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by John McCormick

  • ISBN: 1560003456
  • Category: Politics
  • Author: John McCormick
  • Subcategory: Anthropology
  • Other formats: txt lrf mobi azw
  • Language: English
  • Publisher: Transaction Publishers (January 1, 1997)
  • Pages: 282 pages
  • FB2 size: 1406 kb
  • EPUB size: 1584 kb
  • Rating: 4.2
  • Votes: 988
Download Bullfighting: Art, Technique, and Spanish Society fb2

John McCormick (1918-2010) taught American Studies at the Free University, Berlin, and later went on to become .

John McCormick (1918-2010) taught American Studies at the Free University, Berlin, and later went on to become distinguished professor of comparative literature at Rutgers University. He is the author of numerous works, including Bullfighting, American and European Literary Imagination, Catastrophe and Imagination, and Fiction as Knowledge.

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McCormick, John, 1918-2010; McCormick, John, 1918-2010. Books for People with Print Disabilities. Animal spectacles, Animals & society, History of specific subjects, Literature: History & Criticism, Performing Arts, History, History: American, Spain, General, History ¿ Humanities, Bullfights, Bullfighters. Internet Archive Books. Uploaded by Tracey Gutierres on June 30, 2014. SIMILAR ITEMS (based on metadata).

nyone who is the least bit curious about bullfighting should read this informative book.

Art, Technique and Spanish Society. Books related to Bullfighting.

Bullfighting : Art, Technique and Spanish Society. Although his descriptions of the "beauty"in toreo are lyrical, they are short on imaginative creation of how such beauty, through techniques and discipline, comes about.

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Ernest Hemingway, best-known to layman and aficionado alike, in his fiction described bullfighting, or toreo, as a cross between romantic risk and a drunken party, or as an elaborate substitute for war, ending in wounds or death. Although his descriptions of the "beauty"in toreo are lyrical, they are short on imaginative creation of how such beauty, through techniques and discipline, comes about. Hemingway may have sculpted a personal mystique of toreo but, in the opinion of some, he ignored or slighted the full, unique nature of the subject.

In Bullfighting: Art, Technique, and Spanish Society John McCormick sorts through the complexities of toreo, to suggest the aesthetic, social, and moral dimensions of an art that is geographically limited, but universal when seen in round. While having felt the attraction of Hemingway's approach, McCormick knew that he was being seduced by elements that had little to do with toreo. To try to right Hemingway's distortions, he named the first edition of this book The Complete Aficionado, but then realized that the volume was directed at more than just the spectator: BullFighting is written from the point of view of the torerro, as opposed to the usual spectator's impressions and enthusiasm. With the help of a retired matador de toros, Mario Sevilla Mascarenas, who taught McCormick the rudiments of toreo as well as the emotions and discipline essential to survival, the authors rescue 'toreo from romantic cliches. They probe the anatomy of the matador's training and technique, provide a past-and-present survey of the traditions of the corrida, and furnish dramatic portraits of such famous figures as Manolete, Joselito, Belmonte, and Ordonez.

Here then is an informed analysis and critique of the origins and myths of toreo and a survey of the novels it has inspired. Defending the faith in a lively as well as clear and discerning manner, this volume provides a committed and vivid approach to the rich history, ritual, and symbolism of the bullfight as it currently exists.


Reviews about Bullfighting: Art, Technique, and Spanish Society (5):
Manarius
It must be a requirement for authors of books about bullfighting that they be extremely opinionated and contemptuous of most others who have written on the same subject. This book is valuable as a technical treatise on la lidia for those who have seen a fair number of corridas and wish to understand them better: it covers material treated by few, if any, books available in English. But the further the author wanders into social commentary or critiques of others the less useful (and frequently more annoying) the book becomes. In its criticisms of the then-current bullfighting scene in Spain and Mexico (the book was originally written in the mid-1960s), the author frequently injects fierce partisanship into debates which are no longer going on, and in the process, attacks many participants and onlookers who do not seem to merit his obloquy. He has a very narrow view of what he considers the ideal style, which might suggest to many that they are wasting their time on a spectacle which has a vanishing number of practitioners worth watching. At times, he gets so carried away with explaining what should work and how it should be performed, that the element of danger always present in the real bullfight seems to disappear—I do not believe it is always true that if the torero executes a technically-perfect faena, he will never get hurt. Another annoying aspect of the book is that there is no glossary of the many Spanish technical terms, some almost certainly unfamiliar to any foreigner: these words are defined the first time they are used, and thereafter, those readers who may have forgotten their definitions, must search for them in the index, then go back to their original citation in the text. The author claims that this compels the reader to learn them, but in many cases, it merely interrupts the reading unnecessarily. As a pedagogical device (and the author was a college professor for many years) it must be adjudged a failure. This book can be recommended to the foreign aficionado, who probably would not otherwise get the opportunity to learn many of the technical points described here, and perhaps to the know-it-all who thinks that bullfighting is merely the unequal contest between a dumb animal and a far more intelligent one. However, a general reader, who has seen only a very few corridas, will probably be disappointed, as well as annoyed by the author's many gratuitous broadsides.
salivan
There are two major flaws that make this book at times unreadable, and at times unbearable. The first problem is a conscious decision by the author not to include a glossary of terms in the back. The word is defined only once, "From that point on, we use that phrase in Spanish in a missionary effort to encourage the non-Spanish speaker to associate the word with the concept." In other words, the author is going to make the reader learn Spanish bullfight terms. But oh so many terms, every possible term ever that ever applied to the bullfight, a staggering number of terms. The first 180 pages is a minefield of Spanish terms. What is so maddening, is that if you find a term on page 60 that hasn't been used since page 20, you look up the term in the index, find it is referenced to page 20, turn to page 20, and maybe it is defined in the footnote, or maybe you have to reread the entire page to find the definition, or maybe you find that, as I did several times, that although page 20 is the first use of the term, it is not defined anywhere. The author is not so much trying to teach as he is trying to show off, and the author's ego is the real theme of this book.
That covers the first 180 pages; the last 90 pages are worse, because of the second major flaw in the book: The author's snobish and elitsit attitude that no one can enjoy a bullfigt unless they know as much as he does, and anyone enjoying a bullfight who does not know as much is a simple peon or one of the easily duped masses; furthermore just about everybody who ever wrote anything about bullfighting was wrong. McCormick tries to list every book and author and what was wrong and how it could have been better if they had only known as much as McCormick.
If you notice the book review section above, the name Hemingway is mentioned is mentioned 4 times. That is because McCormick has an obsession to prove that Hemingway's work about bullfighting was not really that good after all. It is apparent that McCormick wants to be the new Boss of Bullfighting, it becomes comical how he goes out of is way to knock down Hemingway in this book constantly.
If you see at least 4 or 5 bullfights a year, this book may have some value to you. There is technical information on bulls and bull breading, the exact names of passes and styles, but it is buried far below the authors ego; you'll have to work to make it useful. I have read Hemingway's Death In The Afternoon, it's the best book so far for understanding bullfighting; unless you live in Spain or Mexico, don't bother with this one.
Ungall
i bought this book to learn a little more about bullfighting. you get that but you have to wade through the author's view of the world to get to it. for every sentence that will help you understand the toreo you have to read 5 pages of the author's view on life, art and other. i don't really care about his views and wanted more professional insight. their is no glossary to help with the hundreds of terms. he defines the word one time and if you get confused on the word later, you have to flip back to find the definition. he gives the reason for this by saying he is writing for an educated audience. he then proceeds through the rest of the book to look down his nose at the reader as though their is no way the reader is as smart as him. he bashes Hemingway which i did not like. to hear him tell it he is smarter and a better writer than Hemingway. i am more interested in this subject as a hobby right now than any other and i had to force my way through this one. still looking for a good one
Gindian
Mr McCormick has updated his classic guide to bullfighting from the 1960's. As a beginner's guide it is indispensible, giving a full history of the corrida, and putting the traditions in their true social perspective, which will probably come as a shock to the animal rights people. The author collaborated with a celebrated matador in compiling the book, and even learned toreo, so there is great authority behind what he says. The illustrations, by a talented Colombian artist, are clear, and all the terms are explained. There is surely no better introduction to this noble art.
WinDImmortaL
This book was written because the author wanted a book credit to his name, not to inform the public. There is a lot of valuable information that one has to dig for among the literary mish mash.

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