Coleccin Tmesis
SERIE A: MONOGRAFAS, 294
A COMPANION TO
SPANISH WOMENS STUDIES
After an introductory survey of the development of womens studies in the context of Spain, twenty-one chronologically ordered essays by scholars from Britain, the United States, Spain and Mexico explore womens roles in the cultural production of their time from the Middle Ages to the present.
The essays of the first half examine the work of the earliest women writers and artists - memoirs and meditations, novellas and plays - and the representation or self-representation of women in a broad sweep of texts including medieval folksong, hagiography, and painting of the Baroque era.
The modern section focuses on womens participation in politics and culture from the eighteenth century onwards: as translators and essayists, as consumers of visual ephemera and conduct books, as writers and artists, film directors and performers.
An alternative and supplement to standard literary histories, this volume offers new insights into womens agency and representation in the cultural heritage of Spain. It will prove a useful and stimulating resource for students at all levels, and an accessible guide for the general reader.
XON DE ROS and GERALDINE HAZBUN lecture in Spanish literature at the University of Oxford.
Tamesis
Founding Editors
J. E. Varey
Alan Deyermond
General Editor
Stephen M. Hart
Series Editor of
Fuentes para la historia del teatro en Espaa
Charles Davis
Advisory Board
Rolena Adorno
John Beverley
Efran Kristal
Jo Labanyi
Alison Sinclair
Isabel Torres
Julian Weiss
LIST OF ILLUSTRATIONS
Womens Artistic Production and Their Visual Representation in Early Modern Spain
Plate 1 | Luisa Roldn, The Virgin and Child with St Diego of Alcal , 169095. Victoria and Albert Museum, London (V&A: 2501864). |
Plate 2 | Jos Ribera, Assumption of Mary Magdalene , 1636. Museo de la Real Academia de Bellas Artes de San Fernando, Madrid. |
Plate 3 | Sofonisba Anguissola, Self-Portrait at the Easel , c.1556. Castle Museum, Lancut, Poland. |
What They Saw: Womens Exposure to and in Visual Culture in Nineteenth-Century Spain
Plate 4 | Page from a womans album. Purchased at Paperantic Madrid. VII Saln del Coleccionismo. 11 November 2007. |
Plate 5 | Dance card. Biblioteca Nacional, Madrid, Ephemera Collection, Catalogue 13-C, no. 3. |
Plate 6 | Calendar advertisement for Comercio Jos Ovelar. Biblioteca Nacional, Madrid, Ephemera Collection, Catalogue 36, no. H-12. |
The Theatricalized Self: Women Artists in Masquerade from 1920 to the Present
Plate 7 | Cover of La garzona , by Victor Margueritte, Madrid, 1924(?) Courtesy of the Biblioteca Nacional, Madrid. |
Plate 8 | El nio la est mirando (1996) by Ouka Leele ( Brbara Allende). Courtesy of the artist. |
Plate 9 | Semilla (1993) by Ouka Leele (Brbara Allende). Courtesy of the artist. |
ACKNOWLEDGEMENTS
The editors are grateful to the John Fell Fund for its assistance with publication costs.
They would also like to acknowledge financial contributions towards the cost of the illustrations from Birkbeck College, Queens University Belfast, the State University of New York at Stony Brook and Lady Margaret Hall, University of Oxford.
The editors would also like to thank Maria Garca Li
eira for help with the index, and Elspeth Ferguson, Vanda Andrews and the editorial team at Boydell & Brewer for their excellent work.