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Modernism represents an artistic movement that mirrors the changing society of the late 19th century. This changing society produced the first cultural and artistic movement in Spanish America that asked what was this region's place in the Western World as well as what the poet's new function was. Among other issues that revea) the modernity of the movement, such as urbanization, industrialization, or the role of women, there is one of capital importance: the view of masculinity. This essay focuses on three texts that review the image of masculinity and art thought the figure of the faun. El modernismo representa un movimiento artístico que refleja la sociedad cambiante de finales del siglo XIX. Esta sociedad cambiante genera el primer movimiento cultural y artístico continental de importancia que intenta responder a la pregunta ¿cuál es el lugar de Hispanoamérica en el mundo occidental y cuál es la nueva función del poeta? Entre otros aspectos que señalan la modernidad del movimiento (como el urbanismo, la industrialización, el papel de la mujer), hay uno de particular importancia: la revisión de la masculinidad. Este ensayo se centra en tres textos que revisan la visión de la masculinidad y el arte a través de la imagen del fauno.

Visualizing Violence in Francophone Cultures brings together two complex and powerful loci of meaning: violence and the visual. As such, it offers a comprehensive overview from which one can gain a better understanding of the complexity of the visual rhetoric of violence. The visual representations of violence explored in this volume include both fictional works, including, for example, narrative films, graphic novels, and theatre, and non-fictional genres, such as news media and cultural artifacts. This volume’s strength is also grounded in its interdisciplinary approach; by bringing together scholars from a variety of academic fields to examine a broad range of visual artifacts, such as photography, graphic novel, films, paintings, objects, the book offers a substantive corpus focusing on the rhetoric of violence. The essays collected in this volume explore the ways in which visual expressions of violence have infiltrated diverse narrative forms, and, as such, how they both construct and challenge general understandings of contemporary violence. They all chart, with cultural and historical specificity, the way in which images of violence shape the visual imaginary of ethical worlds.

The study examined granularity of lexical partitioning of the blue area in speakers of English, which encodes the term blue; Russian, which encodes two terms, sinij [dark/navy blue] and goluboj [light/sky blue]; and Ukrainian, which encodes the terms synij [dark/navy blue] and blakytnyj and golubyj [light/sky blue]. Five groups of participants took part in the study: (1) 30 L1 speakers of English, (2) 30 L1 speakers of Russian, (3) 30 Russian–English bilinguals, (4) 30 English–Russian bilinguals, and (5) 25 Ukrainian–Russian–English trilinguals. Quantitative and qualitative analyses revealed that L1 Russian speakers referred to different types of blue significantly more frequently than all other groups, while bilinguals patterned with L1 English speakers. These findings suggest that classroom exposure to L2 Russian does not make the distinction between sinij and goluboj communicatively relevant for L1 English speakers and that everyday use of L2 English may trigger attrition of the contrast in L1 Russian.

Studied contemporary poetry in Spanish by Spanish-speaking authors living in Connecticut. Works of four poets were chosen for a bilingual anthology. Seventy five percent of poems selected for this publication were translated and their analytical study completed. In addition, audio interviews were completed, and multimedia presentation, including photos, biographies, and bilingual readings was compiled and given. Publishing companies were identified for submission of the anthology's proposal.

The objective of my sabbatical leave was to make progress on a book project tentatively entitled: "In conversation: Dominican women writers speak." This project is a book of interviews with contemporary women writers from the Dominican Republic as well as writers who identify themselves as Domincan-American...

Cardone wrote chapters of a book manuscript and submitted two related articles to peer reviewed journals. She also transcribed and edited a scholarly interview, presented portions of book project at conference and traveled to site of book topic for on-ground research. Accomplishments are different than outlined in original proposal. The report describes project issues and results.

The avant-garde has been popular for some time, but its popularity has tended to fly under the radar. This “popular avant-garde,” conceived as the meeting ground of the avant-garde and popular, avoids the divorce of art and praxis of which the avant-garde has been accused. The Popular Avant-Garde takes stock of the debates about both the “historical” (“modernist”) and posterior avant-gardes, and sets them in relation to popular culture and art forms. With a critical introduction that examines the concepts of “the avant-garde,” “the popular,” and “the popular avant-garde,” the series of essays analyzes the way in which the avant-garde employs popular genres for political purposes, as well as how the popular acquires a critical function with respect to the avant-garde. Each of the volume’s three sections considers a different aspect of the productive exchange between the avant-garde and popular: the popular avant-garde as a culturally hybrid and cross-border phenomenon; the play between the popular avant-garde and developments in media and technology; and the popular avant-garde’s upending of conventional ideas about “the people” and “the popular.” The Popular Avant-Garde takes a fresh look at the now canonical Dadaist, Futurist, and Surrealist movements from the perspectives of gender and sexuality, and cultural and critical theory, while at the same time exploring less well-known avant-garde work in literature, film, television, music, photography, dance, sculpture, and the graphic arts. This volume’s coverage of the American and Afro-American, Luso-Brazilian and Latin-American, East-European, and Scandinavian avant-gardes, in addition to the vanguards of Spain and other parts of Western Europe, will appeal to all those interested in avant-garde and popular art forms.

Cardone wrote chapters of a book manuscript and submitted two related articles to peer reviewed journals. She also transcribed and edited a scholarly interview, presented portions of book project at conference and traveled to site of book topic for on-ground research. Accomplishments are different than outlined in original proposal. The report describes project issues and results. Book title is "Unbound and underground: Chile's Ergo Sun Project from the dictatorship to the digital era."

In the Morgante through Margutte's death-by-laughter Pulci voices a caustic critique of Ficino's philosophical theories while obliquely denouncing Lorenzo de Medici's acceptance of them. The spectacle of the monkey wearing and taking off Margutte's boots follows Aristotle's definition of the ridiculous that ignites hilarity. It also retrieves Bergson's idea of a society that can be derided because of its attempts to disguise its true self. Most importantly, it reintroduces Petrarch's concepts of similitudo and identitas. Through the depiction of the giant's death Pulci reveals the dignity of a poet remaining true to his poetic discourse even while coming to terms with the negative turn his career has taken.

Las hogueras del fanatismo y la ortodoxia son una constante del siglo XXI, en el que ya estamos. Seguimos proyectando nuestro peor yo sobre los débiles, los pobres y los emigrantes. Necesitarí amos matar el yo racista que llevamos dentro y eso sólo se puede conseguir colocándonos en el lugar del otro, sintiéndote agredida. In the last twenty-five years, Jews have emerged as a literary figure as well as a literary theme in Spain. Catalan writers such as Maria Àngels Anglada (1930- 99), Carme Riera (1948–), and Vicenç Villatoro (1957–) approach the Jewish theme and the representation of the Jew as literary character in order to reflect on issues regarding identity and history in novels, such as El violí d‘Auschwitz (1994), Dins el darrer blau (1994), and Memòria del traïdor (1996), respectively. With Dins el darrer blau, written between 1989 and 1993, published in Catalan in 1994 and in Castilian in 1996, Riera starts a series of novels dedicated to the Majorcan xuetes (Jews who were converted to Christianity) which she finishes with Cap al cel obert in 1999. In this essay I will reflect on how Riera‘s Dins el darrer blau revisits the past in order to create a “culture of memory,” a process in which society confronts its traumatic past and the history of exile and repression, linking the history of the Jewish converts to the history of the Balearic island, Majorca. Riera‘s novel is based on historical events that occurred in the City of Majorca from 1687 to 1691. © 2013 Liverpool University Press.