Viviana Díaz Balsera - Böcker

Commemorating Juan Ponce de León’s landfall on the Atlantic coast of Florida, this ambitious volume explores five centuries of Hispanic presence in the New World peninsula, reflecting on the breadth and depth of encounters between the different lands and cultures.The contributors, leading experts in a range of fields, begin with an examination of the first and second Spanish periods. This was a time when La Florida was an elusive possession that the Spaniards were never able to completely secure; but Spanish influence would nonetheless leave an indelible mark on the land. In the second half of this volume, the essays highlight the Hispanic cultural legacy, politics, and history of modern Florida, and expand on Florida’s role as a modern Trans-Atlantic cross roads.Melding history, literature, anthropology, music, culture, and sociology, La Florida is a unique presentation of the Hispanic roots that run deep in Florida’s past and present and will assuredly shape its future.

Commemorating Juan Ponce de León's landfall on the Atlantic coast of Florida, this ambitious volume explores five centuries of Hispanic presence in the New World peninsula, reflecting on the breadth and depth of encounters between the different lands and cultures.The contributors, leading experts in a range of fields, begin with an examination of the first and second Spanish periods. This was a time when La Florida was an elusive possession that the Spaniards were never able to completely secure; but Spanish influence would nonetheless leave an indelible mark on the land. In the second half of this volume, the essays highlight the Hispanic cultural legacy, politics, and history of modern Florida and expand on Florida's role as a modern transatlantic cross roads.Melding history, literature, anthropology, music, culture, and sociology, La Florida is a unique presentation of the Hispanic roots that run deep in Florida's past and present and will assuredly shape its future.

Pedro Calderon de la Barca (1600-1681) is generally acknowledged to be the master author of autos sacramentales, one-act pageant plays that usually dramatize the myths of the Fall and Redemption. Since the auto was supervised by both the church and the state, it is typically held to be an art form that serves theology and the dominant powers of the time. Basing her examination of Calderon's autos on modern theories of allegory, Viviana Diaz Balsera focuses on the seductive power of the dramatic, visible level of the allegorical auto and questions the widely held assumption that Calderon's autos harmonize the dramatic and religious discourses that constitute them. In her readings of Los encantos de la Culpa, Eljardin de Falerina, La nave del Mercador, La vida es sueflo, and Lo que va del Hombre a Dios, she instead finds a disjunction between the literal, poetic level and the religious, theological meaning. With its splendid scenes, poetic fables, and elaborate music, the auto ironically has the potential to reproduce the seductive function it frequently attributes to the Devil and/or the forces of evil. Rather than the dogmatic champion of the Catholic Church, the auto emerges as conflictive, ambivalent, and moving, participating in the very dangers of sensual pleasures it seeks to warn against.