Boliches En Agosto 2013 Programación Para Montevideo
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La Poesía Tanguera De Eladia Blázquez: De La Melancolía Tradicional a La Vanguardia Renovadora
Georgia State University ScholarWorks @ Georgia State University World Languages and Cultures Theses Department of World Languages and Cultures 11-28-2007 La Poesía Tanguera de Eladia Blázquez: De la Melancolía Tradicional a la Vanguardia Renovadora María Marta López Follow this and additional works at: https://scholarworks.gsu.edu/mcl_theses Recommended Citation López, María Marta, "La Poesía Tanguera de Eladia Blázquez: De la Melancolía Tradicional a la Vanguardia Renovadora." Thesis, Georgia State University, 2007. https://scholarworks.gsu.edu/mcl_theses/2 This Thesis is brought to you for free and open access by the Department of World Languages and Cultures at ScholarWorks @ Georgia State University. It has been accepted for inclusion in World Languages and Cultures Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. LA POESÍA TANGUERA DE ELADIA BLÁZQUEZ: DE LA MELANCOLÍA TRADICIONAL A LA VANGUARDIA RENOVADORA by MARÍA MARTA LÓPEZ Under the Direction of Elena del Río Parra ABSTRACT The purpose of this study is to explore and analyze the ars poetica in the work of Eladia Blázquez (1936-2005), and to appreciate to what extent it converges or separates detaches itself from the traditional tango lyrics. Due to her numerous pieces, she is the first and only woman to write both music and lyrics consistently, while proposing a different viewpoint in tone and themes in order to update them to current times. Among them, the major are Buenos Aires, life and identity. The researcher proposes that Blázquez nourished herself on the classics, recreating them while offering new expressive possibilities, shifting at times from their melancholic tone and the moaning sound of the bandoneón, tango’s soul-haunting instrument, to a more hopeful one. -
Holland America's Shore Excursion Brochure
Continental Capers Travel and Cruises ms Westerdam November 27, 2020 shore excursions Page 1 of 51 Welcome to Explorations Central™ Why book your shore excursions with Holland America Line? Experts in Each Destination n Working with local tour operators, we have carefully curated a collection of enriching adventures. These offer in-depth travel for first- Which Shore Excursions Are Right for You? timers and immersive experiences for seasoned Choose the tours that interest you by using the icons as a general guide to the level of activity alumni. involved, and select the tours best suited to your physical capabilities. These icons will help you to interpret this brochure. Seamless Travel Easy Activity: Very light activity including short distances to walk; may include some steps. n Pre-cruise, on board the ship, and after your cruise, you are in the best of hands. With the assistance Moderate Activity: Requires intermittent effort throughout, including walking medium distances over uneven surfaces and/or steps. of our dedicated call center, the attention of our Strenuous Activity: Requires active participation, walking long distances over uneven and steep terrain or on on-board team, and trustworthy service at every steps. In certain instances, paddling or other non-walking activity is required and guests must be able to stage of your journey, you can truly travel without participate without discomfort or difficulty breathing. a care. Panoramic Tours: Specially designed for guests who enjoy a slower pace, these tourss offer sightseeing mainly from the transportation vehicle, with few or no stops, and no mandatory disembarkation from the vehicle Our Best Price Guarantee during the tour. -
The Dance Series from Ortofon Is Now Complete – MC Tango Joins MC Samba & MC Salsa for Almost Sixty Years, Ortofon Has
March, 2007 The dance series from Ortofon is now complete – MC Tango joins MC Samba & MC Salsa For almost sixty years, Ortofon has been at the forefront of music reproduction from analogue records. Throughout the years Ortofon have developed many new and creative designs for the enjoyment of music lovers and audio enthusiasts all over the world. WHY AN ORTOFON MOVING COIL CARTIDGE? Many have asked the question: Why is the sound of a moving coil cartridge so superior to that of a traditional magnetic: The answer in one word is linearity. The patented Ortofon low-impedance, low-output design is inherently linear over the entire audible range. This coupled with unequalled tracking ability and unique diamond profiles combines to deliver a sound previously deemed unattainable. The MC Tango, MC Samba and MC Salsa is a direct result of our endeavours. MC Tango has an elliptical diamond which is cut and polished to Ortofon’s standards, and the output is 0.5 mV. The MC Tango is our MC entry level cartridge with a very high cost/performance ratio. MC Samba and MC Salsa have a tiny, nude Elliptical or Fine Line diamond, mounted on a very light and rigid cantilever. This results in low equivalent stylus tip mass and cantilever compliance on 14 and 15 µm/mN, which means that MC Samba and MC Salsa will give excellent results with virtually any tone arm. The armature has been designed as a tiny lightweight cross, and the coils are mounted at exactly 90 degree to each other (just like the walls of the record groove), which is improving the channel separation. -
The Intimate Connection of Rural and Urban Music in Argentina at the Beginning of the Twentieth Century
Swarthmore College Works Spanish Faculty Works Spanish 2018 Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century Julia Chindemi Vila Swarthmore College, [email protected] P. Vila Follow this and additional works at: https://works.swarthmore.edu/fac-spanish Part of the Spanish and Portuguese Language and Literature Commons Recommended Citation Julia Chindemi Vila and P. Vila. (2018). "Another Look At The History Of Tango: The Intimate Connection Of Rural And Urban Music In Argentina At The Beginning Of The Twentieth Century". Sound, Image, And National Imaginary In The Construction Of Latin/o American Identities. 39-90. https://works.swarthmore.edu/fac-spanish/119 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Spanish Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Chapter 2 Another Look at the History of Tango The Intimate Connection of Rural ·and Urban Music in Argentina at the Beginning of the Twentieth Century Julia Chindemi and Pablo Vila Since the late nineteenth century, popular music has actively participated in the formation of different identities in Argentine society, becoming a very relevant discourse in the production, not only of significant subjectivities, but also of emotional and affective agencies. In the imaginary of the majority of Argentines, the tango is identified as "music of the city," fundame ntally linked to the city of Buenos Aires and its neighborhoods. In this imaginary, the music of the capital of the country is distinguished from the music of the provinces (including the province of Buenos Aires), which has been called campera, musica criolla, native, folk music, etc. -
El Tango Y La Cultura Popular En La Reciente Narrativa Argentina
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 El tango y la cultura popular en la reciente narrativa argentina Monica A. Agrest The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2680 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest A dissertation submitted to the Graduate Faculty in Latin American, Iberian and Latino Cultures in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 MÓNICA ADRIANA AGREST All Rights Reserved ii EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest This manuscript has been read and accepted for the Graduate Faculty in Latin American, Iberian and Latino Cultures in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________________________ ________________________________________ November 16th, 2017 Malva E. Filer Chair of Examining Committee ________________________________________ ________________________________________ November 16th, 2017 Fernando DeGiovanni Executive Officer Supervisory Committee: Silvia Dapía Nora Glickman Margaret E. Crahan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EL TANGO Y LA CULTURA POPULAR EN LA RECIENTE NARRATIVA ARGENTINA by Mónica Adriana Agrest Advisor: Malva E. Filer The aim of this doctoral thesis is to show that Tango as scenario, background, atmosphere or lending its stanzas and language, helps determine the tone and even the sentiment of disappointment and nostalgia, which are in much of Argentine recent narrative. -
Yo Soy El Tango
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Melanie Carolina Mertz Matrikelnummer: 9902134 Stkz: A 353 590 S YO SOY EL TANGO Descripción de la figura tanguera en su primera época (1900-1930) a través del yo-narrativo en las letras de tango Diplomarbeit zur Erlangung des Magistergrades der Philosophie aus der Studienrichtung LA Spanisch eingereicht an der Geistes- und Kulturwissenschaftlichen Fakultät der Universität Wien bei o. Univ.-Prof. Dr. Michael Metzeltin Wien, 2005 Índice Introducción .................................................................. 4 1. El tango...................................................................... 5 1.1. La historia del tango........................................................... 5 1.2. El lunfardo....................................................................... 18 1.3. Textos primarios y literatura secundaria .......................... 21 1.3.1. Corpus ...........................................................................21 1.3.2. Enfoque teórico .............................................................22 2. El yo-narrativo: narrador y personaje tanguero ......... 24 2.1. Introducción al yo en el tango........................................... 24 2.1.1. Tango y ritual ................................................................25 2.1.2. El gran tango universal ..................................................26 2.1.3. Ficcionalización en el tango...........................................28 2.2. Yo en las constelaciones -
Catálogo De Documentales Uruguayos
Por primera vez se realiza en Uruguay un encuentro For the first time in Uruguay we have an international internacional dedicado especialmente a la producción meeting dedicated specifically to documentaries. It brings documental, que reúne a televisoras y productores latino- together Latin American television representatives and americanos con la intención de construir redes de coopera- producers, and the aim is to construct networks for ción, intercambio y coproducción. Esa convocatoria motivó cooperation, sharing and co-production. This event a los organizadores de DocMontevideo a proponer una prompted the organizers of DocMontevideo to propose a recopilación de nuestra propia producción. En esa iniciati- compilation of our own documentaries, and this collection va está el origen del presente trabajo. is the fruit of that initiative. Como forma de explicitar el criterio que adoptamos a Our criteria for selecting material for this collection was la hora de seleccionar el material, vayan las siguientes to take documentaries made since 1985 that, in the aclaraciones: el catálogo reúne los documentales realiza- broadest sense, deal with Uruguayan subjects. We excluded dos desde 1985 a la fecha, que abordan, en sentido amplio, work from before that year, films of less than 25 minutes temas uruguayos. Excluimos las producciones anteriores a duration, documentary series and productions from schools esa fecha, las que tienen una duración inferior a 25', las of cinema or communications. Although we carried out series documentales y las realizaciones de escuelas de cine exhaustive research we may possibly have overlooked some y comunicación. Aunque la investigación fue exhaustiva, documentaries produced in the period, but we feel that the es posible que no hayamos alcanzado a relevar todas las 81 films in the collection provide an excellent sample of what obras producidas en el período. -
El Tango En La Medicina
UNIVERSIDAD DE LA REPÚBLICA Facultad de Medicina Departamento de Historia de la Medicina Con motivo de una nueva edición del Día del Patrimonio 2013 El tango en la Medicina Br. Mariángela Santurio Scocozza, Gr. 1 Docente Ayudante Depto. Historia de la Med 0 Algunas consideraciones previas: Agradezco la posibilidad de haber llevado a cabo esta actividad, es mi segunda participación en el recorrido, siendo la primera en la organización de la coordinación. A las autoridades de la Facultad, Secretaria Sra. Laura Mariño, al Dr. Gustavo Armand Ugónd, del Servicio de Anatomía, al personal de Biblioteca, en nombre de la Lic. Mercedes Surroca, y la invalorable colaboración de la Lic. Amparo de los Santos. Al personal de Historia de la Medicina, Prof. Em. Dr. Fernando Mañé Garzón, Prof. Aste. Dra. Sandra Burgues Roca, Adms. Marianela Ramírez y Romina Villoldo. Al personal de Vigilancia y Recursos Humanos. Al Sr. Moris “Pocho Zibil”, un estudioso del tema, estimado vecino y floridense de ley. Muy especialmente al Dr. Ricardo Pou Ferrari, Presidente de la Sociedad Uruguaya de Historia de la Medicina, por sus generosos aporte. A todos ellos, gracias por su colaboración… 1 Con motivo de haberse llevado a cabo una nueva edición del Día del Patrimonio (sábado 5 y domingo 6 de octubre), dedicado en esta ocasión a “El Tango ”, y en el marco de la denominación de Montevideo, como Capital Iberoamericana de la Cultura, la Facultad de Medicina de la Universidad de la República, atenta a la importancia de esta temática, ha decido ser partícipe de tal evento, para ello, se me ha propuesto coordinar las actividades del mismo. -
Documentales Uruguay 2012
La primera edición de esta recopilación de la producción documental urugua- ya, surge en 2009 a partir de una iniciativa de DocMontenvideo (www.docmon- tevideo.com) y es retomada desde Uruguay Film Commission. El presente catálogo muestra documentales uruguayos realizados entre 1985 y 2012, con una duración mínima de 25 minutos. Como definición de película nacional se tomó la que establece el artículo 10 de la ley 18.284: aquella que se realice to- tal o parcialmente en el territorio de la República Oriental del Uruguay y en la que la mayoría de los técnicos y artistas intervinientes sean residentes en el país o ciudadanos uruguayos. Para las coproducciones se siguió la definición que establece la ley en el mismo artículo: obras cinematográficas y audio- visuales nacionales realizadas total o parcialmente en el territorio de la Re- pública en régimen de coproducción con otros países, que empleen personal técnico y artístico que reúna las características antedichas, en un 20% como mínimo. Esperamos que este catálogo cumpla con el objetivo de acercar la producción de documentales nacionales, contribuyendo con la proyección internacional del audiovisual uruguayo. The first edition of this collection of Uruguayan film production come up in 2009 as a DocMontevideo (www.docmontevideo.com) initiative and is resumed by Uruguay Film Commission. This material shows Uruguayan documenta- ries made between 1985 and 2012, with a minimum duration of 25 minutes. As a definition of national film, the following was considered in accordance to article 10 of Law 18.284: a film fully or partially made in the territory of the Oriental Republic of Uruguay and in which the majority of the participant tech- nicians and artists are residents in the country or Uruguayan citizens. -
De Uruguay 2011 Music of Uruguay
DE URUGUAY 2011 MUSIC OF URUGUAY www.clusterdemusica.com boceto 7.indd 1 10/10/2011 12:30:30 p.m. ARMADO_FINAL (cccc).indd 2 11/10/2011 04:01:31 p.m. DE URUGUAY 2011 MUSIC OF URUGUAY ES UNA INICIATIVA DE / AN INITIATIVE OF CON EL APOYO DE / WITH THE SUPORT OF ARMADO_FINAL (cccc).indd 3 11/10/2011 04:01:31 p.m. ARMADO_FINAL (cccc).indd 4 11/10/2011 04:01:32 p.m. SOBRE EL CLUSTER DE MÚSICA El Cluster de Música es un espacio de encuentro, coordinación, planificación y ejecución de acciones estratégicas del sector privado y público. Surgió en el marco de Viví Cultura, proyecto de cooperación entre el Estado uruguayo y el Sistema de las Naciones Unidas, financiado por España a través del fondo ODM, y está construido por las distintas instituciones referentes del sector. Participan la Cámara Uruguaya del Disco (CUD), la Asociación de Productores y Managers Musicales del Uruguay (ProMuy), la Asociación General de Autores del Uruguay (AGADU), la Aso- ciación Uruguaya de Músicos (AUDEM), la Sociedad Uruguaya de Artistas Intérpretes ( SUDEI) y la Asociación de Sonidistas del Uruguay (ASU). El sector público está representado por el Ministerio de Educación y Cultura (Departamento de Industrias Creativas, Dirección Nacional de Cultura) y el Ministerio de Industria, Energía y Minería (Dirección Nacional de Industrias). Asimismo, cuenta con el apoyo técnico y metodológico del Programa de Competitividad de Conglomerados y Cadenas Productivas (PACC-APT-OPP). Sobre el primer catálogo de música y la selección de artistas El objetivo de este catálogo es generar un material de difusión de calidad que resuma las carac- terísticas y capacidades musicales del Uruguay. -
Notes on Tango (As) Queer (Commodity)
CRITICAL ESSAYS: Marta E. Savigliano: Notes on Tango (as) Queer (Commodity) Notes on Tango (as) Queer (Commodity) Marta E. Savigliano University of California, [email protected] In this paper, I reflect on queer (non-heteronormative) interests in tango. Puzzled, I wonder why tango, an icon of hyper-heteronormative ‘love’, attracts dancers with queer sensibili- ties. In order to begin exploring answers, I look into tango as a commodity, composed of aesthetics and affects, which circulates as a fetish that can be consumed in globalisation unhinged from its socio-cultural moorings, gaining power precisely in its transgressive performance of same gender, counter-heteronormative ‘passion’. I will look into the que- er milongas of Buenos Aires attending to local and foreign dancers, into the presence of same gender dancers in regular Buenos Aires milongas and the traditional milongueros/ as’ responses to male and female tango partnering; and into queer tango expectations sha- red at a conference in Berlin in 2008 and a queer tango festival in Buenos Aires in 2010. Questions throughout, and only begun to be addressed, include: How does capitalism tap into queerness and tango, and how does globalisation enable connecting for marketing and consumption purposes? How is tango marketed to queer culture? How does queer tango intervene in the formation of queer subjectivities at ‘home’ and abroad? And how does it affect local Argentine milonga culture? Tango, (Post)Exoticism, and Globalisation I wish to enumerate the particularities of the tango scene in globalisation before moving to a discussion of queer tango. In doing so, I aim at contextualising the wide circulation of tango lore, of tango dancing practices and beliefs about what tangos stand for, its unique- ness as well as its availability for global consumption. -
GUIDED TOUR SCRIPT/2015 Administration and Programme Schedule Forecourt
Department of Education GUIDED TOUR SCRIPT/2015 Administration and Programme schedule Forecourt - Welcome to the Solis Theatre. My name is………..and it will be my pleasure to guide you through this visit of the greatest Performing Arts landmark in Uruguay. The Solis Theatre, a National Heritage building, was first opened in 18561 by a limited company. It was created to provide the citizens of Montevideo with a “worthy coliseum” for the Performing Arts. At present, it belongs to Montevideo’s City Hall which acquired it in 1937. This takeover brought about significant changes over the years, in the structural design of the building as well as in the running of the theatre itself, although its essence as a space dedicated to the Arts has always been maintained and it has established itself within the community as a cultural emblem. The Performing Arts ritual is recreated on a daily basis in this neoclassical style building. This social and cultural-generating factory is deep-rooted in the community and is considered to be living heritage as well as a Heritage monument. Its tone is solemn and austere despite its monumental structure. The original project was carried out by the Architect Carlos Zuchi2, but after changes to the original plan, the construction of the central part began in 1841, based on the design of Architect Francisco Garmendia, who was also responsible for supervising the construction work. The lateral wings were built later on in 1874. Various historical documents show that the name “Solis" pays tribute to Juan Díaz de Solis, the Spanish traveller who discovered the River Plate in 1516.