Results 181 to 190 of about 625,223 (234)
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PMLA/Publications of the Modern Language Association of America, 2013
Por lo menos, ¿sabes si Dios ha muerto? —concluyó antes de retirarse del balcón—. ¿Qué sabes?Nada. ¿Cómo te llamas?Federico. Federico Nietzsche.—Carlos Fuentes, Federico en su balcónThe death of Carlos Fuentes means the end of an era that began with La región más transparente (1958; Where the Air Is Clear) and concludes with the posthumous Federico en ...
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Por lo menos, ¿sabes si Dios ha muerto? —concluyó antes de retirarse del balcón—. ¿Qué sabes?Nada. ¿Cómo te llamas?Federico. Federico Nietzsche.—Carlos Fuentes, Federico en su balcónThe death of Carlos Fuentes means the end of an era that began with La región más transparente (1958; Where the Air Is Clear) and concludes with the posthumous Federico en ...
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The Age of Time according to Carlos Fuentes
PMLA/Publications of the Modern Language Association of America, 2013Born on 11 November 1928, Carlos Fuentes on 15 May 2012 met on Parnassus the princes of word and vision that one of his deceased characters dreamed of in El naranjo (1993; The Orange Tree). If, as he wrote in Constancia y otras novelas para vírgenes (1990; “Constancia” and Other Stories for Virgins), readers are the ghosts of writers (296), the author ...
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Science Fiction Studies, 1993
In discussing why Mexico, a nation obsessed with its collective past, does not have a solid tradition in SF, this brief essay examines Carlos Fuentes’s interest in chronological and “cultural” time and analyzes his very limited interest in SF. It distinguishes between SF and mythic writing (i.e., “magical realism”) and, after placing in context some of
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In discussing why Mexico, a nation obsessed with its collective past, does not have a solid tradition in SF, this brief essay examines Carlos Fuentes’s interest in chronological and “cultural” time and analyzes his very limited interest in SF. It distinguishes between SF and mythic writing (i.e., “magical realism”) and, after placing in context some of
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Film Quarterly, 2015
This essay is an introduction to the first English-language publication of a chapter from Carlos Fuentes's Spanish-language book Pantallas de Plata (Silver Screens). Fuentes, one of Mexico's most widely read novelists abroad and one of the leading Latin American writers of the twentieth century, had a long and passionate relationship with cinema.
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This essay is an introduction to the first English-language publication of a chapter from Carlos Fuentes's Spanish-language book Pantallas de Plata (Silver Screens). Fuentes, one of Mexico's most widely read novelists abroad and one of the leading Latin American writers of the twentieth century, had a long and passionate relationship with cinema.
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The Writings of Carlos Fuentes
Chasqui, 1997Ken Hall, Raymond Leslie Williams
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