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Dreams of Iberia

Published online by Cambridge University Press:  25 November 2020

Extract

‘Spain is different’, the Spanish tourist board famously declared in the 1960s as part of its strategy to attract mass tourism to the country. The campaign played a key role in opening up Spain's economy during the later years of Franco's regime – the so-called apertura – following two decades of autarchic rule that had left the country geopolitically isolated. As the slogan suggested, however, exoticism was a key part of Spain's nation-branding. Ideas of Spanish difference were now marketed for their tourist appeal, with images of gypsies and flamenco joined by sizzling beaches and ice-cold sangria.

Type
Review Article
Copyright
Copyright © The Author(s) 2020. Published by Cambridge University Press

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Footnotes

*

Ditlev Rindom, King's College London; [email protected]

References

1 Recent studies include Pack, Sasha D., Tourism and Dictatorship: Europe's Peaceful Invasion of Franco's Spain (New York, 2006)CrossRefGoogle Scholar, and Rosendorf, Neal M., Franco Sells Spain to America: Hollywood, Tourism and Public Relations as Postwar Soft Spanish Power (New York, 2014)CrossRefGoogle Scholar.

2 Cited in Agarez, Ricardo, ‘Regional Identity for the Leisure of Travellers: Early Tourism Infrastructure in the Algarve (Portugal), 1940–1965’, The Journal of Architecture, 18/5 (2013), 721–43, at 721CrossRefGoogle Scholar.

3 See, for example, Isabella, Maurizio and Zanou, Konstantina, eds., Mediterranean Diasporas: Politics and Ideas in the Long Nineteenth Century (London, 2016)Google Scholar.

4 See Cárcel, Ricardo García, La leyenda negra: Historia y opinión (Madrid, 1992)Google Scholar; and more recently, Townson, Nigel, ed. Is Spain Different? A Comparative Look at the 19th and 20th Centuries (Brighton, 2015)Google Scholar.

5 Recent winners focusing on music theatre include Thomas, Susan, Cuban Zarzuela: Performing Race and Gender on Havana's Lyric Stage (Champaign, 2009)Google Scholar as well as Young's, Clinton D. Music Theater and Popular Nationalism in Spain, 1880–1930 (Baton Rouge, 2016)Google Scholar.

6 A prominent example is Levitz, Tamara, ed., ‘Musicology Beyond Borders?’, colloquy, Journal of the American Musicological Society 65/3 (2012), 821–61Google Scholar.

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8 Exceptions include de Brito, Manuel Carlos, Opera in Portugal in the Eighteenth Century (Cambridge, 1989)Google Scholar and Gilbert Chase's classic The Music of Spain (Norton, 1941).

9 See Walton, Benjamin, ‘Italian Operatic Fantasies in Latin America’, Journal of Modern Italian Studies 17/4 (2012), 460–71CrossRefGoogle Scholar.

10 Cited in Murphy, Kerry, ‘Carmen: Couleur locale or the Real Thing?’, in Music, Theater, and Cultural Transfer: Paris, 1830–1914, ed. Fauser, Annegret and Everist, Mark (Chicago, 2009), 311Google Scholar; also cited in Christoforidis, Michael and Kertesz, Elizabeth, Carmen and the Staging of Spain: Recasting Bizet's Opera in the Belle Epoque (Oxford, 2018), 29CrossRefGoogle Scholar.

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13 On Farrar's Carmen, see Esse, Melina, ‘The Silent Diva: Farrar's Carmen’, in Technology and the Diva, ed. Henson, Karen (Cambridge, 2016), 89103CrossRefGoogle Scholar; on Farrar's later career, see also my ‘Celluloid Diva: Staging Leoncavallo's Zazà in the Cinematic Age’, Journal of the Royal Musical Association 144/2 (2019), 287–321.

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16 Other recent studies that have considered zarzuela's relationship with nationalism in broad terms include Delgado, Maria M. and Gies, David T., eds., A History of Theatre in Spain (Cambridge, 2012)CrossRefGoogle Scholar, especially Rafael Lamas's chapter, ‘Zarzuela: High Art, Popular Culture, and Music Theatre’, 192–210; and Christopher Webber's handbook The Zarzuela Companion (Lanham, MD, 2002). The Spanish-language literature on zarzuela is unsurprisingly extensive, but mainly focused on composers; see, for example, Sánchez, Víctor Sánchez, Tomás Bréton: un músico de la restauración (Madrid, 2002)Google Scholar.

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19 In a related vein, see Revuluri, Sindhumathi, ‘French Folk Songs and the Invention of History’, 19th-Century Music 39/3 (2016), 248–71CrossRefGoogle Scholar.

20 Barthes, Roland, The Pleasure of the Text, trans. Miller, Richard (London, 1980)Google Scholar outlines distinctions between pleasure and jouissance, the latter according to Barthes offering a quasi-orgasmic refashioning of the reader's subject position.