Karibische & Lateinamerikanische Literatur

Las paredes oyen es una expresión procedente de la Francia de la segunda mitad del siglo XVI. Según cuenta la historia, Catalina de Médicis hizo construir conductos acústicos en las paredes de sus palacios. Así oía lo que se hablaba en las otras habitaciones y sabía si se conspiraba en su contra.Esta pieza homónima de Juan Ruiz de Alarcón cuestiona la mentira patológica y la maledicencia compulsiva del personaje de Don Mendo, quien para conquistar a Ana pretende injuriarla. Mientras, el virtuoso Don Juan en quien algunos han visto al propio autor, observa despechado los acontecimientos. Las paredes oyen tiene un trasfondo astrológico. Los planetas y signos evocados en el texto marcan un entorno mitológico y celestial regido por la Fortuna.El discreto y devoto Don Juan de Mendoza, un alter ego del autor, pretende a doña Ana de Contreras.¿ Don Juan es un hombre tenaz y contrahecho y siente por doña Ana un amor puro, con profundas raíces. Su amor es lo opuesto de la retórica y las artes seductoras de Don Mendo, movido por el deseo.¿Al final de la pieza Don Juan triunfa sobre su rival. Y Ruiz de Alarcón construye una comedia de enredos, con ironía.

El anticristo es una comedia original de Juan Ruiz de Alarcón. Apareció por primera vez en la Parte segunda de las comedias del licenciado Juan Ruiz de Alarcón y Mendoza, Relator del Consejo de Indias, publicada en Barcelona, por Sebastián de Cormellas, en 1634.Es una obra de correcta versificación, que relata la historia del Anticristo, villano por excelencia del teatro alarconiano.¿ Este ser infernal comete una retahíla de horrendos crímenes. Al final recibe un castigo ejemplar, por un ángel y dos personajes: Sofía, encarnación de lo humano, y Balán, símbolo de la naturaleza. Así ambos mundos se unen para vencer al mal.El anticristo de Alarcón se inspira en el Apocalipsis o Libro de la Revelación y en otros textos bíblicos, en la recreación del personaje. Además de dichas fuentes, intervienen también muchos de los elementos con los que se fue construyendo la leyenda del mismo a través de los siglos.Alarcón despertó la envidia de varios dramaturgos españoles. En una ocasión Lope de Vega y Antonio Mira de Amescua fueron aprehendidos. Los acusaron de haber reventado el estreno de la comedia de Alarcón, El Anticristo. Y el mismo Góngora aprovechó este infortunio para burlarse de Ruiz de Alarcón.

What makes a home for you?<BR><BR>Victor Esses is Jewish-Lebanese, Brazilian, and gay. In 1975, Victor's mother flees Lebanon as a refugee of the Civil War. In 2017, Victor visits Lebanon for the first time. In 2018, amidst the elections that will see Brazil choose a far-right president, he travels from London to São Paulo to show his partner the city of his childhood.<BR><BR>Where to Belong is the tender, moving story of these journeys - an exploration of how to find your place in a rich and complex world of identities.

After discovering a copy the German novel, Deutsche suchen den Garten der Welt--Das Schicksal deutscher Auswanderer in Texas vor 100 Jahren nach Berichten erzählt von Fritz Scheffel, the almost lost and fascinating story of the German Texas pioneers was republished originally in German in order to make it available once again to German readers. The book was originally published in 1937 and is written in a style and with elements of the German nationalistic culture of the time. It seems that the novel had almost been forgotten and hardly appears in any information about Scheffel. In the meantime, there are unfortunately hardly any German speaking Texans left and the descendants of those pioneers have no access to this literary and historical work which, whilst it is a good story, it is very close to the real history of Texas of the 1840's and has the potential to bring history alive to them.The book has been recomposed into English rather than leave it as a pure translation. However, the original flavor and the storyline of the novel have been retained, making it more accessible to the average American today.

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Somewhere in South America, at the home of the country's vice president, a lavish birthday party is being held in honor of the powerful businessman Mr. Hosokawa. Roxanne Coss, opera's most revered soprano, has mesmerized the international guests with her singing. It is a perfect evening -- until a band of gunwielding terrorists takes the entire party hostage. But what begins as a panicked, life-threatening scenario slowly evolves into something quite different, a moment of great beauty, as terrorists and hostages forge unexpected bonds and people from different continents become compatriots, intimate friends, and lovers.

Drawn from the first ten years of the Goodman Theatre’s renowned biennial festival of Latino plays, the works in this collection expand the definition of Latino theatre, resisting the confines of a particular language, locale, or assumed audience. Instead of focusing on similarities that outline the boundaries of Latino identity, these plays look outward, representing the multiplicity of actual Latino experience. The plays were written and performed sometimes in English and sometimes in Spanish; their stories are set in heterogeneous milieus; they’re directed at both Latino and non-Latino audiences; and they incorporate cultural or theatrical elements from vastly different traditions. As a group, these plays indicate the extraordinary range of the festival’s offerings and show how it has contributed to a more complex notion of what Latino theatre is and can be.

ACERCA DEL LIBRO "MONÓLOGOS DE HEMOFICCIÓN". Jorge cae en el manicomio. Puertas blancas, pasillos blancos, enfermeras blancas van y vienen. Ahí es tratado por el corrupto Doctor Mendiola, quien lo da de alta por influencia del padre del protagonista, hombre rico, incapaz de entender la monomanía de su hijo. A éste sólo le preocupa el que su vástago no sabe divertirse. Jorge no ha sido capaz, a lo largo de sus treinta años, de deshacerse de la imagen que lo aterroriza desde niño: dos rufianes pateando una cabeza como si fuese balón de fútbol. Ni siquiera cuando pierde la cabeza a manos de Diana, domadora de leones, bella, olvida su obsesión, constantemente, aún muerto, habla con diversas cabezas, la de su madre y abuelo, la de su esposa. Diana toma también la costumbre de platicar con la cabeza de Jorge y Alicia, la protagonista del quinto y último monólogo de este ciclo delirante, parla con la cabeza de un perro con orejas de conejo. Entonces, la puerta que abre al manicomio, también da o comunica con la vida cotidiana.

Sor Juana Inés de la Cruz (1648-1695) wrote poetry, prose, and plays and is considered the greatest of Mexican women writers. She was an intellectual prodigy, reportedly mastering Latin in twenty lessons, and at sixteen she entered a convent so that she might continue her learning. One of the most influential early feminists in the New World, she answered a bishop's criticism in a letter that has become a classic defense of the education of women. She collected a private library of 4,000 volumes, but when she was told that her studies were delaying the progress of her spiritual education, she gave away her books and devoted herself to religious studies. Traditionally, scholars have attributed only one complete play to Sor Juana, but in 1989 Guillermo Schmidhuber discovered a lost play, The Second Celestina, which he proved conclusively to be Sor Juana's earliest comedia, co-authored with Agustin Salazar y Torres. Schmidhuber's critical study is the first dedicated exclusively to the secular plays and the first to confirm Sor Juana's authorship of three dramatic pieces. Combining literary history and criticism, Schmidhuber explores the life and originality of Sor Juana's dramas and helps elucidate her enigmatic genius.Though Sor Juana's work as a poet and intellectual has received increasing attention in the last decade, writing about her has rarely taken into account her role as dramatist. Schmidhuber helps correct this critical imbalance by examining Sor Juana's plays in light of dramatic theory. He finds elements of both mannerist and baroque theater in her work, sometimes both within the same play.