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Televisión Y Literatura En La España De La Transición (1973-1982)
Antonio Ansón, Juan Carlos Ara Torralba, José Luis Calvo Carilla, Luis Miguel Fernández, María Ángeles Naval López y Carmen Peña Ardid (Eds.) Televisión y Literatura en la España de la Transición (1973-1982) COLECCIÓN ACTAS f El presente libro recoge los trabajos del Seminario «Televisión y Literatura en la España de la Transición» que, bajo el generoso patrocinio de la Institución ACTAS «Fernando el Católico», tuvo lugar durante los días 13 a 16 de febrero de 2008. En él se incluyen, junto con las aportaciones del Grupo de Investigación sobre «La literatura en los medios de comunicación de masas durante COLECCIÓN la Transición, 1973-1982», formado por varios profesores de las Universidades de Zaragoza y Santiago de Compostela, las ponencias de destacados especialistas invitados a las sesiones, quienes han enriquecido el resultado final con la profundidad y amplitud de horizontes de sus intervenciones. El conjunto de todos estos trabajos representa un importante esfuerzo colectivo al servicio del mejor conocimiento de las relaciones entre el influyente medio televisivo (único en los años que aquí se estudian) y la literatura en sus diversas manifestaciones creativas, institucionales, críticas y didácticas. A ellos, como segunda parte del volumen, se añade una selección crítica de los principales programas de contenido literario emitidos por Televisión Española durante la Transición, con información pormenorizada sobre sus características, periodicidad, fecha de emisión, banda horaria y otros aspectos que ayudan a definir su significación estética y sociológica. Diseño de cubierta: A. Bretón. Motivo de cubierta: Josep Pla entrevistado en «A fondo» (enero de 1977). La versión original y completa de esta obra debe consultarse en: https://ifc.dpz.es/publicaciones/ebooks/id/2957 Esta obra está sujeta a la licencia CC BY-NC-ND 4.0 Internacional de Creative Commons que determina lo siguiente: • BY (Reconocimiento): Debe reconocer adecuadamente la autoría, proporcionar un enlace a la licencia e indicar si se han realizado cambios. -
Orientalisms the Construction of Imaginary of the Middle East and North Africa (1800-1956)
6 march 20 | 21 june 20 #IVAMOrientalismos #IVAMOrientalismes Orientalisms The construction of imaginary of the Middle East and North Africa (1800-1956) Francisco Iturrino González (Santander, 1864-Cagnes-sur-Mer, Francia, 1924) Odalisca, 1912. Óleo sobre lienzo, 91 x 139 cm Departament de Comunicació i Xarxes Socials [email protected] Departament de Comunicació i Xarxes Socials 2 [email protected] DOSSIER Curators: Rogelio López-Cuenca Sergio Rubira (IVAM Exhibitions and Collection Deputy Director) MªJesús Folch (assistant curator of the exhibition and curator of IVAM) THE EXHIBITION INCLUDES WORKS BY ARTISTS FROM MORE THAN 70 PUBLIC AND PRIVATE COLLECTIONS Francisco de Goya y Lucientes (National Calcography), Francisco Lamayer, César Álvarez Dumont, Antonio Muñoz Degrain (Prado Museum), José Benlliure (Benlliure House Museum), Joaquín Sorolla (Sorolla Museum of Madrid), Rafael Senet and Fernando Tirado (Museum of Fine Arts of Seville), Mariano Bertuchi and Eugenio Lucas Velázquez (National Museum of Romanticism), Marià Fortuny i Marsal (Reus Museum, Tarragona), Rafael de Penagos (Círculo de Bellas Artes de Madrid, Institut del Teatre de Barcelona, MAPFRE Collection), Leopoldo Sánchez (Museum of Arts and Customs of Seville), Ulpiano Checa (Ulpiano Checa Museum of Madrid), Antoni Fabrés (MNAC and Prado Museum), Emilio Sala y Francés and Joaquín Agrasot (Gravina Palace Fine Arts Museum, Alacant), Etienne Dinet and Azouaou Mammeri (Musée d’Orsay), José Ortiz Echagüe (Museum of the University of Navarra), José Cruz Herrera (Cruz Herrera -
Redalyc.Manolo, Dibujante De La Revista Satírica Don Cecilio De Triana
Ámbitos ISSN: 1139-1979 [email protected] Universidad de Sevilla España Méndez Paguillo, J. Carlos Manolo, dibujante de la revista satírica Don Cecilio de Triana Ámbitos, núm. 36, 2017, pp. 1-35 Universidad de Sevilla Sevilla, España Disponible en: http://www.redalyc.org/articulo.oa?id=16851142001 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Manolo, dibujante de la revista satírica Don Cecilio de Triana institucional.us.es /ambitos/ 2017-3-20 J. Carlos Méndez Paguillo Universidad de Sevilla [email protected] English Version: Manolo, cartoonist of the satirical magazine Don Cecilio de Triana. Resumen Manuel Alonso Moyano, alias Manolo, fue uno de los grandes humoristas gráficos sevillanos del primer tercio del siglo XX, retratando con su lápiz, semana a semana, cuanto acontecía en la vida política de Sevilla desde la revista Don Cecilio, entre otras. Y presentamos su biografía en este estudio estructurada en tres ámbitos interrelacionados en el tiempo: En primer lugar la vertiente humorística y sus dibujos en las principales revistas satíricas sevillanas, su participación en la Humorística de San Sebastián organizada por la Asociación de Dibujantes Españoles y su marcha a Madrid para trabajar en la industria cinematográfica de los dibujos animados durante la II República. Una segunda parte, destacando su vertiente artística como cartelista de la Feria de San Miguel de Sevilla y pintor en las exposiciones de la Sección de Bellas Artes del Ateneo hispalense. -
Semblanza Del Pintor Sevillano Miguel Ángel Del Pino Y Sardá (1890-1973) 763
Laboratorio de Arte, 25 vol.2-2013 http://dx.doi.org/10.12795/LA.2013.i25.40 Semblanza del pintor sevillano Miguel Ángel del Pino y Sardá (1890-1973) 763 SEMBLANZA DEL PINTOR SEVILLANO MIGUEL ÁNGEL DEL PINO Y SARDÁ (1890-1973) BIOGRAPHICAL SKETCH OF THE SEVILLIAN PAINTER MIGUEL ÁNGEL DEL PINO Y SARDÁ (1890-1973) Por Gerardo Pérez Calero Universidad de Sevilla, España Este trabajo constituye una semblanza de la biografía y la obra del pintor sevillano Miguel Ángel del Pino y Sardá, artista polifacético, de éxito en España y Argentina. Palabras clave: Pintura española de los siglos XIX y XX This article is a biographical sketch of the Sevillian painter Miguel Angel del Pino y Sardá, who is a multifaceted artist with success in Spain and Argentina. Keywords: Spanich painting ninetime and twenty centuries. 1. PERFIL BIOGRÁFICO Nació en Sevilla el 9 de abril de 1890 en la calle San José, 12 en el seno de una familia perteneciente a la alta burguesía, que le proporcionó una esmerada educación de la que hizo gala toda su vida. Además, su sentido del humor, ocurrente e irónico sin maldad y una humanidad generosa, completan la personalidad de hombre trabajador, serio y vitalista. Sus primeros años transcurrieron en la placidez del ambiente de una Sevilla pro- vinciana, que veía desaparecer con el duque de Montpensier, a uno de los siglos que dio mayor personalidad a la ciudad. Sus correrías infantiles por las recoletas calles de los entornos de San Nicolás y de Santa Cruz, con los Reales Alcázares como referencia, las compartió con su amigo Juan Lafita, con el que mantendría siempre una fraternal amistad y compañerismo artístico. -
Citation for Published Version Prado-Fonts, C. (2018
Citation for published version Prado-Fonts, C. (2018). Writing China from the rest of the west: travels and transculturation in 1920s Spain. Journal of Spanish Cultural Studies, 19(2), 175-189. DOI https://doi.org/10.1080/14636204.2018.1453110 Document Version This is the Accepted Manuscript version. The version in the Universitat Oberta de Catalunya institutional repository, O2 may differ from the final published version. Copyright and Reuse This manuscript version is made available under the terms of the Creative Commons Attribution Non Commercial No Derivatives licence (CC-BY-NC-ND) http://creativecommons.org/licenses/by-nc-nd/3.0/es/, which permits others to download it and share it with others as long as they credit you, but they can’t change it in any way or use them commercially. Enquiries If you believe this document infringes copyright, please contact the Research Team at: [email protected] Universitat Oberta de Catalunya Research archive Writing China from the Rest of the West: Travels and transculturation in 1920s Spain Carles Prado-Fonts Universitat Oberta de Catalunya Post-print version Journal of Spanish Cultural Studies Volume 19, 2018 - Issue 2 Pages 175-189 Published online: 02 Apr 2018 https://doi.org/10.1080/14636204.2018.1453110 ABSTRACT Scholarship on the representation of China in the West generally assumes a direct interaction characterized by colonial dynamics. This article shows what happens when a third agent – non-colonizer and non-colonized – enters the picture and looks at two responses from Spanish texts written during the 1920s: whereas Vicente Blasco Ibáñez’s China chapters in his well-known La vuelta al mundo de un novelista (1924) dissolve the Spanish position into the voice of the colonizer, Federico García Sanchiz’s La ciudad milagrosa (1926) uses an external perspective to articulate a more critical view of the Western presence in Shanghai that is nevertheless subjected to a formal style that homogenizes the narrative. -
PR Javier Leon Perez CV
JAVIER LEÓN PERÉZ CURRICULUM VITAE Education 2011 Master in Art – Creation and Research, MAC+I, Facultad de Bellas Artes, Universidad Complutense, Madrid, Spain 2007 BA in Fine Arts, specialized in painting, Facultad de Sta. Isabel de Hungría, Universidad de Sevilla, Seville, Spain 2001 Applied Arts, specialization in Adversting Art, Escuela de Artes y Oficios Artísticos de Sevilla, Seville, Spain Individual exhibitions 2017 2011 Tempus-Spatium, N2 Gallery, Barcelona, Warp & Silence, Galería Trema, Lisbon, Spain Portugal 2015 Galeria Paços, Cámara Municipal de Horarium, Puerta Roja, Hong Kong Torres Vedras, Portugal 2014 2009 Origen, Trema Arte Contemporânea, Secret Garden, Galeria Trema, Lisbon, Lisbon, Portugal Portugal Collective exhibitions 2018 Contemporary Istanbul Art Fair, N2 Gallery, Barcelona Reflections, Puerta Roja, Hong Kong Interactions, The House of Fine Art Absence, Art Loft Gallery, Brussels, Gallery, London, UK Belgium 2016 Art Central, Puerta Roja, Hong Kong Anamnesis: The Reasoned Doubt, Puerta 2017 Roja, Hong Kong Scope Miami, Modus Art Gallery, Paris, NAVIgation, Puerta Roja, Hong Kong France Paper Language V5, Fernando Gallery, Collectors Cabinet, Puerta Roja, Hong Pradilla, Madrid, Spain Kong Art Central, Puerta Roja, Hong Kong Art Taipei, Puerta Roja, Taipei, Taiwan KIAF, Puerta Roja, Seoul, Korea KIAF, Puerta Roja, Seoul, Korea Art Stage Jakarta, Jakarta, Indonesia Puerta Roja |1F, SOHO189, 189 Queen’s Road West |Sheung Wan | [email protected] | +852 2803 0332 © Copyright 2018 by Adriana Alvarez-Nichol. All -
Writing China from the Rest of the West: Travels and Transculturation in 1920S Spain
Writing China from the Rest of the West: Travels and transculturation in 1920s Spain Carles Prado-Fonts Universitat Oberta de Catalunya Post-print version Journal of Spanish Cultural Studies Volume 19, 2018 - Issue 2 Pages 175-189 Published online: 02 Apr 2018 https://doi.org/10.1080/14636204.2018.1453110 ABSTRACT Scholarship on the representation of China in the West generally assumes a direct interaction characterized by colonial dynamics. This article shows what happens when a third agent – non-colonizer and non-colonized – enters the picture and looks at two responses from Spanish texts written during the 1920s: whereas Vicente Blasco Ibáñez’s China chapters in his well-known La vuelta al mundo de un novelista (1924) dissolve the Spanish position into the voice of the colonizer, Federico García Sanchiz’s La ciudad milagrosa (1926) uses an external perspective to articulate a more critical view of the Western presence in Shanghai that is nevertheless subjected to a formal style that homogenizes the narrative. I argue that both works have trouble offering a coherent representation of China that is driven by their Spanish positionality. This proves not only the ambivalence of (Spanish) representations of China in the twentieth century but also the strength of the discourse generated by colonial powers, which ends up expanding its actual scope: here, domination was not only exerted in China, but also, discursively, within the West itself. This ultimately shows that we must not completely denationalize the study of cross-cultural representations. KEYWORDS China; transculturation; representation; Vicente Blasco Ibáñez; Federico García Sanchiz. 1 Introduction In 1992 Stuart Hall coined the expression “the West and the Rest”, which has become perpetuated as a binary in many discussions on postcolonial studies. -
Tuesday 20Th July 2021
P R O C E E D I N G S O F T H E G I B R A L T A R P A R L I A M E N T AFTERNOON SESSION: 5.15 p.m. – 7.40 p.m. Gibraltar, Tuesday, 20th July 2021 Contents Appropriation Bill 2021 – Second Reading – Debate commenced ........................................... 2 The House adjourned at 7.40 p.m. .......................................................................................... 29 _______________________________________________________________________________ Published by © The Gibraltar Parliament, 2021 GIBRALTAR PARLIAMENT, TUESDAY, 20th JULY 2021 The Gibraltar Parliament The Parliament met at 5.15 p.m. [MR SPEAKER: Hon. M L Farrell BEM GMD RD JP in the Chair] [CLERK TO THE PARLIAMENT: P E Martinez Esq in attendance] Appropriation Bill 2021 – Second Reading – Debate commenced Mr Speaker: The Hon. the Deputy Chief Minister. Deputy Chief Minister (Hon. Dr J J Garcia): Mr Speaker, it is good to see this House meeting 5 today in order to debate the Estimates of Revenue and Expenditure. The events of the last 15 months have shown that nothing can be taken for granted, not even this traditional, set-piece annual fixture. This is my 23rd Budget. Thirteen have been in Opposition, 10 as a Member of the Government – one of which failed to materialise in the usual way, as we all know, as a 10 consequence of the pandemic. We have seen how a virus first detected in China at the end of 2019 has now taken millions of lives, destroyed families everywhere, decimated economies across the planet and quite simply turned the world upside down. The pandemic has challenged everything that we took for granted: the simple right to leave our homes, the right to meet who we want when we want to, the right 15 to gather in hundreds or thousands, the ability to travel smoothly and simply, the right to open the doors of our businesses, our relationships with our loved ones and the elderly in particular. -
Javier León Pérez B
Javier León Pérez b. 1977, Seville, Spain Javier’s monochromatic abstract landscapes undulate with rhizomatic movement. In his three- dimensional works, small elements of carefully folded Japanese paper interweave with each other tracing a dance, drawing the viewer into a parallel reality. As with poetry, the message is implicit, it points to a new place that opens up new possibilities. In his paintings as well as sculptural paper works, the detailed process and craftsmanship, an eternal repetition of small elements that cover the surface, act as a mantra, a sacred formula and deeply personal ritual for the artist. For the viewer, the first impact of the powerful colours and the tactile velvety textures slowly move into a full aesthetic sensory experience. The eyes explore the surface and discover differences in density, quantity, as well as the games of light and shadow. In his series “Solaris”, the name of the enigmatic science fiction planet, the swirls of the works pull us in. In the science fiction novel, the interaction of the human presence with the planet increased its mass, thereby gravitationally pulling the space station. Such is the strength of the viewer’s feelings when faced with the work. León Pérez’s studied at the School of Arts in Seville and a postgraduate at the Unviersidad Complutense de Madrid. His works have participated in several biennales including de Biennial Paper of Contemporary Art at the Rijswijk Museum in Holland. Currently living and working between Seville and Madrid, he has exhibited primarily in Spain, Portugal and Holland. Puerta Roja represents León Pérez’s in Asia and presented his works for the first time in Hong Kong in Recollective 3. -
Use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982) Wenceslao Gil Florida International University, [email protected]
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 2011 The A( b)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982) Wenceslao Gil Florida International University, [email protected] DOI: 10.25148/etd.FI11120207 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Recommended Citation Gil, Wenceslao, "The A( b)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982)" (2011). FIU Electronic Theses and Dissertations. 477. https://digitalcommons.fiu.edu/etd/477 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida THE (AB)USE OF POLITICS AND EROTICISM IN THE CULTURE OF THE SPANISH TRANSITION TO DEMOCRACY (1975-1982) A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in SPANISH by Wenceslao Gil 2011 To: Dean Kenneth Furton choose the name of dean of your college/school College of Arts and Sciences choose the name of your college/school This dissertation, written by Wenceslao Gil, and entitled The (Ab)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982), having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. -
A History of Theatre in Spain Edited by Maria M
Cambridge University Press 978-0-521-11769-2 - A History of Theatre in Spain Edited by Maria M. Delgado and David T. Gies Frontmatter More information A History of Theatre in Spain Leading theatre historians and practitioners map a theatrical history that moves from the religious tropes of medieval Iberia to the post- modern practices of twenty-first-century Spain. Considering work across the different languages of Spain, from vernacular Latin to Catalan, Galician, Castilian and Basque, the history engages with the work of actors and directors, designers and publishers, agents and impresarios, and architects and ensembles in indicating the ways in which theatre has both commented on and intervened in the major debates and issues of the day. Chapters consider paratheatrical activities and popular performance, such as the comedia de magia and flamenco, alongside the works of Spain’s major dramatists, from Lope de Vega to Federico Garcı´a Lorca. Featuring revealing interviews with actor Nuria Espert, director Lluı´s Pasqual and playwright Juan Mayorga, the volume positions Spanish theatre within a paradigm that recognises its links and intersections with wider European and Latin-American practices. Maria M. Delgado is Professor of Theatre and Screen Arts at Queen Mary, University of London, and co-editor of the journal Contemporary Theatre Review. She has published widely in the areas of modern Catalan and Spanish theatre and film with a particular interest in the work of performers and directors, and the intersections between stage and screen cultures. Her publications include Federico Garcı´a Lorca (2008), ‘Other’ Spanish Theatres (2003) and nine further co-edited volumes including Contemporary European Theatre Directors (2010). -
Postscriptum
Postscriptum In 1937, deployed by the Republic, a young Spanish sailor painted a self-portrait upon arrival at the military port of Cartagena. He dated it and wrote underneath: “When I arrived, after 37 hours of travel to cover 300 kilometers ...the fires caused by the aerial bombardment kept burning. All my thoughts went out to you.” During the duration of the Spanish Civil War, this port city in the southeast of Spain, where the Republic’s supplies of military material arrived, was the scene of terrible bombings and armed con- flicts. This first drawing, however, could not foresee either the development or unfolding of future events. It merely refers to a moment of separation and distancing, to the dra- matic circumstances that came between this soldier and his wife and newborn daughter. A full-body portrait with the soldier standing, campaign bedroll in one hand, the drawing depicts a truncated life that is expressed and materialized in a simultaneously pictorial and narrative fashion. During the ensuing years, the same soldier again channeled his experience of the conflict into images. Through his set of illustrations run pain, sorrow, indignation, madness, hunger, love, misery, the absurdity of the military commands, unjustified violence, fear, death, the helplessness of the children that, like dogs, wan- dered through the streets of Cartagena. In May 1939 he made one of the last of the series. And he wrote again: “The day was breaking ...The hours of waiting and of cold had numbed us. Anxious to arrive again, to find ourselves, to daydream. In a scrap of a sailor’s blanket, wrapped up and sleeping in that rough dawn, lay the hope and fear of our existence” (see Figure 45).