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Beginning with a reassessment of the 1920s and 30s, this text looks beyond a consideration of just the most successful Spanish playwrights of the time, and discusses also the work of directors, theorists, actors and designers.
The Theatre of García Lorca offers radical new readings of his major plays, drawing on cultural studies, women's and gay studies, psychoanalysis, and previously unexamined archival material. It provides fascinating historical accounts of productions in different times and places, from New York in the 1930s to Madrid in the 1980s. It also juxtaposes Lorca with major figures such as Gregorio Marañón, Langston Hughes, André Gide, and Lluis Pasqual, enabling us to see his theatre in a new light. In addition, the book presents a new psychoanalytic reading of the plays, which returns to Freud's early clinical texts. Examining the complex and productive intersection of history and fantasy that is characteristic both of García Lorca's theatre and of the cult to which it has given rise, this study offers a thorough reassessment of Lorca's work.
When it began, modern Spanish cinema was under strict censorship, forced to conform to the ideological demands of the Nationalist regime. In 1950, the New Spanish Cinema was born as a protest over General Francisco Franco's policies: a new series of directors and films began to move away from the conformist line to offer a bold brand of Spanish realism. In the 1950s and early 1960s, filmmakers such as Juan Antonio Bardem, Luis García Berlanga, and Luis Buñuel expressed a liberal image of Spain to the world in such films as Muerte de un ciclista (Death of a Cyclist), Bienvenido Señor Marshall (Welcome Mr. Marshall), and Viridiana. The emergence of new directors continued into the sixties and seventies with Carlos Saura, José Luis Borau, Víctor Erice, and others. After Franco's death in 1975, censorship was abolished and films openly explored such formerly taboo subjects as sexuality, drugs, the church, the army, and the Civil War. The Spanish cinema was no longer escapist and entertaining but, at long last, mirrored the society it depicted. While established directors like Saura, Bardem, and Berlanga continued to produce distinguished work, the "new wave" of Spanish cinema included brilliant films by the likes of Montxo Armendáriz (Tasio), Fernando Trueba (First Work), Imanol Uribe (The Death of Mikel), and Pedro Almodóvar (Women on the Verge of a Nervous Breakdown). In the last couple of decades, exciting works by established filmmakers and newcomers alike continue to be produced, including Alejandro Amenábar's Thesis, José Luis Garcí's The Grandfather, and Almodóvar's Talk to Her and Volver. In Great Spanish Films Since 1950, Ronald Schwartz presents a compendium of outstanding Spanish films from the pre-Francoist era through the Spanish New Wave of the 80's and 90's and into the present day. Schwartz provides background, plot, and commentaries of key films from six decades of Spanish cinema. In addition to identifying
En esta obra maestra, basada en toda una vida de reflexión bíblica en cuanto a las misiones globales, Arthur Glasser nos presenta una visión de la unidad de toda la historia. Examina los temas del Rey y del reino de Dios tal como aparecen a lo largo de la Biblia. Nos muestra que toda la Escritura apunta al hecho que Dios es un Dios misionero y que el pueblo de Dios, la iglesia, debe ser un pueblo misionero. Nos muestra que la misión está en el centro del gran plan de Dios, no sólo de redención sino también de creación. . . . Nos recuerda que la misión de Dios incluye no sólo la salvación de individuos y la redención de la iglesia, sino también el restablecimiento del reino de Dios de rectitud, de paz y de justicia. . . .Glasser nos llama a recuperar la visión de la misión que corre por toda la Biblia y tomar eso como la base para la motivación y los métodos que usamos en nuestro alcance misionero. --Tomado del “Prologo” por Paul Hiebert
Lorca, icon and polymath in all his manifestations.

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