By Don Berliner
This is often the background of air racing from its beginnings in 1909 at Reims, France, to the tip of the 2008 racing season at Reno, Nevada. The historical past of air racing is especially a lot the background of aviation, with glamorous pilots, a few of army status (e.g., Jimmy Doolittle) and developers (e.g., Glenn Curtiss), machines that captivated the nationwide mind's eye, and plenty of rather unknown tinkerers and architects. This publication follows air racing from pre-World conflict I eu races, in the course of the interwar years whilst renowned air races inspired army layout, and the booms and struggles of the postwar years prior to racing stumbled on an everlasting domestic within the Nevada barren region.
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This analysis of bullﬁghting’s representation will ﬁnally lead to a new reading of Mérimée’s best-known story, Carmen. 6 I do not contend that Mérimée’s representation of bullﬁghting is inspired by Goya. Rather, like Goya, Mérimée (and later Gautier) saw and used the symbolic potentiality of corrida as a weapon in the political arena. However, instead of using bullﬁghting to allegorically represent Spanish struggles between the people and the monarchy, or between revolutionaries and foreign occupiers, Mérimée and Gautier use the bullﬁght to allegorize French political tensions.
Enrique Ferrari describes this bullﬁghting series as “a novel aspect of Goya and his oeuvre as engraver, an interval of rest following the satirical and tragic themes of Los caprichos and Los desastres de la guerra. The human spirit cannot continuously withstand the tension of high drama and polemic. ” Indeed, a close “reading” of his Tauromaquia engravings reveals many similarities with his earlier works and points to the engravings’ covert political intentionality. In fact, in his bullﬁghting engravings Goya creates a visual figure 2.
5 The discussion of what is largely a Spanish spectacle in a book on French sports may initially seem out of place, to say the least. But bullﬁghting became something of an obsession in France during the July Monarchy. Spain became so stylish, in fact, that in 1838, midway through his reign, Louis-Philippe opened a gallery of Spanish art in the Louvre. Further, the bullﬁght’s cultural resonance will prove critical in understanding the way French authors Prosper Mérimée and Théophile Gautier depict the corrida in their works.