Historical Dictionary of Latin American Literature and Theater (Historical Dictionaries of Literature and the Arts)
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The Historical Dictionary of Latin American Literature and Theater provides users with an accessible single-volume reference tool covering Portuguese-speaking Brazil and the 16 Spanish-speaking countries of continental Latin America (Argentina, Bolivia, Chile, Colombia, Costa Rica, Ecuador, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama, Paraguay, Peru, Uruguay, and Venezuela). Entries for authors, ranging from the early colonial period to the present, give succinct biographical data and an account of the author's literary production, with particular attention to their most prominent works and where they belong in literary history. The introduction provides a review of Latin American literature and theater as a whole while separate dictionary entries for each country offer insight into the history of national literatures. Entries for literary terms, movements, and genres serve to complement these commentaries, and an extensive bibliography points the way for further reading. The comprehensive view and detailed information obtained from all these elements will make this book of use to the general-interest reader, Latin American studies students, and the academic specialist.
campaign to Christianize local populations and was well established by the 16th century, with repertoires that included plays written for local audiences. At the same time, a secular theater began to establish roots, especially in association with the viceregal courts, where a dramatic performance often marked an important civic occasion or served simply to entertain. Although there were some local dramatists, such as Fernán González de Eslava in Mexico and Pedro de Peralta y Barnuevo in Peru,
social realism, Brechtian theater, and theater of the absurd. The boom collapsed with the rise of television and other forms of popular entertainment, although some new writers, Ariel Dorfman and Antonio Skármeta among them, had already begun to write for the stage in the years immediately before the 1973 coup. The coup itself had a devastating effect. Censorship restrained the theater at home, and many writers, directors, and performers went into exile. Faced with this situation, conscious
Language), published in Leipzig. The other great theme of Gonçalves Dias’s work was romantic love, partly inspired by his real-life passion for Ana Amélia Ferreira Vale, whom he was unable to marry because of her family’s racial prejudice. On a return trip from Europe, where he had gone to seek cures for his ailing health, he was killed in a shipwreck, the only victim to die. At the time of his death, Gonçalves Dias was considered Brazil’s greatest poet. Several stanzas of his famous poem “Canção
Ecuador produced no widely recognized literary figures during the colonial period, the writer whose verse caught the spirit of the war of independence in Spanish America and sang the praises of the liberator Simón Bolívar was the Ecuadorian José Joaquín Olmedo. Three writers stand out in the 19th century for their contributions to the formation of an image of Ecuador: Juan Montalvo sniped at the country’s dictatorial rulers in his political writing; José Fermín Cevallos was the country’s first
his earlier verse along with poems from collections titled Sombra (Shadow) and Rondinelas (Rondinos), parts of which had already been published in magazines. Eguren was also an accomplished watercolorist and photographer. His interest in music is reflected in his verse, and late in life he began to write short prose notes, which were collected and published posthumously as Motivos estéticos (1959; Aesthetic Motifs). EICHELBAUM, SAMUEL (Argentina, 1894–1967). Dramatist. His first success, La mala