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The Spanish–American War, known in Spain as the Disaster of the 98 or War of Cuba, arose between Spain and the United States in 1898, during the regency of María Cristina, widow of the king Alfonso XII. For Spain it meant the loss of the overseas colonies and the end of the formerly powerful Spanish empire.
The literature of Spanish America is an important branch of Spanish literature, with its own particular characteristics dating back to the earliest years of Spain’s conquest of the Americas (see Latin American literature).
This course is based on improving skills in written Spanish and critical reading of advanced Spanish and Latin American literature. [1] [2] It is typically taught as a Spanish V or VI course. The AP Spanish Literature course is designed to be comparable to a third-year college/university introductory Hispanic literature course.
In Aspects of Spanish-American Literature, Arturo Torres-Ríoseco writes (1963), [1] Modernismo influences the meaning behind words and the impact of poetry on culture. Modernismo , in its simplest form, is finding the beauty and advances within the language and rhythm of literary works.
This course is primarily a comprehensive review of all previous knowledge pertaining to the Spanish language. This class builds upon the skills developed within introductory and intermediate Spanish classes by applying each skill to a specific, contemporary context; common themes include health, education, careers, literature, history, family, relationships, and the environment.
Spanish-language literature or Hispanic literature is the sum of the literary works written in the Spanish language across the Hispanic world. The principal elements are the Spanish literature of Spain, and Latin American literature .
Julio Florencio Cortázar [1] (26 August 1914 – 12 February 1984; Latin American Spanish: [ˈxuljo koɾˈtasaɾ] ⓘ) was an Argentine and naturalised French novelist, short story writer, poet, essayist, and translator.
The gods become farces. It is a manner very Spanish, a demiurge manner, that doesn't believe to be in any way made of the same earth as its dolls." [7] Valle-Inclán refers to esperpento, as he sees it, as having precedence in the literature of Francisco de Quevedo and the paintings of Francisco de Goya. According to Valle-Inclán: