El Gallo De Liborio Ue LOS ESPOLONES DE MENOCAL
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Downloaded on 2017-02-12T12:57:58Z TITLE: 'Muchos Méxicos': Widening the Lens in Rulfo's Cinematic Texts
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Cork Open Research Archive Title 'Muchos Méxicos': widening the lens in Rulfo's cinematic texts Author(s) Brennan, Dylan Joseph Publication date 2015 Original citation Brennan, D. J. 2015. 'Muchos Méxicos': widening the lens in Rulfo's cinematic texts. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2014, Dylan J. Brennan. http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1960 from Downloaded on 2017-02-12T12:57:58Z TITLE: 'Muchos Méxicos': Widening the Lens in Rulfo's Cinematic Texts. AUTHOR: Dylan Joseph Brennan, M.A. QUALIFICATION SOUGHT: PhD INSTITUTION: National University of Ireland, Cork. (University College Cork) DEPARTMENT: Centre for Mexican Studies, Department of Hispanic Studies. MONTH AND YEAR OF SUBMISSION: Originally submitted July, 2014— resubmitted after Minor Changes in February 2015 HEAD OF DEPARTMENT: Prof. Nuala Finnegan, Director of Centre for Mexican Studies. SUPERVISOR: Prof. Nuala Finnegan, Director of Centre for Mexican Studies. TABLE OF CONTENTS 1. Widening the Focus in Rulfo's Cinematic Texts – An Introduction P.1 1.1 Texts for Cinema? – Rationale and Paramaters P.1 1.2 Methodology P.7 1.3 Muchos Méxicos P.10 1.4 Widening (not shifting) the Focus P.15 1.5 Objectives P.18 2. Inframundos and Fractured Visions – El despojo and La fórmula secreta P.22 2.1 Conception and Synopsis: An Introduction to El despojo -
Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART -
04 EXTRAPRENSA 14.1 178446.Indd
LA JARDINERA, EMBLEMÁTICA COMPARSA CARNAVALESCA DEL BARRIO “JESÚS MARÍA” DE LA HABANA EN CUBA [ ARTIGO ] Eduardo Franscico Freyre Roach Universidade Regional de Blumenau Adolfo Ramos Lamar Universidade Regional de Blumenau Jesse da Cruz Universidade Federal do Paraná Eduardo Franscico Freyre Roach La Jardinera, emblemática comparsa carnavalesca del barrio “Jesús María” de la Habana en Cuba Adolfo Ramos Lamar 65 Jesse da Cruz [ RESUMEN RESUMO ABSTRACT ] Las comparsas en los carnavales de Cuba son como las escuelas de samba en los car- navales del Brasil. A través del repertorio de ritmos, cantos y danzas que derrochan, se expresa el sentido de liberación corporal, emocional, y verbal de los artistas y el pueblo. La gente comparte su alegría, sus penas, así como su sentido de identidad y pertenencia comunitaria, nacional, gremial, racial, de género, familiar, y religiosa. Estas agrupaciones son portavoces de la disconformidad popular por los tabúes, y los estereotipos que atentan con las tradiciones y la prosperidad de la comunidad que representa. Este artículo trata de la comparsa “La Jardinera” del barrio de “Jesús María” en la Habana Vieja, emblemáticas comparsas de Cuba. Hablaremos del barrio y sus celebridades de la conga y la rumba. Palabras clave: Comparsa la Jardinera de Cuba. Barrio de Jesus Maria. Cuba. Conga. Rumba. As comparsas nos carnavais de Cuba são como as escolas de samba nos carnavais do Brasil. Por meio do repertório de ritmos, canções e danças que esbanjam, se expressa o sentido de liberação corporal, emocional e verbal dos artistas e do povo. As pessoas compartilham sua alegria, suas tristezas, bem como seu senso de identidade e perten- cimento de comunidade, nacionalidade, união, raça, gênero, família e religião. -
Rumba Rebecca Bodenheimer
Rumba Rebecca Bodenheimer LAST MODIFIED: 25 FEBRUARY 2016 DOI: 10.1093/OBO/97801997578240170 Introduction Along with the traditional dance genre son, the Africanderived music and dance genre called rumba is widely considered to be the foundation of contemporary Cuban popular music. During the late 19th century it was the primary secular party music for poor black and racially mixed Cubans in western Cuba, and during the 20th century its musical features were incorporated into numerous popular genres, such as son, mambo, and salsa. Nonetheless, the literature on rumba does not include many indepth studies, in Spanish or English. None of the pioneering scholars of AfroCuban culture gave much attention to rumba, as Fernando Ortiz and Lydia Cabrera focused primarily on AfroCuban sacred music. The little that has been written by these scholars, namely Ortiz and Alejo Carpentier, tends to overemphasize the “erotic” nature of the dance, thus reinforcing stereotypes about black culture. Nonetheless, as a member of Grupo Minorista—a group of poets, artists and composers founded in the 1920s who sought to valorize AfroCuban vernacular culture—Carpentier did view rumba as an important popular tradition. Among Cuban scholars writing after the Cuban Revolution, the primary indepth studies of rumba have consisted of bachelor’s theses based on ethnographic research with rumba groups and one biography of important rumba musicians (see Musicians and Groups). There have also been articles on various aspects of rumba, and many Cuban scholars include discussions of the genre within sources on broader topics; the most significant examples of the latter are León 1984 (cited under History, Musical Features, and Musicians: History) and Urfé 1984 (cited under General Overviews and Reference Works). -
Gershwin, Copland, Lecuoña, Chávez, and Revueltas
Latin Dance-Rhythm Influences in Early Twentieth Century American Music: Gershwin, Copland, Lecuoña, Chávez, and Revueltas Mariesse Oualline Samuels Herrera Elementary School INTRODUCTION In June 2003, the U. S. Census Bureau released new statistics. The Latino group in the United States had grown officially to be the country’s largest minority at 38.8 million, exceeding African Americans by approximately 2.2 million. The student profile of the school where I teach (Herrera Elementary, Houston Independent School District) is 96% Hispanic, 3% Anglo, and 1% African-American. Since many of the Hispanic students are often immigrants from Mexico or Central America, or children of immigrants, finding the common ground between American music and the music of their indigenous countries is often a first step towards establishing a positive learning relationship. With this unit, I aim to introduce students to a few works by Gershwin and Copland that establish connections with Latin American music and to compare these to the works of Latin American composers. All of them have blended the European symphonic styles with indigenous folk music, creating a new strand of world music. The topic of Latin dance influences at first brought to mind Mexico and mariachi ensembles, probably because in South Texas, we hear Mexican folk music in neighborhood restaurants, at weddings and birthday parties, at political events, and even at the airports. Whether it is a trio of guitars, a group of folkloric dancers, or a full mariachi band, the Mexican folk music tradition is part of the Tex-Mex cultural blend. The same holds true in New Mexico, Arizona, and California. -
Additional Case Information
Michael R. Drobot Industrial Pharmacy Management MediLab Corp California Pharmacy Management Case Number Injured Worker Employer Claims Administrator ADJ7472102 ISMAEL TORRES VALLE 99 CENT ONLY STORES 99 CENT ONLY STORES ADJ1308567 CURTIS RIGGINS EMPIRE DISTRIBUTORS ACCA ADJ8768841 MARTIN AVILA TRM MANUFACTURING INC ACCELERATED CLAIMS IRVINE ADJ7014781 JEANETTE WILSON LA COUNTY ACCLAMATION 802108 SANTA CLARITA ADJ7200937 SUSAN NAVARRO DEPT OF PUBLIC SOCIAL ACCLAMATION 802108 SANTA SERVICE CLARITA ADJ8009655 MARIA PAEZ RUSKIN DAMPERS AND ACCLAMATION 802108 SANTA LOUVERS CLARITA ADJ1993776 ROBERTA VILLARREAL COUNTY OF LOS ANGELES ACCLAMATION FRESNO ADJ1993776 ROBERTA VILLARREAL COUNTY OF LOS ACCLAMATION FRESNO ANGELES/DPSS ADJ7117844 TOMMY ROBISON CITY OF MARICOPA ACCLAMATION FRESNO ADJ8162473 ONORIO SERRANO ESPARZA ENTERPRISES INC ACCLAMATION FRESNO ADJ8420600 JORGE LOZANO HARRIS RANCH BEEF ACCLAMATION FRESNO COMPANY ADJ8473212 DAREN HANDY KERN SCHOOLS FEDERAL ACCLAMATION SACRAMENTO CREDIT UNION ADJ8845092 CHAO HER FRESNO MOSQUITO ACCLAMATION SACRAMENTO ABATEMENT DIST ADJ1361532 THELMA JENNINGS LOS ANGELES COUNTY/DPSS ACCLAMATION SANTA CLARITA ADJ1611037 ALICIA MORA ANDERSON BARROWS METALS ACE CORP ADJ1995137 ALBERTO GUNDRAN ABLESTIK LABORATORIES ACE ADJ208633 SHAUN WIDNEY AMPAM ACE ADJ208633 SHAUN WIDNEY AMPAM RCR COMPANIES ACE ADJ208633 SHAUN WIDNEY PLUMBING CONCEPTS INC ACE ADJ2237965 JOSE CALDERON FMI EXPRESS ACE ADJ2353287 DEBORAH PRENTICE ANAHEIM CITY SCHOOL ACE DISTRICT ADJ246218 PAUL LIGAMMARI LOS ANGELES COLLEGE OF ACE CHIROPRACTIC -
MEXICAN FILM BULLETIN, Vol
THE MEXICAN FILM BULLETIN, Vol. 12 No. 8 (December 2006) The Mexican Film Bulletin Volume 12, Number 8 DeceDecembermber 2006 Miguel Aceves Mejía 19151915----20062006 Miguel Aceves Mejía is survived by his wife and son. Miguel Aceves Mejía died of pneumonia and Filmography bronchitis on 6 November 2006. Aceves Mejía, whose 1940: Rancho alegre (as part of the Trío Los Porteños) trademarks were a streak of white in his black hair and the 1947: De pecado en pecado (dubs José Pulido's singing), vocal style which earned him the nickname of "El Falsete Pecadora de Oro" or "El Rey del Falsete," was born in Chihuahua in 1950: Donde nacen los pobres November 1915 (some sources cite 1917), and first began 1951: Ella y yo, Por querer a una mujer, Nosotras las singing professionally in the 1930s in northern Mexico. sirvientas Towards the end of 1952: La mentira, Cartas a Ufemia the decade, he and 1953: Camelia two other men 1954: A los cuatro vientos formed the "Trío Los 1955: Música de siempre, Hay ángeles con espuelas, El Porteños," Águila Negra en El Vengador Solitario, Tú y las nubes, performing various Historia de un amor genres of music (the 1956: Música de siempre, Tú y la mentira, Que seas feliz!, team appeared in Que me toquen Las Golodrinas Rancho alegre in 1957: El Ciclón, Cuatro copas, Bajo el cielo de México, 1940, Aceves Rogaciano el huapangero, Guitarras de medianoche, La Mejía's film debut). feria de San Marcos, El gallo colorado, Amor se dice In the mid-1940s cantando Aceves Mejía 1958: Échame a mi la culpa!, Mi niño, mi caballo, -
Spanish Vocabulary
Spanish Music Vocabulary © Casa de la Música 2017 Spanish Vocabulary A Palo (seco) Accompanied by style stick. Aficionado Connoisseur, fan. Agitanado Assimilated by gypsies. Alpargata Spanish peasant shoes, used to dance the Jota. Alzapua Thumb technique for the guitar. Apoyando Guitar playing technique. Aspazo To mute (guitar). Bailaor/Bailaora Dancer. Baile The dance. Bata de Cola Typical flamenco dress. Bolero Spanish bolero is in 3/4. Cuban dance in 2/4 rhythm similar to comparasa. Bongo Afro-Cuban instrument consisting of 2 small drums held between the knees. Braceo Arm movements during the dance. Cabales Persons initiated into flamenco. Cafe Contante Cafe with musical performances (1860-1910). Calo Language of the gypsies. Cantanuelas Castanets. Cantaor/Cantaora Singer Cante Intermedio Song between jondo and chico. Cante Jondo (Hondo) Profound, meaningful song. Cante Grande = Jondo Serious, "deep" song. Cante Para Bailar Song to a dance. Cante Campero Songs with rural themes and origins. Cante Alante Song without dance. Cante Song. Cante Atras Songs with/to a dance. Cante Chico Light song. Cante Festero Festive song. Cante Para Escuchar Song sung for listening only Cante jondo A special style of singing coming from Andalusia in Southern Spain, showing the in- Ceijilla Capo (guitar). Claves Cuban percussion instrument consisting of 2 round sticks of solid hard wood, one © Casa de la Música 2017 Comparsa Mass participation ensemble, sung and danced in the streets by Afro-Cuban groups during carnival times. Costumes, lyrics and choreography center around a popular theme. 2/4 Compas Beat, rhythm. Concurso Competition. Cow Bell Ordinary cow bell with clapper removed. -
Pegaso Revista Mensual M 'Ntkvideo— Uruguay
PEGASO REVISTA MENSUAL M 'NTKVIDEO— URUGUAY DIRECTOREBt Rabia de Breele-Joe* Baria Salgada m « i$2i. Nta. xxa.-Afc ni. Tres mil siglos de modas femeninas ■ Conferencia con proyecciones luminosa», leída a la Sociedad aEntre Nous», el 22 de Junio de 1MB Rompiendo el ciclo brillante de los oradores de alto vuelo que han dado a ustedes el hábito do oir :a frase; .galana que engarza el pensar profundo, y tal vez, como entremés preparatorio de temas trascendentales, un amable pedido de “ Entre Nous’’, explica la excepción qu e, significa esta charla, que deseo corta por temor de no hacerla amena., Condensar en breves momentos la evolución de la moda femenina, remontándose a través de los tiempos desdo las creaciones de Mad&me Paquin, hasta el traje... que no era traje, es seguramente ardua tarea, y las dificultades crecen si se detienen ustedes un instante a pensar en la fragilidad y sutileza del tema. L a moda, j Quién se atrevería a definirla 1 Muoho he temido que mis rudas manos de cirujano, maculasen las aterciopeladas alas de tan brillante mariposa; grande es, pues, mi audacia, pero a tenerla me han inducido la amistosa presión moral de sus actuales direotrices, y la esperanza de despertar en. ustedes el más encan tador de los defectos, femeninos: la curiosidad- i No me perdonarán ustedes, acaso, «er pesado, tal vez en demasía, si les doy la ocasión de reirse un rato de las cosas feas, con que de tiempo en tiempo la mujer transformó su divina silueta, o de admirar las creacio nes que subrayando su belleza oliéronle más anuas para vencer al hombre en esa desigual lucliá entre nuestra iusticidad y su viveza, entre la maza de Hércules y el abanico de Ninón de Léñelos? ¡Pobreeitos los hombres 1 Mientras el mundo dure, entre el cejijunto y barbudo Padre Eterno y la rubia Anadiomena retorciendo su caibeillera al nacer entre jas espumas del mar Egeo, sólo vacilarán los Bienaven turados a quienes se asegura el primer puesto en el reino de los cielos. -
Las Soleares: Unasehnsuchtala Andaluza (Origen Romántico Y Difusión Europea De La Canción De Soledad)
LAS SOLEARES: UNASEHNSUCHTALA ANDALUZA (ORIGEN ROMÁNTICO Y DIFUSIÓN EUROPEA DE LA CANCIÓN DE SOLEDAD) ENRIQUE BALTANÁS Universidad de Sevilla y Fundación Machado INTRODUCCIÓN: LARRA Y LA VENTANA DE UNA BELLA EN ANDALUCÍA Antes de entrar en materia, sobre la soledades o soleares, andaluzas o flamencas, quisiera comentar un artículo de Larra. No siempre es la novela, o el teatro, o la lírica, el cauce expre sivo para el argumento propicio a la ambientación andaluza. También puede serlo el artículo, costumbrista y ano velado, como en el caso de Mariano José Larra (1809-1837). Fue Carmen de Burgos quien exhumó, entre los papeles del desgraciado suicida, un artículo redactado en francés (nótese el dato), que Colombine tradujo y publicó en su biografía de Fígaro (Madrid, 1919), y que Carlos Seco Serrano incorporó a su edición de las Obras completas. Se titula el artículo La ventana de una bella en Andalucía y lleva como subtítulo La mujer y su guitarra1. En su corta extensión, el texto nos ofrece en cifra y abreviatura un argumento que reaparecerá ampliado, reducido, modificado en mayor o menor medida -según los casos-, en tantas piezas de la materia de Andalucía. Comienza Larra por ponernos en situación, con una breve descripción del escenario y del ambiente: «¿Veis esa casita, cuya fachada os deslumhra, blanqueada con cal... ?» Y nos hablará -esperablemente- de la azotea y del patio, y del azahar, «la flor del oloroso naranjo», y en ese medio, el tipo inconfundible del andaluz literario y romántico, caracterizado por su indolencia y su vistosidad, dejándose llevar dulcemente de «los rayos del sol de Andalucía»: Allí, el apacible andaluz, perezoso, dormitando, lánguidamente sentado sobre una silla rústica de madera, fuma con fruición su cigarrillo, del cual extrae y lanza al aire frecuentes bocanadas de humo. -
Bibliography of Spanish Materials for Children: Kindergarten Through Grade Six
DOCUMENT RESUME ED 048 797 FL 002 152 AUTHOR Gonsalves, Julia, Comp.; And Others TITLE Bibliography of Spanish Materials for Children: Kindergarten Through Grade Six. INSTITUTION California State Dept. of Education, Sacramento. SPONS AGENCY Office of Education (DHEW) ,Washington, D.C. PUB DATE 71 NOTE 48p. EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS *Annotated Bibliographies, Bilingual Education, *Childrens Books, Childrens Games, Cultural Education, Dictionaries, Drama, *Elementary Education, Elementary School Students, Fles Materials, *Instructional Materials, Language Arts, Language Instruction, Language Learning Levels, Mathematics, modern Languages, Music, Reading Instruction, Social Sciences, *Spanish ABSTRACT This annotated bibliography of instructional materials, intended for students, teachers, and native speakers of Spanish, contains more than 400 items emphasizing both language and culture. The entries are arranged alphabetically in sections including: (1) books in series;(2) childrenes literature: (3) dictionaries and encyclopedias;(4) dramatization, rhymes, and poetry; (5) games, puzzles, and activities:(6) health and science; (7) mathematics; (8) music: (9) reading and language arts, and (10) social science. Bibliographic information includes the price of the publication, availability, and suggested readership. Appendixes contain a directory of publishers and distributors, and a book evaluation form. (RL) ii 1 DEPAINISNI Off MIN. MEADOW I MAW :. WM Of SWOON THIS DOtuNENI MS WEN WPRODOCED EXACTiv IS RELAYED 12014THE PERSON OR OmonsuOi ORMOND IIPOINtS OF VOW OR OPINIONS Wile DO NOT NKOSI,OR MVO (NNW OM OF INIFAIION 'NOON ON POIWy %MO I 8 A Kindergarten Through Grade Six CALIFORNIA STATE DEPARTMENT OF EDUCATION Wilson Riles Superintenden. of Public Instruction Sacramento 1971 I lb This publication, which was funded under pro- visions of the National Defense Education Act, Tide ill, was edited and prepared for photo-offset production by the Bureau of Publications, Call. -
2018 Long Island Guitar Festival Program Book
LIU Post 26th LONG ISLAND GuitarAPRIL 10th Festival - APRIL 15th, 2018 Director: HARRIS BECKER lliu.edu/gfest THE LONG ISLAND Guitar Festival HAS BEEN FUNDED IN PART BY: The Albert Augustine Foundation The D’Addario Foundation for the Performing Arts Savarez Murphy’s Music & Violin Shop THIS EVENT IS SUPPORTED BY A GRANT FROM LONG ISLAND UNIVERSITY’S JOHN P. MCGRATH FUND DEPARTMENT OF MUSIC LIU Post 26th LONG ISLAND GuitarSCHEDULE Festival OF EVENTS TUESDAY, April 10 EVENT LOCATION 8 pm CONCERT: Harris Becker & Friends GH WEDNESDAY, April 11 8 pm CONCERT: Alexandra Yannis Guitar Duo GH THURSDAY, April 12 8 pm CONCERT: Cavatina Duo GH FRIDAY, April 13 5 pm COMPETITION: Long Island Guitar Festival High School FA Classical Guitar Semi-Finals (closed to the public) 8 pm CONCERT: Rene Izquierdo GH SATURDAY, April 14 9:30 am WORKSHOP: Simon Powis, Left - Hand Technique Toolkit HR 10:45 am MASTER CLASS: Rene Izquierdo HR 12:30 pm EMERGING ARTIST SERIES CONCERT: Ria Modak (First Prize, HC Festival 2017 High School Classical Guitar Competition) 1:30 pm COMPETITION: Long Island Guitar Festival High School HR Classical Guitar Competition Finals. Three Finalists (open to the public) 3 pm CONCERT: Simon Powis HC 4:15 pm REHEARSAL: LIGF Orchestra HF 8 pm CONCERT: Newman & Oltman Guitar Duo HC LEGEND CH: Interfaith Center, Chapel; FA: Fine Arts Center; GH: Great Hall; HC: Hillwood Cinema; HF: Hillwood Commons Fishbowl; HR: Hillwood Recital Hall; MRB: Music Rehearsal Building; TA: Tilles Center Atrium; TC: Tilles Center for the Performing Arts; WHC: