http://hdl.handle.net/10023/115 2013-05-21T14:43:58Z 2013-05-21T14:43:58Z Bentley, Bernard Pierre Emile http://hdl.handle.net/10023/3540 2013-05-21T08:31:02Z 2012-11-21T00:00:00Z

Abstract: Over the past decade Spanish-Language Cinema has established itself beside Spanish and Latin American Cinema, and Morir en San Hilario is a good example of these new flexible collaborations rather than a strict transnational co-production. Billed as a comedy, the film could also be described as a variation on the road film, a circular journey to Utopia, a Spanish village/pueblo film, and a twenty-first-century ‘Ars moriendi’ developing the topos of ‘Homo viator’. This is not a frequent combination to be found on cinema screens and Laura Mañà’s gamble was to integrate these ingredients and create a fable to reflect on life and death. She does this through comedy, exaggerations, parody and a narrative style identified as magic realism. Her originality, however, overlaps with the lasting legacy of the fifteenth-century Castilian soldier-poet, Jorge Manrique (c.1440-1479) and his ‘Stanzas written upon the death of his father’, a landmark of Spanish Literature.

2012-11-21T00:00:00Z Bentley, Bernard Pierre Emile Over the past decade Spanish-Language Cinema has established itself beside Spanish and Latin American Cinema, and Morir en San Hilario is a good example of these new flexible collaborations rather than a strict transnational co-production. Billed as a comedy, the film could also be described as a variation on the road film, a circular journey to Utopia, a Spanish village/pueblo film, and a twenty-first-century ‘Ars moriendi’ developing the topos of ‘Homo viator’. This is not a frequent combination to be found on cinema screens and Laura Mañà’s gamble was to integrate these ingredients and create a fable to reflect on life and death. She does this through comedy, exaggerations, parody and a narrative style identified as magic realism. Her originality, however, overlaps with the lasting legacy of the fifteenth-century Castilian soldier-poet, Jorge Manrique (c.1440-1479) and his ‘Stanzas written upon the death of his father’, a landmark of Spanish Literature. Fowler, William http://hdl.handle.net/10023/3523 2013-05-12T02:32:03Z 2009-07-01T00:00:00Z

Abstract: Tras la guerra de Independencia (1810-1821) estallaron más de 1 500 pronunciamientos entre el Plan de Iguala de 1821 y el Plan de Tuxtepec de 1876. En varios casos degeneraron en enfrentamientos de una violencia atroz como el saqueo del Parián en la ciudad de México de 1828. En otros resultaron en guerras civiles brutales (1832, 1854-1855, 1858-1860). En muchos casos, sin embargo, sus demandas fueron atendidas o sofocadas dependiendo de cuántos pronunciamientos de adhesión recibieron. Este artículo busca redefinir la práctica del pronunciamiento en México, haciendo hincapié en el protagonismo que tuvieron grupos e instituciones civiles al adoptar este medio legítimo, aunque no constitucional, para forzar cambios políticos tanto a nivel regional como nacional durante las primeras décadas nacionales.

2009-07-01T00:00:00Z Fowler, William Tras la guerra de Independencia (1810-1821) estallaron más de 1 500 pronunciamientos entre el Plan de Iguala de 1821 y el Plan de Tuxtepec de 1876. En varios casos degeneraron en enfrentamientos de una violencia atroz como el saqueo del Parián en la ciudad de México de 1828. En otros resultaron en guerras civiles brutales (1832, 1854-1855, 1858-1860). En muchos casos, sin embargo, sus demandas fueron atendidas o sofocadas dependiendo de cuántos pronunciamientos de adhesión recibieron. Este artículo busca redefinir la práctica del pronunciamiento en México, haciendo hincapié en el protagonismo que tuvieron grupos e instituciones civiles al adoptar este medio legítimo, aunque no constitucional, para forzar cambios políticos tanto a nivel regional como nacional durante las primeras décadas nacionales. Partzsch, Henriette Anna Margarete http://hdl.handle.net/10023/3507 2013-05-12T04:08:34Z 2012-09-01T00:00:00Z

Abstract: Although the commitment of several nineteenth-century Spanish women writers to abolitionism is a well-established fact, not much is known about the concrete forms their engagement took in a society in which the bourgeois ideology of woman as the angel in the house played a prominent role. The close study of the weekly magazine La Violeta (1862-66), directed by Faustina Sáez de Melgar, shows how the active and public support for this international cause was linked to the development of a model of compassionate intervention by women, most notably formulated by the magazine's regular contributor Rogelia León in response to the very mixed reviews of the foundational meeting of a ladies' abolitionist society. The press coverage of this event clearly demonstrates how political conflict is cast in terms of gender and class and used to threaten middle-class women who step into the political sphere. The analysis of the discourse on slavery reveals an equal importance of both categories in La Violeta, together with the patronising and casual racism of its authors.

2012-09-01T00:00:00Z Partzsch, Henriette Anna Margarete Although the commitment of several nineteenth-century Spanish women writers to abolitionism is a well-established fact, not much is known about the concrete forms their engagement took in a society in which the bourgeois ideology of woman as the angel in the house played a prominent role. The close study of the weekly magazine La Violeta (1862-66), directed by Faustina Sáez de Melgar, shows how the active and public support for this international cause was linked to the development of a model of compassionate intervention by women, most notably formulated by the magazine's regular contributor Rogelia León in response to the very mixed reviews of the foundational meeting of a ladies' abolitionist society. The press coverage of this event clearly demonstrates how political conflict is cast in terms of gender and class and used to threaten middle-class women who step into the political sphere. The analysis of the discourse on slavery reveals an equal importance of both categories in La Violeta, together with the patronising and casual racism of its authors. San Roman, Gustavo Francisco http://hdl.handle.net/10023/3366 2013-02-28T11:01:01Z 2006-01-01T00:00:00Z 2006-01-01T00:00:00Z San Roman, Gustavo Francisco Fowler, William http://hdl.handle.net/10023/1507 2013-05-12T01:02:13Z 2004-02-01T00:00:00Z

Abstract: Joseph Welsh was the British Vice Consul in the port of Veracruz at the time of the uprising of 1832 by General Antonio Lopez de Santa Anna against the government of Anastasio Bustamante. Contravening the orders of his superiors, who reiterated the view that it was his obligation to observe the strictest neutrality in the conflict and not interfere in Mexican politics, Welsh found himself supporting Santa Anna and the rebels. As a result, at the end of March, Bustamante's administration demanded that he be removed from office. The British Minister Plenipotentiary, Richard Pakenham, acquiesced. This article provides a narrative of the events that led to Welsh's forced resignation and explores what they tell us about British diplomacy in Mexico during the early national period. It also analyses Welsh's understanding of the revolt and his views on Santa Anna, providing some insights, from a generally ignored British perspective,(1) into Santa Anna's notorious appeal and politico-military measures.

2004-02-01T00:00:00Z Fowler, William Joseph Welsh was the British Vice Consul in the port of Veracruz at the time of the uprising of 1832 by General Antonio Lopez de Santa Anna against the government of Anastasio Bustamante. Contravening the orders of his superiors, who reiterated the view that it was his obligation to observe the strictest neutrality in the conflict and not interfere in Mexican politics, Welsh found himself supporting Santa Anna and the rebels. As a result, at the end of March, Bustamante's administration demanded that he be removed from office. The British Minister Plenipotentiary, Richard Pakenham, acquiesced. This article provides a narrative of the events that led to Welsh's forced resignation and explores what they tell us about British diplomacy in Mexico during the early national period. It also analyses Welsh's understanding of the revolt and his views on Santa Anna, providing some insights, from a generally ignored British perspective,(1) into Santa Anna's notorious appeal and politico-military measures. San Roman, Gustavo http://hdl.handle.net/10023/1277 2012-12-12T08:57:17Z 2010-01-01T00:00:00Z 2010-01-01T00:00:00Z San Roman, Gustavo San Roman, Gustavo http://hdl.handle.net/10023/1276 2012-12-12T08:57:18Z 2010-01-01T00:00:00Z 2010-01-01T00:00:00Z San Roman, Gustavo San Roman, Gustavo http://hdl.handle.net/10023/1259 2012-12-12T08:57:14Z 2010-01-01T00:00:00Z 2010-01-01T00:00:00Z San Roman, Gustavo http://hdl.handle.net/10023/1204 2012-12-12T10:15:58Z 2010-01-01T00:00:00Z

Abstract: The edited book of a conference on the cultural links between Uruguay and Galicia. It consists of three main sections: on José Alonso y Trelles, born in Ribadeo in 1857 who emigrated to Uruguay and became a gaucho poet known as El Viejo Pancho; on Juana de Ibarbourou, Uruguayan poet (1892-1979), daughter of Vicente Fernandez, born in Lourenza in 1853 and also emigrant to Uruguay; and other literary and historical connections (Uruguay in Galician literature; Galicians in Uruguayan literature; critical work on Gustavo Adolfo Becquer by a Galician and a Uruguayan; aspects of the history of Galician emigration to Uruguay). Contains 36 photographs of documents related to both writers.

2010-01-01T00:00:00Z The edited book of a conference on the cultural links between Uruguay and Galicia. It consists of three main sections: on José Alonso y Trelles, born in Ribadeo in 1857 who emigrated to Uruguay and became a gaucho poet known as El Viejo Pancho; on Juana de Ibarbourou, Uruguayan poet (1892-1979), daughter of Vicente Fernandez, born in Lourenza in 1853 and also emigrant to Uruguay; and other literary and historical connections (Uruguay in Galician literature; Galicians in Uruguayan literature; critical work on Gustavo Adolfo Becquer by a Galician and a Uruguayan; aspects of the history of Galician emigration to Uruguay). Contains 36 photographs of documents related to both writers. San Román, Gustavo http://hdl.handle.net/10023/672 2011-12-03T16:55:24Z 2003-01-01T00:00:00Z

Abstract: The novel El astillero (Buenos Aires 1961), by Juan Carlos Onetti, provides two alternative endings, which have inspired a number of interpretations. The present article provides a reading based on the tension in the novel between the two poles of reality and illusion which intermittently draw the protagonist, Larsen. The reading takes into account the plot of El astillero itself, and also moves beyond this particular novel into other texts in Onetti's Santa Maria cycle where Larsen figures. It is proposed that the ambiguous ending projects a never-ending pendular movement between the poles mentioned, and suggests that Larsen (and Onetti) are unwilling to give up on illusion as a way out of the constraints of reality.

2003-01-01T00:00:00Z San Román, Gustavo The novel El astillero (Buenos Aires 1961), by Juan Carlos Onetti, provides two alternative endings, which have inspired a number of interpretations. The present article provides a reading based on the tension in the novel between the two poles of reality and illusion which intermittently draw the protagonist, Larsen. The reading takes into account the plot of El astillero itself, and also moves beyond this particular novel into other texts in Onetti's Santa Maria cycle where Larsen figures. It is proposed that the ambiguous ending projects a never-ending pendular movement between the poles mentioned, and suggests that Larsen (and Onetti) are unwilling to give up on illusion as a way out of the constraints of reality.