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Cuadernos Hispanoamericanos Nº 337-338, Julio-Agosto 1978
CUADERNOS HISPANOAMERICANOS MADRID JULIO-AGOSTO 1978 337-338 CUADERNOS HISPANO AMERICANOS DIRECTOR JOSÉ ANTONIO MARAVALL JEFE DE REDACCIÓN FÉLIX GRANDE HAN DIRIGIDO CON ANTERIORIDAD ESTA REVISTA PEDRO LAIN ENTRALGO LUIS ROSALES DIRECCIÓN, SECRETARIA LITERARIA Y ADMINISTRACIÓN Centro Iberoamericano de Cooperación Avenida de los Reyes Católicos Teléfono 244 06 00 MADRID CUADERNOS HISPANOAMERICANOS Revista mensual de Cultura Hispánica Depósito legal: M 3875/1958 DIRECTOR JOSÉ ANTONIO MARAVALL JEFE DE REDACCIÓN FÉLIX GRANDE 337-338 DIRECCIÓN, ADMINISTRACIÓN Y SECRETARIA Centro Iberoamericano de Cooperación Avda. de los Reyes Católicos Teléfono 244 06 00 MADRID INDICE NUMEROS 337-338 (JULIO-AGOSTO 1978) HOMENAJE A CAMILO JOSE CELA Páginas JOSE GARCIA NIETO: Carta mediterránea a Camilo José Cela ... 5 FERNANDO QUIÑONES: Lo de Casasana 13 HORACIO SALAS: San Camilo 1936-Madrid. San Rómulo 1976-Bue- nos Aires 17 PEDRO LAIN ENTRALGO: Carta de un pedantón a un vagabundo por tierras de España 20 JOSE MARIA MARTINEZ CACHERO: El septenio 1940-1946 en la bi bliografia de Camilo José Cela : 34 ROBERT KIRSNER: Camilo José Cela: la conciencia literaria de su sociedad • 51 PAUL ILIE: La lectura del «vagabundaje» de Cela en la época pos franquista 61 EDMOND VANDERCAMMEN: Cinco ejemplos del ímpetu narrativo de Camilo José Cela 81 JUAN MARIA MARIN MARTINEZ: Sentido último de «La familia de Píí ^C'tirii DtJ3tt&¡> Qn JESUS SANCHEZ LOBATO: La adjetivación "en «La familia de Pas cual Duarte» 99 GONZALO SOBEJANO: «La Colmena»: olor a miseria 113 VICENTE CABRERA: En busca de tres personajes perdidos en «La Colmena» 127 D. W. McPHEETERS: Tremendismo y casticismo 137 CARMEN CONDE: Camilo José Cela: «Viaje a la Alcarria» 147 CHARLES V. -
Cervantes and the Spanish Baroque Aesthetics in the Novels of Graham Greene
TESIS DOCTORAL Título Cervantes and the spanish baroque aesthetics in the novels of Graham Greene Autor/es Ismael Ibáñez Rosales Director/es Carlos Villar Flor Facultad Facultad de Letras y de la Educación Titulación Departamento Filologías Modernas Curso Académico Cervantes and the spanish baroque aesthetics in the novels of Graham Greene, tesis doctoral de Ismael Ibáñez Rosales, dirigida por Carlos Villar Flor (publicada por la Universidad de La Rioja), se difunde bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2016 publicaciones.unirioja.es E-mail: [email protected] CERVANTES AND THE SPANISH BAROQUE AESTHETICS IN THE NOVELS OF GRAHAM GREENE By Ismael Ibáñez Rosales Supervised by Carlos Villar Flor Ph.D A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy At University of La Rioja, Spain. 2015 Ibáñez-Rosales 2 Ibáñez-Rosales CONTENTS Abbreviations ………………………………………………………………………….......5 INTRODUCTION ...…………………………………………………………...….7 METHODOLOGY AND STRUCTURE………………………………….……..12 STATE OF THE ART ..……….………………………………………………...31 PART I: SPAIN, CATHOLICISM AND THE ORIGIN OF THE MODERN (CATHOLIC) NOVEL………………………………………38 I.1 A CATHOLIC NOVEL?......................................................................39 I.2 ENGLISH CATHOLICISM………………………………………….58 I.3 THE ORIGIN OF THE MODERN -
Catalogoqueleopedrodevaldivia40.Pdf
CATALOGO LIBRERIA QUE LEO CodBarras Clasificacion Autor Titulo Libro Editorial Precio 7798141020454 AGENDA ALBERTO MONTT CUADERNO ALBERTO MONTT MONOBLOCK 8,500 1000000001709 AGENDA AUTORES VARIOS AGENDA POLITICA 2012 OCHO LIBROS EDITOR 2,900 1111111199121 AGENDA AUTORES VARIOS DIARIO NARANJA ARTISTA OMERTA 12,300 1111444445551 AGENDA AUTORES VARIOS IMANES LARREA LARREA IMPRESOS 2,900 1111111198988 AGENDA AUTORES VARIOS LIBRETA GRANATE CALCULO OMERTA 8,200 3333344443330 AGENDA AUTORES VARIOS LIBRETA LARREA LARREA IMPRESOS 6,900 1111111198995 AGENDA AUTORES VARIOS LIBRETA ROSADA LINEAS OMERTA 8,500 7798071447376 AGENDA LINIERS AGENDA MACANUDO 2020 ANILLADA LETRAS GRANICA 10,000 7798071447390 AGENDA LINIERS AGENDA MACANUDO 2020 ANILLADA LLUVIA GRANICA 10,000 7798071447352 AGENDA LINIERS AGENDA MACANUDO 2020 COSIDA BANDERAS GRANICA 10,000 7798071447338 AGENDA LINIERS AGENDA MACANUDO 2020 COSIDA BOSQUE GRANICA 10,000 7798071444399 AGENDA . MAITENA MAITENA 007 MAGENTA GRANICA 1,000 7804654930019 AGENDA MARGARITA VALDES JOURNAL, CAPERUCITA FEROZ VASALISA 6,500 7798083702128 AGENDA MARIA EUGENIA PITE CHUICK AGENDA PERPETUA VR 7,200 7804654930002 AGENDA NICO GONZALES JOURNAL PIZZA PALIZA VASALISA 6,500 7804634920016 AGENDA N N AGENDA AMAKA 2011 AMAKA 4,900 7798083704214 AGENDA N N AGENDA COELHO ANILLADA PAVO REAL 2015 VR 7,000 7798083704221 AGENDA N N AGENDA COELHO CANTONE FLORES 2015 VR 7,000 7798083704238 AGENDA N N AGENDA COELHO CANTONE PAVO REAL 2015 VR 7,000 9789568069025 AGENDA N N AGENDA CONDORITO (NEGRA) ORIGO 9,900 9789568069032 AGENDA -
Brazilian Cinema at the Berlin International Film Festival
1 Brazilian Cinema at the Berlin International Film Festival Carolina Rocha Published: March 06, 2019 Figure 1. OS CAFAJESTES, Films sans Frontières © original copyright holders Film scholar Marijcke de Valck argues that film festivals “are sites of passage that function as the gateways to cultural legitimation” (De Valck 2007: 38). More recently, Andreas Kötzing and Caroline Moine have pointed out the political dimensions of these cultural events, particularly during the second half of the twentieth century: Film festivals, whether they called themselves international or not, were at the epicenter of the various circulations, exchanges, and tensions that fueled the economic and cultural development of the Cold War. (Kötzing/Moine 2017: 10) Building on these insights and utilizing multiple film reviews, this article analyzes the performance of two Brazilian films—OS CAFAJESTES (BRAZIL 1962) and OS FUZIS (BRAZIL/ARGENTINA 1964)—that were invited to be screened at the Berlin International Film Festival in the early 1960s and were Research in Film and History ‣ New Approaches 2019 ©The Author(s) 2019. Published by Research in Film and History. This is an Open Access article distributed under the terms of the Creative Commons BY–NC–ND 4.0 License (http://creativecommons.org/licenses/by-nc-nd/4.0/). 2 both nominated for the Golden Bear. I argue that the Berlin International Film Festival benefited from an interest in Brazilian cinema at a time when the politics of the Cold War challenged cinema’s role as a bridge between East and West. As I will show below, during the Berlin International Film Festival’s first decade, only films from Western Europe and the United States received Golden Bears. -
Proquest Dissertations
Epic Epistles: Scripting the Early Modern Self in Chivalric Romance, the Picaresque and the Conquest Relation by Barnaby William Clunie A thesis submitted in conformity with the requirements for the degree Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Barnaby William Clunie 2007 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your We Votre reference ISBN: 978-0-494-55700-6 Our file Notre reference ISBN: 978-0-494-55700-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantias de celle-ci substantial extracts from'it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Les Festivals De Films Carl Rodrigue and Patrice Doré
Document generated on 09/30/2021 12:50 a.m. Séquences La revue de cinéma Le lauréat Les festivals de films Carl Rodrigue and Patrice Doré Number 233, September–October 2004 URI: https://id.erudit.org/iderudit/48083ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Rodrigue, C. & Doré, P. (2004). Le lauréat : les festivals de films. Séquences, (233), 30–39. Tous droits réservés © La revue Séquences Inc., 2004 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ ETUDE I AI IDF WÊÊÊÊÊÊ JmmL^^^ m \L LES FESTIVALS François Truffaut aux côtés d'Orson Welles venu présenté son Falstaff: il repartira avec le Prix spécial du 20e anniversaire du festival. Ilya déjà plus de cent ans, les opérateurs des frères Lumière se baladaient dans les grandes métropoles pour y diffuser leurs petits bouts de films. Non contents d'inventer le cinématographe, les deux frères démarrent, sans le savoir, l'ère des festivals. Aujourd'hui, il en existe plus de 1 400 à travers le monde. Panorama d'ici et d'ailleurs. Étude rédigée par Cari Rodrigue et Patrice Doré SÉQUENCES 233 septembre_octobre 2004 ÉTUDE fa- FILMS CANNES Fleming, La Charrette fantôme de Julien Duvivier et Only annes. -
Copyright by Sadie Nickelson-Requejo 2011
Copyright by Sadie Nickelson-Requejo 2011 The Dissertation Committee for Sadie Nickelson-Requejo Certifies that this is the approved version of the following dissertation: The Child’s Perspective of War and its Aftermath in Works of Adult Prose and Film in Mexico and Spain Committee: Virginia Higginbotham, Supervisor Jill Robbins, Co-Supervisor Enrique Fierro Domino Pérez Cory Reed Elizabeth Richmond-Garza The Child’s Perspective of War and its Aftermath in Works of Adult Prose and Film in Mexico and Spain by Sadie Nickelson-Requejo, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Dedication To my loving family who has supported me in my every endeavor, and to Jim, the best partner I could ever imagine. You have encouraged and stood by me throughout this process and have my undying love and gratitude. I proudly present to you the dissertation that you made possible. Acknowledgements I would like to thank my supervisors, Virginia Higginbotham, Ph.D. and Jill Robbins, Ph.D., for their guidance throughout this investigation, and my supportive committee. A special thank you to Irene Matthews, Ph.D. for granting me access to her interview tapes with Nellie Campobello, the librarians at the University of Puget Sound, and Doreen Marchionni, Ph.D. for her assistance with research. You have my deepest gratitude. v The Child’s Perspective of War and its Aftermath in Works of Adult Prose and Film in Mexico and Spain Publication No._____________ Sadie Nickelson-Requejo, Ph.D. -
Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqama
Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ramirez-Nieves, Emmanuel. 2015. Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467380 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew 0DTƗPD A dissertation presented by Emmanuel Ramírez-Nieves to The Department of Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Comparative Literature Harvard University Cambridge, Massachusetts March 2015 © 2015 Emmanuel Ramírez-Nieves All rights reserved. Dissertation Advisor: Luis M. Girón-Negrón Emmanuel Ramírez-Nieves Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew 0DTƗPD Abstract 5HSHQWLQJ5RJXHU\3HQDQFHLQWKH6SDQLVK3LFDUHVTXH1RYHODQGWKH$UDELFDQG +HEUHZ0DTƗPDinvestigates the significance of conversion narratives and penitential elements in the Spanish picaresque novels Vida de Guzmán de Alfarache (1599 and 1604) by Mateo Alemán and El guitón Honofre (circa 1606) by Gregorio González as ZHOODV-XDQ5XL]¶VLibro de buen amor (1330 and 1343) and El lazarillo de Tormes (1554), the Arabic PDTƗPƗWof al-ণDUƯUƯRI%DVUD FLUFD DQG,EQDO-$VKWDUNnjZƯDO- 6DUDTXV৬Ư -1138), and the Hebrew PDTƗPƗWof Judah al-ণDUƯ]Ư FLUFD DQG Isaac Ibn Sahula (1281-1284). -
Download The
FROM HOSPITALITY TO GRACE Hau BOOKS E xecutive Editor Giovanni da Col Managing Editor Katharine Herman Editorial Board Carlos Fausto Ilana Gershon Michael Lempert Stephan Palmié Jonathan Parry Joel Robbins Danilyn Rutherford Anne-Christine Taylor Jason Throop www.haubooks.com FROM HOSPITALITY TO GRACE A JUliaN PITT-RIVERS OMNibUS E dited by Giovanni da Col and Andrew Shryock Hau Books Chicago © 2017 Hau Books Unless otherwise indicated, all rights to Julian Pitt-Rivers’ work are held by Françoise Pitt-Rivers and reproduced here with her permission. Cover and layout design: Sheehan Moore Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9861325-2-0 LCCN: 2017945172 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is printed, marketed, and distributed by The University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Table of Contents acknowledgments xi introduction xiii A perfect host: Julian Pitt-Rivers and the anthropology of grace Andrew Shryock and Giovanni da Col part i: Moral frames: honor, mana, and grace 1 chapter one Honor and social status in Andalusia 3 chapter two Mana 35 chapter three The place of grace in anthropology 69 chapter four The malady of honor 105 vi FROM HOSPITALITY TO GRACE part ii: Uncertain relations: kin/friend, host/guest, male/female, and human/animal 119 chapter five The kith and the kin 121 chapter six Ritual kinship in the Mediterranean: Spain and the Balkans 141 chapter seven The law of hospitality -
Brazilian Cinema at the Berlin International Film Festival 2019
Repositorium für die Medienwissenschaft Carolina Rocha Brazilian Cinema at the Berlin International Film Festival 2019 https://doi.org/10.25969/mediarep/14814 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Rocha, Carolina: Brazilian Cinema at the Berlin International Film Festival. In: Research in Film and History. New Approaches (2019), S. 1–14. DOI: https://doi.org/10.25969/mediarep/14814. Erstmalig hier erschienen / Initial publication here: https://film-history.org/approaches/brazilian-cinema-berlin-international-film-festival Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 1 Brazilian Cinema at the Berlin International Film Festival Carolina Rocha Published: March 06, 2019 Figure 1. OS CAFAJESTES, Films sans Frontières © original copyright holders Film scholar Marijcke de Valck argues that film festivals “are sites of passage that function as the gateways to cultural legitimation” (De Valck 2007: 38). More recently, Andreas Kötzing and Caroline Moine have pointed out the political dimensions of these cultural events, particularly during -
Making Machines Learn. Applications of Cultural Analytics to the Humanities
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-4-2016 12:00 AM Making Machines Learn. Applications of Cultural Analytics to the Humanities Javier de la Rosa Pérez The University of Western Ontario Supervisor Juan Luis Suárez The University of Western Ontario Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Javier de la Rosa Pérez 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Digital Humanities Commons, Other Arts and Humanities Commons, and the Spanish Literature Commons Recommended Citation de la Rosa Pérez, Javier, "Making Machines Learn. Applications of Cultural Analytics to the Humanities" (2016). Electronic Thesis and Dissertation Repository. 3486. https://ir.lib.uwo.ca/etd/3486 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract The digitization of several million books by Google in 2011 meant the popularization of a new kind of humanities research powered by the treatment of cultural objects as data. Culturomics, as it is called, was born, and other initiatives resonated with such a methodological approach, as is the case with the recently formed Digital Humanities or Cultural Analytics. Intrinsically, these new quantitative approaches to culture all borrow from techniques and methods developed under the wing of the exact sciences, such as computer science, machine learning or statistics. -
Picaresque Necessity: Episodic Narrative
PICARESQUE NECESSITY: EPISODIC NARRATIVE AND CAUSALITY IN THE LONG EIGHTEENTH CENTURY by NATHAN PETERSON A dissertation submitted to the Graduate School––New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in English Written under the direction of Lynn Festa And approved by ____________________ ____________________ ____________________ ____________________ New Brunswick, New Jersey October 2016 ABSTRACT OF THE DISSERTATION Picaresque Necessity: Episodic Narrative and Causality in the Long Eighteenth Century by NATHAN PETERSON Dissertation Director: Lynn Festa This dissertation argues that eighteenth-century picaresque narratives opposed modern notions of individual autonomy and social progress by stressing questions of necessity. The picaresque highlights the kinds of causes––such as bodily need or economic hardship––that overpower individual and collective capacities for self-determination. Whereas eighteenth-century scholarship has long emphasized the affiliation between the rise of the novel and the rise of the autonomous individual, Picaresque Necessity argues that authors such as Daniel Defoe and Tobias Smollett were preoccupied with how states of extreme need threaten an individual’s capacity for survival and social advancement. I argue that the open-ended and repetitive nature of the picaresque stems from its emphasis on the interminable demands of the body, and that its episodic narrative defies higher order modes of explanation by lingering on the irreducible power of bodily need. Necessity resists being apprehended in the objective language of social or political theory because its impetus can only be felt by the sufferer, whose testimony is thus often disregarded as irredeemably partial and subjective.