417 research outputs found
El Tlacuache Núm. 523 (2012). 523 Año 13 (2012) junio. El Tlacuache
No full textOtra vez los Mayas... La falacia del fin del mundo De los Mayas? por Jorge Angulo Villaseñor. -Programa liberal: El Clero, Juárez, y Maximiliano por Erick Alvarado Tenorio
España. Parcial. Mapas generales. ca. 1780
No full textAbarca parte de Castilla La Nueva, Castilla La Vieja, Reyno de Aragon, Cataluña, Reyno de Valencia, Reyno de Murcia y La ManchaIndica, mediante una línea roja, la ruta por donde anduvo Don Quijote especificando los lugares en los que sucedieron sus aventurasMárgenes graduados"Longitud Oriental del Pico del Teyde" (margen superior). "Longitud Oriental de Madrid" (margen inferior)Relieve por montes de perfil y sombreado. Red hidrográfica. Abundante toponimiaCiudades representadas mediante conjunto de edificaciones según importanciaIncluido en : El ingenioso hidalgo Don Quixote de la Mancha / compuesto por Miguel de Cervántes Saavedra ; parte primera, tomo I. Nueva ed. / corr. por la Real Academia Española. En Madrid : por Don Joaquin Ibarra ..., 1780En el angulo inferior derecho se encuentra el título en una gran cartela y la explicación de los lugares de aventuras. En su parte superior están representados todos los símbolos del caballero Don Quijot
The New Depositary and New Depository Jose Joaquin de Larriva with Gaspar Rico, more literature than journalism
No full textEn este artículo se habla del autor peruano, generalmente olvidado hoy, José Joaquín de Larriva y Ruiz (Lima, 1780-1832), escritor satírico notable y precursor del costumbrismo, que muestra su ingenio a través de los periódicos El Nuevo Depositario y La Nueva Depositaria, escritos durante la guerra de la Independencia para rebatir la publicación del Depositario realista de don Gaspar Rico y Angulo (La Rioja, ¿- Lima, 1825). Como expresa el título del artículo, en los periódicos de Larriva las cualidades literarias sobrepasan su condición informativa.This article is about the forgotten Peruvian author José Joaquín de Larriva y Ruiz (Lima, 1780-1832) who was a renown satiric writer. His witty cleverness is clearly seen in the newspapers El Nuevo Depositario and La Nueva Depositaria, written during the war of Independence to refute the royalist newspaper the Depositario by don Gaspar Rico y Angulo (La Rioja, - Lima, 1825). In the newspapers by Larriva, the literary quality overshadows the informative function as stated in the title of the article
An Homage to Jaime de Angulo: A North American Ovid
No full textPurpose of the Study: Linguist, story-teller, poet, novelist, illustrator, scholar, homesteader, vaquero, wild-man, sorcerer's apprentice, Jaime de Angulo was a legendary figure in his own time. The scholars and artists he associated with and influenced, such as Carl Jung, Franz Boas, Carl Sauer, Bronislaw Malinowski, Robinson Jeffers and Ezra Pound, make up a veritable "Who's Who" of the first half of this century. But, because of his fame as a linguist rather than an author and poet, his eccentricities, and a self-imposed public silence between 1936 and 1949, his literary achievements remain relatively unknown. The purpose of this study is to collate the various and disparate biographical material written about de Angulo, separating fact from legend where it's possible, presenting the reader with an accurate chronology, and to present the first major book-length critical examination of de Angulo's literary wriiting. Procedure: To present a biography of Jaime de Angulo, as well as a serious critical examination of his literary work, all available biographical material concerning de Angulo, along with pertinent anthropological, historical and critical materials relevant to the many contexts from which de Angulo's work derived, was researched. Findings: Jaime de Angulo was one of a kind. He was a brilliant scholar and extraordinary writer who lived the most colorful of lives. His work, study and life with American Indian societies, especially those of northern California. led to a unique contribution to North American letters. His novel. The Lariat. has been compared with The Scarlet Letter. and justly so. And the quality of his entire oeuvre is comparable with the most notable writings from the twentieth century Big Sur-Carmel milieu, literature of the North American West. and the internationalist Modernist movement of his era. Conclusions: A close examination of de Angulo's life and literary work leaves an even stronger impression of extraordinary quality than a first glance, even at the remarkable cast of characters, European, European-American, an American Indian, associated with him. His virtuosity and passion as a writer simply cannot be overemphasized.Eisenberg, Barry. 1989. An Homage to Jaime de Angulo: A North American Ovid. Department of English, Sonoma State University
An Homage to Jaime de Angulo: A North American Ovid
No full textPurpose of the Study:\ud
Linguist, story-teller, poet, novelist, illustrator, scholar, homesteader, vaquero, wild-man, sorcerer's apprentice, Jaime de Angulo was a legendary figure in his own time. The scholars and artists he associated with and influenced, such as Carl Jung, Franz Boas, Carl Sauer, Bronislaw Malinowski, Robinson Jeffers and Ezra Pound, make up a veritable "Who's Who" of the first half of this century. But, because of his fame as a linguist rather than an author and poet, his eccentricities, and a self-imposed public silence between 1936 and 1949, his literary achievements remain relatively unknown.\ud
The purpose of this study is to collate the various and disparate biographical material written about de Angulo, separating fact from legend where it's possible, presenting the reader with an accurate chronology, and to present the first major book-length critical examination of de Angulo's literary wriiting.\ud
Procedure: \ud
To present a biography of Jaime de Angulo, as well as a serious critical examination of his literary work, all available biographical material concerning de Angulo, along with pertinent anthropological, historical and critical materials relevant to the many contexts from which de Angulo's work derived, was researched.\ud
Findings:\ud
Jaime de Angulo was one of a kind. He was a brilliant scholar and extraordinary writer who lived the most colorful of lives. His work, study and life with American Indian societies, especially those of northern\ud
California. led to a unique contribution to North American letters. His novel. The Lariat. has been compared with The Scarlet Letter. and justly so. And the quality of his entire oeuvre is comparable with the most notable writings from the twentieth century Big Sur-Carmel milieu, literature of the North American West. and the internationalist Modernist movement of his era.\ud
Conclusions:\ud
A close examination of de Angulo's life and\ud
literary work leaves an even stronger impression of extraordinary quality than a\ud
first glance, even at the remarkable cast of\ud
characters, European, European-American, an\ud
American Indian, associated with him. His\ud
virtuosity and passion as a writer simply cannot be overemphasized
Cuban and Afro-Cuban Musical Elements in the Classical Guitar Compositions by Héctor Angulo
No full textHéctor Angulo, one of the most versatile Cuban composers, had a musical style that combines Afro-Cuban music elements with 20th and 21st-century compositional techniques. His musical discourse includes elements from the African musical heritage. This paper proposes a conscious reconsideration of the approach to non-Western musical traditions which require different analytical techniques. An analytical study will reveal the musical content that defines both the Afro-Cuban and the contemporary styles. Some of the analytical techniques used in this study include musical ambiguities (polytonal, polyrhythmic, pitch ambiguity, bi-modal, Poly-meter, Dual texture, phenomenal and agogic accents) and music temporalities which are defined by non-directed linear dynamic, texture, timbre, density, range, progressions, and gestures. From a historical background, the research provides a complete description of Angulo’s innovative musical style, which comports with a Nationalist trend in Classical Guitar idiomatic writing. This study explores the approach of a non-guitarist composer who brings new sonorities to the guitar, transcending the range of musical options traditionally limited by standard performance modes. Héctor Angulo’s musical compositions display an outstanding balance between the premise of collective participation of the artist with his individual artistic distinctiveness. The educational goal of this research is to provide a detailed analysis of these works, offering alternative approaches to them and support for the performer's musical choices. In addition, the author is opening the path for further investigations into other Cuban guitarist and non-guitarist composers.</p
Read and edit Góngora in the Golden Century: Martín de Angulo or the forge (frustrated) of a song of author
No full textEl presente estudio ofrece un análisis monográfico del manuscrito inédito
Varias poesías y casi todas las que compuso… D. Luis de Góngora, de Martín de Angulo
y Pulgar, custodiado en la Fundación Bartolomé March (B87-V3-10). Con fecha de 1639-
1640, constituye una suerte de cancionero de poesías varias o antología preparada por este
autor con la voluntad de difundir la obra de Góngora, canonizarlo y de paso posicionarse él
mismo, respecto a la nutrida galería o elenco de eruditos comentaristas, en un lugar privilegiado
de la república de las letras. Sin embargo, pese a desafiar a los editores precedentes
de Góngora e incluso entrar en discordia interpretativa con otros destacados actantes de
la polémica literaria, por su ambicioso fuste, el proyecto acabaría inconcluso y sin llegar
a buen puerto editorial.The present study offers a monographic analysis of the unpublished manuscript
Varias poesías y casi todas las que compuso… D. Luis de Góngora, Martín de Angulo y
Pulgar, guarded at the Fundación Bartolomé March (B87-V3-10). With a date of 1639-
1640, it constitutes a kind of poetry songbook or anthology prepared by this author with
the aim of spreading the work of Góngora, canonizing it and, in turn, position himself,
with respect to the large gallery or cast of commentator scholars, in a privileged place of
the Republic of letters. However, despite challenging the previous editors of Góngora and
even enter into interpretative discord with other prominent actants of the literary polemic,
for its ambitious fuste, the project would end unfinished and without reaching a good
publishing port
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Cuban and Afro-Cuban Musical Elements in the Classical Guitar Compositions by Héctor Angulo
No full textHéctor Angulo, one of the most versatile Cuban composers, had a musical style that combines Afro-Cuban music elements with 20th and 21st-century compositional techniques. His musical discourse includes elements from the African musical heritage. This paper proposes a conscious reconsideration of the approach to non-Western musical traditions which require different analytical techniques. An analytical study will reveal the musical content that defines both the Afro-Cuban and the contemporary styles. Some of the analytical techniques used in this study include musical ambiguities (polytonal, polyrhythmic, pitch ambiguity, bi-modal, Poly-meter, Dual texture, phenomenal and agogic accents) and music temporalities which are defined by non-directed linear dynamic, texture, timbre, density, range, progressions, and gestures. From a historical background, the research provides a complete description of Angulo’s innovative musical style, which comports with a Nationalist trend in Classical Guitar idiomatic writing. This study explores the approach of a non-guitarist composer who brings new sonorities to the guitar, transcending the range of musical options traditionally limited by standard performance modes. Héctor Angulo’s musical compositions display an outstanding balance between the premise of collective participation of the artist with his individual artistic distinctiveness. The educational goal of this research is to provide a detailed analysis of these works, offering alternative approaches to them and support for the performer's musical choices. In addition, the author is opening the path for further investigations into other Cuban guitarist and non-guitarist composers.</p
El recién hallado Antifaristarco (1644) de Angulo y Pulgar, un eslabón fundamental en la polémica gongorina. Primeros desbroces
No full textThe Antifaristarco (1644), a work by the well-known Gongorist Martín de Angulo y
Pulgar, contains a defence of Góngora in the form of diatribe against the censures
levelled at the poet by the Portuguese critic Manuel de Faría y Sousa. This work did
not make it to the presses, as the author intended, and has therefore remained in
manuscript; and although there were many reports of its existence, until now it was
unlocalised. This is a dense and extensive work, in which the arguments in favour of
Góngora cover the most burning issues of the Góngora controversy (obscurity, verba
peregrina, tropes, transpositions and hyperbatos, etc.), with the peculiarity of doing
so on the basis of Faría’s negative judgements and against his attempt to enthroning
Camoens at the top of the poetic canon at the expense of Góngora. As the first
approach to the Antifaristarco, this work is aimed at clarifying the main aspects of
content and structure, purposes, dates of production and conclusion, and contextual
framing, both in Angulo y Pulgar's trajectory and in the wider context of the
Góngora controversy.El Antifaristarco (1644), obra del conocido gongorista Martín de Angulo y Pulgar,
es una defensa de Góngora escrita en diatriba contra las censuras a dicho poeta por
parte del crítico portugués Manuel de Faría y Sousa. Esta obra no alcanzó las
prensas, como era voluntad de su autor, por lo que se conserva manuscrita; y aunque
se tenían muchas noticias de su existencia, hasta este momento estaba ilocalizada. Se
trata de una obra densa, compleja y extensa, en la que los argumentos a favor de
Góngora recorren las cuestiones más candentes de la polémica gongorina
(oscuridad, verba peregrina, tropos, trasposiciones e hipérbatos, etc.), con la
peculiaridad de hacerlo a partir de los juicios negativos de Faría y contra su
pretensión de entronizar a Camoens en la cúspide del canon poético en detrimento
de Góngora. Como primer abordaje que es del Antifaristarco, el presente trabajo se
orienta al esclarecimiento de los aspectos prioritarios de contenido y estructura,
propósitos, fechas de realización y terminación, y emplazamiento contextual, tanto en la
trayectoria de Angulo y Pulgar, como en la más amplia de la polémica gongorina
The recently discovered Antifaristarco (1644) de Angulo y Pulgar, a fundamental chain link in the Góngora controversy. Some initial remarks
No full textEl Antifaristarco (1644), obra del conocido gongorista Martín de Angulo y Pulgar, es una defensa de Góngora escrita en diatriba contra las censuras a dicho poeta por parte del crítico portugués Manuel de Faría y Sousa. Esta obra no alcanzó las prensas, como era voluntad de su autor, por lo que se conserva manuscrita; y aunque se tenían muchas noticias de su existencia, hasta este momento estaba ilocalizada. Se trata de una obra densa, compleja y extensa, en la que los argumentos a favor de Góngora recorren las cuestiones más candentes de la polémica gongorina (oscuridad, verba peregrina, tropos, trasposiciones e hipérbatos, etc.), con la peculiaridad de hacerlo a partir de los juicios negativos de Faría y contra su pretensión de entronizar a Camoens en la cúspide del canon poético en detrimento de Góngora. Como primer abordaje que es del Antifaristarco, el presente trabajo se orienta al esclarecimiento de los aspectos prioritarios de contenido y estructura, propósitos, fechas de realización y terminación, y emplazamiento contextual, tanto en la trayectoria de Angulo y Pulgar, como en la más amplia de la polémica gongorina.The Antifaristarco (1644), a work by the well-known Gongorist Martín de Angulo y Pulgar, contains a defence of Góngora in the form of diatribe against the censures levelled at the poet by the Portuguese critic Manuel de Faría y Sousa. This work did not make it to the presses, as the author intended, and has therefore remained in manuscript; and although there were many reports of its existence, until now it was unlocalised. This is a dense and extensive work, in which the arguments in favour of Góngora cover the most burning issues of the Góngora controversy (obscurity, verba peregrina, tropes, transpositions and hyperbatos, etc.), with the peculiarity of doing so on the basis of Faría’s negative judgements and against his attempt to enthroning Camoens at the top of the poetic canon at the expense of Góngora. As the first approach to the Antifaristarco, this work is aimed at clarifying the main aspects of content and structure, purposes, dates of production and conclusion, and contextual framing, both in Angulo y Pulgar's trajectory and in the wider context of the Góngora controversy
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