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Antonio Machín en la banda sonora de la España franquista (perplejidades dictatoriales)
Get PDFAntonio Machín, cubano afrodescendiente, llegó a España en abril de 1939, el mismo mes en el que terminó la Guerra Civil y comenzó la larga dictadura franquista. Contra lo que tal vez pudiera esperarse conjeturalmente en un país gobernado por un régimen poco afecto a extranjerismos, incluso siendo relativos, o diversidades, ya fueran estas políticas, culturales, religiosas, morales o raciales, en la segunda mitad de la década de los cuarenta Machín se convierte en uno de los cantantes más célebres en el panorama de la música popular española, sobre todo a partir de la presentación en 1946 de Angelitos negros. Machín grabará cientos de canciones durante la época de la dictadura, hará innumerables giras, conciertos y espectáculos, y será presencia constante en la radio y en la televisión, convirtiéndose dentro del imaginario español en uno de los elementos culturales indisolublemente asociados a la España franquista. La crónica legendaria de la época incluso asegura que Machín tuvo el dudoso honor de ser el cantante favorito del general Franco. Pero también gozó de la admiración e incluso el fervor de Vázquez Montalbán, Serrat, Sisa y una larga letanía de nombres altamente “significados” en su denodada oposición al franquismo. Mi propósito es explorar los meandros y sinuosidades de esta aparente perplejidad ideológica y cultural.Antonio Machín, cubano afrodescendiente, llegó a España en abril de 1939, el mismo mes en el que terminó la Guerra Civil y comenzó la larga dictadura franquista. Contra lo que tal vez pudiera esperarse conjeturalmente en un país gobernado por un régimen poco afecto a extranjerismos, incluso siendo relativos, o diversidades, ya fueran estas políticas, culturales, religiosas, morales o raciales, en la segunda mitad de la década de los cuarenta Machín se convierte en uno de los cantantes más célebres en el panorama de la música popular española, sobre todo a partir de la presentación en 1946 de Angelitos negros. Machín grabará cientos de canciones durante la época de la dictadura, hará innumerables giras, conciertos y espectáculos, y será presencia constante en la radio y en la televisión, convirtiéndose dentro del imaginario español en uno de los elementos culturales indisolublemente asociados a la España franquista. La crónica legendaria de la época incluso asegura que Machín tuvo el dudoso honor de ser el cantante favorito del general Franco. Pero también gozó de la admiración e incluso el fervor de Vázquez Montalbán, Serrat, Sisa y una larga letanía de nombres altamente “significados” en su denodada oposición al franquismo. Mi propósito es explorar los meandros y sinuosidades de esta aparente perplejidad ideológica y cultural
“Una extensa zona relacionable”: Zambrano y Lezama
Get PDFCuando Juan Ramón Jiménez llegó a Cuba al comienzo de la Guerra Civil española en 1936, el joven Lezama Lima, habiéndose comprometido ya con el secreto de Garcilaso o la serpiente de Góngora y siendo, además, lector de Ortega y su Revista de Occidente, estaba preparado para recibirlo . Juan Ramón, por el contrario, no estaba listo para Lezama.Cuando Juan Ramón Jiménez llegó a Cuba al comienzo de la Guerra Civil española en 1936, el joven Lezama Lima, habiéndose comprometido ya con el secreto de Garcilaso o la serpiente de Góngora y siendo, además, lector de Ortega y su Revista de Occidente, estaba preparado para recibirlo . Juan Ramón, por el contrario, no estaba listo para Lezama
Making the Case for Gamification in Higher Education: A Review of Kevin Bell's Game on! Gamification, Gameful Design and the Rise of the Gamer Educator
Get PDFIn the book Game On! Gamification, Gameful Design, and the Rise of the Gamer Educator, Dr. Kevin Bell, former Pro Vice-Chancellor of Digital Futures at Western Sydney University and current Head of Higher Education and Research for ANZ Amazon Web Services, illustrates the status of digital education in the higher education space through five case studies of gamification in courses taught at universities across America
From the Guest Editors
Get PDFProtecting patron privacy is a core tenet of the ethics of librarianship. The American Library Association's Privacy: An Interpretation of the Library Bill of Rights (2019) emphasizes that protecting the privacy of library users is key to ensuring intellectual freedom because surveillance and monitoring produce a "chilling effect on users' selection, access to, and use of library resources." In 2005, librarians in Connecticut made headlines by standing up against the FBI and the USA Patriot Act to protect patron records (Cowan, 2006). Faced with a clear threat to privacy, these librarians sued the U.S. government in defense of their patrons' rights. However, the daily erosion of privacy facing patrons today is often more insidious and the day-to-day work of protecting privacy in libraries is less visible.
This issue of the Oregon Library Association Quarterly is dedicated to stories of how library workers across Oregon try - and sometimes struggle - to live up to our professional responsibility to protect privacy. These stories come from all corners of our library ecosystem, from public and academic institutions and from large and small communities. The articles presented here provide snapshots of some of the current challenges that libraries face around privacy, as well as some practical tips for dealing with these challenges. We have also included a short guide to relevant state laws, which we hope provides context for the issue as a whole
Student Data Privacy and Automatic Textbook Billing
Get PDFThe textbook market in U.S. higher education is changing. In recent years, publishers have developed an automatic billing model, in which colleges and universities negotiate deals with publishers to provide ebooks and courseware to students, folding the cost into student fees. This model is commonly known as "inclusive access." Because it offers students first-day access to course materials - important to student success - as well as some savings over full-priced standard textbooks, it is becoming popular with faculty and administrators. But textbook publishers are promoting these plans for another reason: The data they can collect with digital materials opens a lucrative new market, allowing them to diversify into analytics services
From Acting to Action: Delphine Seyrig, Les Insoumuses, and Feminist Video in 1970s France
Get PDFMostly known as one of the leading actresses in 1960s-1970s French cinema, Delphine Seyrig was also a media and a feminist activist working collaboratively within the framework of the women’s liberation movement. This article proposes to tackle Seyrig’s involvement in feminist video production the 1970s and explores the continuum she inhabited, from the auteur cinema in which she was actress and muse, to the disobedient practices in which she was video maker, actress and activist. Seyrig’s meditation on her work as an actress, as well as on the patriarchal structures sustaining the film industry, strongly resonates with recent debates prompted by the #metoo movement
The Aesthetic Hyper-Object in Experimental Short Film Practices: Lina Sieckmann and Miriam Gossing’s Art Documentaries
Get PDFShort experimental films by the German female director duo Lina Sieckmann und Miriam Gossing put domestic environments on cinematic display in new and challenging ways. The essay discusses the links between the films’ documentary agendas, surreal visual montages, and poetic feminine voice-overs. Selected films are placed into dialogues with Michael Renov’s concept of aesthetics in documentary film and Timothy Morton’s notion of the “hyperobject.” This theoretical framework highlights the tensions between the films’ powerful aesthetics and feminine queer desire as they decenter socially ingrained dualisms
Excedente español en la Cuba postsoviética: Muerte de un murciano en La Habana (2006)
Get PDFEn este ensayo se analizan las estrategias visuales utilizadas en Muerte de un murciano en La Habana (2006), de Teresa Dovalpage, novela que interroga de forma paródica el impacto social de las dinámicas económicas en la Cuba postsoviética, a partir de una empresa escritural que apuesta por la intertextualidad y la auto-referencialidad. La escritora despliega una escritura postmoderna en la que se desplazan tanto sujetos como signos pictóricos españoles, parodiados en la misma operación traslaticia a un espacio local urbano: La Habana. Se propone que la autora se incluye a sí misma, como lo haría Velázquez en Las Meninas, no para arrojar luz sobre estrategias de representación, sino para llamar la atención sobre la figura del escritor emigrado en el mercado lingüístico regional, quien debe capturar la mirada de las editoriales transnacionales españolas, que ejercen su hegemonía en ese mercado. This essay analyzes the visual strategies used in Muerte de un murciano en La Habana (2006), by Teresa Dovalpage, a novel that parodically interrogates the social impact of economic dynamics in post-Soviet Cuba, based on a scriptural enterprise that uses intertextuality and self-referentiality. The writer deploys a series of postmodern strategies in which both subjects and Spanish Baroque pictorial signs are mobilized and parodied in the same operation as they are relocated onto a specific local urban space: Havana. I propose here that the author includes herself, as Velázquez would do in Las Meninas, not to shed light on representational strategies, but to draw attention to the figure of the migrant writer in a regional linguistic market, who must capture the gaze of Spanish transnational publishers, who exercise a hegemonic control in that market.En este ensayo se analizan las estrategias visuales utilizadas en Muerte de un murciano en La Habana (2006), de Teresa Dovalpage, novela que interroga de forma paródica el impacto social de las dinámicas económicas en la Cuba postsoviética, a partir de una empresa escritural que apuesta por la intertextualidad y la auto-referencialidad. La escritora despliega una escritura postmoderna en la que se desplazan tanto sujetos como signos pictóricos españoles, parodiados en la misma operación traslaticia a un espacio local urbano: La Habana. Se propone que la autora se incluye a sí misma, como lo haría Velázquez en Las Meninas, no para arrojar luz sobre estrategias de representación, sino para llamar la atención sobre la figura del escritor emigrado en el mercado lingüístico regional, quien debe capturar la mirada de las editoriales transnacionales españolas, que ejercen su hegemonía en ese mercado. This essay analyzes the visual strategies used in Muerte de un murciano en La Habana (2006), by Teresa Dovalpage, a novel that parodically interrogates the social impact of economic dynamics in post-Soviet Cuba, based on a scriptural enterprise that uses intertextuality and self-referentiality. The writer deploys a series of postmodern strategies in which both subjects and Spanish Baroque pictorial signs are mobilized and parodied in the same operation as they are relocated onto a specific local urban space: Havana. I propose here that the author includes herself, as Velázquez would do in Las Meninas, not to shed light on representational strategies, but to draw attention to the figure of the migrant writer in a regional linguistic market, who must capture the gaze of Spanish transnational publishers, who exercise a hegemonic control in that market
Designing and Facilitating Optimal LMS Student Learning Experiences [Archived]: Considering students' needs for accessibility, navigability, personalization, and relevance in their online courses
Get PDFHigher education institutions seek to provide instructional opportunities that challenge students with a high level of academic rigor founded in a robust curriculum. Recognizing that learners are more diverse than ever before, and instructional formats are shifting away from traditional inperson learning experiences and toward online learning, it is clear that new technologies, delivery platforms, and pedagogies are required. Further, for online learning to be successful, both courses and the platforms on which they are hosted must not only meet institutional goals, but also serve the unique needs of students by providing online learning that is accessible and navigable as well as providing learners with relevant and personalized experiences. The authors aim to provide research-based practices to support stakeholders who are interested in techniques that translate to a more beneficial and accessible student experience in online learning and help instructors engineer their course design with artful, targeted purpose
Privacy in Practice: Library Public Services and the Intersection of Personal Ideals
Get PDFAnonymity. Confidentiality. Privacy. These similar, yet distinct, concepts require nuance in a setting that is both public and highly personal. Your public library is just that: yours but also public. How do these concepts and the way individuals value them personally become reconciled within the library, a public institution that both safeguards and shares information? How do the privacy rights of adults and children, guardians and intimate partners, intersect and diverge at the library