Heroes & Beasts of Spain


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Heroes


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Beginning beneath the walls of Troy and culminating in 1930s Europe, a magisterial exploration of the nature of heroism in Western civilization. In this riveting and insightful cultural history, Lucy Hughes-Hallett brings to life eight exceptional men from history and myth to explore our timeless need for heroes. As she re-creates these extraordinary lives, Hughes-Hallett illuminates the attractions and dangers of hero worship. This is a fascinating book about dictatorship and democracy, seduction and mass hysteria, politics and culture, and the tensions between being good and being great.




Monsters


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The human mind needs monsters. In every culture and in every epoch in human history, from ancient Egypt to modern Hollywood, imaginary beings have haunted dreams and fantasies, provoking in young and old shivers of delight, thrills of terror, and endless fascination. All known folklores brim with visions of looming and ferocious monsters, often in the role as adversaries to great heroes. But while heroes have been closely studied by mythologists, monsters have been neglected, even though they are equally important as pan-human symbols and reveal similar insights into ways the mind works. In Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors, anthropologist David D. Gilmore explores what human traits monsters represent and why they are so ubiquitous in people's imaginations and share so many features across different cultures. Using colorful and absorbing evidence from virtually all times and places, Monsters is the first attempt by an anthropologist to delve into the mysterious, frightful abyss of mythical beasts and to interpret their role in the psyche and in society. After many hair-raising descriptions of monstrous beings in art, folktales, fantasy, literature, and community ritual, including such avatars as Dracula and Frankenstein, Hollywood ghouls, and extraterrestrials, Gilmore identifies many common denominators and proposes some novel interpretations. Monsters, according to Gilmore, are always enormous, man-eating, gratuitously violent, aggressive, sexually sadistic, and superhuman in power, combining our worst nightmares and our most urgent fantasies. We both abhor and worship our monsters: they are our gods as well as our demons. Gilmore argues that the immortal monster of the mind is a complex creation embodying virtually all of the inner conflicts that make us human. Far from being something alien, nonhuman, and outside us, our monsters are our deepest selves.




Short Story Index


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Quinquennial supplements,1950/1954-1979/1983, compiled by Estelle A. Fidell, and others, published 1956-1984.




Supplement, 1953


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Spain at War


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Spain's principal and most devastating war during the 20th century was, unusually for most of Europe, an internal conflict. During the Spanish Civil War of 1936 to 1939 two competing armies – the insurgent and counterrevolutionary Nationalist Army and the Republican Popular Army – engaged in a conflict to impose their version of Spanish identity and the right to shape the country's future. In its aftermath, Francoist Spain remained on a war footing for the duration of the Second World War. In spite of the unabated flood of books on the Spanish Civil War and its consequences, historians of Spain in the 20th century have focused relatively little on the interaction of society and culture, and their roles in wartime mobilization. Spain at War addresses this omission through an examination of individual experiences of conflict and the mobilization of society. This edited volume acknowledges the agency of low-ranking individuals and the impact of their choices upon the historical processes that shaped the conflict and its aftermath. In doing so, this new military history provides a more complex and nuanced understanding of Spain's most intense period of wartime cultural mobilization between the years 1936 to 1944 and challenges traditional political accounts of the period.




War and Peace with the Beasts


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“The animals that one culture likes are often hated in the next, and it seems that the animals themselves know it well. Basically, one culture’s animal partner is often another culture’s nightmare from hell. “Naturally, I wonder how relations between people and animals got to be so different around the world. How did it happen that some cultures treat bats, snakes, wolves, or ravens as embodiments of evil, while other people treat the same animals with affection or even reverence?” Our wars with the animals go way back. Beyond the light cast by our prehistoric campfires, the eyes glowing in the night seemed to represent a great hostile force. As we began to cultivate crops and husband a few favoured animals, we generally regarded other creatures as threats to our chosen few. Using the logic of war, we sought to maximize the populations of certain creatures, and the destruction of others. In the past, that war effort was our great crusade for the advancement of civilization as we knew it. The war had a frontier, a front line, and an ongoing battle on the home front. Expanding outward from our various cradles of civilization, we progressively “tamed” the forests and grasslands, converting them to monocrop plantations or pastures. Then we had to defend our monocrops from encroaching weeds, insects, and wild animals. In this immediately engaging, story- and fact-filled page-turner of a book, Brian Griffith looks at the range of ways we relate to animals and the stories we tell about them. He asks how we choose whether buddyhood, fearful respect, businesslike predation, or genocidal war is the most appropriate response to each species we meet. He watches how our treatment of “inferior beings” affects our treatment of “inferior people,” and traces some of the chain reactions we unleash when we try to weed out species we don’t like. “Without much hope of making animals fit my personal preferences,” he writes, “I wonder how good our relations can get.”




The Folklore of Spain in the American Southwest


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The region of northern New Mexico and southern Colorado holds a unique place in the world of Spanish folk literature. Isolated from the rest of the Spanish-speaking world for most of its history since its first settlement in 1598, it has retained, even into our own time, much of its Hispanic folkloric heritage from the sixteenth and seventeenth centuries-ballads, songs, poems, folktales, sayings, anecdotes, proverbs, riddles, and folk drama. In this book, written in the late 1930s and never before published, Aurelio M. Espinosa, New Mexico’s pioneer folklorist, presents the first comprehensive, authoritative account of the relict folklore, bringing together the results of his collecting during the first third of this century, in the Southwest and in Spain, and his many ground-breaking scholarly studies.




Maidens, Monsters and Heroes


Book Description

Best known for his illustrations from Andrew Lang's 12-volume series of "Color" fairy books, H. J. Ford also depicted historical figures from the Middle Ages through the 18th century. This collection features his most compelling images from works of fact and fancy. Half of the images are printed in their rare original full-color format.




The Spanish Fantastic


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In recent decades, the Spanish 'fantastic' has been at the forefront of genre filmmaking. Films such as The Day of the Beast, the Rec trilogy, The Orphanage and Timecrimes have received widespread attention and popularity, arguably rescuing Spanish cinema from its semi-invisibility during the creativity-crushing Franco years. By turns daring, evocative, outrageous, and intense, this new cinema has given voice to a generation, both beholden to and yet breaking away from their historical and cultural roots. Beginning in the 1990s, films from directors such as Alex de la Iglesia, Alejandro Amenabar, and Jaume Balaguero reinvigorated Spanish cinema in the horror, science fiction and fantasy veins as their work proliferated and took centre stage at international festivals such as Sitges, Fantasia International Film Festival and Fantastic Fest. Through an examination of key films and filmmakers, Shelagh Rowan-Legg here investigates the rise of this unique new wave of genre films from Spain, and how they have recycled, reshaped and renewed the stunning visual tropes, wild narratives and imaginative other worlds inherent to an increasingly influential cinematic field.Its emergence is part of a new trend of postnational cinema, led by the fantastic, which approaches the national boundaries of cinema with an exciting sense of fluidity.