Emilia Pardo Bazán - Revision history

AKulsdom at 10:15, 12 September 2012

AKulsdom — Wed, 12 Sep 2012 10:15:17 GMT

←Older revision		Revision as of 10:15, 12 September 2012
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-	SvD, March 2012<br><br><br>	+	AsK, September 2012<br><br><br>

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	*Conferences > [http://www.womenwriters.nl/index.php/NEWW_international_conferences NEWW international conferences] > [http://www.womenwriters.nl/index.php/Bucharest%2C_April_2012 Bucharest April 2012] > Partzsch <br><br>		*Conferences > [http://www.womenwriters.nl/index.php/NEWW_international_conferences NEWW international conferences] > [http://www.womenwriters.nl/index.php/Bucharest%2C_April_2012 Bucharest April 2012] > Partzsch <br><br>

SvDijk at 21:21, 3 March 2012

SvDijk — Sat, 03 Mar 2012 21:21:40 GMT

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	''Abstract''<br><br>		''Abstract''<br><br>

-	In 1887 the Spanish writer Emilia Pardo Bazán gave a series of three lectures on Russia and its literature at the Athenaeum in Madrid. The lectures, titled ''La revolución y la novela en Rusia'' (Revolution and the Novel in Russia), were immediately available in print. This masterly orchestrated and highly unusual event raised a lively interest in the press as well as among contemporary Spanish authors; during the 20th century several scholars and critics have described Pardo Bazán's lectures and essay as a decisive step in acquainting the Spanish public with the great Russian authors (all of them male) of the 19th century.<br><br>	+	In 1887 the Spanish writer [http://neww.huygens.knaw.nl/authors/show/452 Emilia Pardo Bazán] gave a series of three lectures on Russia and its literature at the Athenaeum in Madrid. The lectures, titled [http://neww.huygens.knaw.nl/works/show/9030 ''La revolución y la novela en Rusia''] (Revolution and the Novel in Russia), were immediately available in print. This masterly orchestrated and highly unusual event raised a lively interest in the press as well as among contemporary Spanish authors; during the 20th century several scholars and critics have described Pardo Bazán's lectures and essay as a decisive step in acquainting the Spanish public with the great Russian authors (all of them male) of the 19th century.<br><br>

	Although this publication is hardly unknown in a Spanish context, I will use it to reflect on mechanisms of cultural exchange in 19th-century Europe, particularly the complex relations between centres and more peripheral cultures as inflected by class and gender. Pardo Bazán very much embodied a cosmopolitan openness toward new intellectual developments mediated through the cultural hubs of the continent, especially Paris. This position was read by some of her Spanish contemporaries as a superficial fascination with foreign fashions, a judgement that could easily mobilise gender stereotypes. <br><br>		Although this publication is hardly unknown in a Spanish context, I will use it to reflect on mechanisms of cultural exchange in 19th-century Europe, particularly the complex relations between centres and more peripheral cultures as inflected by class and gender. Pardo Bazán very much embodied a cosmopolitan openness toward new intellectual developments mediated through the cultural hubs of the continent, especially Paris. This position was read by some of her Spanish contemporaries as a superficial fascination with foreign fashions, a judgement that could easily mobilise gender stereotypes. <br><br>

SvDijk at 16:05, 3 March 2012

SvDijk — Sat, 03 Mar 2012 16:05:12 GMT

←Older revision		Revision as of 16:05, 3 March 2012
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		+	'''Looking from Spain: Emilia Pardo Bazán and the Dissemination of Russian Literature (19th century)'''<br><br>

		+	''Abstract''<br><br>

-	''Abstract''	+	In 1887 the Spanish writer Emilia Pardo Bazán gave a series of three lectures on Russia and its literature at the Athenaeum in Madrid. The lectures, titled ''La revolución y la novela en Rusia'' (Revolution and the Novel in Russia), were immediately available in print. This masterly orchestrated and highly unusual event raised a lively interest in the press as well as among contemporary Spanish authors; during the 20th century several scholars and critics have described Pardo Bazán's lectures and essay as a decisive step in acquainting the Spanish public with the great Russian authors (all of them male) of the 19th century.<br><br>

-	In 1887 the Spanish writer Emilia Pardo Bazán gave a series of three lectures on Russia and its literature at the Athenaeum in Madrid. The lectures, titled ''La revolución y la novela en Rusia'' (Revolution and the Novel in Russia), were immediately available in print. This masterly orchestrated and highly unusual event raised a lively interest in the press as well as among contemporary Spanish authors; during the 20th century several scholars and critics have described Pardo Bazán's lectures and essay as a decisive step in acquainting the Spanish public with the great Russian authors (all of them male) of the 19th century.	+	Although this publication is hardly unknown in a Spanish context, I will use it to reflect on mechanisms of cultural exchange in 19th-century Europe, particularly the complex relations between centres and more peripheral cultures as inflected by class and gender. Pardo Bazán very much embodied a cosmopolitan openness toward new intellectual developments mediated through the cultural hubs of the continent, especially Paris. This position was read by some of her Spanish contemporaries as a superficial fascination with foreign fashions, a judgement that could easily mobilise gender stereotypes. <br><br>
-		+
-	Although this publication is hardly unknown in a Spanish context, I will use it to reflect on mechanisms of cultural exchange in 19th-century Europe, particularly the complex relations between centres and more peripheral cultures as inflected by class and gender. Pardo Bazán very much embodied a cosmopolitan openness toward new intellectual developments mediated through the cultural hubs of the continent, especially Paris. This position was read by some of her Spanish contemporaries as a superficial fascination with foreign fashions, a judgement that could easily mobilise gender stereotypes.	+

	Furthermore, Pardo Bazán's privileged background in the Spanish aristocracy not only shaped her own perspective on the world but also the reception of her intellectual efforts. By putting Pardo Bazán's attempt at disseminating Russian literature in a broader context my aim is to contribute to the development of more general parameters, thus feeding into the discussions about the visualisation of complex cultural relations.		Furthermore, Pardo Bazán's privileged background in the Spanish aristocracy not only shaped her own perspective on the world but also the reception of her intellectual efforts. By putting Pardo Bazán's attempt at disseminating Russian literature in a broader context my aim is to contribute to the development of more general parameters, thus feeding into the discussions about the visualisation of complex cultural relations.

SvDijk at 16:04, 3 March 2012

SvDijk — Sat, 03 Mar 2012 16:04:12 GMT

←Older revision		Revision as of 16:04, 3 March 2012
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	<br>__NOEDITSECTION__		<br>__NOEDITSECTION__
-	== Workshop Bucharest 26-28 April 2012 ==	+	== Henriette Partzsch ==


	<br><br><br>		<br><br><br>
		+
		+
		+	''Abstract''
		+
		+	In 1887 the Spanish writer Emilia Pardo Bazán gave a series of three lectures on Russia and its literature at the Athenaeum in Madrid. The lectures, titled ''La revolución y la novela en Rusia'' (Revolution and the Novel in Russia), were immediately available in print. This masterly orchestrated and highly unusual event raised a lively interest in the press as well as among contemporary Spanish authors; during the 20th century several scholars and critics have described Pardo Bazán's lectures and essay as a decisive step in acquainting the Spanish public with the great Russian authors (all of them male) of the 19th century.
		+
		+	Although this publication is hardly unknown in a Spanish context, I will use it to reflect on mechanisms of cultural exchange in 19th-century Europe, particularly the complex relations between centres and more peripheral cultures as inflected by class and gender. Pardo Bazán very much embodied a cosmopolitan openness toward new intellectual developments mediated through the cultural hubs of the continent, especially Paris. This position was read by some of her Spanish contemporaries as a superficial fascination with foreign fashions, a judgement that could easily mobilise gender stereotypes.
		+
		+	Furthermore, Pardo Bazán's privileged background in the Spanish aristocracy not only shaped her own perspective on the world but also the reception of her intellectual efforts. By putting Pardo Bazán's attempt at disseminating Russian literature in a broader context my aim is to contribute to the development of more general parameters, thus feeding into the discussions about the visualisation of complex cultural relations.
		+

SvDijk: New page:
NOEDITSECTION == Workshop Bucharest 26-28 April 2012 ==

SvD, March 2012

*Conferences > [http://www.womenwriters.nl/index.php...

SvDijk — Sat, 03 Mar 2012 15:04:46 GMT

New page: __NOEDITSECTION__ == Workshop Bucharest 26-28 April 2012 == SvD, March 2012 <hr> *Conferences > [http://www.womenwriters.nl/index.php...

New page