80 research outputs found
Perspectives of the River Plate around the time of Rosas : an analysis based upon the personal correspondence, private memoirs and published accounts of British settlers, as well as works by creole authors
No full textThis thesis draws inspiration from the emergence of cultural studies as an academic
pursuit, in addition to the current renewal of interest in the relationship between
literary works and their socio-cultural milieux, to bring together an assortment of
textual traces pertaining to the River Plate around the era of Juan Manuel de Rosas,
governor of Buenos Aires and de facto dictator of Argentina for most of the period
1829-1852. The main texts analysed range from private documents relating to two
Scottish settler families, through accounts published by British citizens with first-hand
knowledge of the region (Un inglés, Cinco años en Buenos Aires and
Beaumont, Travels in Buenos Ayres and the Adjacent Provinces), to three influential
pieces of early Argentinian literature (Echeverria's El matadero, Mármol's Amalia
and Sarmiento's Facundo). One justification of this apparently eclectic approach lies
in the prominence accorded to the incomer in the thought of liberal Platine
intellectuals, a concern evinced in their literary production.
The methodology involves examining the representation of certain
fundamental topics across this range of written artefacts, observing frequent points of
thematic convergence amongst the various texts. In this fashion, I construct an image
of the River Plate region around the Rosas period, whilst also appraising the degree
to which early British settlers matched the idealized notion of the immigrant present
in liberal creole writings.
The study is divided into four main chapters, supplemented by an
introduction, conclusion and appendix. The first chapter summarizes the historical
context of the young Platine republics; the second deals with the themes of society,
community and family, the third focuses upon religion; the fourth considers
perspectives of politics, dictatorship and civil war. The appendix consists of an
unpublished settler autobiography, a remarkable account of the tribulations faced on
a daily basis in the developing Argentina
Maria Fortesa, una escritora de papel. En torno a la protagonista de Cap al cel obert de Carme Riera
No full textAquest article analitza la figura de Maria Fortesa / Maria de Fortalesa des d'una doble perspectiva. En primer terme, històrica. Maria és successora i representant dels xuetes mallorquins ajusticiats al segle xvii que, amb el canvi de continent i de posició social, mostra els contrastos entre les dues illes (Mallorca i Cuba) i el progrés del segle xix basat en l'assimilació del discurs colonial. En segon lloc, a través de Maria, Carme Riera descriu la figura de la "literata"; mostra les contradiccions i restriccions de la primera generació d'escriptores modernes de la qual se sent deutora. D'altra banda, tot i la distància autoral que proporcionen les tècniques narratives de la ironia, la paròdia i l'ús del pastitx, no s'amaga l'escriptura com una passió irrefrenable —a través de l'escriptura epistolar— tot i que es manté allunyada dels models literaris reconeguts a l'època.This article analyzes the figure of the lead character, Maria de Fortesa / Maria de Fortalesa, from two different perspectives. The first of which is the historical. Maria is the descendant of Majorcan Jews executed in the 17th century. With a change of continent and social status, her story illustrates the contrast between two islands (Majorca and Cuba) as well as the progress of the 19th Century and the assimilation of colonialism. Secondly, through Maria, Carme Riera describes the figure of the "literata" showing the contradictions and restrictions imposed upon the first generation of modern writers to whose legacy she feels herself an heir. Despite the distance of the author, which allows for the use of irony, parody and pastiche in the narrative, the piece displays an unstoppable passion —transmitted in the form of letter-writing, a style distanced from the recognised literary models of the time.Este artículo analiza la figura de Maria Fortesa / Maria de Fortalesa desde una doble perspectiva. En primer lugar, histórica. Maria desciende y representa a los "xuetas" mallorquines ajusticiados en el siglo xvii que, con el cambio de continente y de posición social, muestra los contrastes entre dos islas (Mallorca y Cuba) y el progreso del siglo xix basado en la asimilación del discurso colonial. En segundo lugar, a través de Maria, su protagonista, Carme Riera describe la figura de la "literata"; muestra las contradicciones y restricciones impuestas a la primera generación de escritoras modernas de la cual se siente heredera. Así, tras la distancia autoral que proporcionan las técnicas narrativas de la ironía, la parodia y el uso del pastiche, emerge la escritura como una pasión irrefrenable —a través de la escritura epistolar— aunque se mantenga alejada de los modelos literarios reconocidos en su época
Maria Fortesa, una escriptora de paper : entorn la protagonista de Cap al cel obert de Carme Riera
No full textAquest article analitza la figura de Maria Fortesa / Maria de Fortalesa des d'una doble perspectiva. En primer terme, històrica. Maria és successora i representant dels xuetes mallorquins ajusticiats al segle XVII que, amb el canvi de continent i de posició social, mostra els contrastos entre les dues illes (Mallorca i Cuba) i el progrés del segle XIX basat en l'assimilació del discurs colonial. En segon lloc, a través de Maria, Carme Riera descriu la figura de la "literata"; mostra les contradiccions i restriccions de la primera generació d'escriptores modernes de la qual se sent deutora. D'altra banda, tot i la distància autoral que proporcionen les tècniques narratives de la ironia, la paròdia i l'ús del pastitx, no s'amaga l'escriptura com una passió irrefrenable -a través de l'escriptura epistolar- tot i que es manté allunyada dels models literaris reconeguts a l'època.Este artículo analiza la figura de Maria Fortesa / Maria de Fortalesa desde una doble perspectiva. En primer lugar, histórica. Maria desciende y representa a los "xuetas" mallorquines ajusticiados en el siglo XVII que, con el cambio de continente y de posición social, muestra los contrastes entre dos islas (Mallorca y Cuba) y el progreso del siglo XIX basado en la asimilación del discurso colonial. En segundo lugar, a través de Maria, su protagonista, Carme Riera describe la figura de la "literata"; muestra las contradicciones y restricciones impuestas a la primera generación de escritoras modernas de la cual se siente heredera. Así, tras la distancia autoral que proporcionan las técnicas narrativas de la ironía, la parodia y el uso del pastiche, emerge la escritura como una pasión irrefrenable -a través de la escritura epistolar- aunque se mantenga alejada de los modelos literarios reconocidos en su época.This article analyzes the figure of the lead character, Maria de Fortesa / Maria de Fortalesa, from two different perspectives. The first of which is the historical. Maria is the descendant of Majorcan Jews executed in the 17th century. With a change of continent and social status, her story illustrates the contrast between two islands (Majorca and Cuba) as well as the progress of the 19th Century and the assimilation of colonialism. Secondly, through Maria, Carme Riera describes the figure of the "literata" showing the contradictions and restrictions imposed upon the first generation of modern writers to whose legacy she feels herself an heir. Despite the distance of the author, which allows for the use of irony, parody and pastiche in the narrative, the piece displays an unstoppable passion -transmitted in the form of letter-writing, a style distanced from the recognised literary models of the time
Maria Fortesa, una escriptora de paper : entorn la protagonista de Cap al cel obert de Carme Riera
No full textAquest article analitza la figura de Maria Fortesa / Maria de Fortalesa des d'una doble perspectiva. En primer terme, històrica. Maria és successora i representant dels xuetes mallorquins ajusticiats al segle XVII que, amb el canvi de continent i de posició social, mostra els contrastos entre les dues illes (Mallorca i Cuba) i el progrés del segle XIX basat en l'assimilació del discurs colonial. En segon lloc, a través de Maria, Carme Riera descriu la figura de la "literata"; mostra les contradiccions i restriccions de la primera generació d'escriptores modernes de la qual se sent deutora. D'altra banda, tot i la distància autoral que proporcionen les tècniques narratives de la ironia, la paròdia i l'ús del pastitx, no s'amaga l'escriptura com una passió irrefrenable -a través de l'escriptura epistolar- tot i que es manté allunyada dels models literaris reconeguts a l'època.Este artículo analiza la figura de Maria Fortesa / Maria de Fortalesa desde una doble perspectiva. En primer lugar, histórica. Maria desciende y representa a los "xuetas" mallorquines ajusticiados en el siglo XVII que, con el cambio de continente y de posición social, muestra los contrastes entre dos islas (Mallorca y Cuba) y el progreso del siglo XIX basado en la asimilación del discurso colonial. En segundo lugar, a través de Maria, su protagonista, Carme Riera describe la figura de la "literata"; muestra las contradicciones y restricciones impuestas a la primera generación de escritoras modernas de la cual se siente heredera. Así, tras la distancia autoral que proporcionan las técnicas narrativas de la ironía, la parodia y el uso del pastiche, emerge la escritura como una pasión irrefrenable -a través de la escritura epistolar- aunque se mantenga alejada de los modelos literarios reconocidos en su época.This article analyzes the figure of the lead character, Maria de Fortesa / Maria de Fortalesa, from two different perspectives. The first of which is the historical. Maria is the descendant of Majorcan Jews executed in the 17th century. With a change of continent and social status, her story illustrates the contrast between two islands (Majorca and Cuba) as well as the progress of the 19th Century and the assimilation of colonialism. Secondly, through Maria, Carme Riera describes the figure of the "literata" showing the contradictions and restrictions imposed upon the first generation of modern writers to whose legacy she feels herself an heir. Despite the distance of the author, which allows for the use of irony, parody and pastiche in the narrative, the piece displays an unstoppable passion -transmitted in the form of letter-writing, a style distanced from the recognised literary models of the time
Principals Perceptions of their Knowledge in Special Education
No full textWith the Every Student Succeeds Act continuing to legislate accountability for special education and Hispanic students, the appropriate content in principal preparation programs relevant to successful leadership of special education programs is vital. This mixed methods study analyzed the survey responses of 84 principals in South Texas from predominantly Hispanic schools to determine the principals perceptions regarding their legal, foundational, and contextual knowledge of special education and their suggested topics for inclusion in curriculum content of principal preparation programs to provide the necessary knowledge and skills to effectively implement and supervise special education programs. Results indicated that the principals greatest knowledge was of the Individuals with Disabilities Education Act (100%) and the lowest area of knowledge was in designing curriculum for students with disabilities (65%). The most frequent recommendation for inclusion in principal preparation was for additional content in special education laws, Section 504, and Response to Intervention
Aproximació a la gestió del patrimoni literari de Maria Àngels Anglada
No full textEl patrimoni literari és el llegat d’una literatura
que es reconeix com a pròpia en el si
d’una societat, gràcies a la reinterpretació
que se’n fa en un espai i un temps determinats.
En aquest article volem estudiar si
l’obra de Maria Àngels Anglada ha passat a
formar part de la memòria literària del país.
Per fer-ho, d’una banda, conceptualitzem el
patrimoni literari i la seva gestió, i, de l’altra,
repassem breument la vida de l’autora
vigatana, la seva obra literària i els premis
obtinguts, per acabar-nos fixant en com es
difon, com es rep i com és recordada avui
dia.Literary heritage is the legacy of a literature
that is recognised as belonging to the heart
of society, thanks to the reinterpretation
that has been made in a specific time and
space. In this article we want to look into
whether the work of Maria Àngels Anglada
has come to form part of the country’s literary
memory.To do this, on the one hand,
we conceptualise
the literary heritage and
its management, and on the other hand, look
briefly at the life of the author from Vic, her
literary work and the prizes she won, to end
by looking at how it is transmitted, how it
is received and how it is remembered today
Uniting the Prolog Community
No full textIn his article A Wake-Up Cal l for the Logic Programming Community, published in the December 2007 issue of the ALP Newsletter, the first author raised concerns about the viability of the Prolog programming language in the near
future. The article had a pessimistic undertone, but expressed the hope that the current evolution can be reversed by uniting the Prolog community. Now,
almost a year later, it is time for more optimistic news and we are happy that the ALP —through the ICLP 2008 program chairs— has given us the opportunity to
re-iterate the arguments, present the recent positive developments and involve the whole community.sponsorship: Tom Schrijvers is a post-doctoral researcher of the Fund for Scientific Research - Flanders.status: Publishe
Tenente Manuel Joaquim: “O maestro militar insatisfeito”
No full textEste projeto artístico propõe a seleção, interpretação e realização de um conjunto de obras dirigidas por Manuel Joaquim enquanto maestro da banda de Regimento de Infantaria 14 (RI14), entre 1928 e 1937. Tem como objetivos principais indagar sobre as razões que justificaram o reconhecimento do Tenente Manuel Joaquim expresso por músicos e críticos do seu tempo e dar a conhecer transcrições musicais para banda da sua autoria. Sustenta-se numa pesquisa artística desenvolvida em arquivos e bibliotecas, na seleção criteriosa e análise musical de um conjunto de transcrições manuscritas para a banda do RI14 por Manuel Joaquim e na edição das partituras através do programa Finale (disponibilizadas em Anexo). O projeto artístico compreende ainda a elaboração de um programa de concerto para cuja realização foi convidada a Banda Sinfónica da Polícia de Segurança Pública contando com a descrição de momentos de preparação de ensaio da banda sob a direção do autor desta dissertação.This artistic project proposes the interpretation and realization of a set of works directed by Manuel Joaquim as conductor of the 14th Infantry Regiment band (RI14), between 1928 and 1937. Its main objectives are to investigate the reasons that justified the recognition of Lieutenant Manuel Joaquim expressed by musicians and critics of his time and make known musical transcripts for his own band. It is based on an artistic research developed in archives and libraries, on the careful selection and musical analysis of a set of handwritten transcriptions for the RI14 band by Manuel Joaquim and on the edition of the scores through the Finale program (available in Annex). The artistic project also includes the preparation of a concert program for which the Public Security Police Symphonic Band was invited, including the description of the band's rehearsal preparation moments under the direction of the author of this dissertation.Mestrado em Músic
Eduard Maria Balcells i Buigas. Un arquitecte de darrera generació modernista al Vallès Occidental
No full textLa tesi “Eduard Maria Balcells Buïgas. Un arquitecte de darrera generació modernista al Vallès Occidental” pretén abordar la producció de l’arquitecte i contextualitzar-la des d’una doble perspectiva. Per una banda destacant la rellevància que va tenir des d’un vessant local i comarcal pel que fa a la difusió del modernisme i dels successius moviments arquitectònics. L’estudi de la seva trajectòria, les obres i diverses tipologies i camps als què es va dedicar han de permetre també definir les possibles aportacions de Balcells, l’interès de la seva producció i el paper que li correspon dins de l’arquitectura catalana. En aquest sentit el vitrall té una gran transcendència i el reconeixement de la seva autoria en obres de gran rellevància és un dels objectius prioritaris d’aquest treball.
Eduard M. Balcells Buïgas (Barcelona 1877-1965) pertany a la darrera generació d’arquitectes modernistes. Obtingué el títol el 1905 i el mateix any guanyava la plaça d’arquitecte municipal a Cerdanyola. Va centrar la seva producció a la ciutat de Barcelona i al Vallès, principalment a Cerdanyola i Sabadell. Balcells és testimoni dels diferents corrents arquitectònics de començaments de segle XX que es van anar imposant a Catalunya. La seva producció es pot dividir en cinc períodes marcats per opcions estilístiques ben diferenciades: la primera etapa modernista (1905-1910), de la desclosa centreuropea a la irrupció del noucentisme (1910-1919), noucentisme regionalisme i modernitat (1920-1936) i monumentalisme i academiscisme eclèctic de postguerra (1939-1959). Si durant l’època modernista Balcells s’havia caracteritzat per la síntesi de models internacionals, el període de maduresa representarà el trencament amb els seus inicis i la recuperació de l’arquitectura vernacla i el classicisme.
El més personal de la seva trajectòria coincideix amb el període modernista on s’integra dins la darrera generació d’aquest moviment. Els primers anys es caracteritzen per una gran originalitat, la profusió de recursos decoratius i un cert orientalisme. Balcells assimilarà el llenguatge dels arquitectes catalans que el precediren, tot incorporant trets molt personals que caracteritzaran la seva producció més destacada. Destaquen obres com la Casa Tosquella, la Casa Mestres, la Casa Gual i la Casa Lluch, la majoria dins la tipologia de torre d’estiueig. Durant la segona dècada del segle XX la producció de Balcells denota una gran influència de models centreuropeus, que el durà a abandonar definitivament la personal interpretació del gòtic per endinsar-se en un modernisme de simplificació geomètrica. Al llarg d’aquesta etapa, i arran del seu matrimoni amb Eugènia Gorina, realitzarà nombrosos edificis industrials i panteons a Sabadell. Destaquen el projecte del Lawn Tennis del Turó, el conjunt de vitralls de la Casa López (actual Museu d’Art de Cerdanyola), la Casa Carles Balcells, la Fàbrica Sampere, la Fàbrica Sallarés Deu, el Despatx Genís i Pont, la Fàbrica “La Pureza”, el Panteó Carol i el Castell de Rocabruna. Cap el 1920 l’obra de Balcells experimentarà un gran canvi amb l’adopció de les propostes classicitzants del noucentisme. Durant els primers anys d’aquesta etapa, Balcells es decanta per un classicisme modern. Per altra banda, entre finals dels anys vint i els primers trenta, la influència del racionalisme i l’art déco, s’evidencien en obres com la Fàbrica Rocalla, el projecte de Biblioteca de la Caixa de Sabadell i els pisos Benages. Per aquells anys, s’afegirà amb el Pavelló de l’Associació dels Ramaders de l'Exposició de Barcelona de 1929 a la recuperació de l’arquitectura tradicional i el regionalisme. A partir de la Guerra Civil abunden els exemples d’una arquitectura eclèctica que mira cap el passat marcada per l’academicisme i l’arquitectura monumental. Balcells, al final de la seva carrera aconsellava al seu fill l’ús d’un classicisme que no passa de moda, alhora que es penedia de les obres més agosarades de la seva joventut.The thesis titled “Eduard Maria Balcells Buïgas. A latest-generation modernist architect in the Vallès Occidental region” intends to approach the architect's production and set it in a context from a double perspective, emphasising the relevance he had both from a local and regional aspect in connection with the spreading of modernism and the subsequent architectural movements. The study of his career, his works, and the various typologies and fields he devoted himself to should also allow to define the possible contributions by Balcells, the interest in his production and his role in Catalan architecture. In this respect, the stained glass window is of great importance and the acknowledgement of Balcells as the author of very relevant works is one of the main aims of this thesis.
Eduard M. Balcells Buïgas (Barcelona 1877-1965) belongs to the latest generation of modernist architects. He graduated in 1905, and he got selected by competitive examination for the post of Council Architect in Cerdanyola in the same year. He focused his production on the city of Barcelona and the Vallès region, mainly on the towns of Cerdanyola and Sabadell. Balcells witnessed the different early 20th-century architectural trends that were becoming popular in Catalonia. His production may be divided in five periods marked by well distinguished stylistic options: the first modernist period (1905-1910), from the burst into the Central European scene to the emergence of Noucentisme (1910-1919), Noucentisme, Regionalism and Modernity (1920-1936), and Monumentalism and Post-War Eclectic Academicism (1939-1959). Over the modernist period Balcells was characterised by synthesising international models, and the maturity period represents a break with his beginnings and the recovery of local architecture and classicism.
The most personal period of his career coincides with the modernist period, and he integrates within the latest generation of that movement. His first years are distinguished by a great deal of originality, a wealth of decorative resources and a certain orientalism. Balcells assimilates the language used by the Catalan architects that preceded him, adding a series of very personal features that characterise his most outstanding production. Some of his most distinguished works are Casa Tosquella, Casa Mestres, Casa Gual and Casa Lluch, most of them within the summer house typology. Balcells's production over the second decade of the 20th century denotes a great influence of Central European models, which leads him to definitely abandon the personal interpretation of Gothic art in order to go in depth into a modernism based on geometric simplification. Over this period, and as a result of his marriage to Eugènia Gorina, he carries out numerous industrial buildings and mausoleums in Sabadell. We may highlight Lawn Tennis del Turó, the set of stain glass pieces of Casa López (current Cerdanyola Art Museum), Casa Carles Balcells, the Sampere Factory, the Sallarés Deu Factory, the Genís i Pont offices, the “La Pureza” Factory, Carol Mausoleum and Rocabruna Castle. Around 1920, Balcells's works experience a great change due to the adoption of classicising proposals from Noucentisme. Balcells opts for a modern classicism over the first years of this period. Besides, between the late 20s and early 30s, the influence of rationalism and art déco is evident in works such as the Rocalla Factory, the Caixa de Sabadell Library project and the Benages apartments. While making the Cattle-breeders Association Pavilion built for the 1929 Barcelona International Exhibition, he joins the recovery of traditional architecture and regionalism. After the Spanish Civil War he shows plenty of examples of an eclectic architecture that looks back in history and is marked by academicism and monumental architecture. By the end of his career, Balcells recommends his son using a classicism that does not go out of fashion, while regretting his youth's most ground-breaking works
Rule behind the silk curtain: the Sultanahs of Aceh 1641-1699.
No full textPhDThis thesis is about the kingdom of Aceh Dar al-Salam in the latter half of the
seventeenth century when four women ruled in succession: Sultanah Tajul Alam
Safiatuddin Syah (1641-1675), Sultanah Nur Alam Naqiatuddin Syah (1675-1678),
Sultanah Inayat Zakiatuddin Syah (1678-1688) and Sultanah Iamalat Zainatuddin Syah
(1688-1699). How and why these queens came to power, and how they exercised it, are
problems that have fascinated enquirers, prompting a range of comments and
observations, especially the assertion that the queens were mere figureheads, during
whose reigns the male elite (orangkaya) captured power. The Sultanahs were held
responsible for the erosion of royal power and the kingdom's decline in the seventeenth
century. Yet no in-depth study has ever investigated these claims. The main objective of
this thesis is to evaluate the received views on these female sovereigns. The thesis also
seeks to examine the origin, nature and impact of these Sultanahs. Female rule seems a
curious phenomenon in a Muslim state. Furthermore, in a largely patriarchal kingdom
such as Aceh, queens seemed to be strangely out of place. This unique episode in Aceh's
history happened when European Companies - the Dutch VOC (Veerinigde Ooost-Indische
Compagnie) and the English East India Company - were gradually increasing their
commercial hold and flexing their military muscles in the region. Indigenous polities
suffered increasing interference and pressure from Westerners. Most Malay and Muslim
coastal polities in maritime Southeast Asia fell into European intruders' hands. By
exploring the circumstances and arguments surrounding female accession, and
examining some key episodes that show how power worked in Aceh at the time, I hope
to approach a new understanding of how and why the male elite of Aceh placed the fate
of the kingdom in the hands of women, and with what effects
- …
