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Daughter of fortune: Isabel Allende's popularity from a readership perspective
No full textThe primary aim of this thesis is to explore and critically interrogate Isabel Allende’s popularity cross-culturally in Britain and Spain. It analyses readers’ responses to Allende’s works as well as the discourses surrounding her public representation, an approach that is ‘readerly’ but must also take account of production and text. This approach is intended to further the understanding of Allende’s work which so far has always been analysed from a textual perspective. However, the relationship between Allende’s popularity, her texts, public representation and readers has not been yet analysed in detail.This thesis is innovative in other ways too. Methodologically, it approaches readers through the under studied cultural form of the reading group. It also incorporates a comparative dimension by looking at the reception of Allende in two different cultural contexts: the British and Spanish respectively. Finding out about Allende’s popularity has involved asking readers about their reading experiences as well as analysing the production of discourses around her public representation. Paul Ricoeur’s (1984, 1988) perspective on authorial intentions and readers’ responses to texts helps in understanding the intricacies surrounding what is involved in reading any text. It draws attention to Allende’s and her publishers’ authorial strategies, her ‘strategies of persuasion’ and the specificity of the lives and contexts of British and Spanish reading publics. Equally, this ‘readerly’ approach draws on feminist audience research and primarily on the work of Ien Ang and Janice Radway. Their work with viewers and readers respectively is particularly useful in establishing and developing methodological parameters for the study of reading groups. As a whole, this thesis contributes to the understanding of Allende’s cross-cultural popularity by situating readers at the centre
A Discussion About Writing Fiction and Creative Prose with Isabel Huggan
No full textAward-winning Canadian author Isabel Huggan talks to students about writing, with a focus on fiction and creative non-fiction.Presentation for English 2905 (Introduction to Creative Writing), taught by Dr. Stepanie McKenzie
Humanismo y Reforma en la corte renacentista de Isabel de Vilamarí : Escipión Capece y sus lectoras
No full textDurante la primera mitad del siglo XVI y en la corte salernitana del último príncipe de la casa Sanseverino y de su esposa, Isabel de Vilamarí (noble señora de origen catalán) se desarrolló un intenso clima intelectual. Allí se congregaron artistas y humanistas italianos y españoles. En este ambiente de intercambio cultural, atento en participar en las ideas de la Reforma que se difundió en Nápoles gracias a B. Ochino y a Valdés, nace el poema De principiis rerum del último académico pontaniano: Escipión Capece. En esta obra no sólo se rastrean motivos lucrecianos y virgilianos sino también el influjo de los tratados cosmológicos de Pontano. En este estudio, la autora propone el análisis de la figura y de la obra de Capece a través de sus lectoras: Isabel de Vilamarí y las mujeres cultas de su corte.During the first half of sixteenth century and in the Salernitan court of the last prince Sanseverino and his wife Isabel de Vilamarí (a lady coming from a noble Catalan family) an intense intellectual climate developed. Italian and Spanish artists and humanists met there. In this environment of cultural exchange, that shared in the Reform ideas divulged in Naples by B. Ochino and Valdés, Scipione Capece (the last member of the Pontanian Academy) writes his poem De principiis rerum. In his book Capece uses Latin literature (Vergil and Lucretius mainly) and Pontano's treatises on cosmology. The author of this paper studies Scipione Capece through his female readership: Isabel de Vilamarí and the learned women from her court
Humanismo y Reforma en la corte renacentista de Isabel de Vilamarí : Escipión Capece y sus lectoras
No full textDurante la primera mitad del siglo XVI y en la corte salernitana del último príncipe de la casa Sanseverino y de su esposa, Isabel de Vilamarí (noble señora de origen catalán) se desarrolló un intenso clima intelectual. Allí se congregaron artistas y humanistas italianos y españoles. En este ambiente de intercambio cultural, atento en participar en las ideas de la Reforma que se difundió en Nápoles gracias a B. Ochino y a Valdés, nace el poema De principiis rerum del último académico pontaniano: Escipión Capece. En esta obra no sólo se rastrean motivos lucrecianos y virgilianos sino también el influjo de los tratados cosmológicos de Pontano. En este estudio, la autora propone el análisis de la figura y de la obra de Capece a través de sus lectoras: Isabel de Vilamarí y las mujeres cultas de su corte.During the first half of sixteenth century and in the Salernitan court of the last prince Sanseverino and his wife Isabel de Vilamarí (a lady coming from a noble Catalan family) an intense intellectual climate developed. Italian and Spanish artists and humanists met there. In this environment of cultural exchange, that shared in the Reform ideas divulged in Naples by B. Ochino and Valdés, Scipione Capece (the last member of the Pontanian Academy) writes his poem De principiis rerum. In his book Capece uses Latin literature (Vergil and Lucretius mainly) and Pontano's treatises on cosmology. The author of this paper studies Scipione Capece through his female readership: Isabel de Vilamarí and the learned women from her court
Isabel Allende recuerdos para un cuento = Isabel Allende : memories for a story
No full textA simple description of the childhood and youth of the Chilean author Isabel Allend
sj-docx-1-tan-10.1177_17562864241243186 – Supplemental material for Long-term safety and efficacy of zilucoplan in patients with generalized myasthenia gravis: interim analysis of the RAISE-XT open-label extension study
No full textSupplemental material, sj-docx-1-tan-10.1177_17562864241243186 for Long-term safety and efficacy of zilucoplan in patients with generalized myasthenia gravis: interim analysis of the RAISE-XT open-label extension study by James F. Howard, Saskia Bresch, Constantine Farmakidis, Miriam Freimer, Angela Genge, Channa Hewamadduma, John Hinton, Yessar Hussain, Raul Juntas-Morales, Henry J. Kaminski, Angelina Maniaol, Renato Mantegazza, Masayuki Masuda, Richard J. Nowak, Kumaraswamy Sivakumar, Marek Śmiłowski, Kimiaki Utsugisawa, Tuan Vu, Michael D. Weiss, Małgorzata Zajda, Jos Bloemers, Babak Boroojerdi, Melissa Brock, Guillemette de la Borderie, Petra W. Duda, Mark Vanderkelen and M. Isabel Leite in Therapeutic Advances in Neurological Disorders</p
El Tlacuache Núm. 144 (2004). 144 Año 4 (2004) octubre. El Tlacuache
No full text-De cantares, refranes, cementerios y epitafios por Isabel Garza Gómez. - El Yauhtli por Margarita Avilés y Macrina Fuentes. - De ofrendas y cosechas por Isabel Garza Gómez
High | Low : Hoch- und Alltagskultur in Musik, Kunst, Literatur, Tanz und Kino
No full textMit Beiträgen von Corinna Caduff, Beatriz Colomina, Alice Creischer, Bill Drummond, Sabine Gebhardt Fink, Nele Hertling, Florian Keller, Sebastian Klotz, Susanne von Ledebur, Isabel Mundry, David Ratmoko, Steffen Schmidt, Elke Schmitter, Philip Ursprung und Tan Wälchli anlässlich eines Symposiums der Hochschule Gestaltung und Kunst in Zusammenarbeit mit der Hochschule Musik und Theater Zürich im November 2006
Isabel Clara Eugenia: ¿una infanta castellana?
No full text[Resumen] Aunque la historiografía siempre ha mostrado la imagen de Isabel Clara Eugenia como hija fiel y obediente de Felipe II, la evolución ideológica y religiosa de la Infanta muestra las profundas divergencias que existieron con su progenitor. Educada en la defensa de los intereses castellanos y en una rígida espiritualidad formalista, Isabel evolucionó hacia la espiritualidad radical, definida por Roma, y opuesta a la establecida por su padre. La asimilación de la ideología romana fue tan intensa que, cuando quedó viuda, tomó el hábito de la orden tercera. Este acercamiento se tradujo, incluso, en gobernar (a veces) más desde los intereses de Roma que desde la Monarquía a la que representaba. La evolución de la vida de Isabel Clara Eugenia, fue paralela a la evolución que experimentó al Monarquía hispana: construida sobre el modelo de Monarquía Universal pasó a convertirse en la Monarquía Católica.[Abstract] Despite Isabella Clara Eugenia has always been characterized by historiography as the faithful and obedient daughter of Philip II, her ideological and religious evolution shows us the deep divergences that she had with her father. Although she was educated in the idea of the defence of the castilian interests, based in a rigid formalist spirituality, Isabella evolved to a radical spirituality, defined by the Holy See and opposite to her father´s one. Her assimilation of the roman ideology was as intense that, when she became widow, she took the habit of the third order (Orden tercera). This rapprochement made that she governed (most of the times) closely to the Pope´s interests than to the ones of the Spanish monarchy that she represented. Thus, her lifetime evolution was parallel to the one that the own Spanish monarchy suffered: built under the model of a Monarchia Universalis, it finally passed to be a Catholic Monarchy
Visitación de la Virgen a Santa Isabel.
No full textNave central. Sobre el arco de acceso de la primera capilla.Lateral izquierdo-Anónimo granadino- La pintura representa la visita de la Virgen a su prima Isabel. Aparecen en primer término, de pie y abrazándose. La Virgen de aspecto más jovial viste hábito rojo y manto azul; su prima Isabel cubre cabeza y cuerpo con manto marrón. Las dos llevan halo de santidad sobre la cabeza. La escena se sitúa al aire libre mostrando un fondo paisajístico de cielo nuboso, destacando en el ángulo derecho la casa de Zacarías, esposo de Isabel, el cual aparece en la puerta, pero es de dimensiones tan reducidas que no se aprecia lo suficiente. En la parte izquierda del cuadro hay un personaje junto a una mula que está comiendo, tema que puede hacer referencia a los recuerdos del viaje de la Virgen. En primer término hay un pequeño perro blanco grisáceo que mira fijamente la escena
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