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Feminist scholars, in particular, are greatly in debt to Levine, Marson and Waldman, and to the contributors to their source book. Spanish Women Writers constitutes a watershed in peninsular studies. Within a short time, feminist literary historians will characterize the state of the held as before or after its publication. Henceforth I will be obliged to respond: you now have a choice between three works, depending on your specific interests -you can begin with his narration of either human life in the abstract, or his own particular life, or the personal dimension of human life.

This last work, under review, is situated midway between the abstract and the concrete, grounded in the abstract and itself the ground of the concrete. Thus, not everything in the world is, strictly speaking, personal. Furthermore, not everything about a human is, strictly speaking, personal. A human is constituted by the physical, the psychic and the personal. If the name of this orientation is not familiar, it is because very few philosophers refer to their positions as such.

On occasions such thinkers as Jacques Maritain, the neo-Thomist inspired by Bergson, called himself a personalist, but -at least in the United States- only a few philosophers academically connected with Boston University and the University of Southern California consistently applied the designation to themselves. What all personalists have in common is an emphasis on the person as what is distinctively human, and the conviction that the person is the highest form of reality. Thirteen chapters form the book, commencing with the context of the study as seen in the first two chapters.

They are related disjunctively, i. Together they constitute humanity. Because I found no explicit distinction between the individual and the person in Ortega, I supplemented his treatment with Maritain's distinction, as found in The Person and the Common Good. Taking into consideration Ortega and Maritain's fundamental differences in metaphysics, I was able to draw parallels between their respective critiques of political systems in the twentieth century that have tried to dehumanize by depersonalizing. Because of this reduction of the desire between the sexes to sexual desire we are at the lowest level in centuries in understanding love.

Tanner traces the history of the idea of the Roman emperor and its manifestation in imagery. The image, she believes, developed seamlessly from its origins in antiquity through the early Christian period, the Middle Ages and the Renaissance. Her study culminates with the Hapsburgs' use of the image in the sixteenth century.

The myth was changed and adapted to concur with major historic events and the location of the imperial seat. It originated in antiquity with the vision of Rome's divine destiny; in the early Christian period it synthesized gentile and Jewish divine history and was consolidated by the Hapsburgs in the sixteenth century.

Several elements -chronicles, visual imagery, mythical genealogy, among others- helped to form the image. Vergil accommodated the Trojan myth to Roman history producing the vision of Rome's divine destiny. During the Byzantine period the myth was christianized by amalgamating Judeo-Christian topoi with their pagan parallels. In the Middle Ages and the Renaissance epic narrative and mythic genealogy advanced the image. Mythical genealogy, providing a fictive ancestry for the emperor, was the most important element in the formation of the image.

Biblical figures had already been interpolated during the early Christian period. The genealogical pretensions of the emperors were advocated in monuments and in pictorial and literary works having biblical, historical and mythological subjects. Prophecy, unlike genealogy, focused on the eschatological to designate the Holy Roman emperor as the last descendant of Aeneas. In the sixteenth century, the Spanish monarch had become the last world emperor and Spain the last world monarchy, ideas put forth by the philosopher Tommaso Campanella who took into account Spain's role in the discovery of the new world, the expansion of its domains and the signs of the political and religious union of humankind.

The concluding chapters of Tanner's book dealing with the Hapsburgs in Spain should be of special interest to hispanists who can apply the material to their own research. Among the topics discussed in the context of Hapsburg rule are the mystical and dynastic significance of the Order of the Golden Fleece, the title to Jerusalem, Columbus's discovery of the Americas, and the monarch's solar identity. In Hapsburg mythology the Escorial is viewed as Solomon's Temple, the heavenly Jerusalem and the fulfillment of Rome's imperial legacy.

Philip II supported the arts to spread the message of Hapsburg piety which was based on devotion to the Eucharist and the Holy Cross. By casting the light of religion on the unknown half of the globe Philip was seen as Christ-Apollo. Philip identified the Eucharist with the sun to the extent that within Hapsburg realms the Eucharist was displayed in a monstrance having the form of a radiating sun. By identifying himself with Apollo, the sun, and then the sun with the Eucharist, Philip drew to himself as emperor the adulation given the Eucharist.

Tanner's research is impressive. In contrast to previous studies, Tanner concentrates on the mythical bias and the political motivations of the Renaissance epic narratives. In her treatment of mythic genealogy her special contribution to scholarship [] goes beyond local issues. The book's notes, select bibliography and copious illustrations add to the scholarly value of the text.

Hispanists, in particular those in Golden Age studies, certainly have much to contribute. To succeed, such a book could only be the result of many years of research, thought, and love of its subject, which is the case here. Limiting his topic to the years plus Sor Juana , Terry divides the book into nine chapters. The first sets the historical context for the poetry, tracing the Castilian, Italian and classical traditions, and is followed by a discussion of the poetics of the period. Sor Juana retains her place in the peninsular canon as the last of the period's major figures in Terry's treatment, which draws heavily on Octavio Paz's work.

The poets and poems discussed here are, for the most part, the same ones found in Terry's Anthology of Spanish Poetry Part II , where they appeared with little commentary. Women poets other than Sor Juana except for brief mention of Santa Teresa are notably absent in this treatment, which otherwise admirably attempts to bring the discipline up to date. There is also a welcome chapter on epic poetry, highly valued by the poets of the period but relatively neglected now.

More than readable, the text is interesting, with good illustrations of Terry's analysis and translated quotations. The thorough notes, index and selected bibliography will be appreciated by the serious student. For what it sets out to do, this will be a useful text for years to come. In connection with the Symposium a musical festival was held in which popular decimista groups performed. The introductory remarks of the Actas promise a forthcoming recording of the musical performances. The volume is divided into three principal sections.

The third section includes fourteen papers read during the meeting. In a brief overview of our present knowledge of Hispanic oral poetry, Armistead notes that Hispanic popular poetry is the product of two legacies -Islamic and Romanic. Armistead's remarks also point to another topic treated by other speakers at the symposium -the link between the oral poetry of the Canaries and the Americas. He gives a brief, country-by-country overview of orally-composed poetry in the Americas, emphasizing its varied, but also universally enduring legacy.

He also includes an extensive bibliography. Judging from the essays included in this volume, the Symposium achieved its goal of studying this mode of traditional poetry from a transcultural perspective. Willem, are a useful addition to the ever-growing corpus of Galdosian scholarship. They cover nearly every facet of the field, utilizing diverse critical methologies, with authors representative of various generations of Galdosistas.

As is to be expected in so large a collection of studies, quality and level of interest vary considerably. Below is an account of some of the most significant essays. Stephanie Sieburth's study of La desheredada examines the novel from a sociological perspective, demonstrating how the working class through Mariano and the petty bourgeois class through Isidora come to threaten the status quo of the Madrid of the s and s.

She also argues that Miquis, usually taken by critics to be a benevolent figure, has a dark side: his attempts to cure the spiritual ailment of non-conformity James Whiston's essay on Lo prohibido illustrates the importance of the reader's perspective in this novel with a notoriously unreliable narrator. The synecdoche of the dismembered body applies to novelistic characters and to the nation as a whole in the period covered in the novel Geoffrey Ribbans's analysis of Fortunata y Jacinta is a carefully reasoned study of narrative point of view.

Harriet S. Turner's study of Fortunata y Jacinta provides some convincing definitions of the Realism of this novel. Networks of image and motif surround novelistic elements with a metonymic force, leading to dialectical signifiers Tropes are grounded in physical and chemical processes, nature or the economic phenomena of the times Teresa M.

Another analysis of the same novel by Chad C. Wright focuses on bodily metaphors and the symbolism of dismemberment, malfunctioning, and disarticulation Nicholas G. Round's study of Misericordia offers some original ideas regarding the relation of this final work of the Contemporary Novels series to both Realism and Spiritualism.

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His final conclusion is, however, questionable. Diane F. Linda M. Eamonn Rodgers examines the writer's political thought as expressed in essays and newspapers articles in the three principal periods of his life The constants of his thought were his disappointment with the politics of the Restoration and his rejection of caciquismo A weakness of this approach is that it only considers the political thought expressed in the writer's newspaper articles , ignoring the ideas present in his fictional works.

Lisa P. Galdosistas of varied interests will find many critical insights in this commemorative collection. Drawing numerous parallels between Argentina and Nazi Germany, Bouvard spotlights the prevalent antisemitism in Argentina. The atmosphere of terror and fear in Argentina recalls the Nazi policy of Night and Fog -people disappear without a trace, there is an absence of law and due process. In spite of eyewitness accounts of abductions, the government denies all knowledge of political disappearances.

Opposing this maelstrom of madness is a group of poor, uneducated women, searching for their missing children. At first apolitical and unsophisticated, they learn to take matters into their own hands. Bravely, they stage weekly marches in the symbolic Plaza de Mayo, locus of government and the site of proclaimed Argentine independence from Spain. Advocating human rights and justice, these Mothers seize political power for themselves and all Argentines, demanding the release of all disappeared, punishment for the guilty parties, and the elimination of military control.

Maternal solidarity puts a feminine stamp on the protest movement. Through their courageous response to tyranny, the Mothers of the Plaza de Mayo evolve into heroes. Bouvard's unflinching and well-researched portrayal includes an introduction, ten chapters, an extensive bibliography based on newspaper articles and interviews with the Mothers, and an index. The style is simple and direct, making the work eminently readable. In each chapter, she juxtaposes intimate poems with a straightforward narration of factual information, reflecting both emotional and rational qualities of the Mothers.

Eloquent black-and-white photographs of the Mothers' vigils reveal simple women who cry out in anger and sadness. The combination of fury and courage in their faces is unforgettable as they celebrate Mother's Day [] holding a single rose in their arms. Over the past ten years there have been considerable efforts to recover the works of colonial women writers from the archives of convents in Spanish America.

The result of these investigations has not quite yielded the anticipated information but has instead offered an equally fascinating and imaginative portrait of women in colonial society and a view of historical circumstances in the viceroyalties through the study of their letters, journals and notebooks. Even her contemporaries recognized her extraordinary religious devotion and her talent for mystical expression. Over the course of three decades she wrote and rewrote some twelve volumes of her visions and ecstasies, which include unions with Christ, interventions of the Virgin, and encounters with the devil, and she seemed to be a model nun, the perfecta religiosa so celebrated by the Church.

In she was chosen to be a founder of the Augustinian Recollect convent in Oaxaca, and a petition for her beatification was sent to Pope Benedict XIII shortly after her death. She summarizes her findings clearly in the introduction of Word from New Spain and offers insights into the expression of the baroque in Mexico and the influence of the Counter-Reformation there. The introduction to Word from New Spain provides the key to interpreting the carefully selected passages of this critical edition. Confessional autobiography is therefore placed within the colonial Spanish American context as Myers defines the vida and notes its importance for religious women writers in the New World.

References to it throughout the remainder of the series elaborate and clarify her family situation and describe the patriarchal structure of the household, the disruption of power caused by the death of her father, the influence her mother had on her life, her relationship with the Indian servants, and the difficulties she endured with her siblings. In Word from New Spain Myers has developed a cohesive and comprehensive pattern for investigation into the life and works of religious women writers of the colonial period.

The fine introduction, accuracy of the textual transcription, a process described in detail by the editor, and the accompanying bibliographical essay on early autobiographical writings in Spanish American convents assure the success of this volume and make it a valuable tool for both students and scholars of colonial studies that focus on women in the New World. Lindstrom focuses on the feminine qualities attributed to Ana Teresa Parra Sanojo's writing, despite shifts from the more frivolous journalistic pieces to the proto-feminist stance of the novel.

After alluding to the impact of serialization -the chapters appeared simultaneously in Spanish and French-language literary magazines- Lindstrom dwells on a common misperception, the slippage between author and protagonist, which often arises from the choice of a first person narrator. The discrepancies among the numerous editions published over seventy years lead the translator to ponder over the question of authenticity in light of the missing original manuscript Acker xv-xvi.

Among other factors, the continued success of Iphigenia may be due to the generic conventions of the novel of development. Given the ambiguity of the protagonist's ironic stance, however, de la Parra's [failed? This hermeneutic approach may focus on the depiction of Venezuelan mores, race relations, social stratification, etc. It may also revolve around the question of feminism, particularly in regard to the adaptation of European concepts in Spanish America. The ongoing debate certainly proves the power of de la Parra's ambiguously ironic narrator.

Bertie Acker took on the formidable challenge of recreating periodization, characterization and local color. The fact that we get a feel for de la Parra's style is a measure of the translator's success. Bertie Acker's fine translation is timely in that it significantly broadens de la Parra's audience, allowing for renewed interest in the debates that Iphigenia continues to spawn.

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She literally opens-up with the initial pages by sharing her personal dream about monks stealing a mural with the image of Our Lady of Guadalupe. Oneiric images invoke the sensation of some powerful institution -the Catholic Church perhaps- who wants to appropriate Guadalupe's icon, and yet, this becomes impossible, because there is certain truth that Our Lady of Guadalupe incarnates and that cannot be suppressed. On the contrary, she is the maternal divine figure who empowers and nourishes those who believe in her.

The alleged appearance of Our Lady of Guadalupe is looked at through the prism of race, class, and gender oppression. She offers both Christian and Nahuatl interpretations in order to facilitate the understanding of the importance of the event for their future, transculturated descendants. Importantly, the influence of Anglo-American culture over mestizos is never underestimated nor neglected. In those terms, it seems counterproductive to choose such a small number of participants, especially considering the fairly simple and short questionnaire. The Mexican-American women selected for the study had to be young years of age , married mothers for whom Our Lady of Guadalupe was part of their religious experience.

They also had to speak English. Each of the participants in the study filled out a demographic questionnaire which established their economic, social, and cultural status. The results of this section show that none of the participants have higher education, and that the [] average education was Only one of the participants identified Our Lady of Guadalupe as a priority in comparison to other religious beliefs, such as Christ and God.

Participants also wrote a personal reflection inspired by observing the provided image of Guadalupe. Most of the group identified her as a mother type or someone to be prayed to, but significantly only four women mentioned the strength that the image of Guadalupe offers them. Later, the women were given a list of adjectives from which they were supposed to choose those that, according to their opinion, described Our Lady of Guadalupe. The two highest rated qualities show that they see her as the ideal self and as the nurturing parent.

The final part of the research is related to the taped interviews in which the women explained their written accounts. A long pastoral experience of the author along with her study of psychology complement the small number of the participants in the group. This study definitely deepens our knowledge of acculturation of Mexican-American women. In his native Portugal, however, his paintings, illustrations, and sculpture have always taken precedence over his writing. Lip service is often paid to his handful of modernist titles, but adequate critical study and interpretation has gone largely elsewhere.

Ellen Sapega's studies are a welcome step in the attempt to establish the basis for a more equitable reckoning. A Engomadeira and K4 O Quadrado Azul are most intelligibly read within the intelligence offered by the sensacionista ideas formulated by Almada's coeval and fellow-collaborator in Orpheu and Portugal Futurista, Fernando Pessoa. Put another way, these parables demonstrate the strong Almadean idea, if they do so obliquely, that modern man must or had best recognize the sanity of pre-logical apprehension of things.

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Nome de Guerra is approached as a culminating retrospective summary of Almada's major fictional interests in the ten or so years of his significant literary activity , one which results in a new but constructive literary impasse marking the end of the author's career as fiction writer. This nuanced, attentive reading of Almada's always engaging fiction in the context of the modernism he did so much to shape and define should attract further serious attention to the writings of an artist-writer whose place in literature must be defined both within twentieth-century Portuguese culture and well beyond that culture.

Whether he had talent not genius , as the puckish Fernando Pessoa once said, Almada must be given his due as one of the great multiple artists of the modern era. Latino Theatre, is important because it clarifies the actual significance of those influences, drama troupes and dramatists which took part in the formation of the modern theatre in Mexico. During the course of his study, Schmidhuber convincingly dispels misconceptions that were perpetrated by some of the key players in this drama of drama and that, for more than half a century, have concealed the reality of this theatre's personal and group dynamics.

As the author aptly proves, the sixteen years from to are the formative years of the nation's modern theatre: marks the beginning of Mexico's first stable theatre group and, is the year Usigli wrote El Gesticulador, the drama that provided the dramatic esthetic that was to inspire subsequent generations. The study, which is essentially chronological in its development, discusses the three principal dramatic currents prominent in Mexico during the s and s: the traditional theatre heavily indebted to Spanish influence; the theatre Schmidhuber terms the mexicanista; and the experimental or vanguard, particularly that of French and Italian Pirandello influences.

The reader should not be tempted to make light of the foregoing because only one who has actually read the works written and produced in Mexico during this time could justify this claim, and only after having verified that all other dramatic elements are useless for a consistent, meaningful analysis of the evolution of this drama during the years in question.

From the beginning of his work, Schmidhuber resorts to a clever formulaic representation of these constants in order to aid the reader's comprehension of the changes in the plays under discussion. Some of the most revealing portions of the study are documents and commentary that prove that the Comedia Mexicana and the Grupo de los Siete Autores essentially worked for the same end -that, despite disparaging criticism of the former group by dramatists such as Villaurrutia, Novo and C.

Gorostiza, there was little difference in the number and types of works these two groups actually staged. The latter and its significance also have not been mentioned in previous studies of this theatre.

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After pages devoted to individuals and groups, the author devotes the remaining fifty-eight pages of text to Usigli, his work in general, and in particular to El gesticulador in which previously existing influences and traditions meld into the work that, more than any other, is the pioneer drama of the modern Mexican theatre. The reader's own conclusion will surely be favorable.

Schmidhuber's study is well written, to the point, and, undeniably, a unique contribution. A real artist in any field of endeavor makes the performance of a task appear easy. Although she has chosen to study some of the most intellectually demanding works of contemporary Mexican fiction, she has managed to make their explication appear effortless. Thoughtfully conceived [] and artfully executed, Taylor's book explores the nebulous boundary between story and history, offering many valuable in sights to the readers of these complex novels.

Besides the chapters devoted to these works, the book includes an introduction and conclusion, a bibliographical appendix a list of works on Tlatelolco , a list of works cited, and an index.

The extensive notes on each chapter reflect one of the strengths of her study: her ability to incorporate the theories of a great variety of authors from literary critics to social historians, novelists to psychologists and apply them to the works under consideration. This is not just literary name-dropping; the comments of these diverse authors prove to be instructive in the context of Taylor's observations. Another plus is that Taylor's language is refreshingly free of the complicated jargon which travels as excess baggage in much of contemporary criticism.

When she does create a new term periosia, her name for the hybridization of poetry and journalism , the neologism seems justified, not gratuitous. In her introductory chapter, Taylor finds the model for Latin American testimonial narrative in the chronicles of the Conquest, which were literary creations as well as historical accounts.

In La noche de Tlatelolco, Poniatowska performs these multiple functions by applying novelistic structure to a historical event, the Tlatelolco massacre of Skillfully weaving together fragments of oral and written documents the students' chants, newspaper reports, eyewitness accounts, placards, poems, etc. Taylor's explanation of the way in which Poniatowska exercises the prerogatives of the fiction writer in the selection and use of raw testimony is the high point of her excellent analysis. Testimonios sobre Mariana is , by contrast, an inversion of La noche de Tlatelolco. It is not a testimonial novel, but rather a novel in the form of three testimonies given by friends and lovers of the mysterious Mariana.

As Taylor explains, the three narratives should, like the sides of a triangle, define a space where the true Mariana exists, but this space ultimately remains empty, for the reader remains unable to create a coherent image of the character. Through the textual juxtaposition of events belonging to different eras, Pacheco alerts the reader to historical parallels and the potential for these incidents to recur in the present. Of the four works under consideration, Campbell's Pretexta most directly confronts the role of the writer as historian, since the novel's protagonist has been hired by the government to fabricate a phony biography of an outspoken journalist.

By linguistically deconstructing the word pretexta, Taylor elucidates the metaphor of the text as a weaving in which the protagonist-writer combines various narrative threads to produce an artistic whole. Like the authors whose works she so successfully illuminates, Taylor has artfully woven threads from many sources to create her own tapestry of words, an important contribution to the criticism of these very complex works.

In Vargas Llosa was the leading candidate for the Peruvian presidency, but he lost to Alberto Fujimori. His memoir, El pez en el agua , consists of twenty chapters, the even-numbered ones chronicling the events of the campaign and the odd-numbered ones narrating the author's [] life from , the year of his birth, to , when he left his native land. Although Vargas Llosa devotes more pages to the political campaign than to his personal life, many of his readers will be intrigued by bits of information they may not have known previously.

Until he was ten, the author had been led to believe that his father was dead. Then, one day, his mother announced that he was going to meet his father that very afternoon. The shock was intensified when the heretofore pampered child came face to face with the rigidly authoritarian figure that would change his life forever. Much has been written about Vargas Llosa's Freudian rejection of his father, but what we read here elicits our sympathy for him and makes us question his mother's judgment in returning to the man she had divorced.

A positive result of the relationship, however, is Vargas Llosa's choice of a literary career, a choice made in part because he knew it would displease his father. Thus, although Vargas Llosa did indeed advocate change -a free-market economy, privatization of nationally owned industries, fundamental reforms in education, and reduced government spending- he was viewed by many Peruvians as a traditional, right-wing, upper-class politician.

Still, Vargas Llosa was well ahead of his opponents until approximately ten days before the election April 8, , when Fujimori began to make astonishing gains. Billing himself as an outsider Jimmy Carter comes to mind , this dark horse immediately captured the imagination of voters, especially among the lower classes. When on election day it became evident that the necessary segunda vuelta would produce a Fujimori victory the leftist parties would undoubtedly join together , Vargas Llosa offered to cede the election to his opponent in the hope that the latter would adopt some of his economic policies.

During the weeks before the second election June 10 , negative information surfaced on Fujimori his authoritarian behavior as president of an agrarian university and the ludicrously low taxes he had negotiated on his extensive real estate holdings. But the vicious accusations leveled against Vargas Llosa go well beyond the pale.

Indeed, one might conjecture that the calumny he was subjected to explains his decision, shortly after the election, to become a Spanish citizen. Admirers of Vargas will, after reading this memoir, admire him even more. Brilliant, scrupulously honest and forthright, and for this reviewer unquestionably the best qualified candidate, he may have lost because he was too frank with the electors, telling them exactly what was needed to solve the problems plaguing Peru. In his bid for a job he never really wanted, he threw himself heart and soul, often at great personal risk, into the campaign, studying all the issues, visiting every corner of Peru, and traveling to Asia to learn from the economic successes of Japan, South Korea, Taiwan, and Singapore.

Since the election, Fujimori has adopted some of Vargas Llosa's economic policies, but he has weakened the democratic process by assuming dictatorial powers. The Peruvian electorate erred and is now suffering the consequences. Clearly and elegantly written, El pez en el agua masterfully describes the violence, the political corruption, and the rampant hypocrisy of journalists and intellectuals polluting the moral atmosphere of a nation in peril. It is one of the most fascinating and informative nonfiction books published in the Hispanic world in recent years.

Se olvida con frecuencia que no es el asunto de la correspondencia sino el elemento humano y la personalidad de los corresponsales lo que muchas veces confiere valor primario a las misivas. El otro corresponsal, Genaro Estrada , no es tan renombrado. Conversaciones Creadoras is a conversation textbook aimed at intermediate level Spanish-speakers that emphasizes increasing language productivity in Spanish through active participation in simulated conversation situations within specific cultural contexts.

Each creative conversation takes place in a different country allowing for exposure to differences in culture and language. Nevertheless, the conversaciones are generally entertaining and succeed in engendering a functional conflict that can be parlayed into a dialogue by students e. Some flexibility from the tedium of performing twelve dramas is offered by the authors as a change of pace in their thorough chapter-by-chapter teaching suggestions sections, such as having students report how they would conclude the drama.

Another positive attribute of the text is the introduction to each chapter with two short cultural readings, one on an aspect of Latin America and the other on Spain. These informative, although predictably generalized especially for Latin America , author-generated readings serve to introduce the chapter's topic, e. Additional questions, perhaps as a pre-reading exercise, within the student text might have served well to stimulate students' thought toward further discussion of the topic.

Black and white reproductions of ads appear sporadically in the text, always linked to the theme or function of the chapter, but with no exercises or suggestions for using them. Perhaps inspired by the trend in total production testing such as included in the ACTFL Oral Proficiency exams, a strong feature of the text is the inclusion of plentiful, imaginative situations for paired work in each chapter. Students select from four scenes, allowing for individual selection and the ability to avoid scenes containing sex-related roles which may not be possible for role-play due to a class make-up and roles with which some may not identify well such as pretending to be a child fearful of hospitals , or a conservative middle-aged physician Active vocabulary, presented in English translations, is limited to twenty-five items which are tested in a variety of challenging practices that include selection of antonyms, matching definitions, and crossword puzzles.

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Answers to these and other exercises are occasionally ambiguous 32, , As per the goal of also seeking cultural competence, region-specific vocabulary is annotated although en seguida is tested as an antonym of luego whereas in much of Latin America it is a synonym. Although most vocabulary can be identified within the semantic field related to a chapter, the lack of a glossary in the text is strongly noted.

Students are advised to bring a dictionary to class. The incorporation of a clear discussion of the authors' teaching philosophy, ideas for evaluation, and specific teaching suggestions is invaluable. Personal expression is de-emphasize due to the focus on learning through simulated scenarios and there are few opportunities for narration or speaking in the past. Nevertheless, the plentiful and varied material offers a necessary flexibility for instructors to select activities that may appeal better to individual interests and knowledge.

In conclusion, this text has much to offer with its emphasis on learner-created role-plays and activities that require students' imagination and creativity.

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This text, as advertised, focuses on the teaching of practical writing skills. The twelve chapters are organized to take students from the level of sentence formation and paragraph writing chapters 1 through 4 to more complex writing tasks. Chapter 5 deals with the language of advertising to teach students how to create an effect, to motivate or to convince.

The next three chapters are particularly well-organized. They provide a thorough analysis, with excellent, authentic examples of the process of writing invitations, personal notes and letters and business correspondence. Chapters 9 and 10 focus on narrative and descriptive writing respectively. Chapter 11 teaches how to write summaries while the last chapter applies many of the writing techniques previously presented to the development of an expository essay. In addition, there is a very useful introductory chapter which provides excellent advice and practical exercises on how to use Spanish and bilingual dictionaries.

At the end of the text the authors have provided five very functional appendices covering syllabification and diphthongs, accents, capitalization, and punctuation and, for the rare teacher of composition without one, there is a correction key. An Instructor's Manual is available upon request. The only practical writing topic not covered is the preparation of a research paper with the attendant documentation according to the MLA or APA format.

The chapter topics deal with practical situations and the vocabulary selection allows students to gain proficiency in writing about subjects they will need to address in real-life situations. As, a composition text, the book is very complete.

Collado, Adrià [WorldCat Identities]

However, for second-year college courses combining grammar review and composition, it does not provide a complete review of grammar. While the authors do not pretend to include a complete review of grammar as a text component, the level of grammatical sophistication will determine the types of courses it may be used for. For example, chapter 6 introduces the use of the conditional tense and imperfect subjunctive to soften requests but does not discuss their practical application to writing conditional sentences.

The presentation of ser and estar does not include an explanation of the use of these verbs with past participles. Both of these grammatical structures are necessary to achieve a certain level of syntactic complexity in writing. This text is appropriate for advanced high school courses and may be adapted for use in second year college classes with a specific composition component. The grammar explanations it provides for the subjunctive in the subordinate clause, the preterite-imperfect and other grammar issues are very good.

It does not simply repeat the old prescriptive rules but provides thorough, linguistically accurate description of [] grammar function. The text is written in Spanish at a level an educated writer would use. It will certainly enable teachers to help students learn how to produce the kinds of writing they are likely to need in their everyday social and professional lives.

Children's literature, at least in Spanish, has had belated recognition in Hispanic studies within the U. The honor is intended for a U. Isabel Schon's latest book substantiates the current recognition of literature for this age group within the Hispanic area. This dictionary has approximately alphabetically arranged names of contemporary authors and illustrators from the Spanish-speaking world and the United States.

The editor accessed the information through an index to authors; a listing of authors by country provides another point of access. The book also serves as a primitive index to the writing of children's literature and its importance in some of the Latin American republics. Spain overwhelms with the largest number of authors; Mexico and Argentina are second and third respectively; Costa Rica and Venezuela each have one author; Guatemala, El Salvador, Nicaragua, Panama, Ecuador and Puerto Rico do not appear.

There is no explanation for the omission. Probably no other American scholar is more appropriate for the task of compiling this reference book than Isabel Schon, director for the Study of Books in Spanish for Children and Adolescents at California State University, San Marcos. An author of children's stories herself, she is also the compiler of at least ten books regarding Hispanic literature of this age group. Yet it is the church as an institution that dominates the significance of concepts around societal morals. I am interested in the normality that surrounds these popular events and how influential they may be in forging a particular identity.

For instance, some of the figures of the Corporations of Puente Genil represent various moral and philosophical concepts. There is from my perspective, an ambivalent relationship with events and celebrations such as these: I appreciate their mythological quality, the creativity and popularity, yet that appreciation clashes with their reductive, and literal interpretation of Catholicism , as well as the history of the church as an institution of power. Dear Magnum user, We have made some changes to our site.

If you are looking for our image archives and licencing service, please visit Magnum Pro Don't show again Yes, take me to Magnum Pro No, thank you. Photographers View All. Newsletter Signup. Newsroom Behind the Image: J. Robert Oppenheimer by Philippe Halsman. Lua Ribeira Lunch time at Puente Genil. Lua Ribeira Isaac with firewood bundle. The Patriarchs of Israel corporation. Lua Ribeira Dead cat and truck. Lua Ribeira River Genil.

Lua Ribeira Door step. Lua Ribeira Siesta I. It searches all titles , subtitles , authors' first and last names , various notes , and a number of other fields. You'll be presented with the list of library items based on their relevancy to your search. Word order and letter case do not matter. To use this method, simply type a word, words, or phrase into the blank at the top of the screen. Then either push the Enter key on your keyboard, or click the GO!

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