Hispanic Society of America

A partir de la revisión de la correspondencia inédita entre la Hispanic Society of America (HSA) y don Ricardo Palma pudimos encontrar ochocartas autógrafas del tradicionista, una nota sin firmar y el formulario de membresía también firmado y requerido después de cuatro años desu incorporación a dicha institución en 1907. Todo ello da nuevas luces a un período desconocido de su vida académica y profesional pues nohabía nada escrito con esta institución norteamericana; aquel intercambio epistolar abarcó una década (entre 1907 y 1917). Finalmente damosa conocer a otros peruanos que fueron miembros de dicha institución, incluyendo al último homenajeado en el año 2015.

Violeta Parra began her creative work, an integral part of both the legacy and the destiny of folk culture, during the first half of the 1950s, particularly following her first trip to Europe in 1954. Her output then quickly deepened and matured, reaching its conclusion by around 1965. It thus covered a brief period of a little over ten years. A surprisingly short time, considering the assurance and intensity of her artistic expression and the complexity of her work as a whole. Parra's output is a universe formed of distinct spheres of creation, in some of which, such as the areas of poetry and song, her yield is prolific. This is less surprising, upon discovering a telling detail: in Violeta, the creative drive did not progress linearly, through successive transformations of knowledge, as occurred in other cases, where suddenly knowledge met its own limitations and, facing the ghost of rhetoric, opened up to a new scenario. In this sense, Parra's creative drive lacked ‘history’. The learning process might have taken years, but when Parra began her authentic creation, she already knew what she needed to know and, instead of transforming it, she realised its potential. This knowledge, and the urgent need to artistically communicate it, act as an energetic nucleus from which the different spheres of her creation emanate, in a movement that is similar to the growth and expansion of concentric circles. Instead of linearity, there is superposition. Around 1965 the energetic nucleus seems to have been exhausted, and the cycle came to an end. Could Violeta's suicide at the beginning of 1967 have been a way to render visible this exhaustion and closure?

East Indians, Portuguese, Syrian-Lebanese, Chinese, "coloreds," and a motley group of Europeans -arrived.These various groups brought with them their own value systems, culture, ways of thinking, religion, music, and behavior.Thus a painful process of adjustment and adaptation among these different ethnic groups has been and still is taking place.Kevin Yelvington has brought together an eminent, multidisciplinary group of scholars to explain and illuminate the various approaches of these disparate groups in their search for a modus vivendi.The result is a volume rich in detail, insight, rigor, and original research.Yelvington opens the debate with a broad but incisive analysis of Trinidadian ethnicity from a historical focus.He is very knowledgeable and comfortable with the data and has a certain feel for the pulse of the society.He examines ethnicity from different viewpoints and approaches, and introduces the contributions of the other scholars.The next three chapters share certain features and are interrelated.In a powerful and rigorous presentation, Bridget Brereton explains the country's complex social structure, with its fabricated contradictions and differences and its divide-andrule ethos, which facilitated control and domination of a four-tier colonial society and attendant "residential and occupational segregation" (p.52).Ralph M. Henry and Daniel A. Segal trace the unfolding of inequality and its relationship to race and color.Segal explains how ethnicity was deSigned and for whom, what racial terms and classifications mean, and how they can determine social mobility.Chapters by Colin Clarke, Ralph Premdas, James Houk, and Aisha Khan treat issues such as social distance and segregation, the reasons for the breakup of the National Alliance for Reconstruction, the creolization of the African Orisha religion by the inevitable entrance of the East Indians, and the use and misuse of the ethnic term Spanish.The remaining chapters on ethnicity, class, and gender conclude this useful contribution on the role of ethnicity in a segmented society.

Richard G. Mann. El Greco and his Patrons: Three Major Projects. (Cambridge Studies in the History of Art.) Cambridge-New York: Cambridge University Press, 1986. 38 pls. + xvi + 164 pp. $44.50. - Volume 40 Issue 3

Study of Spanish master drawings, with the notable exception of Goya, has long been hampered by a leanness of publications, the relative inaccessibility of originals, and a malaise in the exhibition world and marketplace. Indeed, it was often said that Spanish masters either did not draw or did so only rarely, a contention unsupported on familiarity with source materials or surviving drawings. Reference to the few basic works published before the Spanish Civil War would have helped dispel the myth had they been more widely known. In Angel Barcia's 1906 Catálogo of the Madrid Biblioteca Nacional Collection, unfortunately unillustrated, were listed only slightly less than 10,000 drawings, more than 7,200 of Spanish authorship. August L. Mayer's Handzeichnungen Spanischen Meister (New York and Leipzig, 1915–1920) offered illustrations in quantity, 150 drawings of the 16th through 19th centuries reproduced in facsimile in the two large folio volumes. Exhibition of drawings of the 18th and 19th centuries under the aegis of the Sociedad de Amigos del Arte in Madrid in 1922 yielded a partly illustrated catalogue by Felix M. Boix, a notable collector in his own right. José Moreno Villa's Catálogo of drawings in the Gijón Instituto, founded by Goya's contemporary, Jovellanos (and destroyed in 1936), considered 797 drawings, approximately a third of them Spanish; line drawings of watermarks were included with the text, accompanied by forty-two plates. Most fully illustrated were the five small volumes of F. J. Sánchez Cantón's Dibujos españoles (Madrid, 1930), which reproduced and summarily catalogued 435 drawings of the 15th through 17th centuries.

(1974). domingo sanchez-mesa martin, Tecnica de la escultura policromada granadina. The Art Bulletin: Vol. 56, No. 1, pp. 135-136.

(1971). maria concepcion garcia gainza, La escultura romanista en Navarra; discipulos y seguidores de Juan de Anchieta. The Art Bulletin: Vol. 53, No. 4, pp. 535-536.

Research Article| January 01 1943 The Hispanic American Record Harry Banta Murkland Harry Banta Murkland Editor and specialist on Hispanic American affairs Search for other works by this author on: This Site PubMed Google Scholar Current History (1943) 3 (17): 432–439. https://doi.org/10.1525/curh.1943.3.17.432 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Harry Banta Murkland; The Hispanic American Record. Current History 1 January 1943; 3 (17): 432–439. doi: https://doi.org/10.1525/curh.1943.3.17.432 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentCurrent History Search This content is only available via PDF. © 1943 by The Regents of the University of California1943 Article PDF first page preview Close Modal You do not currently have access to this content.