The Man Who Invented Fiction: How Cervantes Ushered in the Modern World explores Cervantes’ life and the world he lived in, showing how his influences converged in his work, and how his work—especially Don Quixote—radically changed the nature of literature and created a new way of viewing the world. Finally, it explains how that worldview went on to infiltrate art, politics, and science, and how the world today would be unthinkable without it.
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In the early 17th century, a crippled, graying, almost toothless veteran of Spain’s wars against the Ottoman Empire published a book. It was the story of a poor nobleman, his brain […]
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.