Latin America and Caribbean: Films and Videorecordings
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UCLA UCLA Electronic Theses and Dissertations Title Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) Permalink https://escholarship.org/uc/item/2wn8v8p6 Author Gomez, Isabel Cherise Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Literatures by Isabel Cherise Gomez 2016 © Copyright by Isabel Cherise Gomez 2016 ABSTRACT OF THE DISSERTATION Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) by Isabel Cherise Gomez Doctor of Philosophy in Hispanic Languages and Literatures University of California, Los Angeles, 2016 Professor Efraín Kristal, Co-Chair Professor José Luiz Passos, Co-Chair What becomes visible when we read literary translations as gifts exchanged in a reciprocal symbolic economy? Figuring translations as gifts positions both source and target cultures as givers and recipients and supplements over-used translation metaphors of betrayal, plundering, submission, or fidelity. As Marcel Mauss articulates, the gift itself desires to be returned and reciprocated. My project maps out the Hemispheric Americas as an independent translation zone and highlights non-European translation norms. Portuguese and Spanish have been sidelined even from European translation studies: only in Mexico and Brazil do we see autochthonous translation theories in Spanish and Portuguese. Focusing on translation strategies that value ii taboo-breaking, I identify poet-translators in Mexico and Brazil who develop their own translation manuals. -
1 Indigenous Litter-Ature 2 Drinking on the Pre-Mises: the K'ulta “Poem” 3 Language, Poetry, Money
Notes 1 Indigenous Litter-ature 1 . E r n e s t o W i l h e l m d e M o e s b a c h , Voz de Arauco: Explicación de los nombres indí- genas de Chile , 3rd ed. ( Santiago: Imprenta San Francisco, 1960). 2. Rodolfo Lenz, Diccionario etimológico de las voces chilenas derivadas de len- guas indígenas americanas (Santiago: Universidad de Chile, 1910). 3 . L u d o v i c o B e r t o n i o , [ 1 6 1 2 ] Vocabulario de la lengua aymara (La Paz: Radio San Gabriel, 1993). 4 . R . S á n c h e z a n d M . M a s s o n e , Cultura Aconcagua (Santiago: Centro de Investigaciones Diego Barros Arana y DIBAM, 1995). 5 . F e r n a n d o M o n t e s , La máscara de piedra (La Paz: Armonía, 1999). 2 Drinking on the Pre-mises: The K’ulta “Poem” 1. Thomas Abercrombie, “Pathways of Memory in a Colonized Cosmos: Poetics of the Drink and Historical Consciousness in K’ulta,” in Borrachera y memoria , ed. Thierry Saignes (La Paz: Hisbol/Instituto Francés de Estudios Andinos, 1983), 139–85. 2 . L u d o v i c o B e r t o n i o , [ 1 6 1 2 ] Vocabulario de la lengua aymara (La Paz: Radio San Gabriel, 1993). 3 . M a n u e l d e L u c c a , Diccionario práctico aymara- castellano, castellano-aymara (La Paz- Cochabamba: Los Amigos del Libro, 1987). -
Kino Im Filmmuseum Oktober 2013
Kino im Filmmuseum Oktober 2013 Carte Blanche: Helge Schneider Brasilien Lecture & Film: Andy Warhol Catherine Deneuve zum 70. Fassbinder – Jetzt. Film und Videokunst 2 INFORMATION & TICKETRESERVIERUNG ≥ Tel. 069 - 961 220 220 HELGE SCHNEIDER Impressum 00 Schneider – WendeKreiS DER EIDECHSE ≥ Seite 6 Herausgeber: Deutsches Filminstitut – DIF e.V. Schaumainkai 41 60596 Frankfurt am Main Vorstand: Claudia Dillmann, Dr. Nikolaus Hensel Direktorin: Claudia Dillmann (V.i.S.d.P.) Presse und Redaktion: Frauke Haß (Ltg.), Caroline Goldstein, Dennis Bellof Texte: Natascha Gikas, Caroline Goldstein, Winfried Günther, Frauke Haß, Urs Spörri Gestaltung: Optik — Jens Müller, Sören Lennartz www.optik-studios.de Druck: Fißler & Schröder – Die Produktionsagentur 63150 Heusenstamm Anzeigen (Preise auf Anfrage): Presse- und Öffentlichkeitsarbeit Tel.: 069 - 961 220 222 E-Mail: [email protected] Abbildungsverzeichnis: Alle Abbildungen stammen aus dem Bildarchiv des Deutschen Filminstituts – DIF e.V., sofern nicht anders verzeichnet. Titelmotiv: Aus dem Film O SOM AO REDOR (BR 2012) INHALT 3 Filmprogramm Carte Blanche: Helge Schneider 5 Brasilien – ein Land voller Stimmen 12 Klassiker & Raritäten: Catherine Deneuve 22 Lecture & Film: Andy Warhol 24 Late Night Kultkino 28 Kinderkino 30 Specials Lettischer Animationsfilm 32 Was tut sich – im deutschen Film? 34 Kino & Couch 36 Archäologie: Fiktion und Wirklichkeit 37 Fassbinder – JETZT 38 Service Programmübersicht 40 Eintrittspreise/Anfahrt 44 Vorschau 46 FASSbinder – JeTZT ≥ Seite 38 Quelle: Sammlung Peter Gauhe / DIF; Foto: Peter Gauhe 4 AKTUELLES Auszeichnung für das Kino des Deutschen Filmmuseums: Zum 14. Mal hat der Deutsche Kinematheksverbund im September seinen Kinopreis vergeben. In der Kategorie „Vermittlung deutscher und internationaler Filmgeschichte“ erhielt unser Kino den ersten Preis! Wir freuen uns sehr und setzen im Oktober unser Programm gewohnt hoch- wertig und frisch motiviert fort. -
Creating Culture Through Food, a Study of Traditional Argentine Foods
Unit Title: Creating Culture through Food: A Study of Traditional Argentine Foods Author: Kyra Brogden George Watts Magnet Montessori, Durham, NC Subject Area: Writing and Language, Social Studies Topic: Food and culture Grade Level: 1st, 2nd, 3rd (Lower Elementary) Time Frame: 4 days of 45-minute lessons on Argentine food, nutrition and culture Cooking: 3 days of cooking and 1 day to put together the cookbook *The cooking lessons will require more time and resources. Also the cookbook may require going through a rough draft and final copy that can occur after the lessons themselves are completed. That can be done at the teachers’ discretion. Brief Summary: This unit will focus on helping students understand the role of nutrition and food in defining a culture by studying Argentine nutrition and food. The first four lessons will focus on comparing nutritional guidelines, evaluating food, and a discussion about meal times in both the United States and Argentina. The students will then embark on a series of three lessons that each focus on a traditional Argentine food. The students will cook the food, create a nutritional analysis, learn about the history of that food, and then write food reviews. The students will ultimately make a cookbook with the recipes, pictures, nutritional analysis, and their own food review. Established Goals are taken from the Common Core Standards for Grade 2: Research to Build and Present Knowledge 7. Participate in shared research and writing projects (e.g. read a number of books on a single topic to produce a report; record science observations) 8. -
Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
Libro ING CAC1-36:Maquetación 1.Qxd
© Enrique Montesinos, 2013 © Sobre la presente edición: Organización Deportiva Centroamericana y del Caribe (Odecabe) Edición y diseño general: Enrique Montesinos Diseño de cubierta: Jorge Reyes Reyes Composición y diseño computadorizado: Gerardo Daumont y Yoel A. Tejeda Pérez Textos en inglés: Servicios Especializados de Traducción e Interpretación del Deporte (Setidep), INDER, Cuba Fotos: Reproducidas de las fuentes bibliográficas, Periódico Granma, Fernando Neris. Los elementos que componen este volumen pueden ser reproducidos de forma parcial siem- pre que se haga mención de su fuente de origen. Se agradece cualquier contribución encaminada a completar los datos aquí recogidos, o a la rectificación de alguno de ellos. Diríjala al correo [email protected] ÍNDICE / INDEX PRESENTACIÓN/ 1978: Medellín, Colombia / 77 FEATURING/ VII 1982: La Habana, Cuba / 83 1986: Santiago de los Caballeros, A MANERA DE PRÓLOGO / República Dominicana / 89 AS A PROLOGUE / IX 1990: Ciudad México, México / 95 1993: Ponce, Puerto Rico / 101 INTRODUCCIÓN / 1998: Maracaibo, Venezuela / 107 INTRODUCTION / XI 2002: San Salvador, El Salvador / 113 2006: Cartagena de Indias, I PARTE: ANTECEDENTES Colombia / 119 Y DESARROLLO / 2010: Mayagüez, Puerto Rico / 125 I PART: BACKGROUNG AND DEVELOPMENT / 1 II PARTE: LOS GANADORES DE MEDALLAS / Pasos iniciales / Initial steps / 1 II PART: THE MEDALS WINNERS 1926: La primera cita / / 131 1926: The first rendezvous / 5 1930: La Habana, Cuba / 11 Por deportes y pruebas / 132 1935: San Salvador, Atletismo / Athletics -
The Critical Impact of Transgressive Theatrical Practices Christopher J
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 (Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices Christopher J. Krejci Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Krejci, Christopher J., "(Im)possibilities of Theatre and Transgression: the critical impact of transgressive theatrical practices" (2011). LSU Doctoral Dissertations. 3510. https://digitalcommons.lsu.edu/gradschool_dissertations/3510 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. (IM)POSSIBILITIES OF THEATRE AND TRANSGRESSION: THE CRITICAL IMPACT OF TRANSGRESSIVE THEATRICAL PRACTICES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Christopher J. Krejci B.A., St. Edward’s University, 1999 M.L.A, St. Edward’s University, 2004 August 2011 For my family (blood and otherwise), for fueling my imagination with stories and songs (especially on those nights I couldn’t sleep). ii Acknowledgements I would like to thank my advisor, John Fletcher, for his expert guidance. I would also like to thank the members of my committee, Ruth Bowman, Femi Euba, and Les Wade, for their insight and support. -
Introduction
INTRODUCTION CITIZENSHIP IN TWENTIETH- CENTURY ARGENTINA BENJAMIN BRYCE AND DAVID M. K. SHEININ t many moments in the twentieth century, the meaning of citizen- ship in Argentina has changed. In 1912, electoral reform expanded Avoting rights from elite men to include all men born or naturalized in the country.1 Only in 1947 did the franchise expand to include women. Yet, that alone is not the story of Argentine citizenship. When electoral democ- racy was interrupted in 1930, 1943, 1955, 1962, 1966, and 1976, people did not cease to be citizens. When Juan Perón became president in 1946, he cam- paigned heavily on the idea of social justice. During his populist rule, the rights of citizenship came to encompass greater access to social services and housing as well as higher wages. Throughout the century, citizenship—as a concept invoked by diverse groups of people—has defined people’s relation- ship with the state and their expectations about that state. It also shaped the rights and duties of not only Argentines but also foreign nationals living in the country. The language of citizenship was also fundamentally about belonging. Scholars in this volume and beyond use terms such as cultural, moral, and social citizenship. In seeking out these cultural, moral, and social require- ments, groups with power excluded others whose status in Argentine society was vulnerable. Even if formally citizens, workers, indigenous peoples, racial- ized groups, leftists, and religious minorities have often not been included in the Argentine body politic or have not experienced the same rights as others in many periods of the past century. -
The Hispanic Literary Canon in U.S. Universities
ISSN 2373–874X (online) 026-12/2016EN The Hispanic Literary Canon in U.S. Universities Winston R. Groman 1 Topic: Hispanic Literary Canon in the United States Universities Summary: This report analyzes the state of the canon of Spanish-language literature in U.S. universities through the reading lists provided to students by graduate programs in Spanish literature, as well as exploring its evolution since Brown and Johnson’s study about it in 1998. Keywords: Literary Canon, Spanish Literature, Latin-American Literature, United States, University, Readings © Winston R. Groman The Hispanic Literary Canon in U.S. Universities Informes del Observatorio / Observatorio Reports. 026-12/2016EN ISSN: 2373-874X (print) doi: 10.15427/OR026-12/2016EN Instituto Cervantes at FAS - Harvard University © Instituto Cervantes at the Faculty of Arts and Sciences of Harvard University 0. Introduction Dating back to the Ancient Library of Alexandria, the concept of the literary canon has proven to be a durable one. In its over two millennia of existence, literary canons have served purposes religious and secular, promoted agendas political and personal, and have worked to define and redefine the status of both the traditional cultural elite and, most recently, to reflect upon the role played by traditionally underrepresented minority cultures in the discussion of which texts are considered as definitive. By the 20th Century, the assessment of literary canonicity had become almost the exclusive domain of higher education, especially in the United States, binding -
Texto Completo (Pdf)
Los nuevos retos del viejo género de la crítica biográfica 80 Valenciana, ISSN impresa: 2007-2538, ISSN electrónica: 2448-7295, núm. 22, julio-diciembre de 2018, pp. 81-100. Los nuevos retos del viejo género de la crítica biográfica: el caso de Augusto Monterroso New challenges to the old literary genre of biographical criticism: Augusto Monterroso’s case Alejandro Lámbarry Benemérita Universidad Autónoma de Puebla, México Resumen: El género de la crítica biográfica ha logrado reposicionarse en el espacio de convergencia entre las ciencias sociales y la literatura, con una metodología interdisciplinaria rigurosa que obedece a los criterios de veracidad de la historia. En este artículo nos interesa, primero, ex- poner los postulados teóricos de la nueva crítica biográfica y, segundo, desarrollar algunas conclusiones sobre la vida y obra de Augusto Monte- rroso, resultado de una investigación de archivo (en las universidades de Princeton y Oviedo) y de fuentes orales, bibliográficas y hemerográficas. Nuestro objetivo es asentar la importancia de la crítica biográfica (en teoría y práctica) para la crítica literaria hispanoamericana. Palabras clave: crítica biográfica, Augusto Monterroso, archivo, crítica literaria. Abstract: Biographical criticism is located in the crossroads between lit- erature and social sciences; it has a strict historical methodology and a penchant for narrative. In this article we want, firstly, to revise its theor- etic grounding and, secondly, its application in the life and works of Augusto Monterroso. In order to write about Monterroso we consulted his manuscripts and personal papers kept in the Princeton University and Oviedo University Libraries; we also conducted interviews to people 81 Los nuevos retos del viejo género de la crítica biográfica that were close to him. -
Lista De Filmes Brasileiros Disponíveis Para Empréstimo Embaixada Do Brasil Em Adis Abeba Bole Sub-City, Kebele 02, House Nr
Lista de Filmes Brasileiros disponíveis para Empréstimo Embaixada do Brasil em Adis Abeba Bole Sub-City, Kebele 02, House Nr. 2830 Tel: +251(0)116-620-401 E-mail: [email protected] 1. “2 Filhos de Francisco” (drama/biográfico), de Brenno Silveira (2005) 2. “2 perdidos numa noite suja” (drama), de Braz Chediak (2002) 3. “Abril despedaçado” (drama), de Walter Salles (2001) 4. “Anahy de las misiones” (ficção histórica), de Sergio Silva (2000) 5. “Bossa Nova” (comédia/romance), de Bruno Barreto (1999) 6. “Brava Gente Brasileira” (drama),de Lucia Murat (2000) 7. “Cabra-cega” (drama), de Toni Venturi (2006) 8. “Caramuru, a invenção do Brasil” (comédia), de Guel Arraes (2003) 9. “Carandiru” (drama), de Hector Babenco (2003) 10. “Central do Brasil” (drama), de Walter Salles (1998) 11. “Cidade baixa” (drama), de Sergio Machado (2005) 12. “Cidade de Deus“ (ação/drama) , de Fernando Meirelles (2002) 2DVD 13. “Dias de Nietzsche em Turim” (drama biográfico), de Julio Bressane (2004) 14. “Domésticas, o filme” (comédia), de Fernando Meirelles (2001) 15. “Durval Discos” (comédia), de Anna Muylaert (2002) 16. “Ed Mort” (comédia), de Alain Fresnot (2005) 17. “Edifício Master” (documentário), de Eduardo Coutinho (2002) 18. “Entreatos” (documentário), de João Moreira Salles (2006) 19. “Estorvo” (drama), de Ruy Guerra (2001) 20. “Fala tu” (documentário), de Guilherme Coelho (2003) 21. “Filme de Amor” (drama), de Julio Bressane (2003) 22. “Canudos” (drama), de Sergio Rezende (2005) 23. “Iracema, Uma Transa Amazônica” (drama), de J. Bodanzky e Orlando Senna (2005) 24. “Justiça” (documentário), de Maria Augusta Ramos (2004) 25. “Lamarca” (drama biográfico), de Sergio Rezende (2005) 26. -
The Mexican Film Bulletin Special Issue: Summer 2020
THE MEXICAN FILM BULLETIN SUMMER 2020 ISSUE TThhee MMeexxiiccaann FF iillmm BBuulllleettiinn SSppeecciiaall IIssssuuee:: SS uummmmeerr 22002200 We're Back! (Sort Of) years of age. Óscar Chávez Fernández was born in Although at this point we're not ready to resume March 1935 in Mexico City. Chávez became "regular" publication, there will hopefully be two interested in acting, studying with Seki Sano and at the special issues of MFB in 2020, one in the summer and Instituto de Bellas Artes school. He also worked in our annual "Halloween Issue" at the end of October. radio, sang, and directed plays before making his Sadly, a number of film personnel have passed screen debut in Los away since our last issue (December 2019) and so we caifanes (1966). have a lot of obituaries this time. A number of these Chávez subsequently individuals are from a certain "generation" who began appeared in a number their film work in the 1960s or early 1970s-- Jaime of popular films, Humberto Hermosillo, Gabriel Retes, Pilar Pellicer, including the remake Aarón Hernán, Óscar Chávez, Héctor Ortega--and thus of Santa, but spent made films that are particularly well-remembered by much of his time on those of a certain age (like yours truly). [It also means music, along with that two or more of these people often worked on the political and social same film, as some of the reviews in this issue activism. In the mid- illustrate.] 1970s he was among The COVID-19 pandemic has strongly affected film the actors who formed the Sindicato de Actores and other entertainment industries.