080395. Venezuela: What Everyone Needs to Know. By Miguel Tinker Salas. New York: Oxford University Press, 2015. Pp. xi + 241. $16.95 paper. ISBN: 9780199783281. We Are the State! Barrio Activism in Venezuela’s Bolivarian Revolution. By Cristobal Valencia. Tucson: University of the Arizona Press, 2015. Pp. vii + 229. $55.00 cloth. ISBN: 9780816531561. Barrio Rising: Urban Popular Politics and the Making of Modern Venezuela. By Alejandro Velasco. Berkeley: University of California Press, 2015. Pp. vii + 344. $29.95 paper. ISBN: 9780520283329.

This essay reviews the following works: Sons of the Mexican Revolution: Miguel Aleman and His Generation. By Ryan M. Alexander. Albuquerque: University of Mexico Press, 2016. Pp. vii + 239. $29.95 paperback. ISBN: 9780826357397. A Sentimental Education for the Working Man: The Mexico City Penny Press, 1900–1910. By Robert M. Buffington. Durham, NC: Duke University Press, 2015. Pp. vii + 287. $25.95 paperback. ISBN: 9780822358824. Radio in Revolution: Wireless Technology and State Power in Mexico, 1897–1938. By J. Justin Castro. Lincoln: University of Nebraska Press, 2016. Pp. vii + 270. $30.00 paperback. ISBN: 9780803286788. Working Women, Entrepreneurs, and the Mexican Revolution: The Coffee Culture of Cordoba, Veracruz. By Heather Fowler-Salamini. Lincoln: University of Nebraska Press, 2013. Pp. vi + 403. $45.00 paperback. ISBN: 9780803243712. Industry and Revolution: Social and Economic Change in the Orizaba Valley, Mexico. By Aurora Gomez-Galvarriato. Cambridge, MA: Harvard University Press, 2013. Pp. 351. $49.95 hardcover. ISBN: 9780674072725. For God and Revolution: Priest, Peasant, and Agrarian Socialism in the Mexican Huasteca. By Mark Saad Saka. Albuquerque: University of Mexico Press, 2013. Pp. ix + 177. $50.00 hardcover. ISBN: 9780826353382. Pesos and Politics: Business, Elites, Foreigners, and Government in Mexico, 1854–1940. By Mark Wasserman. Stanford: Stanford University Press, 2015. Pp. viii + 249. $55.00 hardcover. ISBN: 9780804791540.

The recently published anthology My Shadow Is My Skin: Voices from the Iranian Diaspora, edited by Katherine Whitney and Leila Emery, boasts a uniquely heterogenous collection of diasporic writing....

This essay reviews the following works: The Strange Career of William Ellis: The Texas Slave Who Became a Mexican Millionaire. By Karl Jacoby. New York: W. W. Norton & Company, 2016. Pp. xxvii + 304. $27.95 hardcover; $16.95 paperback. ISBN: 9780393239256. Jalos, USA: Transnational Community and Identity. By Alfredo Mirande. Notre Dame, IN: University of Notre Dame Press, 2014. Pp. ix + 221. $27.00 paperback. ISBN: 9780268035327. How Race Is Made in America: Immigration, Citizenship, and the Historical Power of Racial Scripts. By Natalia Molina. Berkeley: University of California Press, 2014. Pp. ix + 207. $27.95 paperback. ISBN: 9780520280083. Latinos in the United States: Diversity and Change. By Rogelio Saenz and Maria Cristina Morales. Malden, MA: Polity Press, 2015. Pp. vi + 265. $26.95 paperback. ISBN: 9780745642727. Indian Given: Racial Geographies across Mexico and the United States. By Maria Josefina Saldana-Portillo. Durham, NC: Duke University Press, 2016. Pp. ix + 336. $26.95 paperback. ISBN: 9780822360148. Mestizaje and Globalization: Transformations of Identity and Power. Edited by Stefanie Wickstrom and Philip D. Young. Tucson: University of Arizona Press, 2014. Pp. ix + 284. $55.00 hardcover. ISBN: 9780816530908.

This essay reviews the following works: Spectacular Mexico: Design, Propaganda, and the 1968 Olympics. By Luis M. Castaneda. Minneapolis: University of Minnesota Press, 2014. Pp. ix + 293. $35.00 paper. ISBN: 9780816690794. Religion and State Formation in Postrevolutionary Mexico. By Ben Fallaw. Durham, NC: Duke University Press, 2013. Pp. xx + 329. $27.95 paper. ISBN: 9780822353379. Deco Body, Deco City: Female Spectacle and Modernity in Mexico City, 1900–1939. By Ageeth Sluis. Lincoln: University of Nebraska Press, 2016. Pp. ix + 396. $35.00 paper. ISBN: 9780803293823. Portrait of a Young Painter: Pepe Zuniga and Mexico City’s Rebel Generation. By Mary Kay Vaughan. Durham, NC: Duke University Press, 2015. Pp. ix + 279. $24.95 paper. ISBN: 9780822357810.

The essays collected in the volume under review Sufis and Their Opponents in the Persianate World, pay tribute to the memory and legacy of Leonard Lewisohn, a renowned scholar of Sufi history and d...

Este ensaio resenha os seguintes filmes: Justica/Justice. Dir. Maria Augusta Ramos. Prod. Jan de Ruiter, Luis Vidal, Niek Koppen, and Renee Van Der Grinten. Brazil/Netherlands, 2004, 107’. DVD. Film is available at https://www.youtube.com/watch?v=qUWZHNWcj7U. Juizo/Behave. Dir. Maria Augusta Ramos. Prod. Diler Trinidade. Brazil, 2007. 90’. DVD. Film is available at https://www.youtube.com/watch?v=UymNRVuilnA. Morro dos Prazeres/Hill of Pleasures. Dir. Maria Augusta Ramos. Prod. Eduardo Ades and Daniela Santos in association with Imagem-Tempo. Brazil/Netherlands, 2013, 90’. DVD. Film is available by contacting the distributor at atendimento@bretzfilmes.com.br. O Processo/The Trial. Dir. Maria Augusta Ramos. Prod. Leonardo Mecchi. Brazil, 2018, 100’. Not yet released in DVD. Contact the distributor at http://www.vitrinefilmes.com.br/site/.

Fawākah al-Basātin (Fruits of Gardens) is a bilingual Arabic-Persian commonplace book/miscellany written and compiled by Hājj Mirza Mohammad Tehrāni. While transcription was finished in October/Nov...

This essay reviews the following works: The Cambridge History of Religions in Latin America. Edited by Virginia Garrard-Burnett, Paul Freston, and Stephen C. Dove. New York: Cambridge University Press, 2016. Pp. xii + 830. $250.00 hardcover. ISBN: 9780521767330. Native Evangelism in Central Mexico. By Hugo G. Nutini and Jean F. Nutini. Austin: University of Texas Press, 2014. Pp. vii + 197. $55.00 hardcover. ISBN: 9780292744127. New Centers of Global Evangelicalism in Latin America and Africa. By Stephen Offutt. New York: Cambridge University Press, 2015. Pp. viii + 192. $80.18 hardcover. ISBN: 9781107078321. The Roots of Pope Francis’s Social and Political Thought: From Argentina to the Vatican. By Thomas R. Rourke. Lanham: Rowman and Littlefield, 2016. Pp. vii + 220. $80.00 hardcover. ISBN: 9781442272712.