Barbara Fuchs je profesorkou španělštiny a portugalštiny a profesorkou angličtiny na Kalifornské univerzitě v Los Angeles. Její kniha 'Exotic Nation: Maurophilia and the Construction of Early Modern Spain' je rovněž dostupná pod hlavičkou nakladatelství University of Pennsylvania Press.
The book examines the dynamics of imitation among early modern European powers through literary and historiographical texts from the sixteenth and early seventeenth centuries, focusing on Spain, Italy, England, and the New World. It addresses European depictions of New World subjects and Islam, enriching the understanding of early modern imperialism with insights from the Mediterranean context. Key themes include literary transmission, imperial ideology, colonial identities, and issues of counterfeits and piracy, providing a comprehensive view of cultural exchanges during this period.
Picaresque Reading in the Early Modern Hispanic World
208 stránek
8 hodin čtení
Engaging with the picaresque genre, Barbara Fuchs explores how these literary strategies challenge the nature of truth-telling. The book reveals how picaresque texts prompted readers to critically examine the truth claims embedded in the dominant discourses of Imperial Spain, encouraging a deeper understanding of authority and narrative.
Offering one of the first scholarly examinations of digital and distanced performance since the global shutdown of theaters in March 2020, Barbara Fuchs provides both a record of the changes and a framework for thinking through theater's transformation. Though born of necessity, recent productions offer a new world of practice, from multi-platform plays on Zoom, WhatsApp, and Instagram, to enhancement via filters and augmented reality, to urban distanced theater that enlivens streetscapes and building courtyards. Based largely outside the commercial theater, these productions transcend geographic and financial barriers to access new audiences, while offering a lifeline to artists. This study charts how virtual theater puts pressure on existing assumptions and definitions, transforming the conditions of both theater-making and viewership. How are participatory, site-specific, or devised theater altered under physical-distancing requirements? How do digital productions blur the line between film and theater? What does liveness mean in a time of pandemic? In its seven chapters, Theater of Lockdown focuses on digital and distanced productions from the Americas, Europe, and Australia, offering scholarly analysis and interviews. Productions examined include Theater in Quarantine's "closet work" in New York; Forced Entertainment's (Sheffield, UK), End Meeting for All, I, II, and III; the work of Madrid-based company Grumelot; and the virtuosic showmanship of EFE Tres in Mexico City
