Andrés Lema-Hincapié

Conxita Domènech

Saberes con sabor: Culturas hispánicas a través de la cocina es un manual avanzado que responde al creciente interés por el estudio de las prácticas culinarias y alimenticias de Ibero-América, sin desatender ni la lengua ni la cultura de esas regiones del mundo. Cada capítulo comprende aspectos vinculados con recetas, lengua, arte y teoría. Los estudiantes son expuestos a temas de geografía, historia, literatura, política, economía, religión, música e, incluso, cuestiones de género que estarían implicadas en la elaboración y en el consumo de ciertas comidas. Y, esto, mientras mejoran sus habilidades en temas esenciales y específicos del español. A lo largo del libro, están incorporados materiales de internet —como vínculos para videos, registros sonoros, referencias históricas, sitios web de cocina y contenidos suplementarios para la investigación. Muy útil en cursos universitarios, Saberes con sabor es un recurso original y único de aprendizaje para estudiantes fascinados por los placeres del paladar y, de igual manera, con una genuina pasión por las culturas hispánicas.

Culturas hispánicas a través de la cocina

Saberes con sabor

Pedro Almódovar may have helped put queer Iberian cinema on the map, but there are also multitudes of other LGBTQ filmmakers from Catalonia, Portugal, Castile, Galicia, and the Basque Country who have made the Peninsula one of the world’s most vital sources for queer film. Together, they have produced a cinema whose expressions of queer desire have challenged the region’s conservative religious and family values, while intervening in vital debates about politics, history, and nation. Iberian Queer Cinema is a unique collection that offers in-depth analyses of fifteen different films, each by a different director, produced in the region over the past fifty years, from Narciso Ibáñez Serrador’s La residencia (The House That Screamed, 1970) to João Pedro Rodrigues’ O ornitólogo (The Ornithologist, 2016). Together, they show how queer Iberian cinema has responded to historical traumas ranging from the AIDS crisis to the repressive and homophobic Franco regime. Yet they also explore how these films gesture towards a more fluid understanding of sexuality, gender, and national identity. This book will thus give readers a new appreciation for both the cultural diversity of Iberia and the richness of its moving and thought-provoking queer cinema. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Iberian Queer Cinema

Indiscreet Fantasies

Letras Hispánicas en la Gran Pantalla is an innovative textbook for advanced students of Hispanic studies, which merges the studies of canonical literary works and their film adaptions. Students are guided through key literary masterpieces spanning from the Renaissance to the present day while, at the same time, interpreting their film versions. This parallel approach encourages students to develop their analytical skills as they master the terminology of contemporary studies in literature and cinema. Exploring complete works by both male and female authors and directors from Argentina, Chile, Colombia, Costa Rica, Mexico, and Spain, Letras Hispánicas en la Gran Pantalla allows students discover the astounding diversity of the Spanish-speaking world, in a unique and engaging way.

De la literatura al cine

Letras hispánicas en la gran pantalla

Debra A. Castillo

Provides sophisticated theoretical approaches to Latin American cinema and sexual culture. Despite All Adversities examines a representative selection of notable queer films by Spanish America’s most important directors since the 1950s. Each chapter focuses on a single film and offers rich and thoughtful new interpretations by a prominent scholar. The book explores films from across the region, including Tomás Gutiérrez Alea’s and Juan Carlos Tabío’s Fresa y chocolate (Strawberry and Chocolate, 1993), Marcelo Piñeyro’s Plata quemada (Burnt Money, 2000), Barbet Schroeder’s La Virgen de los Sicarios (Our Lady of the Assassins, 2000), Lucía Puenzo’s XXY (XXY, 2007), Francisco J. Lombardi’s No se lo digas a nadie (Don’t Tell Anyone, 1998), Arturo Ripstein’s El lugar sin límites (Hell Without Limits, 1978), among others. A survey of recent lesbian-themed Mexican films is also included.

Andrés Lema-Hincapié

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