Much scholarship on The Picture of Dorian Gray has focused on its possible textual sources and its place in literary traditions. This article demonstrates that by contextualizing the novel in the history of art and the tradition of British portraiture, we are able to answer significant yet overlooked questions such as why Wilde chose “picture” rat…[Read more]

Much scholarship on The Picture of Dorian Gray has focused on its possible textual sources and its place in literary traditions. This article demonstrates that by contextualizing the novel in the history of art and the tradition of British portraiture, we are able to answer significant yet overlooked questions such as why Wilde chose “picture” rat…[Read more]

Much scholarship on The Picture of Dorian Gray has focused on its possible textual sources and its place in literary traditions. This article demonstrates that by contextualizing the novel in the history of art and the tradition of British portraiture, we are able to answer significant yet overlooked questions such as why Wilde chose “picture” rat…[Read more]

The recent surge of interest in Afrofuturism has resulted in some groundbreaking work looking at the ways technology and race intersect in film, fashion, music and literature, as is evidenced by the important collection of essays “Afrofuturism 2.0” (2016), edited by Reynaldo Anderson and Charles E. Jones. However there has not yet been an aca…[Read more]

The recent surge of interest in Afrofuturism has resulted in some groundbreaking work looking at the ways technology and race intersect in film, fashion, music and literature, as is evidenced by the important collection of essays “Afrofuturism 2.0” (2016), edited by Reynaldo Anderson and Charles E. Jones. However there has not yet been an aca…[Read more]

The recent surge of interest in Afrofuturism has resulted in some groundbreaking work looking at the ways technology and race intersect in film, fashion, music and literature, as is evidenced by the important collection of essays “Afrofuturism 2.0” (2016), edited by Reynaldo Anderson and Charles E. Jones. However there has not yet been an aca…[Read more]

The convivencia between the followers of the different religions of the Mediterranean persisted despite the fraught politics of Christianity and Islam. Despite the long arm of the Inquisition the protagonists in the plays of Cervantes and Lope struggle to maintain fraternal ties.

The convivencia between the followers of the different religions of the Mediterranean persisted despite the fraught politics of Christianity and Islam. Despite the long arm of the Inquisition the protagonists in the plays of Cervantes and Lope struggle to maintain fraternal ties.

The convivencia between the followers of the different religions of the Mediterranean persisted despite the fraught politics of Christianity and Islam. Despite the long arm of the Inquisition the protagonists in the plays of Cervantes and Lope struggle to maintain fraternal ties.

Despite being an army officer Don Fernando is drawn towards the Muslim Princess Arlaxa. He defies army convention to meet her much to the chagrin of fellow Spanish soldiers in the presidio where they are stationed.

Despite being an army officer Don Fernando is drawn towards the Muslim Princess Arlaxa. He defies army convention to meet her much to the chagrin of fellow Spanish soldiers in the presidio where they are stationed.

Despite being an army officer Don Fernando is drawn towards the Muslim Princess Arlaxa. He defies army convention to meet her much to the chagrin of fellow Spanish soldiers in the presidio where they are stationed.

This article discusses “politically correct” desire as opposed to the outlaw desire of witches and non Christians. Though the leading couple is shown most favourably yet the portrayal of the Others raises questions in the mind of the reader which is what Cervantes might have intended.

Despite prevailing stereotypes, the Muslim women in Cervantes’ captivity plays are forthright, ambitious and endowed with considerable agency. Though there is no evidence that Cervantes had read Erasmus, yet his portrayal of women shows them as standing their ground during adversity.

Despite prevailing stereotypes, the Muslim women in Cervantes’ captivity plays are forthright, ambitious and endowed with considerable agency. Though there is no evidence that Cervantes had read Erasmus, yet his portrayal of women shows them as standing their ground during adversity.

In this article I try to show how the Mexican Revolution was not only national in nature but also helped ordinary individuals break down barriers in their personal lives. The protagonist of Nadie me verá llorar was considered a madwoman in Porfirian society and with the Revolution she comes into her own and finds a space in post revolutionary Mexico D.F.