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Books by Roberta Ann Quance

Takes the undergraduate student through the novel, first published in 1958. A little girl remembe... more Takes the undergraduate student through the novel, first published in 1958. A little girl remembers her father's arrest and persecution when Civil War breaks out in Spain. Canary Islands.

Balsa de la Medusa , 1996

Studies the logic of mythic imagery of motherhood and its impossibilities in Kahlo's painting

In Rompecabezas, a play published in 1921 by two Spanish ultraístas, the young heroine, an avant-... more In Rompecabezas, a play published in 1921 by two Spanish ultraístas, the young heroine, an avant-garde artist living with her parents, confesses that if her mother would only let her, she would paint a landscape from the window of an airplane. 1 Some of the incongruity of being a minor in terms of years and already a 'master' in terms of one's work is undoubtedly what lay behind the authors' gentle satire of the precocious young female artist who needed to ask permission to paint. But they have put their finger on an aspect of the avant-garde imagination that is worth bearing in mind. Airplanes were the emblem of Europe's first Avant-Garde and so was the aerial perspective that they opened up on the world. Beginning, perhaps, with the eponymous hero of Vicente Huidobro's Altazor (1919), avant-garde heroes and their avatars set out to conquer space. In the late 1920s a branch of Futurism appeared called aeropittura. This remarkable development-which was directly inspired by the point of view afforded by aircraft-was practised by men and in Italy, where the Avant-Garde had erupted with Tommaso Marinetti's Futurism. 2 In provincial Spain, where girls needed a chaperone to walk the streets, could a young female artist really dream of painting the world from the sky? That is exactly what Ángeles Santos did in 1929, when

Mujer o árbol

Argues that Lorca's play needs to be read as consistent with the theme of women's repressed desir... more Argues that Lorca's play needs to be read as consistent with the theme of women's repressed desire . To focus on the question of infertility is to obscure the ways in which Yerma is a victim--as Lorca himself noted-- of a code of honor. To this the critic may add, it is a patriarchal code of honor, enforced through the Church and the stark alternatives offered women in the figure of Eve or the Virgin Mary. Brings to bear a principled understanding of patriarchy as control of women's sexuality, as Gerda Lerner has argued. Key moments are brought to light to reveal a performative dimension of dramatic speech, as suggested by Fernández Cifuentes (1986).

Circumference, 2021

Bilingual (Spanish-English) version of a long poem published in 2005 (in Religio y otros poemas... more Bilingual (Spanish-English) version of a long poem published in 2005 (in Religio y otros poemas by Carlos Piera, Madrid, Abada).

Mujer o árbol : mitología y modernidad en el arte y la literatura de nuestro tiempo, 2000

I have picked up a few errors of different kinds that I would eliminate in a revised edition of t... more I have picked up a few errors of different kinds that I would eliminate in a revised edition of the Selected Suites (2018).

The table of contents of Federico García Lorca, Selected Suites, translated by Roberta Ann Quance... more The table of contents of Federico García Lorca, Selected Suites, translated by Roberta Ann Quance, Liverpool University Press, 2018.

In 1926, as a young man of 28 with a growing reputation as an oral poet, Federico Garcia Lorca (1... more In 1926, as a young man of 28 with a growing reputation as an oral poet, Federico Garcia Lorca (1898-1936) toyed with the idea of proving his worth in writing by bringing out a boxed set of three volumes of his verse. Because the Suites, Canciones and the Poema del cante jondo eventually came out singly (in the case of the Suites, posthumously and with textual problems), readers have not always realized that the poetry in the three collections was interrelated. [...]

"La Guerra Civil ha dejado una huella imborrable en la literatura y cultura espanola--eso es lo q... more "La Guerra Civil ha dejado una huella imborrable en la literatura y cultura espanola--eso es lo que se dice comunmente. pero la memoria no es una ni unanime (independientemente del lado representado), ni permanece intacta a lo largo de las generaciones. Los ensayos que se reunen en este volumen, aunque parten de la idea de la literatura como un lugar de la memoria, exploran hasta que punto ese lugar se constituye y se conserva a traves de la lectura y del proceso interpretativo. De ahi que se hable de 'guerras de la memoria' al tiempo que se habla de 'memoria(s) de la guerra.' Desde las primeras obras escritas durante el franquismo por los sobrevivientes y exiliados, hasta la explicita reivindicacion de los ochenta y la interrogacion de la memoria que caracteriza a nuestros dias, los colaboradores de este volumen abordan una problematica actual en toda su complejidad. // Las diecisiete contribuciones que integran el volumen tocan muchos aspectos capitales." Entre los autores considerados: Carmen Conde, Angela Figuera, Maria Zambrano, Julio Llamazares, Carlos Blanco Aguinaga, Buero Vallejo, Sanchis Sinistierra, Manuel Rivas, Isaac Rosa, et al.

"Estos ensayos pretenden mostrar como para determinado numero de escritoras y artistas la mitolog... more "Estos ensayos pretenden mostrar como para determinado numero de escritoras y artistas la mitologia femenina acerca de los dioses ha servido de inspiracion o catalizador de su obra. [...]

Papers by Roberta Ann Quance

Revista de Escritoras Ibéricas, 2015

Crossing Fields in Modern Spanish Culture, 2003

This article examines the illustrations that Argentine artist Norah Borges (1901-1998) provided f... more This article examines the illustrations that Argentine artist Norah Borges (1901-1998) provided for two volumes of poetry written by Concha Méndez and Carmen Conde in the 1930s, Canciones de mar y tierra (1930) and Júbilos (1934). Arguing that the artist's style and her penchant for the representation of children and angels is an ambiguous one, Quance suggests that the illustrations can accommodate both Méndez's spirited rebellion and Conde's nostalgic recreation of her own childhood. She suggests that the drawings interpret the texts, despite the artist's wish to remain unobtrusive.

Bulletin of Spanish Studies, 2016

Abstract Lorca's understanding of the nature of traditional ballads—how they were composed, p... more Abstract Lorca's understanding of the nature of traditional ballads—how they were composed, performed, transmitted—shaped his own reinvention of the ballad. This article argues that Lorca wrote with Menéndez Pidal's early theories of the Romancero in mind. Therefore Lorca's ballads do not issue from a narrator, strictly speaking, but from a voice that is standing in for a juglar and which I term a textual balladeer. This figure transmits textual fragments (as analysis of the ‘Burla de don Pedro a caballo’ suggests) which are revived by a balladeer's imposing voice. It is all illusion but, as we see in the ‘Romance sonámbulo’, Lorca conceives of the ballad as the performance of a powerful voice which can cast such illusions. Therefore, the article examines sound patterning in concert with metre as a way for the textual balladeer to develop voice's agency. Lorca's divided soul, nostalgic for orality but grounded in textuality, is considered.

Aurora: papeles del Seminario María Zambrano, 2017

En este articulo se examinan las ilustraciones que la artista argentina Norah Borges (1901-1998) ... more En este articulo se examinan las ilustraciones que la artista argentina Norah Borges (1901-1998) preparo para dos libros de poesia: Canciones de mar y tierra (1930), de Concha Mendez, y Jubilos (1934),de Carmen Conde. Argumentando que el estilo de la artista y su preferencia por la representacion de ninos y angeles son ambos ambiguos, Quance viene a sugerir que las ilustraciones pueden ajustarse a diferentes imagenes de lo femenino, ya consistan en la rebeldia y brio de que hace gala la protagonista de Mendez, o en la nostalgia y dulzura con que Carmen Conderecrea su propia ninez. Los dibujos interpretan los textos, por mas que la artista cultivara la discrecion y la reticencia al respecto.

Balsa de la Medusa , 1996

Studies the logic of mythic imagery of motherhood and its impossibilities in Kahlo's painting

Mujer o árbol

Circumference, 2021

Mujer o árbol : mitología y modernidad en el arte y la literatura de nuestro tiempo, 2000

Revista de Escritoras Ibéricas, 2015

Crossing Fields in Modern Spanish Culture, 2003

Bulletin of Spanish Studies, 2016

Aurora: papeles del Seminario María Zambrano, 2017

Anales De La Literatura Espanola Contemporanea, 1987

... Los pinos son m?s viejos. Sendero abajo, sucias de arena y rozaduras igual que mis rodillas c... more ... Los pinos son m?s viejos. Sendero abajo, sucias de arena y rozaduras igual que mis rodillas cuando ni?o, asoman las ra?ces. Y all? ... Most important, pines, poplars, path and river all continue to function as they used to?to delimit a territory that was the boy prince&#x27;s own. ...

Anales De La Literatura Espanola Contemporanea, 1993

In a thought-provoking article published in 1977, EmiUo Alarcos Llorach drew attention to one of ... more In a thought-provoking article published in 1977, EmiUo Alarcos Llorach drew attention to one of the most enigmatic motifs present in the poetry of Blas de Otero: the paradoxical attitude toward writing enshrined in the words "Escribo y caUo," which we find repeated in a refrain-like way throughout the long autobiographical poem "Biotz Begietan" from the 1955 book Pido la paz y la palabra. Having treat ed, among other experiences, his childhood in Bilbao, the poet closes with the following words:

Lectora. Revista de dones i textualitat

Modern Languages Open, 2016

Bulletin of Spanish Studies

Escritoras Y Compromiso Literatura Espanola E Hispanoamericana De Los Siglos Xx Y Xxi 2009 Isbn 978 84 9895 111 0 Pags 881 896, 2009

Journal of Iberian and Latin American Studies, Apr 1, 2010

... View full textDownload full text Full access. DOI: 10.1080/14701847.2010.508895 Roberta Ann Q... more ... View full textDownload full text Full access. DOI: 10.1080/14701847.2010.508895 Roberta Ann Quance a * ... The theories of art and the marvellous décor are offered primarily as a backdrop to the ... is a bit jealous when Nancy seems flattered that another man (Jorge) rose to her ...

La Balsa De La Medusa, 1996

Revista De Occidente, 1998

Boletin De La Fundacion Federico Garcia Lorca, 2008

Dossiers Feministes, 2007

En este artículo se contrastan aspectos claves de la experiencia que tuvieron en España a pbi~nci... more En este artículo se contrastan aspectos claves de la experiencia que tuvieron en España a pbi~nci~pios de los años veinte la artista Norah Borges (1 901-1 998) y su hermano Jorge Luis Borges, en cuanto participantes en el ultraismo. Se plantea, además, cómo la colaboración de la artista con su hermano y con su futuro marido Guillermo de Torre puede haber influido en la evolución de su obra entre 1920 y 1930, cada vez más en sintonia con un «nuevo romanticismou.

Insula Revista De Letras Y Ciencias Humanas, 1999

Revista De Occidente, 2001

On a module delivered at Queen's University Belfast 2005-2013 As Santos Juliá wrote: En la Gu... more On a module delivered at Queen's University Belfast 2005-2013

As Santos Juliá wrote:

En la Guerra civil del siglo XX hubo un vencedor que exterminó al perdedor y que no dejó espacio alguno para un tercero para que hubiera negociado una paz […] La guerra civil redujo la complejidad y múltiple fragmentación de la sociedad española del primer tercio del siglo XX a dos bandos enfrentados a muerte, con el resultado de que nunca accedió a ningún tipo de reconciliación que mitigara los efectos de la derrota de los perdedores y volviera a integrarlos en la vida nacional. Desde 1939, España quedó brutalmente amputada de una parte de sus gentes y de su historia; hasta 1975, España vivió de la guerra y de las consecuencias de la guerra, que aún habría de extender su sombra durante el periodo de transición a la democracia
Historia de las dos Españas, Madrid, Taurus, 2004, p. 288

In this module we study literature and films which approach the Spanish Civil War through the eyes of a child. Many literary critics and historians have observed that this way of telling a story about war is a major modern phenomenon. We are interested in the child because he or she seems to ‘tell it like it is’ without preconceived ideas. We are also drawn to the child as a symbol of futurity and hope –or hope blighted and denied.

Charla para profesores de español en Irlanda del Norte, en el marco de las "Open Days" celebrados... more Charla para profesores de español en Irlanda del Norte, en el marco de las "Open Days" celebrados entre 1999-2005, aproximadamente. He podido revisar y actualizarlo ligeramente pero no he agregado una bibliografía completa porque sería vasta. Para una reflexión más reciente sobre el tema de la represión sexual, véase el artículo "Los arquetipos de Venus y la Virgen " (2019) donde se plantea la importancia del bordado para el conflicto.

This is a talk delivered for teachers in Northern Ireland who attended Queen's University Belfast Open Days from 1999-2005 (approx.). It is slightly revised and updated, though I have made no attempt to gather a complete bibliography, which would be vast. The views on women and sexual repression, matriarchy, etc. reflect work published in Mujer o árbol (2000).

Review of new edition (2015) prepared by Magdalena Aguinaga Alfonso

saltó a la fama a finales de los años ochenta tras la publicación de la primera biografía y estud... more saltó a la fama a finales de los años ochenta tras la publicación de la primera biografía y estudio de Janet Kaplan (Viajes inesperados / Unexpected Journeys, 1988). Fue entonces cuando una gran retrospectiva de la pintora organizada en Madrid puso delante de los ojos asombrados del público una obra en su mayor parte desconocida, salvo un puñado de óleos y dibujos tempranos, recuperados para exposiciones dedicadas al surrealismo de entreguerras. En años sucesivos los estudios y exposiciones se han multiplicado, pero las líneas generales con que se presentaba entonces a la pintora -objeto de estudio durante años en México-se mantienen incólumes. Los investigadores presentaban a una artista iniciada en el surrealismo europeo pero con una obra solo lograda durante los años de exilio. Efectivamente, aunque Varo se acercó al surrealismo en Barcelona y París y se valió toda su vida de técnicas comunes al grupo, fue en México donde se independizó y creó su obra madura. Su pintura era manifiestamente literaria: con la precisión de los viejos maestros flamencos, tejía historias en torno a heroínas o seres andróginos procedentes de otros mundos y otros tiempos, como si la pintora se hubiera propuesto captar la fantasmagoría de cuentos de hadas de su propia invención. Esas telas iban a ser un paraíso para exegetas, ya que al lado de científicos, brujas, vampiros y magos resplandecían símbolos herméticos perennes, que invitaban al espectador a recomponer las piezas de una antigua gnosis -aunque, esta vez, de tintes femeninos.

Modern Language Review 10, 2 (2013): 654-56.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Revista de Estudios Hispanicos 46, 1 (2012)

This colloquium, which is led by postgraduate and early career researchers, highlights a unique g... more This colloquium, which is led by postgraduate and early career researchers, highlights a unique group of women avant-gardists who, while working from the margins of male-dominated groups, not only created a significant body of work but also helped to change the image of women in the early twentieth century. In 1929 art critic Enrique Lafuente claimed that the country was witnessing an explosion of ´feminismo artístico': alongside visitors like Marie Laurencin and Sonia Delaunay, many talented young Hispanic women came to the fore. The Argentine painter Norah Borges (sister of the more famous Jorge Luis) became one of the leaders of visual ultraísmo, Spain's first avant-garde movement and a precursor to the Generation of 1927. A few years later the Galician painter Maruja Mallo burst onto the scene with paintings that captured urban folklore in a post-Cubist idiom, captivating the circle gathered around the Revista de Occidente. In Valladolid, the teenaged Angeles Santos (1911) startled critics and poets alike with a painting of great metaphysical ambition, Un mundo (1929), and in Barcelona Remedios Varo was beginning to learn a surrealist vocabulary that she would take with her to Paris and Mexico. Our aim in the colloquium is to explore how the clash between tradition and modernity was acted out in these artists´ lives and works. We will also show how their interaction with Spanish culture (old masters in the Prado; Spanish landscapes) provided an impetus for their experimentation.

A Bilingual Anthology of Contemporary Spanish Poetry

Poems from Versos (1972), Antologia para un papagayo (1985) and De lo que viene como si se fuera ... more Poems from Versos (1972), Antologia para un papagayo (1985) and De lo que viene como si se fuera (1990)

Spanish translation of 'Madame' by Nuala Ni Dhomhnaill from the English translation by Eilean Ni ... more Spanish translation of 'Madame' by Nuala Ni Dhomhnaill from the English translation by Eilean Ni Chulleanain of the original Gaelic

Lorca empieza a indagar en serio en el amor romántico en las Suites, una colección póstuma de poe... more Lorca empieza a indagar en serio en el amor romántico en las Suites, una colección póstuma de poesía escrita entre últimos de 1920 y el verano de 1923. Entre la primera publicada (Suite de las espejos) y la última, que quedó inédita, el poeta maneja tres elementos fundamentales a su pensamiento sobre el amor: el jardín, el espejo y un aire de secreto, de hermetismo incluso. Cada uno de estos elementos crece hasta llenar la última suite, y es esa en la que me voy a centrar, pero no sin haber echado un vistazo previo a la primera publicación, "Berceuse" a un espejo dormido", donde se dan juntos por primera vez. En el "Berceuse" (canción de cuna), publicado por primera vez en Indice (Núm. 3, 1921) Lorca asienta una equivalencia metáforica entre corazón, espejo y jardín muy fácil de ver por cómo se alinean los versos). Pero el poeta recela de que le miraran en el espejo de los versos, como si deseara protegerse de una mirada espiadora: "Berceuse" al espejo dormido Duerme. No temas la mirada errante. Duerme. Ni la mariposa, ni la palabra, ni el rayo furtivo de la cerradura 1

Text of a talk given at the National University of Ireland at Maynooth. Considers La tumba de Ant... more Text of a talk given at the National University of Ireland at Maynooth. Considers La tumba de Antígona by María Zambrano in connection with the memory of the Spanish Civil War.

Roles de genero y cambio social en la literatura española. Ed. Pilar Nieva de la Paz, 2009

Se estudia la identificación que se produce entre la figura de la Virgen María y el sujeto lírico... more Se estudia la identificación que se produce entre la figura de la Virgen María y el sujeto lírico en el poemario Trances de Nuestra Señora (1986), de María Victoria Atencia (Málaga, 1931). Mediante una lectura atenta del texto se pretende mostrar que Atencia contempla a María como a una mística avant la lettre y que esta visión de la Virgen es la que destaca sobre otras posibles lecturas de su personaje y experiencia. De esta manera la autora navega entre los dos extremos a los que tiende el discurso tradicional sobre la figura de la Virgen María, que en su versión doctrinal, aparece como una figura humilde y en su versión pagana, en exceso grande. No se trata de resolver cuál es el verdadero rostro de la Virgen o de la poeta, sino de ir descubriendo la riqueza del discurso poético al que ha dado pie esta identificación con una figura mítica, nada habitual por parte de las escritoras, ni mucho menos las modernas.

Modern Languages Open

According to Mexican critic Juliana González, Remedios Varo’s surrealist work presents a heroine ... more According to Mexican critic Juliana González, Remedios Varo’s surrealist work presents a heroine crossing an ‘umbral’ (limen, or threshold) into a ‘trasmundo’ beyond the natural and the supernatural (38). And so she underscores what other critics (Kaplan; Martín) have identified as a dominant theme of fantastic journey in the painter’s work. All these critics are aware of a connection with surrealism’s trespass of other thresholds, in-between dream and waking life, the real and the marvellous; and all, at the same time, acknowledge that the point of such a crossing is to secure ‘higher knowledge’, as the painter herself stressed. Yet the concept of the limen and the way in which it provides a key term for the analysis of the painter’s work (and a way in this respect to rethink surrealism’s esoteric ambitions) has not been discussed. Thus, even though Varo’s work is said to be about a quest for hidden knowledge (Lauter) or even a rite of passage, a ‘viaje iniciático’ (González 36–7), terms which evoke the idea of liminality in an anthropological sense, discussion circles around this point, with no further investigation of the term limen or liminality.

Expanded text from 2007 on the novel Nada by Carmen Laforet. Formed the basis for a seminar for t... more Expanded text from 2007 on the novel Nada by Carmen Laforet. Formed the basis for a seminar for teachers at Sixth-Form Days at Queen's University

This article studies how Lorca created the image of a 'textual balladeer' in the Romancero gitano... more This article studies how Lorca created the image of a 'textual balladeer' in the Romancero gitano as a powerful voice standing in for the poet. The 'Romance sonambulo is taken as an example of how this is achieved. Menéndez Pidal's views of the Romancero. provide a springboard. The article argues that to appreciate the poet's accomplishments in his gypsy songbook we must understand how he leaves signs in it that he is both entranced by orality and personally motivated by textuality.