Portal de Revistas Científicas de la Universidad de Alcalá
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TRAS LOS PASOS DEL BOLERO: NUEVAS APORTACIONES PARA LA HISTORIA DEL BAILE NACIONAL EN EL TEATRO ILUSTRADO:
No full textIn the late eighteenth century, the choreographic, musical and social phenomenon called bolero was the culmination of a process that, obviously, had antecedents within the Spanish scenic, academic and social dance panorama since centuries before.
On the illustrated theater, from «bailar a lo majo» to the performance of Seguidillas boleras with full integration into the style, with the intermediate step characterized by stylistic labeling, the evolutionary process that took place on the scene was decisive for the emancipation of dance and its emergence as an independent activity of dramatic works.
From the transdisciplinary and 'emic' perspective, it is intended to provide a new historical reading on its specific appearance and nature, based on the contrast, collation and interrelation of documentary sources until now without using, and that will complete the panorama of the Spanish Theatrical Dance research, along with a critical approach to the available testimonies.
All this serving the purpose of beginning the necessary historiographic review and holistic treatment of the theatrical bolero, which was the national style or Spanish Theatrical Dance par excellence, today about to disappear.En las postrimerías del siglo XVIII, el fenómeno coreográfico, musical y social denominado bolero supuso la culminación de un proceso que, obviamente, había tenido antecedentes dentro del panorama dancístico escénico, académico y social español, desde siglos antes.
Dentro del teatro ilustrado, desde «bailar a lo majo» hasta la interpretación de unas Seguidillas boleras con plena integración en el estilo, con el paso intermedio caracterizado por el etiquetado estilístico, el proceso evolutivo que tuvo lugar en la escena fue determinante para la emancipación de la danza y su afloramiento como actividad independiente de las obras dramáticas.
Siguiendo la línea de investigación comenzada en 1992, y retomada en 2016 con la misma denominación (Tras los pasos del Bolero), desde la perspectiva transdisciplinar y emic se pretende aportar una nueva lectura histórica sobre este devenir evolutivo, basada en el contraste, cotejo e interrelación de fuentes documentales hasta este momento sin utilizar, y que completarán el panorama de la investigación junto con la aproximación crítica hacia los testimonios disponibles.
Todo ello sirviendo al propósito de comenzar la necesaria revisión historiográfica y tratamiento holístico del bolero escénico, que fuera el estilo nacional o Baile Español por excelencia, hoy a punto de desaparecer
El hebreo moderno como elemento fundamental en la construcción de la identidad nacional en Israel.
Get PDFCultural differences developed among its members during the almost 2000 years that the Jewish people remained in exile. At the end of the 19th century, the idea of creating a state where they could express their identity unconditionally began to be seen realistically. While it is true that the elements that usually make up a nation are very diverse, they found one, language, which seemed capable of uniting the cultural differences created because of these years of separation. This is why the state of Israel configured the Israeli national identity around this element. In this regard, Israel developed a language policy linked to the absorption of migrants, focusing on the Ulpan programme. Seventy-five years after its creation, Israel is one of the most prosperous states in integrating immigrants, primarily based on language.Durante los casi 2000 años que el pueblo judío permaneció en el exilio se gestaron diferencias culturales entre sus miembros. A finales del siglo XIX comenzó a verse con realismo la idea de crear un Estado donde pudieran expresar sin condicionamientos su identidad. Si bien es cierto que los elementos que habitualmente conforman una nación son muy diversos, encontraron uno, la lengua, que parecía capaz de aglutinar las diferencias culturales surgidas como consecuencia de estos años de separación. Por ello el Estado de Israel configuró la identidad nacional israelí en torno a este elemento. En este sentido Israel elaboró una política lingüística vinculada a la absorción de los emigrantes, con especial atención al programa Ulpán. 75 años después de su creación Israel es uno de los estados con mayor éxito a la hora de integrar a los emigrantes, algo que en buena medida está basado en la lengu
V For Vendetta (2005) and the Sociopolitical Impact of a Shakespearean Dystopian Avenger
No full textThe use of science and technology as tools for political domination is a recurrent topic in dystopian films. James McTeigue and the Wachowski sisters´ film adaptation (2005) of Alan Moore and David Lloyd´s cult graphic novel V for Vendetta (1982-89) is a unique example of this kind, as the film has enhanced its impact on a wider audience and has spread its influence over the sociopolitical arena. After 18 years since its release, the film´s criticism is still in force and it may be applied to analyze recent political events in the United States. Far from being a work circumscribed to a specific time, nowadays the film highlight issues that are still relevant and problematic, such as resettlement camps, pandemics, manipulated information and massive surveillance. The film adaptation has become a global hit and V´s mask has been claimed and reproduced in all kind of protests. Therefore, this masked avenger—inspired by Guy Fawkes and created forty years ago—has succeeded to become a tragic hero in the fashion of revenge tragedy characters, combining Shakespearean references with radical political ideas. Thus, people have identified with V through the years, bringing his mask to the streets in social and political struggles such as Anonymous or Occupy Wall Street
Solarpunk Cyborgs against Cyberpunk’s Pessimism: The Evolution of the Feminist Cyborg Archetype from Moxyland, to “Solar Child” and “For the Snake of Power”
No full textThis article explores the ways in which some female-authored solarpunk stories employ cyborg models developed by feminist cyberpunk fiction in order to continue with its traditional role of liberating/liberated ontological subject. The text explores contemporary critical readings of cyberpunk fiction and analyzes Lauren Beukes’ Moxyland (2008), Camille Meyers’ “Solar Child” (2017), and Brenda Cooper’s “For the Snake of Power” (2018) and analyzes the way in which embodied and disembodied female cyborg subjectivities are represented. The article argues that although solarpunk has abandoned the classic cyberpunk idea of subversion in cyberspace, some of the techno-human alliances instigated by it have remained, either developing physical cyborgs liberated from the biological limitations of materiality, as in Meyers’ story, or representing STEM-experienced women who cooperate with AIs in order to fight against capitalism’s material structures of power
WandaVision through the Sitcoms: A Study of the Series’ Narrative Construction
No full textMarvel series WandaVision has been acclaimed for its outstanding rendition of classical sitcoms. It has been considered a homage to this genre. More accurately, the references to certain sitcoms have been deemed Wanda Maximoff’s trauma response to the loss of her partner, Vision. The present paper takes a step further by exploring the contribution of sitcoms to the series’ storytelling. In order to contextualize the parallelisms of WandaVision to some classical sitcoms, it will be helpful to provide an outline of the characteristics of the genre and specific features that matched the preoccupations of American society through the decades. Subsequently, each episode of the show will be analyzed, paying attention to diegetic and non-diegetic elements, the plot, personnel, world-building, cinematography, and mise en scène. The different choices in each case recall the ideals behind particular sitcoms while accounting for the evolution of the genre and portraying the changes in the American culture. All these allusions and echoes are key for conveying Wanda’s personal story
The Hound of the Falconer. Roman and Byzantine Hawking in yhe Venetian Cynegetica
No full textAn illustrated Byzantine manuscript of the Cynegetica by Pseudo-Oppian, housed in the Biblioteca Marciana of Venice, has deserved the attention of scholarship because it contains a vast collection of zoological, mythological and hunting images that could be traced back to an original Roman model. However, a careful examination of some of its miniatures reveals details that may be better understood in a Byzantine context. This is the case of a falconry scene on fol. 2v of the manuscript. A general overview of falconry and hunting from Antiquity to the late Byzantine Empire will let us focus on every single element of hawking of the aforementioned scene. The falconer, the hound and the partridges depicted by the Byzantine miniaturist of our codex unveil that this image is not just an illustration of the text, nor a copy of an ancient model, but the representation of a widely practiced activity in the Byzantine world.Un manuscrito ilustrado de la Cynegetica de Pseudo-Opiano, albergado en la Biblioteca Marciana de Venecia, ha merecido la atención de la historiografía por contener una importante colección de imáge- nes de zoología, mitología y caza que podrían remontarse a un modelo original romano. Sin embargo, un estudio pormenorizado de algunas de sus miniaturas revela detalles que pueden entenderse mejor en un contexto bizantino. Este es el caso de una escena de cetrería en el fol. 2v del manuscrito. Un análisis general de la cetrería y la caza desde la Antigüedad al tardo Imperio bizantino nos permitirá estudiar al detalle cada uno de los elementos de dicha escena. El cetrero, el perro y las perdices representadas por el miniaturista bizantino de nuestro códice desvelan que esta imagen no es sólo una ilustración del texto, ni la copia de un modelo antiguo, sino la representación de una actividad ampliamente practicada en el mundo bizantino
La génesis del Laur. Plut. 59.35, con el Epistolario de Teodoro II Láscaris y con cinco cartas atribuibles a Manuel Ángelos aquí editadas
No full textThe codicological and palaeographic study of MS Laur. Plut. 59.35, the most important manuscript of the epistolary of Theodoros II Laskaris, determines that it is made up of three codicological units and that, despite the dauntingly changing aspect of the handwriting, only four hands transcribed texts and one out of them (scribe 1) copied the primary texts of the codex (the epistolaries of Theodoros II Laskaris and Synesius and a homily by Maximos Planudes). Initially the codex was possessed by Manuel Angelos, whose death around 1303 provides a terminus ante quem for its copy. For his part, scribe 4 has to be identified with a subsequent owner of the manuscript, since he included in it private notes, dated between 1324 and 1325. Those reminders present him as an aristocrat who belonged to imperial and ecclesiastical circles and a man of letters with economic interests in the Sporades Islands. The current book was therefore produced from before 1303 to before 1324-1325 in a stable copying environment, whether a private library or a public bureau. The last addition to the book were five letters composed probably by Manuel Angelos, that we publish here for the first time.El estudio codicológico y paleográfico del Laur. Plut. 59.35, el manuscrito más importante del epistolario de Teodoro II Láscaris, determina que está formado por tres unidades de copia y que, a pesar del aspecto general cambiante de la escritura, solo cuatro manos transcribieron textos y de ellas solo una (cop. 1) copió los textos primarios del códice (los epistolarios de Teodoro II Láscaris y Sinesio y una homilía de Máximo Planudes). Inicialmente, el códice fue propiedad de Manuel Ángelos, cuya muerte hacia 1303 proporciona un terminus ante quem para su copia. Por su parte, el cop. 4 ha de identificarse con un posterior propietario del manuscrito, ya que, en él, aparte de dos poemas en ff. 185v-186, incluyó notas privadas, fechadas entre 1324 y 1325, que lo presentan como un aristócrata que formaba parte de los círculos imperiales y eclesiásticos y un hombre de letras con intereses económicos en las islas Espóradas. El volumen actual fue, por tanto, producido desde antes de ca. 1303 hasta antes de 1324-1325 en un entorno estable de copia, ya sea este una biblioteca privada o unas oficinas públicas. El último añadido al libro fueron cinco cartas compuestas probablemente por Manuel Ángelos, que editamos aquí por vez primera
La percepción de las variedades cultas del español por parte de los madrileños. Un estudio de dialectología perceptiva a partir del PRECAVES XXI
No full textThis article intends to study how Madrid‐born speakers perceive the eight educated varieties of Spanish studied in the Project for the Study of Beliefs and Attitudes towards the Varieties of Spanish in the 21st Century (PRECAVES XXI). The project is structured around three research questions: 1) Do speakers from Madrid identify or recognize different cultured varieties of Spanish? If so, to what degree? 2) What perception do speakers from Madrid have of the proximity or remoteness of the cultured varieties of Spanish with respect to their own variety, Castilian Spanish? 3) Is there any variety of Spanish that can be considered better or more prestigious for Madrid‐born speakers? The answers to these questions provide data on the perception that speakers from Madrid have of the geolectal variation of Spanish in the 21st century, which lead to the conclusion that, although the perceived differences between the cultured varieties are not significant —hat is, the pluricentric model of Spanish is taking place—, the idea of a more prestigious Spanish continues to be consolidated, which Madrid‐born speakers associate with their own variety, the Castilian variety.Este artículo se plantea el estudio del modo en que los madrileños perciben las ocho variedades cultas del español estudiadas en el Proyecto para el estudio de las creencias y actitudes hacia las variedades del español en el siglo XXI (PRECAVES XXI). El trabajo se estructura en torno a tres preguntas de investigación: 1) ¿los hablantes madrileños identifican o reconocen diferentes variedades cultas del español?, ¿en qué grado lo hacen?, 2) ¿cuál es la percepción que tienen los hablantes madrileños de proximidad o lejanía de las variedades cultas del español con respecto a la propia, la castellana?, y 3) ¿existe alguna variedad del español que pueda considerarse mejor o más prestigiosa para los madrileños? En la respuesta a estas cuestiones se aportan datos sobre la percepción que tienen los madrileños de la variación geolectal del español en el siglo XXI, que llevan a concluir que, aunque las diferencias percibidas entre las variedades cultas no son muy grandes —es decir, opera el modelo pluricéntrico del español—, sigue consolidada la idea de un español más prestigioso, que los madrileños asocian al de propia variedad, la variedad castellana