References of "Ceballos Viro, Alvaro"
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See detailLa poesía española de vanguardia vista desde la retaguardia
Ceballos Viro, Alvaro ULg

in Botta, Patrizia; Silvestri, Laura; Frattale, Loretta (Eds.) et al Rumbos del hispanismo en el umbral del Cincuentenario de la AIH. Vol. V Moderna y Contemporánea (2012)

In the 1920s, Spanish mainstream press and humour magazines published a considerable number of parodies of avant-garde poetry. This paper examines representations of the new, experimental literature in ... [more ▼]

In the 1920s, Spanish mainstream press and humour magazines published a considerable number of parodies of avant-garde poetry. This paper examines representations of the new, experimental literature in these newspapers and magazines and considers the reasons for their aversion to it. [less ▲]

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See detailLa doble historia de "El convidado de papel"
Ceballos Viro, Alvaro ULg

in Revista de Literatura (2011), 73(146), 595-622

This article sets out to question the textual history of _El convidado de papel_, a novel by Benjamín Jarnés. The differences between the two firsts editions of this novel, published in 1928 and 1935, are ... [more ▼]

This article sets out to question the textual history of _El convidado de papel_, a novel by Benjamín Jarnés. The differences between the two firsts editions of this novel, published in 1928 and 1935, are more complex than has hitherto been assumed. They also allow to reconstruct a different plot from the one that can be found in literary histories. In its original version, _El convidado de papel_ was not only a peculiar _Bildungsroman_, but also a typical _doppelgänger_ narrative. Therefore, it contained a dense web of intertextual references which Jarnés deliberately eliminated in the second edition of the novel. These intertextual references stimulate the search for new sources as well as the re-evaluation of the precise mode of influence attributed to familiar sources. [less ▲]

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See detailDe kortstondige lotgevallen van de PEN-clubs tijdens het interbellum in Spanje. Een geschiedenis van politieke en regionale polarisatie
Ceballos Viro, Alvaro ULg; Adriaensen, Brigitte

in Nederlandse Letterkunde (2011), 16(3), 257-275

Three separate PEN Clubs were founded in Spain during the turbulent period between the wars. The first Spanish PEN Club met for the first time in the celebrated Madrid restaurant Lhardy on 5th July 1922 ... [more ▼]

Three separate PEN Clubs were founded in Spain during the turbulent period between the wars. The first Spanish PEN Club met for the first time in the celebrated Madrid restaurant Lhardy on 5th July 1922, precisely nine months after the International PEN Club was set up in London. It did not have its own accommodation, but gathered roughly once a month in this restaurant under the chairmanship of the renowned writer José Martínez Ruiz, better known by his pen-name of *Azorín*. It appears from the list of the club’s members, which was published in November 1923, that this varied company included a number of prestigious authors such as Díez-Canedo, Ramiro de Maeztu, Enrique de Mesa, Ramón Pérez de Ayala and José María Salaverría. In addition, the Spanish delegation also aspired to an international profile by incorporating nineteen international honorary members at the top of the list of members, originating from Spanish-speaking America, Portugal and England. Although several regional authors joined this first PEN Club, remarkably enough there were only two Catalan writers on the list: Eugenio D’Ors and Angel Guimerá, the latter as an honorary member. There was a great deal of criticism of the snobbish nature of the *banquetes*, the costly feasts the members took part in at their own expense. One of the fiercest critics was undoubtedly Rafael Cansinos Assens, who not only denounced the elitist nature of the gatherings, but was also annoyed by what he considered the overly regional and national tenor that characterised the club. However, the fact that the club was less internationally oriented did not mean, in the national context, that it reflected only one end of the ideological spectrum. The elitist nature of the club did not stop members with republican sympathies (such as Roberto Castrovido and Luis de Tapia) from joining. Journalists who had taken a critical attitude to the military campaigns in Morocco, such as Alfonso Hernández Catá and Manuel Ciges Aparicio, also found their way to the PEN Club. Even someone like Julio Camba, at that time closely linked to anarchist circles, was a member. It is striking that there were also a substantial number of members from the Liga de Educación Política, an association that José Ortega y Gasset had set up and which was part of the liberal Partido Reformista. The founding of the first Spanish PEN Club in 1922 also coincided with the structural crisis the Ateneo Científico, Literario y Artístico de Madrid found itself in at about that time . It comes as no surprise that many of those in the PEN membership list in 1923 are also to be found in the January 1922 list of Athenaeum members. So the Spanish PEN Club was a valid alternative in the quest for a way of giving Spain’s literary life a minimum of independence and social embedment. Spain’s first PEN Club was not destined for a long life, however. Several reasons for this have been given over the years: the previously mentioned aristocratic nature of the club, the diversity of interests and poetics of its members, the lack of fellow-feeling among Spanish writers and the elitism of the Madrid writers with regard to authors from the periphery, especially those from Catalonia. But the increasing effect of the dictatorship of Primo de Rivera, who came to power in 1923, was also part of it. The same ideological polarisation and militarization had already led to the downfall of the Athenaeum in Madrid in 1924; a similar scenario was also to be played out at the German PEN Club in 1933. It was in 1924, two years after the Spanish club had been set up, that its Catalan counterpart came into being. On 7th January, in his capacity as chairman, the Catalan grammarian and liberal intellectual Pompeu Fabra sent out a letter in which he invited the Catalan intelligentsia to join the club. Although this letter emphasised that the PEN Club ‘had no political or propaganda tenor whatsoever’, it was obvious that cultural nationalism underlay the establishment of the Catalan delegation. Even before the club had been set up, its future secretary, Millàs Raurell, was already pointing out, in a letter sent to the International PEN member Herman Ould on 11th January 1923, that the Catalan club had no connection with the one in Madrid. This new delegation wanted to represent the ‘Catalan nation’, which belonged to a different culture from its Spanish counterpart. The Catalan association possibly had an even harder time of it than the Spanish PEN Club under the regime of Primo de Rivera: under these circumstances, for example, it was out of the question to organise an international PEN congress in Barcelona. This did change, however. After the Catalan PEN Club had fallen into obscurity for many years, in 1934 it enjoyed a new boost, at the time of the Second Republic. In May of that year the club was re-established in the Athenaeum in Barcelona, which from then on served as the club’s seat. The absolute climax of the activities of the Catalan PEN Club, however, was when the international PEN congress was held in Barcelona from 21st to 25th May 1935. It was the perfect opportunity to showcase the wealth of the Catalan artistic heritage and to give Catalan literature an international boost. The outbreak of the Spanish Civil War in 1936 put a final end to this glorious revival. The success of the international PEN congress in Barcelona was not to everyone’s taste, however. In a newspaper article, Ramón Gómez de la Serna criticised the total absence of Spanish writers from the congress. The prevailing dissatisfaction was the main reason for setting up what was called the ‘Second Madrid PEN Club’. The fact that this second Madrid – not Spanish – club developed in an extremely tense and polarised atmosphere hardly needs mentioning. Although there were still a number of republicans and liberals at the first banquet, such as Max Aub, Américo Castro, Tomás Navarro Tomás, Pedro Salinas, Luis de Tapia and Guillermo de Torre, their numbers steadily declined. The lists of participants at each of the feasts show that it was mainly writers with right-wing affinities (with all the shades of meaning that ‘right-wing’ implies) who attended. They included both adherents of Primo de Rivera’s Falangism (fascists) (Fernández Almagro, Manuel Machado, Sánchez Mazas) and more moderate right-wing intellectuals such as Baroja, el Conde de Romanones et al. As Miguel A. Iglesias has already pointed out in an article on this third PEN Club, this majority of right-wing intellectuals was an even more conspicuous presence since these right-wing movements were socially and politically in the minority during the Second Republic. The various Spanish PEN Clubs between the wars were neither the first nor the most successful attempt to unite Spanish writers regardless of their aesthetic or political tenor. In the 19th century the various liberal Athenaea were founded, as well as a considerable number of other associations that tried to defend the rights of authors, artists and musicians. A number of other initiatives arose between the wars, such as the Unión de Autores, the banquets that *La Gaceta Literaria* organised, and the publishing house named Compañía Iberoamericana de Publicaciones, which was set up with the financial support of the Bauer Bank. Despite their good credentials and undoubtedly extremely noble intentions, these initiatives were all to end in failure. The extreme heteronomy of the Spanish literary and artistic fields and the political polarisation between the wars explain why not only the PEN Clubs, but also other associations turned out not to be feasible in that period. [less ▲]

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See detailLe mouvement intéllectuel et artistique en Espagne durant le premier tiers du 20e siècle
Ceballos Viro, Alvaro ULg

Conference given outside the academic context (2011)

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See detailLa collection comme objet éditorial (siècles XVIII-XX): état de la question
Ceballos Viro, Alvaro ULg

Conference (2011, January 28)

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See detailEl astronauta en el mesón
Ceballos Viro, Alvaro ULg

in Juan PÉREZ ZÚÑIGA, Seis días fuera del mundo (Viaje inoluntario) / Sei giorni fuori dal mondo (Viaggio involontario) (2011)

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See detailEl homenaje de 1930 a Juan Ruiz: sinécdoque y silepsis
Ceballos Viro, Alvaro ULg

in Toro Ceballos, Francisco; Godinas, Laurette (Eds.) Juan Ruiz, Arcipreste de Hita, y el "Libro de buen amor". Congreso homenaje a Jacques Joset (2011)

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See detailThe Foreign Series by Herder Verlag by 1900: International Catholic Literature
Ceballos Viro, Alvaro ULg

in Spiers, John (Ed.) The Culture of the Publisher's Series, Volume 2. Nationalisms and the National Canon (2011)

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See detailHamlet = Don Juan. L'unique pièce de Buñuel et son contexte culturel
Ceballos Viro, Alvaro ULg

Article for general public (2010)

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See detailLa revista que era todas las revistas: ¡Alegría! (1907-1908)
Ceballos Viro, Alvaro ULg

in La morfología de la prensa y del impreso: la función expresiva de las formas. Homenaje a Jean-Michel Desvois (2010)

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See detailDie "Colección de autores españoles" von F. A. Brockhaus (1860-1887): rentabler Konservatismus
Ceballos Viro, Alvaro ULg

in Witthaus, Jan-Henrik (Ed.) Beiträge zur Nationalisierung der Kultur im Spanien des aufgeklärten Absolutismus (2010)

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See detail¿Quién mató a Santiago Nasar? Indicios arabamericanos en una crónica de cuatrocientos años de soledad
Ette, Ottmar; Ceballos Viro, Alvaro ULg

in Rodrigues-Moura, Enrique (Ed.) Indicios, señales y narraciones. Literatura policíaca en lengua española (2010)

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See detailFederico García Lorcas Marionettentheater
Ceballos Viro, Alvaro ULg

in Das Andere Theater (2009), 73

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See detailEdiciones alemanas en español (1850-1900)
Ceballos Viro, Alvaro ULg

Book published by Iberoamericana / Vervuert (2009)

Durante el siglo XIX, numerosos libros españoles se imprimieron fuera de España. Son célebres, por ejemplo, las ediciones en castellano de casas francesas como Garnier o Baudry. Mediado el siglo, varias ... [more ▼]

Durante el siglo XIX, numerosos libros españoles se imprimieron fuera de España. Son célebres, por ejemplo, las ediciones en castellano de casas francesas como Garnier o Baudry. Mediado el siglo, varias editoriales alemanas entraron en la liza y comenzaron a exportar textos en español de forma masiva. Brockhaus publicó la importante “Colección de autores españoles”, así como cientos de miles de ejemplares a cuenta de la república de Chile; el editor Herder puso en el mercado hispanohablante varias colecciones de novelas piadosas; por toda la geografía germana proliferaron, en fin, las ediciones de manuales, diccionarios, gramáticas y clásicos de la literatura anotados para la enseñanza del español. El presente volumen constituye el primer estudio sistemático, cuantitativo y cualitativo de este fenómeno, un fenómeno en el cual el capitalismo internacional y el nacionalismo cultural parecen ir, curiosamente, de la mano. [less ▲]

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See detailEl viaje a la luna de Juan Pérez Zúñiga: _Seis días fuera del mundo_
Ceballos Viro, Alvaro ULg

in López Pellisa, Teresa; Ángel Moreno, Fernando (Eds.) Ensayos sobre ciencia ficción y literatura fantástica (2009, December)

En 1905 el escritor festivo publicó una interesante parodia de la novela de H. G. Wells _First Men on the Moon_, que había sido traducida al español aquel mismo año. Esta parodia puede considerarse una ... [more ▼]

En 1905 el escritor festivo publicó una interesante parodia de la novela de H. G. Wells _First Men on the Moon_, que había sido traducida al español aquel mismo año. Esta parodia puede considerarse una muestra del interés que ya para entonces despertaba el novelista inglés en España. Ahora bien, el modo en que Pérez Zúñiga transforma el argumento de Wells es síntoma no sólo de una visión desencantada del mundo, sino también de un profundo escepticismo respecto de las virtudes de la ciencia. [less ▲]

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See detailPolítica en verso: las "Coplas del día" de Luis de Tapia
Ceballos Viro, Alvaro ULg

in Serrano Alonso, Javier; de Juan Bolufer, Amparo (Eds.) Literatura hispánica y prensa periódica (1875-1931). Actas del congreso internacional, Lugo, 25-28 de noviembre de 2008 (2009)

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