2,176 research outputs found
On the masses and evolutionary status of the black hole binary GX 339-4: a twin system of XTE J1550-564?
No full textWe apply the K-correction to the black hole low-mass X-ray binary (LMXB) GX 339-4 which implies MX? 6 M? by only assuming that the companion is more massive than ?0.17 M?, the lower limit allowed by applying a ‘stripped-giant’ model. This evolutionary model successfully reproduces the observed properties of the system. We obtain a maximum mass for the companion of M2? 1.1 M? and an upper limit to the mass ratio of q(=M2/MX) ? 0.125. The high X-ray activity displayed by the source suggests a relatively large mass transfer rate which, according to the model, results in M2? 0.3 M? and MX? 7 M?. We have also applied this scenario to the black hole binary XTE J1550-564, which has a similar orbital period but the donor is detected spectroscopically. The model successfully reproduces the observed stellar parameter
A 2 h periodic variation in the low-mass X-ray binary Ser X-1
No full textSpectroscopy of the low-mass X-ray binary Ser X-1 using the Gran Telescopio Canarias have revealed a ?2 h periodic variability that is present in the three strongest emission lines. We tentatively interpret this variability as due to orbital motion, making it the first indication of the orbital period of Ser X-1. Together with the fact that the emission lines are remarkably narrow, but still resolved, we show that a main-sequence K dwarf together with a canonical 1.4 M? neutron star gives a good description of the system. In this scenario, the most likely place for the emission lines to arise is the accretion disc, instead of a localized region in the binary (such as the irradiated surface or the stream-impact point), and their narrowness is due instead to the low inclination (?10°) of Ser X-1
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American G.I. Forum members, Ralph Casares, Rosana Gutierrez and Willie Davila (photograph)
No full textAmerican G.I. Forum members, Ralph Casares, Rosana Gutierrez and Willie Davila
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Ralph Casares, Priest, G.I. Forum member in front of Cathedral (photograph)
No full textLeft to Right: Ralph Casares, Priest, G.I. Forum member in front of Cathedral
A signature of the donor star in the extra-galactic X-ray binary LMC X-2
No full textTwo nights of phase-resolved medium-resolution Very Large Telescope spectroscopy of the extra-galactic low-mass X-ray binary LMCX-2 have revealed a 0.32 +/- 0.02 d spectroscopic period in the radial velocity curve of the He II lambda 4686 emission line that we interpret as the orbital period. However, similar to previous findings, this radial velocity curve shows a longer term variation that is most likely due to the presence of a precessing accretion disc in LMCX-2. This is strengthened by He II lambda 4686 Doppler maps that show a bright spot that is moving from night to night. Furthermore, we detect narrow emission lines in the Bowen region of LMCX-2, with a velocity of K-em = 351 +/- 28 km s(-1), that we tentatively interpret as coming from the irradiated side of the donor star. Since K-em must be smaller than K-2, this leads to the first upper limit on the mass function of LMCX-2 of f(M-1) >= 0.86 M-circle dot (95 per cent confidence), and the first constraints on its system parameters
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American G.I. Forum member Gilbert Casares gives life time membership awards at the 44th Annual Founder's Scholarship Fundraising Banquet (photograph)
No full textAmerican G.I. Forum member Gilbert Casares gives life time membership awards at the 44th Annual Founder's Scholarship Fundraising Banquet
People Stories: Profile of Oscar Casares
No full textThe city of Austin has honored Brownsville native son and author Oscar Casares. Casares novel ‘Amigoland” was selected for the “Mayor’s Book Club”.https://scholarworks.utrgv.edu/utbmedia/1461/thumbnail.jp
Maria Casares: l'Espagne, L'Exil et le Repoussoir
No full textMaría Casares has often been displaced onto histories of French theatre as one of the seminal tragédiennes of the twentieth century, a key collaborator of Jean Vilar’s at the Théâtre National Populaire (TNP) between 1954 and 1959 and an important Shakespearean actress (performing roles associated with sexual authority and transgression: Lady Macbeth in 1954, Titania in A Midsummer Night's Dream (Le Songe d'un nuit d'été) in 1959 and Cleopatra in 1975). Her association with two of France’s most dissonant post-World War II playwrights, Jean Genet and Bernard-Marie Koltès further reinforced her status as an outsider, performing ‘otherness’ in her realization of the contradictory mother figures of Les Paravants (1966, 1983) and Quai Ouest (1986). Casares, however, learned French only on her arrival in Paris in November 1936 and her differance, commented on by Roland Barthes in a 1954 essay, was played out on the French stage and screen across both across roles that referenced her Spanish origins as the daughter of a prominent Republican politician, forced to flee Spain as Franco’s rebel forces seized control of the nation. My focus in this article is on ventures seen and presented in Spain, most specifically El adefesio (1976), a play written in exile by Rafael Alberti and directed by José Luis Alonso in Madrid the year after General Francisco Franco’s death. This project, alongside her other Spanish-language ventures, indicates the complex ways in which she ‘performed exile’ to a nation-state haunted by the specters of those who had died or fled during the Civil War and its aftermath
Los valores del profesorado en formación y su incidencia educativa
No full textPilar M. Casares GarcíaUniv. Granad
Introduzione a Sette conversazioni con ADOLFO BIOY CASARES
No full textQuesta prefazione/introduzione alla traduzione delle "Siete conversaciones con Adolfo Bioy Casares" di Fernando Sorrentino, presenta la figura e l'opera di uno dei più grandi esponenti della letteratura argentina contemporanea, Adolfo Bioy Casares e quella di Fernando Sorrentino, autore dell'intervista con lo scrittore, Sette Conversazioni appunto, che ebbero luogo durante “sette sabato mattina” nell’anno 1988 e furono pubblicate in Argentina alcuni anni dopo, nel 1992. L’affermazione di Octavio Paz: «el tema de Bioy Casares no es cósmico sino metafísico» ci ricorda che Bioy, sin dalla pubblicazione del suo primo romanzo 'importante', "L’invenzione di Morel", è stato considerato come un rinnovatore del genere fantastico. Le conversazioni con Bioy Casares, infatti, non solo fanno scorgere la straordinaria personalità dell’autore argentino ma permettono anche di rivivere un’Argentina ed una Buenos Aires ormai scomparse, come quando Bioy parla del Martín Fierro e dei gauchos, dei testi dei ‘tanghi primitivi’ e di quelli ‘canaglieschi’ che non piacevano a Borges, delle latterie e delle scuderie sul viale Quintana. Ricordi e osservazioni che nelle sue parole assumono un tono non tanto nostalgico, quanto sociale, aneddotico, umoristico. Naturalmente, Bioy è, soprattutto, uno scrittore di paesaggi e personaggi “essenzialmente”argentini (e Buenos Aires ne è lo scenario principale) che fa parlare con un lingua appropriata, naturale; un’evocazione vera ma non pittoresca che ricrea, senza mai cadere nell’esagerazione, il linguaggio colloquiale dei quartieri poveri di Buenos Aires e nella quale troviamo formule popolari, cliché, espressioni del tango e del lunfardo. Nella prefazione, inoltre, viene presentato al pubblico italiano l’originale opera di Fernando Sorrentino, autore molto conosciuto in Argentina e da anni in contatto con l’Italia. In effetti, molti suoi racconti sono stati pubblicati in italiano su diverse riviste letterarie ed è nota la sua collaborazione con il Progetto Babele. La sua opera narrativa è composta da oltre quindici volumi di racconti, un racconto lungo ("Crónica costumbrista", 1992, pubblicata di nuovo con il titolo "Costumbres de los muertos", 1996) ed un romanzo 'breve' ("Sanitarios centenarios", 1979), ci sono anche molti libri che ha scritto per l’infanzia e l’adolescenza dove ritroviamo le stesse caratteristiche del suo stile. Critici e lettori hanno cercato di interpretare i simbolismi, le metafore e le allegorie presenti in queste parabole 'assurde', ed a volte 'incongruenti', leggendoci dei riferimenti alla società argentina, alle piccolezze della condotta umana, con le sue manie di grandezza, di ascesa sociale e di sottomissione del prossimo. Ad ogni modo, una risposta definitiva è venuta dallo stesso Fernando che ha chiarito una volta per tutte di non aver mai voluto simbolizzare nulla, fare dell’allegoria o costruire delle metafore e per di più, ha aggiunto, di non sentirsi né un polemista né un moralizzatore, infatti, afferma 'seraficamente' che «Cuando escribo un cuento, sólo quiero escribir un cuento.»Abstract: This preface at the translation of Fernando Sorrentino’s book, "Siete conversaciones con Adolfo Bioy Casares”, presents " the figure and work of one of the greatest exponents of contemporary Argentine literature, Adolfo Bioy Casares and that of Fernando Sorrentino, author of the interview with the writer, “Seven conversations” precisely, that took place during "seven Saturday morning" in 1988 and were published in Argentina a few years later, in 1992. The statement of Octavio Paz: "el tema de Bioy Casares no es cósmico sino metafísico " reminds us that Bioy, since the publication of his first 'important' novel," La invención de Morel ", was regarded as a modernizer of the fantastic genre. The conversations with Bioy Casares, in fact, not only let us see the extraordinary personality of the Argentine author but also allow you to relive an Argentina and a Buenos Aires that have vanished a long time ago, as when Bioy speaks about Martín Fierro and gauchos, the texts of the 'primitives tangos' and those ‘canallescos’ that did not like to Borges. Memories and observations in his words take on a tone not so much nostalgic but social, anecdotal, humorous. Of course, Bioy is, above all, a writer of landscapes and characters ‘essentially’ Argentinian (Buenos Aires is the main scenario) and this people speaks an appropriate language, natural; a true evocation not picturesque that recreates, without ever falling on exaggeration, the colloquial language of the slums of Buenos Aires and in which we find popular formulas, cliches and expressions of tango and lunfardo. Moreover, in the preface, it is presented to the Italian public the original work of Fernando Sorrentino, author well known in Argentina and for years in contact with Italy. In fact, many of his stories have been published in Italian on several literary magazines and it is known his collaboration with the Project Babel. His narrative work consists of over fifteen volumes of short stories, a novel ("Crónica costumbrista", 1992, published again with the title "Costumbres de los muertos", 1996) and a 'short' novel ("Sanitarios centenarios" , 1979), there are also many books he has written for the childhood and adolescence where we find the same characteristics of his style. Critics and readers have tried to interpret the symbolism, metaphors and allegories in these 'absurd' parables, and sometimes 'inconsistent', telling us references to Argentine society, the pettiness of human conduct, with his delusions of greatness, social ascent and subjugation of the next. However, a definitive answer is coming from the same Fernando that made it clear once and for all that he never wanted to symbolize nothing, do allegory or build metaphors and what's more, he added, did not feel nor a polemicist or a moralist and he says us seraphically that “Cuando escribo un cuento, sólo quiero escribir un cuento.
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