M E I I I T O R Nation's Jobless Are Seeing Few Signs of Recovery

Total Page:16

File Type:pdf, Size:1020Kb

M E I I I T O R Nation's Jobless Are Seeing Few Signs of Recovery Casualties of Texas’ Oldest Hispanic Owned Newspaper Celebrating War in 35 Years of Iraq 4,795 Publishing Afghan 2738 as of Oct. ‘El Respeto al Derecho 13,2011 Ajeno es la Paz” m e i i i t o r Lie Benito Juarez VOL. XXXIV No. 51 Week of Oct. 13 thru 19, 2011 www.eleditor.com Lubbock/Midland-Odessa Region Nation’s Jobless Are Seeing Few Signs of Recovery The recession officially ended "Literally, if you worked one hour seeking a job and haven't found economy is based on consumer more than two years ago. but don't in the week, you're considered to be one," Busier said. spending, and people just aren't tell that to the 6 2 million Ameticans employed," Smith said. Vicious cycle buying stuff like they used to, Re­ who have been out of woik for half a If you add discouraged workers, In January 2001, it took a me­ ich wrote. Many Americans owe year or more. people who became "consultants.” dian of 5.8 weeks for a terminated more on their homes than they For the long-tenn unemployed, the and those forced to settle for part- worker to be rehired, and only 11 are worth, and those who are still downnim feels more like a depres­ time work, the nation's unemploy­ percent were unemployed for 27 employed are seeing wage cuts. sion - a word that is starting to pop ment rate is closer to 16 percent or weeks or longer, the Bureau of La­ Busier said that business has to up in economists' blogs and business 17 percent. Smith said. bor Statistics figures show. Those grow in order to reduce unem­ news. On Friday, the Bureau of Labor figures have just about quadrupled ployment, and so far, government 'The last time we had a depression Statistics repotted an overall national in the past decade. policy has been to stimulate the in this country, the unemployment unemployment rate of 9 .1 percent "We haven’t seen that kind of public sector. Jobs such as repair­ rate hit 10 percent by early 1931 for September, unchanged from duration of unemployment since ing roads and bridges are only and kept on going up. By March of August and down from 9.6 percent World War 11,” Buitless said. temporary. 1933, it was 25 percent,” said Gary in September 2010. Economic forecasters had hoped Businesses are afraid to expand Buitless, a labor economist with the Robert Reich, a professor of public the past trend - the more severe because they’re uncertain about Brookings Institution in Washington. policy at the University of California the recession, the stronger the what their tax rates will be next “We're not remotely close to what at Berkeley, calls it "the American we'd have to create 400,000 jobs a had been out of woik for 27 weeks recovery - would be the case this year, he said . A project that can be would have been called a depression jobs depression." month, Shietholz said. or longer, up from 43 percent in time, Buitless said. It was believed profitable al one lax rate might not in the 19th century or up to 1945 .” Since the start of the recession Slow job growth August. The median duration of consumers and businesses would be at a higher one. But we are in a severe recession in 2007, the number of Americans The U.S. economy created about unemployment rose ftom 21.8 release their pent-up demand The small-business owners with a recovery that "seems to be who want to work has increased by 103fX)0 non-agricultutal jobs in weeks in August to 222 weeks in for goods and services, and start he knows are reluctant to hire sputtering,” Buitless said. 7 million, while the number who September, but the unemployment September. spending again. because those with more than 50 Other economists say unemploy­ have jobs has shrunk by more than rate remained steady at 9.1 percent, About 93 milhon Americans are But for several reasons, that isn’t employees will have to provide ment is pushmg depression levels. 300000, Reich said in an email. numbers released Friday by the fed­ working part time, either because happening, he said. health coverage under Obama’s "Some people argue that if we “In other words, we're in a deep eral Bureau of Labor Statistics show. their employers cut back their hours Sales in key industries such health care plan. Busier said. They measure the way they did during hole and the hole is deepening,” About 14 million Americans remain or they could not find a full-time job, as housing and automobiles are would rather pay overtime to cur­ the Great Depression, we'd be over Reich wrote. without woik. the report states. That is up ftom 8.6 nowhere near their pre-recession rent employees and cut back on 20 percent" unemployment, said As of July, there were 43 job There was job growth in pro­ million a year ago. ' levels, Buitless said. hours if needed. Yves Smith, who writes the Naked hunters for every opening, said fessional and business services, Growth in population means Meanwhile, worker productivity "The worst thing in business is Capitalism blog site. She is also the Heidi Shietholz, a labor economist health care, and construction, while the economy must creatf^bout is going up, so businesses don’t uncertainty,” Busier said. "You author of “ECONned,” a book about with the Economic Policy Institute employment in the pubhc sec­ 125,000 jobs a month jiAl to keep need as many workers to get the can’t plan unless you have some how economists in key positions in Washington. That made 134 tor continued to decline. Some of the unemployment rate-steady. job done, he said. The statistics idea of what’s going to happen .” contributed to the financial melt­ consecutive weeks - or more than 2 September’s gains were due to about Busier said. And the statistics do don’t show whether that rise is "They don’t see any growth down by putting doctrine ahead of 1/2 years - that the ratio was higher 45,000 Verizon workers returning to not count discouraged workers due to employees working harder in their business, so why should evidence. than 4 to I. the job after a strike in August, the who stopped looking for a job. or because technology made work they hire people?” she said. "You The problem is the way the statis­ To return to the pre-recession report noted. “You’re not counted as unem­ more efficient. don’t hire people because you are tics are kept. Smith said. unemployment rate in three years. About 45 percent of the jobless ployed unless you’re actively About 70 percent of the U.S. a charity.” Obama pide ayuda Refoniia de salud: entit el amor y el odio con ley a hispanos Los votantes latinos tienen esperan mucho de la medida. una relacion compUcada con la Seguiri igual Ley de Refbrma de Salud que se Cuando se les pregunta cuil aprobd en marzo de 2010. ya que seri el efecto de la ley sobre la por un lado ^x>yan la mayona calidad de la atenci6n m ^ c a que de sus cUusulas y se oponen a su recibirin. un 47% cree que seguiri anulacidn. pero se resislen. como mis o menos igual, s61o 23% otros votantes, a la disposicidn de piensa que seri mejor y otro 23% la ley que les obligar^ a comprar piensa que empeorari. cobertura. el llamado “mandato”, Algo similar ocurre en cuanto al Asi lo revel6 la encuesta Impre- costo de la salud. un 38% consid- media/Latino Decisions (IM-LD). era que permaneceri mas o menos la quinta en una serie de seis igual, un 24% considera que mejo- encuestas nacionales que exploran rari y un 31 % que iri a peor. las opininiones de la poblacidn M is preocupante politicamente El presidente Barack Obama nos, presionando y votando hasta iatina integrado a la sociedad para Washington es que estos pidi6 ayer ayuda a la comunidad que este Congreso haga algo para estadounidense: los votantes reg- votantes sienten que sus problemas hispana para que comunique a sus poner a la gente a trabajar”, dijo istrados. Esta entrega del sondeo basandose en su historial m6dico. han usado los grupos republicanos no estin siendo escuchados en el representantes en el congreso c6mo Obama en una intervencidn de 14 se enfoed en el tema de la cober- Apoyan reforma sanitaria para cuestionar la ley en general, gobiemo -algo que no es unico a el proyecto de ley para la creacidn minutos que no incluyd menciones lura de salud y la ley de reforma “Los votantes latinos apoyan este resultado refleja el ixito de esa eUos en este momento. Un 58% de empleo. rechazado la vispera en a la reforma migratoria integral o sanitaria. la reforma sanitaria y particular- estrategia. de votantes latinos piensa que sus el Senado, beneficiaria a 25 mil- a la reciente ley aprobada en Ala­ Los resuliados revelan que el menie. apoyan muchas de sus “El mandato no es popular entre necesidades no se toman en cuenta lones de hispanos. bama contra la inmigracidn. 50% de los votantes latinos apoyan cliusulas excepto el mandato. ningun grupo de la sociedad. en la capital o que se toman en Durante un discurso pronunciado El evento contd con la partici- a que se mantenga la legislacidn Cuando exploramos un poco mis Obviamente, es alli donde se han cuenta muy poco. ante el Foro sobre la Herencia Lati­ pacidn de los funcionarios hispanos denominada “Ley Federal de Salud sobre las razones.
Recommended publications
  • LA PIEL QUE HABITO the SKIN I LIVE in Dirigido Por/Directed by PEDRO ALMODÓVAR
    LA PIEL QUE HABITO THE SKIN I LIVE IN Dirigido por/Directed by PEDRO ALMODÓVAR Productora/Production Company: EL DESEO D.A., S.L. Francisco Navacerrada, 24. 28028 Madrid. Tel.: +34 91 724 81 99. Fax: +34 91 355 74 67. www.eldeseo.es ; [email protected] En asociación con/In Association with: BLUE LAKE ENTERTAINMENT, FILMNATION ENTERTAINMENT. Con la participación de/With the participation of: TVE, CANAL+ ESPAÑA. Director: PEDRO ALMODÓVAR. Producción/Producers: PEDRO ALMODÓVAR, AGUSTÍN ALMODÓVAR, ESTHER GARCÍA. Producción asociada/Associate Producer: BÁRBARA PEIRÓ. Dirección de producción/Line Producer: TONI NOVELLA. Jefe de producción/Production Manager: SERGIO DÍAZ. Guión/Screenplay: PEDRO ALMODÓVAR, CON LA COLABORACIÓN DE AGUSTÍN ALMODÓVAR. Inspirado en la novela "Tarántula" de / Based on the novel Tarantula by THIERRY JONQUET de Éditions Gallimard Fotografía/Photography: JOSÉ LUIS ALCAINE. Cámara/Camera Operator: JOAQUÍN MANCHADO. Steadicam: RAMÓN SÁNCHEZ. Música/Score: ALBERTO IGLESIAS. Dirección artística/Production Design: ANTXON GÓMEZ. Vestuario/Costume Design: PACO DELGADO, CON LA COLABORACIÓN DE JEAN-PAUL GAULTIER. Montaje/Editing: JOSÉ SALCEDO. Montaje de sonido/Sound Design: PELAYO GUTIÉRREZ. Sonido/Sound: IVÁN MARÍN. Mezclas/Re-recording Mixer: MARC ORTS. Ayudante de dirección/Assistant Director: MANU CALVO. Casting: LUIS SAN NARCISO. Maquillaje/Make-up: KARMELE SOLER. Efectos especiales de maquillaje/Special Make-up Effects: DDT. Web: www.lapielquehabito.com Peluquería/Hairdressing: MANOLO CARRETERO. Efectos especiales/Special Effects: REYES ABADES. Efectos digitales/Visual Effects: EDUARDO DÍAZ (SUPERVISIÓN), EL RANCHITO. Intérpretes/Cast: ANTONIO BANDERAS (Robert Ledgard), ELENA ANAYA (Vera), MARISA PAREDES (Marilia), JAN CORNET (Vicente), ROBERTO ÁLAMO (Zeca), BLANCA SUÁREZ (Norma), EDUARD FERNÁNDEZ (Fulgencio), SUSI SÁNCHEZ (Madre de Vicente), BÁRBARA LENNIE (Cristina), FERNANDO CAYO (Médico), JOSÉ LUIS GÓMEZ (Presidente del Instituto de Biotecnología).
    [Show full text]
  • Sculpting Women from Pygmalion to Vertigo to the Skin I Live In
    1 This is an Accepted Manuscript of an article published by Taylor & Francis Group in Quarterly Review of Film and Video Sculpting Women from Pygmalion to Vertigo to The Skin I Live in They would be displeased to have anybody call them docile, yet in a way they are . They submit themselves to manly behavior with all its risks and cruelties, its complicated burdens and deliberate frauds. Its rules, which in some cases you benefited from, as a woman, and then some that you didn’t. -“Too Much Happiness”, Alice Munro (294) One day I'll grow up, I'll be a beautiful woman. One day I'll grow up, I'll be a beautiful girl. But for today I am a child, for today I am a boy. -“For Today I Am a Boy”, Antony and the Johnsons The two images below (Figure 1) are from key moments in Alfred Hitchcock’s Vertigo (1958) and Pedro Almodóvar’s La piel que habito (The Skin I Live in, 2011). It is possible that there is a conscious citation here on the part of Almodóvar, but in any case the parallels are striking, and they reveal a great deal about gender as it is constructed in the mid- 20th century and the early 21st. Both shots show a woman gazed at from behind, as she herself is gazing at artwork that is especially significant for her sense of self. In the larger context of the films, both women are haunted by idealized images of femininity, which are necessary to prop up the crumbling masculinity of men who want to reshape their clothes, hair and bodies.
    [Show full text]
  • Marisa Paredes Goya De Honor
    ACADEMIA.La revista del cine español Marisa Paredes goya de honor A _ foto: alberto ortega alberto foto: 5 Una cosecha con aroma de futuro | Joan Álvarez 6 Marisa Paredes, Goya de Honor 2018: “La cámara tiene que sentir tu calor. Es un ojo que no te tiene que asustar” 14 Especial nominados Premios Goya 2018 18 Mejor Dirección 26 Mejor Dirección Novel 30 Mejor Guión Original 34 Mejor Música Original 37 Mejor Actor Revelación 43 Mejor Actriz Revelación 49 Mejor Dirección Artística 54 Mejor Documental 58 Mejor Diseño de Vestuario 63 Mejor Cortometraje de Animación 68 Joaquín Reyes y Ernesto Sevilla, presentadores de la gala de los Goya 2018: “A este país no le viene mal el glamour. Lo demás, lo traemos de serie” 74 Cine y solidaridad Carlos Bardem. Pilar Bardem y la solidaridad • Mabel Lozano. Desmontando Pretty Woman • Paco Arango Directo al corazón. 90 Ramón Salazar “El dolor transforma cuando se deja de luchar contra él” 94 ¡Bienvenidos! Dani de la Torre “Pienso primero como espectador y luego como director” 96 Rodajes Lluvia de personajes. Diversidad y fuerza FOTO PORTADA: Enrique Cidoncha P ACADEMIA.La revista del cine español coordinación: Ana Ros | [email protected] jefa redacción: Chusa L. Monjas | [email protected] redacción Ana Ros, Chusa L. Monjas, Juan MG Morán | [email protected] Enrique F. Aparicio | [email protected] María Gil | [email protected] [email protected] documentación: Patricia Viada, Eloísa Villar y Marta Tarín diseño: Alberto Labarga | [email protected] imprime: COYVE C/ Zurbano, 3. 28010 Madrid | Tel. 91 5934648 y 91 4482321. Fax: 91 5931492 oficina en barcelona: Paseo de Colón, 6.
    [Show full text]
  • Pdf Ennio Flaiano Y Rafael Azcona: Historia De Un Universo Compartido / Giovanna Zanella Leer Obra
    Università degli Studi di Udine Ennio Flaiano y Rafael Azcona Historia de un universo compartido Giovanna Zanella Memoria de Licenciatura Facultad: Lengua y Literatura extranjera Directora: Dott. Renata Londero 2000-2001 UNIVERSITÀ DEGLI STUDI DI UDINE FACOLTÀ DI LINGUE E LETTERATURE STRANIERE Corso di Laurea in Lingue e Letterature Straniere Tesi di Laurea ENNIO FLAIANO Y RAFAEL AZCONA HISTORIA DE UN UNIVERSO COMPARTIDO Relatore: Laureanda: Dott. Renata Londero Giovanna Zanella ANNO ACCADEMICO 2000-2001 AGRADECIMIENTOS Durante la realización del presente trabajo he estado principalmente en la Universidad de Alicante, donde he podido contar en todo momento con la valiosa colaboración y los imprescindibles consejos de Juan Antonio Ríos, y con la disponibilidad de la Biblioteca Virtual Miguel de Cervantes, que precisamente este año ha abierto un portal de autor dedicado a Rafael Azcona (consultable en cervantesvirtual.com), cuyo material ha sido fundamental para mi estudio. Asimismo, por lo que concierne el material sobre Ennio Flaiano, he utilizado las numerosas publicaciones de la “Associazione Culturale Ennio Flaiano” de Pescara, cuyos volúmenes siempre han sido el apoyo más valioso en toda investigación sobre la figura y la obra del italiano. Por lo que respecta a la difícil labor de conseguir películas de los años 50, 60 y 70, tengo que agradecer a Cristina Ros de la Universidad de Alicante por haberme ofrecido la oportunidad de ver El Anacoreta, de Juan Esterlich; a la “Cineteca del Friuli”, que me ha facilitado la visión de La cagna de Marco Ferreri; al “Laboratorio Cinema e Multimedia” de la Universidad de Udine y a la “Filmoteca del Museo” de la Universidad de Alicante.
    [Show full text]
  • Spanish Movies in Usa – May 2012 Miami
    SPANISH MOVIES IN USA – MAY 2012 MIAMI CICLO DE CINE: Intercambio cultural entre España y Argentina May 8-15-22-29, 2012 Tuesdays of May at CCEMiami For more information go to www.ccemiami.org Entrada Gratuita – Entrance is free 1490 Biscayne Boulevard, Miami FL.33132. ELSA Y FRED Tuesday, May 8 - 7 pm Divertida comedia sobre la tercera edad, filmada en España en coproducción con Argentina. Dirección: MARCOS CARNEVALE. Sin subtítulos. LUGARES COMUNES Tuesday, May 15 - 7 pm Vida de un profesor, sus ideas y cambios. El enfrentamiento generacional y la experiencia vivencial de la jubilación. Dirección: ADOLFO ARISTARAIN. Subtítulos en inglés. CAMILA Tuesday, May 22 - 7 pm. Historia de amor basada en un hecho histórico, sucedido en la época post-colonial, en el siglo 19. Con subtitulos. Dirección: MARÍA LUISA BEMBERG. Sin subtítulos. LA VELOCIDAD FUNDA EL OLVIDO Tuesday, May 29 - 7pm. Comedia simbólica, de un joven realizador, sobre la búsqueda de sus orígenes, la memoria Y el olvido. Dirección: MARCELO SCHAPCES. Sin subtítulos. PEDRO ALMODOVAR CYCLE May 17- 24 - 31 , 2012 For more information go to www.ccemiami.org CCEM - Free Admission 1490 Biscayne Boulevard, Miami FL.33132. In the context of the Festival organized by FUNDarte PROGRAM (In Spanish with English Subtitles) Thursday 17: La mala educación Director and Writer: Pedro Almodóvar. Stars:Gael García Bernal, Fele Martínez, Javier Cámara In the early 60s, two boys – Ignacio and Enrique – discover love, movies and fear in a Christian school. Father Manolo, the school principal and Literature teacher, both witnesses and takes part in these discoveries. The three characters come against one another twice again, in the late 70s and in 1980.
    [Show full text]
  • Revista ACTÚA
    aisge la revista trimestral de los artistas nº 58 enero/marzo · 2019 l TONI ACOSTA l JAIME BLANCH l MARÍA ISABEL DÍAZ LAGO l MANUEL GÓMEZ PEREIRA l EVA LLORACH De teleoperadora al Goya «No es que haya hecho las cosas tarde, sino a destiempo» JUAN MARGALLO «Petra y yo hemos sido generosos, y la gente lo valora» 2 enero/marzo 2019 ÍNDICE Ned cO t Ni Os FIRMAS 04 IGNACIO MARTÍNEZ DE PISÓN ‘Un sueño infantil’ 06 ANDREA JAURRIETA ‘In her solitude’ pAnoRAMA ACTÚA 08 Manuel Gómez Pereira 38 Bando sonoro: Ciclocéano Nº 58 eNero/marzo De 2019 12 Los seis de los Goya 2019 40 El localizador: Santo Domingo (Burgos) y el documental ‘Desenterrando Sad Hill’ revista cultural de aISGe • Artistas 14 Todos los premios: Asecan, Gaudí, Mestre Intérpretes, Sociedad de Gestión 42 La peli de mi vida: Lucas Vidal Mateo, María Casares, CEC, Take, ADE, edita • Fundación AISGE Simón, Unión de Actores… y Luna Miguel Depósito legal • M-41944-2004 26 Ilustres veteranos: Micky 44 Cultura LGTBI: Antes de que ISSN • 1698-6091 28 Cosecha propia: ‘Quién puede matar nos casáramos a un niño’ 46 Esta peli no la conoces ni tú. Director de la Fundación aISGe • 32 Cien años del Metro de Madrid Empezamos por ‘El ojo de cristal’ Abel Martín Coordinador del comité editorial 48 Las restauraciones de la Filmoteca 34 Webseries: Sonia Méndez • Willy Arroyo 36 Raúl Peña, por América Latina: 50 El recuerdo de Francisco Moreno Director de aCTÚa • Fernando Neira su “lugar en el mundo” 52 Muñoz Molina y los ciclos de AISGE redacción • Héctor Álvarez J.
    [Show full text]
  • Universidade Federal Da Paraíba - Ufpb Centro De Ciências Humanas, Letras E Artes Programa De Pós-Graduação Em Letras – Ppgl
    UNIVERSIDADE FEDERAL DA PARAÍBA - UFPB CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS – PPGL RESSIGNIFICAÇÃO DOS DISCURSOS NO CINEMA: DIALOGISMO E RECEPÇÃO CRÍTICA EM TUDO SOBRE MINHA MÃE, DE PEDRO ALMODÓVAR MARCELO DE LIMA FERNANDES João Pessoa – PB 2019 RESSIGNIFICAÇÃO DOS DISCURSOS NO CINEMA: DIALOGISMO E RECEPÇÃO CRÍTICA EM TUDO SOBRE MINHA MÃE, DE PEDRO ALMODÓVAR Dissertação apresentada ao curso de Mestrado do Programa de Pós-Graduação em Letras da Universidade Federal da Paraíba, como requisito parcial para obtenção do título de mestre. Orientador: Prof. Dr. Luiz Antonio Mousinho Área de concentração: Literatura, Cultura e Tradução Linha de pesquisa: Tradução e cultura João Pessoa – PB 2019 Marcelo de Lima Fernandes RESSIGNIFICAÇÃO DOS DISCURSOS NO CINEMA: DIALOGISMO E RECEPÇÃO CRÍTICA EM TUDO SOBRE MINHA MÃE, DE PEDRO ALMODÓVAR Dissertação de mestrado apresentada ao Programa de Pós- Graduação em Letras da Universidade Federal da Paraíba por Marcelo de Lima, como requisito parcial para obtenção do título de mestre. Orientador: Prof. Dr. Luiz Antonio Mousinho Magalhães Aprovado em 1º de março de 2019. BANCA EXAMINADORA Para minha mãe. AGRADECIMENTOS À minha mãe, Regivana, que como bússola me aponta diariamente os caminhos que devo seguir. À minha família. A Alex, Eslia, Laís e Laura, pela alegria e sorte imensas de escrever minha história com vocês e pelo suporte nos momentos tempestuosos. Ao prof. Luiz Mousinho, tanto pelas lições e orientações assertivas quanto pela amizade e bom humor. Às amizades que a faculdade me rendeu: Gabi, Kamila, Maryjane e Thayane, pela possibilidade de crescermos juntos ao longo dos anos. Aos colegas do Grupo de Pesquisa sobre Ficção e produção de sentido, pelos conselhos, sugestões e ajuda.
    [Show full text]
  • Spanish Videos Use the Find Function to Search This List
    Spanish Videos Use the Find function to search this list Velázquez: The Nobleman of Painting 60 minutes, English. A compelling study of the Spanish artist and his relationship with King Philip IV, a patron of the arts who served as Velazquez’ sponsor. LLC Library – Call Number: SP 070 CALL NO. SP 070 Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness. LLC Library CALL NO. Look in German All About My Mother Director: Pedro Almodovar with Cecilia Roth, Penélope Cruz, Marisa Perdes, Candela Peña, Antonia San Juan. 1999, 102 minutes, Spanish with English subtitles. Pedro Almodovar delivers his finest film yet, a poignant masterpiece of unconditional love, survival and redemption. Manuela is the perfect mother. A hard-working nurse, she’s built a comfortable life for herself and her teenage son, an aspiring writer. But when tragedy strikes and her beloved only child is killed in a car accident, her world crumbles. The heartbroken woman learns her son’s final wish was to know of his father – the man she abandoned when she was pregnant 18 years earlier. Returning to Barcelona in search on him, Manuela overcomes her grief and becomes caregiver to a colorful extended family; a pregnant nun, a transvestite prostitute and two troubled actresses. With riveting performances, unforgettable characters and creative plot twists, this touching screwball melodrama is ‘an absolute stunner.
    [Show full text]
  • Las Aventuras Del Capitán Alatriste De Arturo Pérez-Reverte
    Universiteit Gent Faculteit Letteren en Wijsbegeerte Master in de taal- en letterkunde: Iberoromaanse talen Las aventuras del capitán Alatriste de Arturo Pérez-Reverte Un estudio comparativo entre las novelas y la adaptación cinematográfica de Agustín Díaz Yanes Masterproef Promotor: Véronique Victor Prof. Dr. P. Collard Academiejaar 2007-2008 Agradecimientos Primero, quería agradecer sumamente a mi director de tesina, Prof. Dr. Patrick Collard la sugerencia de las novelas de Arturo Pérez-Reverte para presente trabajo de investigación, la formulación de observaciones, la corrección y mejoras propuestas. También quiero dar las gracias a Edit Corominas Garcia porque ha leído algunos capítulos y introducido cambios favorables. Además, le agradezco a mi novio Thomas la ayuda con la disposición. Finalmente, doy las gracias a él, a mis padres, a mis hermanas y a mis amigos por su apoyo y consejo. 3 Índice ÍNDICE.................................................................................................................................................................. 3 INTRODUCCIÓN ................................................................................................................................................ 5 PRIMERA PARTE: LAS AVENTURAS DEL CAPITÁN ALATRISTE ........................................................... 8 1. DATOS GENERALES ..................................................................................................................................... 9 1.1 EL AUTOR.....................................................................................................................................................
    [Show full text]
  • José Luis Alcaine
    ACADEMIAMAYO 2009 n 3€ Revista del Cine Español nº 156 ¡ACCIÓN! A CADEMIA DE LAS A RTES Y LAS C IENCIAS C INEMATOGRÁ FICAS DE E SPAÑA ANGELES GONZALEZ-SINDE ACADEMIA Ministra de Cultura REVISTA DEL CINE ESPAÑOL 2 A CADEMIA DE LAS A RTES Y LAS C IENCIAS C INEMATOGRÁ FICAS DE E SPAÑA Internet: www.academiadecine.com E-mail: [email protected] Siete DIRECTOR: ARTURO GIRÓN [email protected] PRODUCCIÓN: ANA ROS [email protected] REDACCIÓN: ELOÍSA VILLAR [email protected] DOCUMENTACIÓN: MARÍA PASTOR [email protected] DISEÑO: ALBERTO LABARGA [email protected] Tel: 91 5934333. Ext. 1 Fax: 91 5931492 [email protected] IMPRIME: Gráficas 82 PRESIDENTE: EDUARDO CAMPOY DIRECTOR GENERAL: CARLOS CUADROS [email protected] ADJUNTA A LA DIRECCIÓN: ANA NÚÑEZ [email protected] DIRECTOR DE COMUNICACIÓN: ARTURO GIRÓN COORDINACIÓN CULTURAL: ENRIQUE BOCANEGRA (COORDINADOR) [email protected] CARLOS GARRIDO [email protected] SECRETARÍA: ANTONIO LOZANO [email protected] MARÍA ÁNGELES DE LA GUÍA [email protected] BIBLIOTECA: PATRICIA VIADA [email protected] BASE DE DATOS Y ELABORACIÓN DE ESTADÍSTICAS: NIEVES MARTÍNEZ [email protected] PATRICIA GÓMEZ [email protected] ASESOR INFORMÁTICO: PACO FUENTES [email protected] OFICINA EN BARCELONA: Paseo de Colón, 6. 08002 Barcelona. Tel. 93 3196010. Fax: 93 3191966. CLARA AGUSTÍ [email protected] EDITA: Academia de las Artes y las Ciencias Cinematográficas de España. Zurbano, 3. 28010 Madrid Tel. 91 5934648 y 91 4482321. Fax: 91 5931492 D.L. BU–217/95. ISSN 1136–8144 días ACADEMIA, REVISTA DEL CINE ESPAÑOL, NO SE SOLIDARIZA NECESARIAMENTE CON LAS OPINIONES EXPUESTAS EN LOS ARTÍCULOS QUE PUBLICA, CUYA RESPONSABILIDAD CORRESPONDE EXCLUSIVAMENTE A LOS AUTORES.
    [Show full text]
  • 1 Art As a Guaranty of Sanity: the Skin I Live in Tarja Laine, University Of
    1 Art as a Guaranty of Sanity: The Skin I Live In Tarja Laine, University of Amsterdam Abstract: This article examines how the body in Pedro Almodóvar’s The Skin I Live In (2011) is incorporated in artistic creation and vice versa. Drawing upon Paul Crowther’s notion of an internal relation between the artist’s experience and the work of art, it argues that the film communicates a vision of embodied artistic practice as a redemptive strategy used to resolve trauma resulting from the traditional body/soul dualism. A film that outlines how artistic creation can both express fractured inner reality and purge it from negative affect, The Skin I Live In demonstrates how the artist can overcome trauma, reinvent the sense of self, and reclaim personal agency. The title of Pedro Almodóvar’s The Skin I Live In (La piel que habito, 2011) clearly communicates what the film is all about: the body as a prison with the skin as a barrier. This is already evident in the opening shots of the film, in which the image of the locked gate of El Cigarral, an isolated Toledo villa, dissolves into the image of a barred window. Behind this window a woman in a nude-coloured bodysuit is practicing yoga. This woman is Vera (Elena Anaya), a mysterious patient of Robert Ledgar (Antonio Banderas), a brilliant plastic surgeon haunted by past tragedies. Later we will discover that Vera used to be a man by the name of Vicente (a character played by Jan Cornet), who was abducted by Robert after his involvement in a fateful event at a wedding party that triggered his daughter Norma’s (Blanca Súarez) final mental breakdown and her subsequent suicide.
    [Show full text]
  • FORTHCOMING in SPAIN IS (STILL) DIFFERENT, Eds
    FORTHCOMING IN SPAIN IS (STILL) DIFFERENT, eds. Jaume Martí Olivella and Eugenia Afinoguenova, U of Minnesota P: Toppling the Xenolith: The Reconquest of Spain from the Uncanny Other in Iberian Film since World War Two Patricia Hart, Purdue University 1. The Others Ser ibero, ser ibero es una cosa muy seria, soy altivo y soy severo porque he nacido en Iberia. Y al que diga lo contrario Y al que ofenda a mi terruño Lo atravieso atrabilario Con esta daga que empuño Fray Apócrifo de la Cruz1 Long before Ruy Díaz de Vivar drove the Moors from Valencia and returned her fragrant orange groves to an ungrateful Alfonso VI—and long before anyone could suspect that in 1983 Angelino Fons would cast lion-tamer Ángel Cristo as the title character in his 1983 comedy, El Cid Cabreador—Iberian popular culture was often obsessed with monarchic, dictatorial, or hegemonic views of what is “us” and what is “other,” and with good reason! That catch-all category, iberos, was loosely used to name all of those prehistoric people living on the Peninsula before they had been invaded by just about every enterprising group armed with swords or something to sell. Celts, Phoenicians, Carthaginians on pachyderms, Greeks, Romans, suevos, alanos Vandals, Visigoths, Moors… no wonder the xenos was traditionally a cause for concern! The blunt, politically- and financially-expedient, medieval interest in the so-called “purity” of blood” and antiquity of Christian conversion served to consolidate power, property, and social stratification. 1 Better known as Moncho Alpuente. Turismo y cine Patricia Hart—Purdue—2 It is essential to keep this in mind as we talk about tourism on film, as for milenia, the idea of travel for pleasure was something reserved for a very tiny elite (and their servants).
    [Show full text]