This is the book to take with you to Spain: an absorbing, well-written account of Spanish cultural history from prehistory to the Romans, Jews, Moors and Golden Age, and on to Franco and his legacy in modern Spain. Originally published in 1963, the book reflects the author's personally gleaned wisdom, lore and deep insights into the Spanish people and their psychology -- as shaped by geography and history.
John Armstrong Crow(1906—2001),Professor of Spanish, Emeritus,Los Angeles
A courtly southern gentleman, John Armstrong Crow was born in Wilmington NC, at the beginning of the last century. He was tall and distinguished, with white hair and a slight stoop in later life that only accentuated his dignified presence. Although he had made his home in Los Angeles since 1937, he always retained a trace of genteel southern accent, lost only when he spoke an equally courtly Castilian Spanish. His death marks the end of an era.
Professor Crow began his graduate education with a master’s degree at Columbia University in the late 1920s. This was the period when the Spanish poet Federico García Lorca visited New York and wrote his surrealistic collection Poeta en Nueva York. Lorca was staying in a student dormitory at Columbia, a few doors down the hall from Crow, who was the only other Spanish speaker nearby. Crow became Lorca’s unofficial guide to New York. They coincided again in Madrid, in the Residencia de Estudiantes. Crow’s book on Lorca, titled simply Federico García Lorca (1945), contains autobiographical reminiscences penned by the poet and passed on to Crow by one of his friends, as well as Crow’s own recollections of Lorca in New York. Crow continued his graduate work in Spain, earning his doctorate at the University of Madrid in 1933. Living and studying in Madrid during the second republic, on the eve of the Spanish civil war, being integrated by Lorca into the intellectual ferment of the Residencia de Estudiantes was an invaluable experience.
In 1937 he came to UCLA, where he remained until his retirement in 1974. His career was distinguished. He was twice chair of his department. On one occasion he drew on his student experience in republican Spain, when he was called upon to provide a detailed letter explaining that the appointment of a Spanish Socialist fleeing a repressive dictatorship did not pose a security threat to the United States.
Although his academic formation was marked by the Eurocentrism typical of his time, John Crow made his professional mark as a Latin Americanist. He is one of a few pioneers who elevated the study of Latin American literature and culture to the status of an academic discipline in the “good neighbor” era that began during World War II. He formed part of a distinguished group of scholars who established UCLA as a center of interest in Latin America and laid the foundation for our current eminence in the field.
His landmark Epic of Latin America (Doubleday 1946), itself of epic sweep and grandeur, was one of very first works by a scholar to organize the immense variety—geographical, historical, cultural—of the vast and then generally unknown world south of the United States. It is one of the founding texts of the discipline of Latin American studies. The book oriented several generations of students at UCLA, where it was required for the undergraduate course on Latin American civilization. Crow had a gift for making scholarly writing intelligible and entertaining, with the result that his books have been published by commercial houses and have reached a wide audience outside the academy. Both The Epic of Latin America and the somewhat less fortunate Spain: the Root and the Flower (Harper and Row, 1963) continue to be commercially viable in 2002.
As a teacher, Crow was always active and engaged. He developed and taught a lively undergraduate elective in Hispanic folk music, using a songbook he had prepared featuring folk songs he had gathered from throughout the Spanish-speaking world, including California, where in the nineteenth century they used to sing: “Los yanquis dicen ‘kiss me’, y ellas dicen ‘yes’.” He continued to direct doctoral students well after his retirement.
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这本书给我带来的最大感受是关于“身份认同”的持续性焦虑。它似乎在探讨一个核心问题:在一个不断被外部力量重塑的土地上,那些深植于土壤中的传统和身份,究竟是以何种韧性得以延续?作者用了大量的篇幅来追溯那些看不见的文化脐带,那些代代相传的仪式、禁忌和对“故土”的集体记忆。这种追溯是细致入微的,几乎是考古学式的挖掘。我感觉自己仿佛站在历史的十字路口,看着不同的文化流派互相冲撞、融合,又互相排斥。书中对“流亡”和“回归”这两个母题的探讨尤其深刻,它揭示了身份认同如何在空间和时间的断裂中得以维系。不过,这本书的结论部分处理得略显仓促,在铺垫了如此宏大而复杂的历史背景之后,作者似乎急于收束,使得最后的几章的论证力度不如前半部分那样令人信服。尽管如此,这本书无疑提供了一个极好的平台,让我重新审视“家园”这个概念的复杂性和多义性。对于任何对民族志、文化心理学感兴趣的人来说,这本书提供的视角是极具启发性的,它让人开始思考,我们今天所认为的“我们是谁”,究竟有多少是真正的自我,又有多少是被历史强加的标签。
评分这本书的结构设计非常大胆,甚至可以说是有些令人困惑。它不是按照严格的时间顺序来展开叙事的,而是采用了碎片化、多视角的叙事手法,像是在解构一个复杂的万花筒。起初,我花费了相当大的精力去适应这种叙事节奏,很多时候我都需要停下来,翻阅前文的注释和图表来确认我是否理解了作者正在跳转到哪个历史时期或者讨论哪一派思想流派。这种阅读体验是极具挑战性的,但一旦你找到了进入作者思维的那个“入口”,那种豁然开朗的感觉是无与伦比的。它迫使读者主动参与到知识的构建过程中,而不是被动地接受信息。作者在论证某个观点时,大量引用了晦涩的原始文献和哲学思辨,这使得这本书的门槛显得非常高。我感觉自己像是在进行一场智力上的攀岩,每进一步都需要付出巨大的努力。但正是这种对既有叙事模式的反叛,让这本书在同类题材中脱颖而出。它不是一本用来消磨时间的读物,而是需要被“攻克”的文本。我特别赞赏作者在处理模糊不清的历史地带时所展现出的严谨态度,他从不轻易下定论,而是将所有的可能性都摊开来供读者审视。
评分老实说,我一开始拿到这本书时,觉得它的标题听起来有点过于学术化,甚至有些古板,但读进去之后才发现,我完全错了。这本书的真正魅力在于它对“文化碰撞”那种近乎诗意的探讨。它不仅仅是在记录冲突,而是在解剖冲突的根源——是土地,是信仰,还是语言的隔阂?作者的文笔是那种带着泥土芬芳和古老韵味的,读起来有一种强烈的仪式感。我尤其喜欢他对不同地域风俗习惯的对比,那种细腻的笔触,让人感觉仿佛身临其境地走在那些古老的街道上,闻着空气中混合着香料和尘土的味道。然而,这本书的视角似乎过于聚焦于精英阶层和上层社会的视角,我个人期望能看到更多来自普通民众,那些被历史洪流裹挟的小人物的故事。他们是如何在这种宏大叙事下挣扎求存的?这方面的内容相对较少,让我感到有些意犹未尽。尽管如此,这本书的深度和广度依然是毋庸置疑的,它提供了一个绝佳的框架,让读者可以从一个更宏观的角度去理解文化身份的形成与变迁。对于任何对文化人类学和区域研究感兴趣的人来说,这无疑是一部值得反复研读的佳作,它强迫你去重新审视你认为理所当然的那些“传统”。
评分我必须承认,我被这本书的文学表现力深深地震撼了。如果说历史著作是一块坚硬的磐石,那么这本书就是流淌在磐石之上的清泉,虽然它描绘的主题是关于冲突与斗争,但其文字本身却充满了令人心碎的美感。作者的语言驾驭能力达到了炉火纯青的地步,他能够将最残酷的政治现实,用一种近乎抒情诗的笔调来呈现。尤其是在描述一些关键的历史转折点时,那种情绪的渲染力简直是大师级的,让人忍不住潸然泪下,不是因为情节的煽情,而是因为文字本身所蕴含的巨大张力。这种文学性和历史性的完美结合,使得这本书在情感层面上具有极强的穿透力。然而,这种高度风格化的写作也带来了一个小小的副作用:它可能在一定程度上稀释了历史事件本身的客观冲击力。有时候我会被那些华丽的辞藻吸引,从而忽略了背后更重要的社会结构性问题。总而言之,这是一本读起来赏心悦目的书,非常适合那些珍视文字艺术和叙事美学的读者。它证明了严肃的历史探讨也可以拥有动人心魄的文学灵魂。
评分这本书,天哪,我简直不敢相信我花了这么多时间沉浸其中,然后合上最后一页时,那种空虚感是多么的强烈。它不像我通常读的那种历史著作,冰冷、客观地陈述事实。不,这本作品更像是一幅用最精细的笔触描绘出来的生活画卷,但它的重点似乎完全放在了权力结构和那些影响了几个世纪的隐秘交易上。作者的叙事手法极其精妙,他没有直接告诉我“发生了什么”,而是通过一系列错综复杂的家族故事和政治博弈,引导我一步步去拼凑出那个宏大却又残酷的现实。我特别欣赏他对细节的把握,那些关于宫廷礼仪、贵族间微妙的眼神交流,甚至是某个特定时期服装的演变,都被他描绘得栩栩如生。然而,有时候我觉得这种深入骨髓的细节描写反而让人有点喘不过气来,仿佛被卷入了一个巨大的、无法逃脱的迷宫。它需要读者全神贯注,稍有走神,可能就会错过某个关键的伏笔,从而无法理解后续情节的深层含义。这本书的文字密度极高,每一句话都似乎蕴含着多重意义,读起来是一种挑战,也是一种享受。它成功地让我对某些历史人物产生了复杂的情感——既敬畏他们的手腕,又为其命运感到一丝悲凉。我强烈推荐给那些喜欢深度挖掘、不满足于表面叙事的读者,但请做好准备,这是一次漫长而引人入胜的智力跋涉。
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