13,675 research outputs found
San Juan de Ulúa: Veracruz
No full textLa información de esta miniguía se basa en los trabajos de José Antonio Calderón y Quijano, José Gorbea Trueba, María Elena Vázquez Villavicencio y Manuel B. Trens.La Villa Rica de la Vera Cruz, punto de partida de la conquista de México, se convirtió en la puerta de entrada a la Nueva España. Sin embargo, por encontrarse en un litoral sumamente bajo y expuesto, las naves y en especial los galeones anclaban al abrigo de la isla de San Juan de Ulúa, que era el punto más protegido del Golfo. De ahí se trasladaba a tierra firme a viajeros y carga en pequeñas barcazas; así, San Juan de Ulúa era un paso forzoso para llegar a Nueva España. De esta manera comenzaron a levantarse construcciones que sirvieron para proteger la f lota de enemigos humanos y naturales. Hacia 1637 existía en el islote una pequeña torre no mayor que la altura de un hombre y varios muros para la defensa del puerto y un muelle en construcción.</p
Juan Filloy and the novel Op Oloop: A myth, an author, a work
No full textVít Kazmar - Juan Filloy: A myth, an author, a work The work Juan Filloy: A myth, an author, a work focuses on the neglected Argentinian writer Juan Filloy (1894 - 2000) and its aim is to serve as an introduction to his work that has received little attention so far. Its first part is dedicated to the analysis of the myth that has spread around the author and completely eclipsed his work. It consists mainly of anecdotal features of his personality and it touches his work only superficially. However, the status of an unknown writer is determined in large part by Filloy's own decision to live in a small town and publish the books himself, as well as by his demanding style, wide vocabulary and often very provocative language and themes. However, it is possible to find some key attributes of his aesthetics in the myth about the author: the palindromes mean a turning toward language as well as the strict and disciplined approach; the wide vocabulary points to the desire of precision of expression etc. The majority of the work then concentrates on the analysis of the author's language and on the interpretation of the novel Op Oloop. The language of Juan Filloy is characteristic by contrast, clarity and order. The central stylistic tool is parallelism; the structure of sentences often becomes a space for..
Juan Filloy and the novel Op Oloop: A myth, an author, a work
No full textVít Kazmar - Juan Filloy: A myth, an author, a work The work Juan Filloy: A myth, an author, a work focuses on the neglected Argentinian writer Juan Filloy (1894 - 2000) and its aim is to serve as an introduction to his work that has received little attention so far. Its first part is dedicated to the analysis of the myth that has spread around the author and completely eclipsed his work. It consists mainly of anecdotal features of his personality and it touches his work only superficially. However, the status of an unknown writer is determined in large part by Filloy's own decision to live in a small town and publish the books himself, as well as by his demanding style, wide vocabulary and often very provocative language and themes. However, it is possible to find some key attributes of his aesthetics in the myth about the author: the palindromes mean a turning toward language as well as the strict and disciplined approach; the wide vocabulary points to the desire of precision of expression etc. The majority of the work then concentrates on the analysis of the author's language and on the interpretation of the novel Op Oloop. The language of Juan Filloy is characteristic by contrast, clarity and order. The central stylistic tool is parallelism; the structure of sentences often becomes a space for..
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
San Juan de Ulúa
No full textRestaurado desde 2012, el museo exhibe objetos de obsidiana, piedra y cerámica de olmecas, totonacos y huastecos, así como la historia militar del espléndido Fuerte de San Juan de Ulúa, más una colección de armas europeas desde el siglo XVI
Ask M invite- Juan Cole
No full textJuan Cole, University of Michigan history professor and author of Informed Comment, invites questions and comments about the US state of affairs and the Iraq and Afghanistan war, a decade after 9/11. Juan Cole invites questions about decade of war after 9/11 interview with juan colehttp://deepblue.lib.umich.edu/bitstream/2027.42/93375/1/askmcole_sept_11.mp
Adoption and diffusion of no tillage practices in Southern Spain olive groves
No full textThis paper analyses the process of adoption of no tillage in South-eastern Spain’s olive groves. Olive tree groves in South-eastern Spain’s mountainous areas are subject to a high risk of soil erosion, which is the main environmental problem for this crop, and have to incur in high costs of soil conservation. This results in a greater difficulty to comply with the practices required to benefit from both the single payment and agri-environmental schemes. In many high-steeped areas, farmers have opted for non-tillage practices as an alternative to other conservation practices. Using our own data from a survey carried out in 2006 among 215 olive tree farmers from the Granada Province in Southern Spain regarding the adoption of soil conservation and management practices, we model the diffusion process of no tillage practices using several specifications (logistic, Gompertz and exponential). We also estimate an ordered probit model to analyse which socio-economic and institutional factors determine the adoption of no tillage. Our results show that 90% of farmers in the area of study perform no tillage with either localized (21%) or no localized (69%) application of weedicides. The diffusion process of no tillage has been very intense since the middle nineties, and has been based on the interactions among farmers in the area of study rather than in external factors such as EU policies or extension services. Among other relevant factors that positively affect the adoption of no tillage practices in general, such as farm size and irrigation, the probability of a farmer adopting no tillage with non-localized application of weedicides increases when there is a relative that will continue with the farming activity, what causes the farmer to incorporate long term effects in his farming decisions, when the farmer is only a manager or when he bought the farm rather than inherited it (i.e. on more professionalized farms), and with his educational level. These results confirm some findings from previous studies in other nearby areas.Spanish olive groves, soil erosion, no tillage, Crop Production/Industries, Land Economics/Use,
San Juan de Ulúa: Veracruz
No full textLa isla fue bautizada el día de San Juan Bautista, en 1518, en la primera expedición española al mando de Juan de Grijalva; se leagregó la palabra Ulúa ya que así era nombrada por los originarios del islote. Durante el siglo XVI se desarrolló una estructura portuaria en la isla con la construcción de una larga muralla de 32 argollas de bronce para resguardar de los vientos a la real flota de galeones. La seguridad defensiva que imponía el muro flanqueado por dos baluartes en San Juan de Ulúa, dio confianza para trasladar la Antigua Veracruz a la banda de tierra firme frente a la isla en los primeros años del siglo XVI, convirtiéndose la Nueva Veracruz en la gran puerta de llegada y salida del comercio de Nueva España con la península ibérica y en terminal de los más importantes caminos comerciales del oro y plata, así como la ruta transoceánica de la seda que efectuaba el Galeón de Manila desde Filipinas al Puerto de Acapulco, trasladando finalmente el comercio hacia Veracruz por caminerías reales.</p
Noticia de unas cartas dirigidas al P. Juan Andrés Morell que se conservan en la biblioteca-archivo de la "Casa d\u27Ordunya" del Castell de Guadalest
No full textDuring the process of the cataloguing of the Library-Archives of the Casa d\u27Ordunya of Guadalest, the discovery took place of fifteen letters addressed to the Jesuit Juan Andrés Morell, related by marriage to the Ordunya, and one from Andrés himself addressed to Gregorio Mayans, who is, together with Father Bartolomé Pou and others, the author of the missives which constituted this unknown collection of letters.En el proceso de catalogación de la biblioteca-archivo de la Casa d\u27Ordunya, en Castell de Guadalest, se han localizado quince cartas dirigidas al jesuita Juan Andrés Morell, emparentado con la familia Orduña, y una del propio Andrés dirigida a Gregorio Mayans, a su vez autor, junto al P. Bartolomé Pou y otros, de las misivas que constituyen este epistolario desconocido
Juan Rufo: Portrait and mask of author
No full textEl análisis de las Apotegmas en sus referencias metaliterarias y la consideración de su lugar en la trayectoria del autor ofrecen un acercamiento a sus mecanismos de autorrepresentación. El desdoblamiento de la figura «Juan Rufo», con sus rasgos de teatralidad, nos lleva a la noción de máscara o carátula, para caracterizar el modo en que presenta una imagen entre la realidad y la ficcionalización.The analysis of the Apotegmas in their metaliterary references and the consideration of their place in the author's trajectory offer an approach to their mechanisms of self-fashioning. The unfolding of the figure «Juan Rufo», with its theatrical features, leads us to the notion of mask or cover, to characterize the way in which the author presents an image between reality and fictionalization
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