885 research outputs found
A critical assessment of the theology of Camilo Torres in the light of Latin American theology : a theological paradigm for peace with justice for Colombia
No full textThe thesis aims to provide a critical assessment of Camilo Torres’ concept of efficacious love in the light of a hermeneutics and ethics of liberation, to contribute theoretically to theological reflection upon the mission of the Protestant and Roman Catholic churches in Colombia, and generally in Latin America. It proposes the thesis that the theology of Camilo Torres, viewed from the perspective of a hermeneutics and an ethics of liberation, can be foundational for seeking, constructing, and sustaining peace with justice in a context of oppression and violence.
Based on the theological analysis, the academic and spiritual motivation should respond to two fundamental questions in our academic inquiry: what foundation exists in Camilo Torres’ theology for the construction of a just, peaceful, liberative society and to enable proximity to the excluded, victimized, and poor population in Colombia to be achieved? And how can we as Christians respond to the grace of God in living efficaciously the values of the Kingdom of God, in order to bring structural changes in Colombia? The implications of the answers to those questions would result in the possibility to execute an integrating theological proposal for peace with justice for the church in Colombia.
In an interpretative mode, we consider critically the multidisciplinary interaction of some of the theological foundations of liberation theology. Our task consists in clarifying and constructing theological presuppositions for a dialectical examination of the historical and current situation in Colombia, viewed in the light of the internal problems and realities. Thus, it is our intention in order to attempt a significant interdisciplinary juncture, to examine and interpret such relevant concepts as efficacious love, faith with works, kenosis, hypostatic union, hermeneutics and ethics of liberation, social justice, personal and collective socio-political conversion, and a praxis of faith as the church’s mission in response to the Colombian context of poverty and violence
Camilo Pardo Umaña, special for El Tiempo
No full textLa imagen contiene una noticia acerca de un personaje singular en la historia de Colombia: Judas Tadeo Landínez. A través de una pluma crítica, el autor, Camilo Pardo Umaña, nos pinta un retrato detallado de este hombre de negocios, describiéndolo como un astuto y ambicioso personaje que supo aprovechar las oportunidades de su época para amasar una gran fortuna. Narra cómo Landínez, junto a su socio José María Plata, crea una especie de bolsa de valores llamada "La Ballena". Esta entidad financiera permitía a los inversores dejar su dinero a cambio de pagarés respaldados por las firmas de ambos socios. Sin embargo, esta actividad pronto se convierte en un foco de especulación y riesgo.
Noticia publicada en El Tiempo. Bogotá ( 13222). P. 18 col 3-4-5-6-7-8.The image contains news about a unique character in the history of Colombia: Judas Tadeo Landínez. Through a critical pen, the author, Camilo Pardo Umaña, paints a detailed portrait of this businessman, describing him as an astute and ambitious character who knew how to take advantage of the opportunities of his time to amass a great fortune. It tells how Landínez, together with his partner José María Plata, creates a kind of stock exchange called "La Ballena". This financial institution allowed investors to leave their money in exchange for promissory notes backed by the signatures of both partners. However, this activity soon becomes a focus of speculation and risk.
News published in El Tiempo. Bogotá (13222). P. 18 col 3-4-5-6-7-8
San Camilo, 1936: cuando la censura volvió a ser un problema para Camilo José Cela
No full textEn este artículo se informa de los problemas que Camilo José Cela tuvo con la censura franquista cuando se editó en 1969 su novela San Camilo, 1936, que tiene como tema el comienzo de la guerra civil española en Madrid. El cese en 1969 de su amigo Manuel Fraga Iribarne como ministro de Franco significó el fin de su posición privilegiada como escritor en la España de los años 60. La reacción contra Cela por parte de los elementos más retrógrados del Régimen, enemigos del ex ministro, no se hizo esperar. Finalmente, la novela circuló con recortes que se sumaron a los que el autor realizó por la autocensura habitual en la época. ************************************************************************************************************************************************************************************************************ San Camilo, 1936: quando a censura foi novamente um problema para Camilo José Cela Resumo: Este traballo relata os problemas que Camilo José Cela teve com a censura franquista quando publicou em 1969 seu romance San Camilo, 1936, cujo tema é o início da Guerra Civil Espanhola, em Madri. O fato de Manuel Fraga Iribarne, amigo de Cela, deixar de ser ministro de Franco significou o fim de sua posição privilegiada como escritor na Espanha dos anos 60. A reação contra Cela pelos elementos mais retrógrados do regime, inimigos do ex ministro, foi rápida. Finalmente, o romance circulou com cortes que foram adicionados aos que o autor realizou por causa da auto-censura de costume na época. Palavras-chave: Camilo José Cela; San Camilo, 1936; Literatura da Guerra Civil Española ************************************************************************************************************************************************************************************************************ San Camilo, 1936: when censorship was again a problem for Camilo José Cela Abstract: This paper reports on the problems that Camilo Jose Cela had with Franco’s censorship when he published in 1969 his novel San Camilo, 1936, whose plot concerns the beginning of the Spanish Civil War in Madrid. The cessation in 1969 of his friend Manuel Fraga Iribarne as a Minister in Franco’s regime meant the end of Cela’s privileged position as a writer in the Spain of the 60’s. The reaction was swift against Cela by the most retrograde elements of the regime and enemies of the ex-minister. Finally, the novel circulated with cuts added to those the author already performed following the usual self censorship at the time Keywords: Camilo José Cela; San Camilo, 1936; Literature of the Spanish Civil Wa
Camilo José Cela y la génesis de 'La colmena'
No full text[spa] El presente trabajo describe brevemente el arte novelístico de Camilo José Cela entre la mirada y la memoria. A partir de dicha naturaleza de la novela, se examina la génesis externa de La colmena. Es decir, algunos de los estadios que el manuscrito atravesó a tenor de las diversas lecturas públicas que el autor hizo del texto en Madrid y en Barcelona durante los años 1945 y 1946.[eng] This paper briefly describes the novelistic art Camilo José Cela between his glance and memory. From the novel's nature, examining the external genesis of La Colmena. Namely some of the circuits that the manuscript crossed the subject of several public readings of the text that the author held in Madrid and Barcelona during the years 1945 and 1946
A forma Shandiana em Camilo Castelo Branco
No full textOrientador : Profª. Drª. Marilene WeinhardtTese (doutorado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 03/11/2016Inclui referências : f.182-187Área de concentração : Estudos literáriosResumo: A extensa obra de Camilo Castelo Branco comumente é abordada a partir de suas aproximações com a estética romântica. Cientes dessa abordagem, mas objetivando destacar outros aspectos importantes para a formação do romance como um todo, esta tese pretendeu demonstrar como o autor português se aproxima da linhagem narrativa denominada como forma shandiana, proposta pelo teórico Sérgio Paulo Rouanet. De acordo com esse autor, é possível estabelecer uma continuidade no tocante a quatro especificidades literárias usadas por autores que podem ser chamados de shandianos, uma vez que o início dessa forma se deu a partir da obra A vida e as opiniões do cavalheiro Tristram Shandy, de Laurence Sterne. Assim, selecionamos quatro romances, que constituem uma espécie de panorama da obra camiliana, demonstrando, portanto, que houve uma manutenção na utilização desses recursos, para analisar como cada elemento da forma shandiana se mostrou. As obras escolhidas foram Anátema, O que fazem mulheres, A queda dum anjo e A brasileira de Prazins, e em todas foi possível demonstrar, com variações, como a forma shandiana foi empregada por Camilo Castelo Branco, permitindo que afirmemos que há, de fato, uma filiação com essa linhagem narrativa. Com isso, foi possível reiterar a importância do autor português para a formação do romance e ao mesmo tempo demonstrar sua habilidade em adaptar-se às mudanças enfrentadas pelo gênero no período. Palavras-chave: Camilo Castelo Branco. Forma shandiana. Romance português.Abstract: The extensive work of Camilo Castelo Branco is commonly approached from its relationship to the romantic aesthetic. Aware of this approach, but aimed to highlight other important aspects to the formation of the novel as a whole, this thesis aims to demonstrate how the Portuguese author approaches the narrative lineage known as shandian literaly form proposed by theoretical Sergio Paulo Rouanet. According to this author, it is possible to establish a continuity with respect to four literary characteristics used by authors who can be called shandian since the beginning of this way took from the book The Life And Opinions Of Tristram Shandy, Gentleman, by Laurence Sterne. Thus, were selected four novels, which are a kind of panorama of the Camilian work, demonstrating, therefore, that there was a maintenance in the use of these resources, to analyze how each element of shandian form were showed. The selected works were Anátema, O que fazem mulheres, A queda dum anjo and A brasileira de Prazins, and in all was possible to demonstrate, with variations such as the shandian form was employed by Camilo Castelo Branco, allowing affirm that there is indeed a membership to this narrative line. Thus, it was possible to reiterate the importance of the Portuguese author for the formation of the novel and at the same time demonstrate his ability to adapt to the changes faced by gender in the period Keywords: Camilo Castelo Branco. Shandian form. Portuguese novelRésumé: La vaste oeuvre de Camilo Castelo Branco est communément traitée à partir de son rapprochement avec l'esthétique romantique. Sachant de cette proximité, mais dans le but de souligner d'autres aspects importants pour la formation du roman dans son ensemble, cette thèse prétend démontrer comment l'auteur portugais s'approche de la lignée narrative connue comme forme shandienne, proposée par le théoricien Sérgio Paulo Rouanet. Selon cet auteur, il est possible d'établir une continuité en ce qui concerne quatre spécificités littéraires utilisées par des auteurs qui peuvent être appelés de shandiens, vu que le début de cette forme s'est donné à partir de l'oeuvre Vie et opinions de Tristram Shandy, gentilhomme, de Laurence Sterne. Ainsi, nous sélectionnons quatre romans, qui constituent une sorte de panorama de l'oeuvre camilienne, en démontrant, donc, qu'il y a eu maintenance de l'utilisation de ces ressources, pour analyser comment chaque élément de la forme shandienne apparaît. Les oeuvres choisies ont été Anátema, O que fazem mulheres, A queda dum anjo et A brasileira de Prazins. Dans toutes ces oeuvres, nous démontrons, avec des variations, comment la forme shandienne a été employée par Camilo Castelo Branco, ce que nous permet d'affirmer qu'il y a, en effet, une filiation à cette lignée narrative. Avec cela, il a été possible de réitérer l'importance de l'auteur portugais pour la formation du roman et en même temps de démontrer son habilité à s'adapter aux changements auxquels le genre a fait face pendant cette période. Mots-clés : Camilo Castelo Branco. Forme shandienne. Roman portugai
Camilo Henríquez: Teatro, republicanismo y modernidad
No full textThis article approaches the work of Friar Camilo Henríquez, specifically the play The Camila or the Patriot of South America, from the assumption that aesthetic principles are subordinate to the illustrated modern and republican ideas, who Fray Camilo devoted most of his life to defend and disseminate. From the analysis of La Camila, the article unveils the different textual marks through which the author disseminated republican ideas and established, in an assimilation fashion, a modern Indian subject. This happens in a reception context in which colonialism and modernity appear to be simultaneous, and therefore republican thought becomes utopianEl artículo examina la obra teatral de fray Camilo Henríquez, específicamente La Camila o la Patriota de Sudamérica, a partir del supuesto de que en esta los principios estéticos quedan subordinados al ideario ilustrado y republicano, a cuya defensa y difusión fray Camilo dedicó su vida. A partir del análisis de la obra se develan las diferentes marcas textuales por las que el autor publicita las ideas republicanas e instala –en un modelo de asimilación– a un sujeto indio moderno. Operación que se da en un contexto de recepción en que colonialidad y modernidad son fenómenos simultáneos, lo que deviene a la postre en un pensamiento republicano utópico
Camilo Henríquez: teatro, republicanismo y modernidad
No full textThis article approaches the work of Friar Camilo Henríquez, specifically the play The Camila or the Patriot of South America, from the assumption that aesthetic principles are subordinate to the illustrated modern and republican ideas, who Fray Camilo devoted most of his life to defend and disseminate. From the analysis of La Camila, the article unveils the different textual marks through which the author disseminated republican ideas and established, in an assimilation fashion, a modern Indian subject. This happens in a reception context in which colonialism and modernity appear to be simultaneous, and therefore republican thought becomes utopian.
Palabras clave : Modern subject; Republican thought; Modernity; Sociability; Asynchrony.El artículo examina la obra teatral de fray Camilo Henríquez, específicamente La Camila o la Patriota de Sudamérica, a partir del supuesto de que en esta los principios estéticos quedan subordinados al ideario ilustrado y republicano, a cuya defensa y difusión fray Camilo dedicó su vida. A partir del análisis de la obra se develan las diferentes marcas textuales por las que el autor publicita las ideas republicanas e instala -en un modelo de asimilación- a un sujeto indio moderno. Operación que se da en un contexto de recepción en que colonialidad y modernidad son fenómenos simultáneos, lo que deviene a la postre en un pensamiento republicano utópico.
Palabras clave : Sujeto moderno; Pensamiento republicano; Modernidad; Sociabilidad; Asincronía
“Where enters the author”: figurations of the author in the fiction by Camilo Castelo Branco
No full textÉ sabido como uma das peculiaridades da ficção de Camilo Castelo Branco consiste numa narração marcada pela constante presença do narrador. Mesmo quando ausente da diegese, é uma presença sempre visível no discurso narrativo. É nosso objetivo descrever as formas dessa presença, quer na diegese, quer no discurso, refletindo sobre os sentidos literários e metaliterários explorados pelo autor.It is known that one of the peculiarities of Camilo Castelo Branco's fiction consists of a narration marked by the constant presence of the narrator. Even when absent from diegesis, it is an always visible presence in narrative discourse. It is our objective to describe the forms of this presence, both in diegesis and in discourse, reflecting on the literary and metaliterary meanings explored by the author.info:eu-repo/semantics/publishedVersio
Camilo Pessanha: between poetry and translation
No full textConsiderando a tradução literária um ato de recriação, esta dissertação se propõe a analisar as oito elegias chinesas traduzidas por Camilo Pessanha, estabelecendo relações entre elas e a poesia desse autor manifestada, principalmente, numa mesma temática que se faria presente tanto na Clepsydra, quanto nas traduções desses poemas da dinastia Ming. Nessa análise, não só discutiremos linguagem e alteridade num processo de deslocamento, como também, o próprio deslocamento lingüístico e semântico na transcrição dos ideogramas para palavras, expressões e poesia na língua portuguesa.Considering the literary translation an act of recreation, this dissertation aims to analyze the eight Chinese elegies translated by Camilo Pessanha, establishing relationships between them and this author´s poetry, manifested, principally, in the same thematic that would be present in Clepsydra and in those Ming\'s dynasty poems translated. In this analysis, we will also discuss language and alterity in a dislocating process and the dislocation in the transcriptions of ideograms into Portuguese words, expressions and poetry
Camilo Rebelo. PARALLEL UNIVERSES
No full textThe volume, edited by the undersigned, is the catalogue of an exhibition made in Politecnico of Milano on the works by Camilo Rebelo, one of the most significant architectural figures in the European panorama.
Without any linguistic emphasis, Camilo Rebelo's architecture seems to return a new interpretation of architecture, which knows how to draw from the landscape its representativeness and at the same time its materiality, being able to return to the landscape itself, through a silent language, each time a new meaning, a new identity, a 'difference'.
The images of the exhibition are not intended to be just the materialization of these words, but the compositional expressions of an ever-evolving thought, which precisely through the parallel Universes of architecture (dre-amed, designed, built), sequentially reveals its own narrative dimension.
The projects collected in the catalogue reflect a dual conceptual and operational itinerary of the author: some works have actually been built and become the tangible result of his work, others remain 'suspended', almost waiting for an appropriate 'parallel universe' to be completed
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