Expressão musical do inexprimível

The objective is to understand the perspective of entrepreneurs from Popular Health Clinics (PHC) and representatives of the medical profession on services offered by the sector; impacts resulting from the COVID-19 pandemic; and future of the medical job market. This is a qualitative research, in the area of collective health, focused on social representations. Semi-structured interviews were carried out, from March to July 2021, with four local entrepreneurs and three representatives of the medical profession from a municipality in the Northeast region of Brazil. PHC offer assistance services restricted to consultations and exams and with financialized logic strategies. The PHC are presented as an “alternative” to the SUS, a supposed “gap” between private health plans and public services, and as a “new” medical work. Companies offer consultations with specialists at “popular” prices and without a waiting list. The assistance provided is restricted and professionals have no guarantee of labor rights. For those interviewed, access to healthcare represents geographic and temporal accessibility of services at a reduced price. The universal right to health and SUS principles are confronted with the defense of the autonomy of clients and professionals targeting their needs: health and work.

Several international events contributed to the fact that the struggle for South West Africa was not confined only to SWAPO and the South African forces. Because of a coup d’etat and the economic and moral burden which colonies entailed, Portugal withdrew from Angola and Mozambique in a rush in 1974. SWAPO, assisted by the Movimento Popular de Libertação de Angola (MPLA), established military bases in the south of Angola to invade South West Africa more effectively. It was therefore only a matter of time before the South African forces encountered not only SWAPO, but also the MPLA and Cuban forces. South Africa, however, did not take an attitude of wait-and-see, but wanted to retain the initiative mainly by means of so-called pre-emptive operations, such as Operation Savannah (1975-1976), which was the first of many cross-border operations. The general aim of these operations was to effectively curtail the infiltration of SWAPO from the south of Angola into South West Africa. During the first and only successful phase of Operation Modular (August-October 1987), the combined South African forces came to the aid of a beleaguered UNITA due to a Forças Armadas Populares de Libertação de Angola (FAPLA) offensive on the UNITA strongholds of Mavinga and Jamba. The Battle of the Lomba River on 3 October 1987 ended in the crushing of FAPLA’s 47 Brigade and ushered in the successful completion of phase one of Operation Modular. The objective of this article is to analyse the strategic position of Cuito Cuanavale during phases two, three and four of Operation Modular (October-December 1987). In particular, this article focuses on the objectives of the SADF regarding Cuito Cuanavale. The conclusion is that, although fiercely denied in certain circles, the SADF most definitely wanted to conquer Cuito Cuanavale.

El autor reflexiona sobre cuatro distintos aspectos del teatro de títeres popular de guante: 1- Si el sustento de las tradiciones, basado en la pertenencia a un sujeto colectivo, se ha derrumbado, ¿cómo es que las distintas tradicionestitiriteras continúan vivas, y algunas de ellas muy vivas? 2- Cómo situar al títere de guante respecto a este concepto básico del teatro de marionetas que es la Distancia. 3-Importancia de la catarsis en la vivencia íntima del titiritero tradicional, y 4- El llamado títere de cachiporra, ¿está condenado a desaparecer o, por el contrario, tiene mucho que decir y quizás enseñar a las generaciones futuras?

“Lorca, Flamenco y Rock” es un proyecto de innovación educativa llevado a cabo en el IES Fernando de los Ríos de Fuente vaqueros, en la provincia de Granada. Cada año el alumnado junto con el profesorado implicado trabajan y graban una de las canciones populares de Lorca en clave de Flamenco y Rock, interpretadas por el coro del IES junto a una figura relevante de la música popular de nuestro país, posteriormente se realiza un videoclip en la Casa Museo Natal de Federico. En los cursos anteriores los invitados han sido García de 091, Miguel Ríos y Anni B Sweet. Tiene dos objetivos generales, por un lado la mejora de la convivencia escolar e inclusión del alumnado y, por otro, la recuperación del cancionero popular Lorquiano.

La Facultad de Bellas Artes de la Universidad Nacional de La Plata publicó el año 2016 un libro dedicado a la música popular de Latinoamérica, en el cual se recoge la conferencia ofrecida por la musicóloga Tania Da Costa García acerca de la música en Chile y Brasil durante los años 50 y 60. En el prólogo, María Elena Larregle, Secretaria de Publicaciones de la Universidad, afirma que: "El principal interés de su aporte radica no sólo en el análisis pormenorizado de las características estrictamente musicales que conforman los rasgos identitarios de las obras producidas en esa época y de sus antecedentes, sino, fundamentalmente, en el establecimiento de vinculaciones profundas entre las mutaciones en el lenguaje musical, los ámbitos de circulación y de consumo de la música y los contextos políticos y sociales de esos países en una etapa histórica que tiene como impronta la metamorfosis cultural, política y económica que se dio en América Latina en aquel momento".

Propósito: analizar la relación de los factores específicos y económicos que afectan la sostenibilidad financiera en el periodo previo a la crisis de la COVID-19 y durante el periodo de la pandemia, y cómo contribuye cada uno de ellos en la probabilidad de aumento de la rentabilidad del activo (retorno sobre activos o ROA, por sus siglas en inglés) de las Sociedades Financieras Populares en México. Diseño metodológico: se conformó una base de datos de variables internas de las Sociedades Financieras Populares (Sofipos) de México y de cinco variables macroeconómicas de diversas fuentes durante el periodo de 2014-2022. Y mediante regresiones logit se analizó el impacto de cada una de estas variables en probabilidad de que las microfinancieras mantengan su sostenibilidad financiera, medido por el rendimiento sobre el activo. Resultados: en preCOVID-19 tres variables internas y cuatro macroeconómicas influyen en la probabilidad de sostenibilidad financiera y durante la COVID-19 cuatro variables internas y dos macroeconómicas. Limitaciones de la investigación: alta heterogeneidad del ROA de las Sofipos, cinco tenían roa negativo y las otras cinco positivo. Hallazgos: a pesar de que el ROA es disímil entre las Sofipos, algunas tienen grandes pérdidas y otras altas ganancias y, aun así, siguen desarrollando sus actividades, mostrando resiliencia aún en crisis. Prevalecen en los dos periodos analizados las variables morosidad, índice de capitalización y las remesas con significación estadística para explicar la sostenibilidad financiera de las Sofipos.

El portal Gallica de la Bibliothèque Nationale de Francia ha dado recientemente a conocer el manuscrito RES VMC MS-155, vinculado a la joven aficionada Louisede la Font, que contiene un importante número de letras de tonos con acompañamiento rasgueado para guitarra. Esta nueva fuente permite avanzar en el estudio del fenómeno del air espagnol con relación a un contexto editorial que favoreció durante la primera mitad del siglo XVII la difusión popular de la monodia, y en particular del tono español, en el país galo. Sus numerosas concordancias y vínculos nos permiten, además, apreciar la naturaleza popular de las composiciones y plantear la reconstrucción de sus melodías ausentes. El artículo se completa con un índice detallado de concordancias de las 82 canciones españolas que contiene este extenso manuscrito ycon la reconstrucción editorial de una pequeña muestra de cinco de ellas que formarán parte de una grabación discográfica.

The 1960s opened a dynamic era of communist‐inspired guerilla movements in Colombia. The Colombian army, supported by the United States, reacted quickly and harshly, defeating some of the guerilla groups. Even so, these years saw the birth of the Revolutionary Armed Forces of Colombia (FARC), the National Liberation Army (Ejército de Liberación Nacional, ELN), and the Maoist Popular Army of Liberation (Ejército Popular de Liberación, EPL), the three most influential groups in the 1980s and 1990s. In this climate, the elections of 1970 brought hope for the end of the National Front (Frente Nacional), an agreement between liberals and conservatives to distribute the state administration and jobs in an undemocratic effort to stop the struggles that were known as La Violencia. General Alberto Rojas Pinilla (1900–75), who had organized a coup d'état in 1953, founded the Popular National Alliance (Alianza Nacional Popular, ANAPO) to orchestrate the National Front's defeat in elections and usher in real democracy. This initiative brought together various popular sectors, including socialists.

Armed Conflict and Human Rights in Colombia

Dutch colonial literature of the East Indies has its roots in the seventeenth century, in the famous mariner's Journal (1646) of Willem Bontekoe no less than in the exotic tale of Javanese black magic contained in Johan van Heemskerck's learned and elegant Batavische Arcadia (1637), the first attempt at a novel in Dutch literature. The colonial themes and topoi first presented in these two early works have found a clear literary echo in the early twentieth century, in the colonial novel John Companye (1932) by Arthur van Schendel just as much as in Johan Fabricius's popular boys' adventure tale De scheepsjongens van Bontekoe (1924). Through a critical-historical and postcolonial examination of these literary works we can identify three colonial topoi in particular. First of all, there is the cultural confrontation between, on the one hand, the deceitful and untrustworthy Javanese, with their black magic and their superstitions, and on the other, the soberminded, critical, perspicacious and protestant Dutch, who are not taken in by these adversaries. Secondly, the four texts under investigation are marked by the foregrounding of a strong sense of Dutchness, which is defined in terms of a belief in fair trade and the freedom of the seas, injustice and in toleration. The presentation of these Dutch values in the idyllic and fairytale-like frame of the Arcadian myth creates a strong illusion of innocence. But all the while, the rather more unsavoury realities of colonial history and its violence, cruelty, torture, plunder, corruption and commercial genocide, form a noticeable subtext that can be detected in (and gives the lie to) the main text, in all kinds of unexpected ways. Thirdly, what emerges from this analysis is how ‘Going East’—to trade, to conquer, to overcome dangerous adventures, to make a fortune, to build an empire—has for centuries been a central Leitmotiv in Dutch culture, a centrality underlined by the fact that we encounter these topoi equally in popular reading material and in works of high literature.

REVIEWS Brooks, Lynn Matluck. The Dances of the Processions of Seville in Spain's Golden Age. Kassel: Edition Reichenberger, 1988. 41 1 pp. Brooks' monograph is a comprehensive history of the dances that accompanied Sevillian religious celebrations, particularly the feast of Corpus Christi, which in the Golden Age was at least as ostentatious and costly as current Holy Week processions. She explores every aspect of the performances: history, choreography, costumes, music and the convoluted economic arrangements involving the City Council, dance directors and financial underwriters. First Brooks reviews the Church's ambivalent attitude toward the dance: its proscription of secular dance as pagan and erotic and its perfunctory endorsement of sacred dance as an expression of joy and harmony (2). Yet in Spain, particularly in Seville, not only the religious dance of the seises but courtly danzas de sarao and popular danzas de cascabeles sponsored by the City Council became indispensable features of Corpus Christi processions and reached their zenith in the sixteenth and seventeenth centuries. In fact they were a matter of local pride, reflecting the wealth, flamboyance, and religiosity of the city. Each dance, Brooks explains, "had its own title, separate performers and musicians, special costumes, and distinct choreography" (37). The Corpus Christi celebration began at 4:00 AM when the participants assembled outside the cathedral. They entered the church where each group performed in the nave. There were so many participants that the procession did not leave the cathedral until 10:00 AM, whereupon it made its way through the city streets. Included, in addition to the dances, were such traditional modes of entertainment as the tarasca, gigantes, cabezudos and the autos sacramentales mounted on pageant wagons. Chapter HI traces the history, training, music and dance of the seises, also called cantorcicos, cantorcicos seises and seisicos. Theirs was the only religious dance officially sponsored by the cathedral. The seises performed at the feasts of the Holy Spirit and Immaculate Conception; also at the fiesta del obispillo when one of their own was crowned bishop. On Corpus Christi day they 163 164BCom, Vol. 44, No. 1 (Summer 1992) danced around the custodia, the elegant feretory containing the Host, as it was carried through the streets. We know, too, that the seises impersonated the angels and shepherds in Nativity plays staged in the cathedral under the guidance of professional directors. Thus they become an important element in the origins of the Spanish stage. The dance of the seises, unlike the dances sponsored by the municipality, was executed "with the greatest seriousness and composure" (125) as it imitated the pavana and other courtly Renaissance dances. Chapter IV emphasizes the uniqueness of the Corpus Christi dances sponsored by the city, for, unlike the dances that were incorporated into Christmas plays, those for Corpus Christi remained detached from a written text. The so called "regular" dances which included the tarasca and sword dance, were expanded by the danzas de invenciones, original creations that elaborated historical and allegorical themes. Unfortunately, with the exception of a few details recorded on "scrawled, hasty-looking scraps [of paper]" (153) little is known about their choreography, probably because of the absence of an effective system of dance notation. The danzas de sarao, aristocratic invenciones, elaborated pastoral themes offering a highly romanticized image of the shepherd 's life. They boasted brilliantly costumed dancers who executed complex geometric patterns in a show of technical virtuosity designed to dazzle the general public. Other invenciones exploited the heterogeneity of Renaissance society: represented were various "naciones" such as gypsies, Moors, Negroes, Turks, French, Portuguese, all elegantly attired. Specific dances included thepavana, gallarda, torneo, turdión, baja, alta, alemana, españoleta, as well as dances of popular origin, folia, villano, chacona, canario, which had infiltrated high society. The popular danzas de cascabeles were "actionpacked " dances in which "story, action, music and costumes created a unified statement" (173). Moreover, the story was not necessarily popular; rather there were such biblical themes as David and Goliath and Queen Elena's discovery of the cross. The dance steps anticipated modern flamenco. These were noisy performances with hand clapping and foot stamping. The bells (cascabeles ) sewn to the dancers' costumes only increased the racket. Chapter V elaborates...

Based primarily on Winterbach’s novel of the Anglo-Boer War titled Niggie in Afrikaans and translated into English as To Hell With Cronjé, this paper examines the novel as a site of what I am calling “Boer melancholia.” I apply this term to grieving on the part of many Afrikaners, occasioned by a sense of cultural loss – loss of power, identity, linguistic hegemony – experienced with the demise of apartheid. I argue that in the novel and in broader Afrikaner culture, this loss revives the memory of prior loss (defeat) in the Anglo-Boer War. Niggie attests to a “melancholic” condition arising from what Freud called the loss of an abstraction, “such as fatherland, freedom, an ideal,” a loss analogous to that of a loved person. In the novel, abstract and personal losses are continuously intertwined with one another, as are individual histories of mourning and melancholia. I contrast this narrative of repeated, unredeemed loss with the fantasy of recovery – of the “liberating” comeback – embodied, for instance, in the popular music video De la Rey by Bok van Blerk (2006). Winterbach’s novel constitutes both a critical fiction of Boer resistance and defeat, and a reflection on Afrikaner history without any comeback.Keywords: mourning and melancholia, Anglo-Boer War, post-apartheid, psychoanalysis, modern war novel, anti-romance

This paper addresses the problem of designing shaped beam patterns with arbitrary arrays subject to constraints. The constraints could include the sidelobe level suppression in specified angular intervals, the mainlobe halfpower beamwidth, and the predefined number of elements. In this paper, we propose a new Differential Evolution algorithm, which combines Composite DE with an eigenvector-based crossover operator (CODE-EIG). This operator utilizes eigenvectors of covariance matrix of individual solutions, which makes the crossover rotationally invariant. We apply this novel design method to shaped beam pattern synthesis for linear and conformal arrays. We compare this algorithm with other popular algorithms and DE variants. The results show CODE-EIG outperforms the other DE algorithms in terms of statistical results and convergence speed.

Edited by O Dia S.A. since 2006, the popular newspaper Meia Hora de Notícias has been consistently one of the most successful newspapers in the country. On the cover of the issue released on April 17, 2008, it reflects military authority whose position is favorable to social sanitation as an efficient means to crime control. Going beyond a mere reproduction of a polemical statement, the enunciator explores visually and intertextually the contents by enfolding it in the popular and controversial language style that characterizes the newspaper editorial line. In the midst of the questionable fourth power, the Meia Hora projects “peace” as the main goal (object) in its discourse. However, the proposed way to reach this alleged peace is said to be by hunting criminals, here deprived of their humanity by the ascribed nickname “mosquitoes of evil”. The enunciatee is then manipulated by “temptation” to search for “peace” as the object, in an attempt to disguise the real action proposed by the enunciator. The analysis takes into account the Edmund C. Arnold’s page visualization zones theory in order to establish a linear organization of the narrative as a means to reveal its careful semiotic construction. Aiming at a real identification with its enunciatee, the newspaper offers “social sanitation” as an “effective solution” to their problems. This is done by ascribing to the subject of this narrative — the “bopecida” —, the power of acting in a vigorous way even if this means shaking off constitutional rights.

The proposition that Diego de San Pedro was a Jew has by now more or less established itself in the literature. Menendez y Pelayo was the first to notice the anecdotes in Luis Zapata's Miscelanea which insinuate that “el que trobo la pasion” was not a cristiano viejo; and Menendez y Pelayo is almost certainly right in assuming that Diego de San Pedro is intended: “entre las pasiones trovadas ninguna fue tan popular como la de Diego de San Pedro”. But these anecdotes are not, of course, proof positive of the proposition. The concrete documentary evidence for it was supplied by Emilio Cotarelo y Mori in 1927.