Spanish Reception of Russian Narratives: 1905-1939. Transcultural Dialogues
ENGDrawing upon theories on the novel in Bakhtin's Dialogic Imagination, this book examines Nuevo Romanticismo through the lens of Russo-Soviet littérature engagée. The term Nuevo Romanticismo originated in José Díaz Fernández's eponymous essay and has been applied to a group of writers wh...
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| Format: | Elektronisch E-Book |
| Sprache: | Russian |
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Boston, MA
Academic Studies Press
[2023]
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| Schriftenreihe: | Contemporary Western Rusistika
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| Online-Zugang: | DE-1046 DE-1043 DE-858 DE-859 DE-860 DE-739 DE-473 URL des Erstveröffentlichers |
| Zusammenfassung: | ENGDrawing upon theories on the novel in Bakhtin's Dialogic Imagination, this book examines Nuevo Romanticismo through the lens of Russo-Soviet littérature engagée. The term Nuevo Romanticismo originated in José Díaz Fernández's eponymous essay and has been applied to a group of writers who exemplified a rehumanization of the field of Spanish cultural production. In contrast with the dehumanized tendencies noted by Ortega y Gasset, writers César Arconada, Ramón J. Sender, and Lusia Carnés combined avant-garde aesthetics and a deep preoccupation with the human condition, creating a model of politically engaged art in part through transcultural dialogues with Russian literary models. This study explores the deep connection between Spanish and Russian narratives immediately before and during the Second Republic, as well as themes as relevant today as nearly a century ago: the ethics of war, the new woman, and responses to machine culture in the modern age. Lynn C. Purkey is an Associate Professor of Spanish at the University of Tennessee at Chattanooga.RUSi8;k7;l8;l4;l0;l5; Nuevo Romanticismo («l5;l6;k4;m9;l1; l8;l6;l4;k2;l5;m0;l0;k9;l4;») k4;l6;k9;l5;l0;l2; k4; l6;k6;l5;l6;l0;l4;k7;l5;l5;l6;l4; n1;l9;l9;k7; j1;l6;l9;k7; h4;l0;k2;l9;k2; j0;k7;l8;l5;k2;l5;k6;k7;l9;k2; l2;k2;l2; l6;k3;l6;k9;l5;k2;m5;k7;l5;l0;k7; k5;l8;m1;l7;l7;m9; l7;l0;l9;k2;m0;k7;l3;k7;l1;, l9;m0;k2;k4;m6;k7;l1; l8;m1;l7;l6;l8;l6;l4; l8;k7;k5;m1;l4;k2;l5;l0;k9;k2;m4;l0;l0; k4; l0;l9;l7;k2;l5;l9;l2;l6;l1; l2;m1;l3;n0;m0;m1;l8;k7;. i4;l7;l0;l8;k2;n3;l9;n0; l5;k2; m0;k7;l6;l8;l0;n2; l8;l6;l4;k2;l5;k2;, l7;l8;k7;k6;l9;m0;k2;k4;l3;k7;l5;l5;m1;n2; k4; l8;k2;k3;l6;m0;k2;m3; h1;k2;m3;m0;l0;l5;k2;, i1;l0;l5;l5; i5;n5;l8;l2;l0; l8;k2;l9;l9;l4;k2;m0;l8;l0;k4;k2;k7;m0; Nuevo Romanticismo l9;l2;k4;l6;k9;n0; l7;l8;l0;k9;l4;m1; l8;m1;l9;l9;l2;l6;l1; l0; l9;l6;k4;k7;m0;l9;l2;l6;l1; l3;l0;m0;k7;l8;k2;m0;m1;l8;m9;. h2; l7;l8;l6;m0;l0;k4;l6;k4;k7;l9; k6;k7;k5;m1;l4;k2;l5;l0;k9;l0;l8;l6;k4;k2;l5;l5;m9;l4; m0;k7;l5;k6;k7;l5;m4;l0;n3;l4;, l6;m0;l4;k7;m5;k7;l5;l5;m9;l4; i4;l8;m0;k7;k5;l6;l1;-l0;-h3;k2;l9;l9;k7;m0;l6;l4; k4; l0;l9;l7;k2;l5;l9;l2;l6;l1; l3;l0;m0;k7;l8;k2;m0;m1;l8;k7;, l7;l0;l9;k2;m0;k7;l3;l0; i7;k7;l9;k2;l8; h0;l8;l2;l6;l5;k2;k6;k2;, i6;k2;l4;l6;l5; j1;. i7;k7;l5;k6;k7;l8; l0; i1;m1;l9;l0;n3; i0;k2;l8;l5;k7;l9; l9;l6;k7;k6;l0;l5;l0;l3;l0 |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jan 2025) |
| Beschreibung: | 1 Online-Ressource |
| DOI: | 10.1515/9798887195230 |
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| 520 | |a ENGDrawing upon theories on the novel in Bakhtin's Dialogic Imagination, this book examines Nuevo Romanticismo through the lens of Russo-Soviet littérature engagée. The term Nuevo Romanticismo originated in José Díaz Fernández's eponymous essay and has been applied to a group of writers who exemplified a rehumanization of the field of Spanish cultural production. In contrast with the dehumanized tendencies noted by Ortega y Gasset, writers César Arconada, Ramón J. Sender, and Lusia Carnés combined avant-garde aesthetics and a deep preoccupation with the human condition, creating a model of politically engaged art in part through transcultural dialogues with Russian literary models. This study explores the deep connection between Spanish and Russian narratives immediately before and during the Second Republic, as well as themes as relevant today as nearly a century ago: the ethics of war, the new woman, and responses to machine culture in the modern age. Lynn C. | ||
| 520 | |a Purkey is an Associate Professor of Spanish at the University of Tennessee at Chattanooga.RUSi8;k7;l8;l4;l0;l5; Nuevo Romanticismo («l5;l6;k4;m9;l1; l8;l6;l4;k2;l5;m0;l0;k9;l4;») k4;l6;k9;l5;l0;l2; k4; l6;k6;l5;l6;l0;l4;k7;l5;l5;l6;l4; n1;l9;l9;k7; j1;l6;l9;k7; h4;l0;k2;l9;k2; j0;k7;l8;l5;k2;l5;k6;k7;l9;k2; l2;k2;l2; l6;k3;l6;k9;l5;k2;m5;k7;l5;l0;k7; k5;l8;m1;l7;l7;m9; l7;l0;l9;k2;m0;k7;l3;k7;l1;, l9;m0;k2;k4;m6;k7;l1; l8;m1;l7;l6;l8;l6;l4; l8;k7;k5;m1;l4;k2;l5;l0;k9;k2;m4;l0;l0; k4; l0;l9;l7;k2;l5;l9;l2;l6;l1; l2;m1;l3;n0;m0;m1;l8;k7;. i4;l7;l0;l8;k2;n3;l9;n0; l5;k2; m0;k7;l6;l8;l0;n2; l8;l6;l4;k2;l5;k2;, l7;l8;k7;k6;l9;m0;k2;k4;l3;k7;l5;l5;m1;n2; k4; l8;k2;k3;l6;m0;k2;m3; h1;k2;m3;m0;l0;l5;k2;, i1;l0;l5;l5; i5;n5;l8;l2;l0; l8;k2;l9;l9;l4;k2;m0;l8;l0;k4;k2;k7;m0; Nuevo Romanticismo l9;l2;k4;l6;k9;n0; l7;l8;l0;k9;l4;m1; l8;m1;l9;l9;l2;l6;l1; l0; l9;l6;k4;k7;m0;l9;l2;l6;l1; l3;l0;m0;k7;l8;k2;m0;m1;l8;m9;. | ||
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Jan 2025)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">ENGDrawing upon theories on the novel in Bakhtin's Dialogic Imagination, this book examines Nuevo Romanticismo through the lens of Russo-Soviet littérature engagée. The term Nuevo Romanticismo originated in José Díaz Fernández's eponymous essay and has been applied to a group of writers who exemplified a rehumanization of the field of Spanish cultural production. In contrast with the dehumanized tendencies noted by Ortega y Gasset, writers César Arconada, Ramón J. Sender, and Lusia Carnés combined avant-garde aesthetics and a deep preoccupation with the human condition, creating a model of politically engaged art in part through transcultural dialogues with Russian literary models. This study explores the deep connection between Spanish and Russian narratives immediately before and during the Second Republic, as well as themes as relevant today as nearly a century ago: the ethics of war, the new woman, and responses to machine culture in the modern age. Lynn C.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Purkey is an Associate Professor of Spanish at the University of Tennessee at Chattanooga.RUSi8;k7;l8;l4;l0;l5; Nuevo Romanticismo («l5;l6;k4;m9;l1; l8;l6;l4;k2;l5;m0;l0;k9;l4;») k4;l6;k9;l5;l0;l2; k4; l6;k6;l5;l6;l0;l4;k7;l5;l5;l6;l4; n1;l9;l9;k7; j1;l6;l9;k7; h4;l0;k2;l9;k2; j0;k7;l8;l5;k2;l5;k6;k7;l9;k2; l2;k2;l2; l6;k3;l6;k9;l5;k2;m5;k7;l5;l0;k7; k5;l8;m1;l7;l7;m9; l7;l0;l9;k2;m0;k7;l3;k7;l1;, l9;m0;k2;k4;m6;k7;l1; l8;m1;l7;l6;l8;l6;l4; l8;k7;k5;m1;l4;k2;l5;l0;k9;k2;m4;l0;l0; k4; l0;l9;l7;k2;l5;l9;l2;l6;l1; l2;m1;l3;n0;m0;m1;l8;k7;. i4;l7;l0;l8;k2;n3;l9;n0; l5;k2; m0;k7;l6;l8;l0;n2; l8;l6;l4;k2;l5;k2;, l7;l8;k7;k6;l9;m0;k2;k4;l3;k7;l5;l5;m1;n2; k4; l8;k2;k3;l6;m0;k2;m3; h1;k2;m3;m0;l0;l5;k2;, i1;l0;l5;l5; i5;n5;l8;l2;l0; l8;k2;l9;l9;l4;k2;m0;l8;l0;k4;k2;k7;m0; Nuevo Romanticismo l9;l2;k4;l6;k9;n0; l7;l8;l0;k9;l4;m1; l8;m1;l9;l9;l2;l6;l1; l0; l9;l6;k4;k7;m0;l9;l2;l6;l1; l3;l0;m0;k7;l8;k2;m0;m1;l8;m9;.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">h2; l7;l8;l6;m0;l0;k4;l6;k4;k7;l9; k6;k7;k5;m1;l4;k2;l5;l0;k9;l0;l8;l6;k4;k2;l5;l5;m9;l4; m0;k7;l5;k6;k7;l5;m4;l0;n3;l4;, l6;m0;l4;k7;m5;k7;l5;l5;m9;l4; i4;l8;m0;k7;k5;l6;l1;-l0;-h3;k2;l9;l9;k7;m0;l6;l4; k4; l0;l9;l7;k2;l5;l9;l2;l6;l1; l3;l0;m0;k7;l8;k2;m0;m1;l8;k7;, l7;l0;l9;k2;m0;k7;l3;l0; i7;k7;l9;k2;l8; h0;l8;l2;l6;l5;k2;k6;k2;, i6;k2;l4;l6;l5; j1;. i7;k7;l5;k6;k7;l8; l0; i1;m1;l9;l0;n3; i0;k2;l8;l5;k7;l9; l9;l6;k7;k6;l0;l5;l0;l3;l0</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In Russian</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">LITERARY CRITICISM / Russian & Former Soviet Union</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Borisov, Kirill</subfield><subfield code="e">Sonstige</subfield><subfield code="4">oth</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9798887195230?locatt=mode:legacy</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-035503988</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9798887195230?locatt=mode:legacy</subfield><subfield code="l">DE-1046</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAW_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9798887195230?locatt=mode:legacy</subfield><subfield code="l">DE-1043</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAB_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9798887195230?locatt=mode:legacy</subfield><subfield code="l">DE-858</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FCO_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9798887195230?locatt=mode:legacy</subfield><subfield code="l">DE-859</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FKE_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9798887195230?locatt=mode:legacy</subfield><subfield code="l">DE-860</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FLA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9798887195230?locatt=mode:legacy</subfield><subfield code="l">DE-739</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UPA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9798887195230?locatt=mode:legacy</subfield><subfield code="l">DE-473</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UBG_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV050168000 |
| illustrated | Not Illustrated |
| indexdate | 2025-02-19T17:38:33Z |
| institution | BVB |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-035503988 |
| open_access_boolean | |
| owner | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
| owner_facet | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
| physical | 1 Online-Ressource |
| psigel | ZDB-23-DGG ZDB-23-DGG FAW_PDA_DGG ZDB-23-DGG FAB_PDA_DGG ZDB-23-DGG FCO_PDA_DGG ZDB-23-DGG FKE_PDA_DGG ZDB-23-DGG FLA_PDA_DGG ZDB-23-DGG UPA_PDA_DGG ZDB-23-DGG UBG_PDA_DGG |
| publishDate | 2023 |
| publishDateSearch | 2023 |
| publishDateSort | 2023 |
| publisher | Academic Studies Press |
| record_format | marc |
| series2 | Contemporary Western Rusistika |
| spelling | Purkey, Lynn C. Verfasser aut Spanish Reception of Russian Narratives 1905-1939. Transcultural Dialogues Lynn C. Purkey Boston, MA Academic Studies Press [2023] 2023 1 Online-Ressource txt rdacontent c rdamedia cr rdacarrier Contemporary Western Rusistika Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jan 2025) ENGDrawing upon theories on the novel in Bakhtin's Dialogic Imagination, this book examines Nuevo Romanticismo through the lens of Russo-Soviet littérature engagée. The term Nuevo Romanticismo originated in José Díaz Fernández's eponymous essay and has been applied to a group of writers who exemplified a rehumanization of the field of Spanish cultural production. In contrast with the dehumanized tendencies noted by Ortega y Gasset, writers César Arconada, Ramón J. Sender, and Lusia Carnés combined avant-garde aesthetics and a deep preoccupation with the human condition, creating a model of politically engaged art in part through transcultural dialogues with Russian literary models. This study explores the deep connection between Spanish and Russian narratives immediately before and during the Second Republic, as well as themes as relevant today as nearly a century ago: the ethics of war, the new woman, and responses to machine culture in the modern age. Lynn C. Purkey is an Associate Professor of Spanish at the University of Tennessee at Chattanooga.RUSi8;k7;l8;l4;l0;l5; Nuevo Romanticismo («l5;l6;k4;m9;l1; l8;l6;l4;k2;l5;m0;l0;k9;l4;») k4;l6;k9;l5;l0;l2; k4; l6;k6;l5;l6;l0;l4;k7;l5;l5;l6;l4; n1;l9;l9;k7; j1;l6;l9;k7; h4;l0;k2;l9;k2; j0;k7;l8;l5;k2;l5;k6;k7;l9;k2; l2;k2;l2; l6;k3;l6;k9;l5;k2;m5;k7;l5;l0;k7; k5;l8;m1;l7;l7;m9; l7;l0;l9;k2;m0;k7;l3;k7;l1;, l9;m0;k2;k4;m6;k7;l1; l8;m1;l7;l6;l8;l6;l4; l8;k7;k5;m1;l4;k2;l5;l0;k9;k2;m4;l0;l0; k4; l0;l9;l7;k2;l5;l9;l2;l6;l1; l2;m1;l3;n0;m0;m1;l8;k7;. i4;l7;l0;l8;k2;n3;l9;n0; l5;k2; m0;k7;l6;l8;l0;n2; l8;l6;l4;k2;l5;k2;, l7;l8;k7;k6;l9;m0;k2;k4;l3;k7;l5;l5;m1;n2; k4; l8;k2;k3;l6;m0;k2;m3; h1;k2;m3;m0;l0;l5;k2;, i1;l0;l5;l5; i5;n5;l8;l2;l0; l8;k2;l9;l9;l4;k2;m0;l8;l0;k4;k2;k7;m0; Nuevo Romanticismo l9;l2;k4;l6;k9;n0; l7;l8;l0;k9;l4;m1; l8;m1;l9;l9;l2;l6;l1; l0; l9;l6;k4;k7;m0;l9;l2;l6;l1; l3;l0;m0;k7;l8;k2;m0;m1;l8;m9;. h2; l7;l8;l6;m0;l0;k4;l6;k4;k7;l9; k6;k7;k5;m1;l4;k2;l5;l0;k9;l0;l8;l6;k4;k2;l5;l5;m9;l4; m0;k7;l5;k6;k7;l5;m4;l0;n3;l4;, l6;m0;l4;k7;m5;k7;l5;l5;m9;l4; i4;l8;m0;k7;k5;l6;l1;-l0;-h3;k2;l9;l9;k7;m0;l6;l4; k4; l0;l9;l7;k2;l5;l9;l2;l6;l1; l3;l0;m0;k7;l8;k2;m0;m1;l8;k7;, l7;l0;l9;k2;m0;k7;l3;l0; i7;k7;l9;k2;l8; h0;l8;l2;l6;l5;k2;k6;k2;, i6;k2;l4;l6;l5; j1;. i7;k7;l5;k6;k7;l8; l0; i1;m1;l9;l0;n3; i0;k2;l8;l5;k7;l9; l9;l6;k7;k6;l0;l5;l0;l3;l0 In Russian LITERARY CRITICISM / Russian & Former Soviet Union bisacsh Borisov, Kirill Sonstige oth https://doi.org/10.1515/9798887195230?locatt=mode:legacy Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Purkey, Lynn C. Spanish Reception of Russian Narratives 1905-1939. Transcultural Dialogues LITERARY CRITICISM / Russian & Former Soviet Union bisacsh |
| title | Spanish Reception of Russian Narratives 1905-1939. Transcultural Dialogues |
| title_auth | Spanish Reception of Russian Narratives 1905-1939. Transcultural Dialogues |
| title_exact_search | Spanish Reception of Russian Narratives 1905-1939. Transcultural Dialogues |
| title_full | Spanish Reception of Russian Narratives 1905-1939. Transcultural Dialogues Lynn C. Purkey |
| title_fullStr | Spanish Reception of Russian Narratives 1905-1939. Transcultural Dialogues Lynn C. Purkey |
| title_full_unstemmed | Spanish Reception of Russian Narratives 1905-1939. Transcultural Dialogues Lynn C. Purkey |
| title_short | Spanish Reception of Russian Narratives |
| title_sort | spanish reception of russian narratives 1905 1939 transcultural dialogues |
| title_sub | 1905-1939. Transcultural Dialogues |
| topic | LITERARY CRITICISM / Russian & Former Soviet Union bisacsh |
| topic_facet | LITERARY CRITICISM / Russian & Former Soviet Union |
| url | https://doi.org/10.1515/9798887195230?locatt=mode:legacy |
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