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“A knowledge of different literatures is the best way to free one's self from the tyranny of any of them.” Jose Marti, Cuban writer, poet and statesman.

THE VAST PORTIONS of land south of the United States, commonly known as Latin America, form a political, social and cultural structure which—with very few exceptions—owes its singularity to its spiritual ties with Spain and Portugal. Although sharp social and cultural contrasts among the Latin American nations do exist, the Spanish language is a formidable link which has helped to overcome many differences. Latin American literature, despite its very distinctive voices, proclaims in unison a literary wealth which ignores political and geographic boundaries. The development of modern Latin American literature springs from the modernista movement, which roughly spans the period between the late 1880's and the 1930's. The Nicaraguan Rubén Darío (1867–1916) is considered the focal point of this new literary school which led to “the discovery of the emotional life made by the romantic, the almost professional awareness of what literature and its latest fashions are” and “the pride of belonging to an Hispanic American generation which, for the first time, is able to specialize in art”. By the time Latin American literature reached European and North American shores during the late 1920's, a vigorous regionalist novel developed. Its basic themes were played against the background of the Argentinian pampa, the Venezuelan plains, the Andean mountains, the villages of revolutionary Mexico or the jungle of Brazil. In essence, this literature was concerned more with nature than with the social and cultural realities of city life. Writers sought to present exotic materials to the urban dwellers.

That photography was more than a mere technological breakthrough was clear to its inventors but not to their contemporaries or generations after. The fast visual appropriation of “reality,” the sudden transformation of this reality into an image which mirrored our world, gave us a new lease on immortality. From its inception, photography became an act of assertion and vainglory and biographers could study the psychology of a face as well as the depth of the soul. Walt Whitman once wrote: “I've been photographed, photographed, and photographed until the cameras themselves are tired of me.” (As quoted by Justin Kaplan. Walt Whitman. A Life. Simon & Schuster, 1980.) From Whitman's ego trips to the forced smiles in that brief but powerful scene in the film, Ordinary People, when family soul‐searching is captured by the click of a camera, the world around us is preserved and mythologized. Photography is witness to history and art, and shapes our lives as well. In a recent interview, Mikhail Baryshnikov stated that as a dancer he had been influenced not only by other choreographers but by “movies, musicals,(and) photo exhibitions.” (The New York Times, June 28, 1981, p. 6). Thus, photography becomes archival material, for it speaks of the human adventure in all its diversity.

SHERRIE S. BERGMAN is College Librarian of Wheaton College in Norton, Massachusetts. She served previously as director of the Roger Williams College Library and on the library reference staff at the New School for Social Research.

The uncertainty of the interval variable is represented by interval factor, and the interval variable is described as its mean value multiplied by its interval factor. Based on interval arithmetic rules, an analytical method of interval finite element for uncertain structures but not probabilistic structure or fuzzy structure is presented by combining the interval analysis with finite element method. The static analysis of truss with interval parameters under interval load is studied and the expressions of structural interval displacement response and stress response are deduced. The influences of uncertainty of one of structural parameters or load on the displacement and stress of the structure are examined through examples and some significant conclusions are obtained.