The Spanish Arcadia analyzes the figure of the shepherd in the sixteenth- and seventeenth-century Spanish imaginary, exploring its centrality to the discourses on racial, cultural, and religious identity. Drawing on a wide range of documents, including theological polemics on blood purity, political treatises, manuals on animal husbandry, historiography, paintings, epic poems, and Spanish ballads, Javier Irigoyen-García argues that the figure of the shepherd takes on extraordinary importance in the reshaping of early modern Spanish identity. The Spanish Arcadia contextualizes pastoral romances within a broader framework and assesses how they inform other cultural manifestations. In doing so, Irigoyen-García provides incisive new ideas about the social and ethnocentric uses of the genre, as well as its interrelation with ideas of race, animal husbandry, and nation building in early modern Spain.

The Spanish Arcadia analyzes the figure of the shepherd in the sixteenth- and seventeenth-century Spanish imaginary, exploring its centrality to the discourses on racial, cultural, and religious identity. Drawing on a wide range of documents, including theological polemics on blood purity, political treatises, manuals on animal husbandry, historiography, paintings, epic poems, and Spanish ballads, Javier Irigoyen-García argues that the figure of the shepherd takes on extraordinary importance in the reshaping of early modern Spanish identity. The Spanish Arcadia contextualizes pastoral romances within a broader framework and assesses how they inform other cultural manifestations. In doing so, Irigoyen-García provides incisive new ideas about the social and ethnocentric uses of the genre, as well as its interrelation with ideas of race, animal husbandry, and nation building in early modern Spain.

Annotation The Spanish Arcadia analyzes the figure of the shepherd in the sixteenth- and seventeenth-century Spanish imaginary, exploring its centrality to the discourses on racial, cultural, and religious identity. Drawing on a wide range of documents, including theological polemics on blood purity, political treatises, manuals on animal husbandry, historiography, paintings, epic poems, and Spanish ballads, Javier Irigoyen-Garca argues that the figure of the shepherd takes on extraordinary importance in the reshaping of early modern Spanish identity. The Spanish Arcadia contextualizes pastoral romances within a broader framework and assesses how they inform other cultural manifestations. In doing so, Irigoyen-Garca provides incisive new ideas about the social and ethnocentric uses of the genre, as well as its interrelation with ideas of race, animal husbandry, and nation building in early modern Spain.

An English-language debut that reveals and subverts contemporary conceptions of normative sexuality, capitalist culture, and environmental degradation. Winner, Prix du Livre Inter, 2019 Shortlisted for the Prix Femina, Prix Medicis, Prix de Flore Longlisted for the Prix France-Culture, Prix Wepler Farah moves into Liberty House—an arcadia, a community in harmony with nature—at the tender age of six, with her family. The commune’s spiritual leader, Arcady, preaches equality, non-violence, anti-speciesism, free love, and uninhibited desire for all, regardless of gender, age, looks, or ability. At fifteen, Farah learns she is intersex, and begins to go beyond the confines of gender, as she explores the arc of her own desires. What, Farah asks, is a man or a woman? What does it mean to be part of a community? What is utopia when there are refugees nearby seeking shelter who cannot enter? Emmanuelle Bayamack-Tam delivers a magisterial novel, both a celebration and a critique of innocence in the contemporary world.

From Theocritus’ Idylls to James Cameron’s Avatar, Arcadia remains an enduring presence in world culture and a persistent source of creative inspiration. Why does Arcadia still exercise such a powerful pull on the imagination? This book responds by arguing that in sixteenth-century Europe, a dramatic shift took place in imagining Arcadia. The traditional visions of Arcadia collided and fused with romance, the new experimental form of prose fiction, producing a hybrid, dynamic world of change and transformation. Emphasizing matters of fictional function and world-making over generic classification, Imagining Arcadia in Renaissance Romance analyzes the role of romance as a catalyst in remaking Arcadia in five, canonical sixteenth-century texts: Sannazaro’s Arcadia; Montemayor’s La Diana; Cervantes’ La Galatea; Sidney’s Arcadia; and Lope de Vega’s Arcadia. Collins’ analyses of the re-imagined Arcadia in these works elucidate the interplay between timely incursions into the fictional world and the timelessness of art, highlighting issues of freedom, identity formation, subjectivity and self-fashioning, the intersection of public and private activity, and the fascination with mortality. This book addresses the under-representation of Spanish literature in Early Modern literary histories, especially regarding the rich Spanish contribution to the pastoral and to idealizing fiction in the West. Companion chapters on Cervantes and Sidney add to the growing field of Anglo-Spanish comparative literary studies, while the book’s comparative and transnational approach extends discussion of the pastoral beyond the boundaries of national literary traditions. This book’s innovative approach to these fictional worlds sheds new light on Arcadia’s enduring presence in the collective imagination today.

Pierre Part and Belle River rest in an area once known as the Atchafalaya Basin. Between 1770 and 1773, a young Canadian named Pierre Part set foot on the banks of what he called La Bay de Lac Verret. He was with the Spanish colonial militia under the command of Commandant Nicholas Verret Sr., a French Canadian. Part considered this place a beautiful wilderness and asked his superior for permission to establish a settlement--his request was not granted. The military returned Part to the Spanish military post at Valenzuela, and although he never made this area his home, his name remains. Other French explorers came much earlier than Part, and some of the area's waterways bear French names: Le Belle Rivere, Le Lac de Natchez, Bayou de Magazille, Bayou de Lantania (Palmetto), Bayou de Postillion, Le Lac de Palourde, and Le Bayou Milhomme. In 1780, Acadian French-speaking people moved to Pierre Part from Burlie des Olivers and Burlie Saint Vincent. Small groups came and settled together at various places within sight of each other. In 1803, a small settlement of families, which is believed to have included the Solors and Berthelots and later the Heberts and the Pipsairs, settled on the banks of Lake Verret, where Bayou Pierre Part flows into the lake.