En las bases de la convocatoria del Premio Reina Sofía de Poesía Iberoamericana se hace constar que el premiado recibe como parte del galardón la “edición de un volumen con una recopilación antológica de poemas del autor premiado, para divulgar su obra y sin finalidad lucrativa, que será publicado por Ediciones Universidad de Sala- manca”. Ese gran encargo, realizado por Patrimonio Nacional y la Universidad de Salamanca, comenzó en 1992 con la edición del libro Cinco visiones de Gonzalo Rojas que prologó la profesora Carmen Ruiz Barrionuevo. Mas con aquel poemario se inició una nueva etapa para Ediciones Universidad de Salamanca. En lo propiamente editorial dio origen a una colección, la Biblioteca de América, que año tras año se ha ido enriqueciendo con los títulos de los sucesivos poetas galardonados: Claudio Rodríguez, João Cabral de Melo Neto, José Hierro, Ángel González, Álvaro Mutis, José Ángel Valente, Mario Benedetti, Pere Gimferrer, Nicanor Parra, José Antonio Muñoz Rojas, Sophia de Mello, José Manuel Caballero Bonald, Juan Gelman, Antonio Gamoneda, Blanca Varela, Pablo García Baena, José Emilio Pacheco, Francisco Brines y, en esta vigésima ocasión, con la poeta cubana Fina García Marruz. Todos ellos aportaron un enorme valor a la nómina de autores que engrosan nuestro catálogo y dotaron a la colección de una relevancia literaria y editorial que mereció el reconocimiento, al ser premiada como mejor colección, de la Unión de Editoriales Universitarias Españolas (UNE) en el año 2006.

Four novellas featuring Maqroll, an international adventurer. One moment he is smuggling arms for liberation groups, the next digging for gold in the jungles of Peru, nearly getting himself killed by his woman, gone mad. The tale of a man without a country who recognizes no law, but that of fortune. By the author of Maqroll, a Colombian-born Mexican.

From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors—including specialists in dance, music, anthropology, linguistics, literature, film, and fine art—take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries. Contributors. Esteban Buch, Oscar Conde, Antonio Gómez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti

"Jose Emilio Pacheco (1939- ) is Mexico's foremost living poet, and a major figure in contemporary Latin American poetry. Jose Emilio Pacheco and the Poets of the Shadows examines the dynamic of literary influence and the question of literary origins in Pacheco's first six books of poetry (1960s to mid-1980s). Ronald J. Friis appropriates Bloom's theory of poetic influence to investigate how Pacheco deploys literary allusions and intertextual references as a means of decentering the traditional centrality of the figure of the author. The poets of the shadows to which the title refers include Pacheco's precursors from prior generations of Mexican and Latin American literature, particularly Jorge Luis Borges, Alfonso Reyes, and Octavio Paz."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

In words and photographic portraits, the authors bring together forty-eight of Mexico's most acclaimed artists -- among them Carlos Fuentes and Octavio Paz -- in the performing, visual, and literary arts, displaying the creative powers of a nation.

This book endeavours to pinpoint the relations between musical, and especially instrumental, practice and the evolving conceptions of pitch systems. It traces the development of ancient melodic notation from reconstructed origins, through various adaptations necessitated by changing musical styles and newly invented instruments, to its final canonical form. It thus emerges how closely ancient harmonic theory depended on the culturally dominant instruments, the lyre and the aulos. These threads are followed down to late antiquity, when details recorded by Ptolemy permit an exceptionally clear view. Dr Hagel discusses the textual and pictorial evidence, introducing mathematical approaches wherever feasible, but also contributes to the interpretation of instruments in the archaeological record and occasionally is able to outline the general features of instruments not directly attested. The book will be indispensable to all those interested in Greek music, technology and performance culture and the general history of musicology.