Antonio De Research Articles

At the Origins of Global History

Akbar Hunting Black Buck from the Akbarnama © James Stevenson The circulation of texts and material during the sixteenth and seventeenth centuries produced a conjuncture that opened a range of possibilities for historical production. In a recent book, entitled Clio and the Crown, the American historian Richard Kagan provides an overview of medieval and early modern Spain, ranging from simple chorographs to Antonio de Herrera y Tordesillas’s all-encompassing imperial chronicle. As regards El...

L’Istituto Geologico dell’Università di Padova: Giorgio Dal Piaz, Giovanni Battista Trener, Antonio De Toni

Original documents on the interventional activity of Giorgio Dal Piaz and Giovanni Battista Trener, brother-in-low of Cesare Battisti, before and at the end of the First World War are briefly reported. In 1897, Dal Piaz graduated from the University of Padova in Natural Sciences with Omboni (who wanted him to be his assistant), later taught there (1902) and, lastly, was Omboni's successor (1909) to the chair of geology. Formerly graduated from the Vienna University, in november 1914 Trener was employed in Venice at the Hydrographic section of the Magistrato alle Acque, directed by Dal Piaz. Among their numerous activities supporting the Italian intervention, the Comitato Pro Patria, the Patronato degli Irredenti and the University Battalion can be mentioned. Lastly, Dal Piaz and Trener enlisted in the army as volunteers at the war front, where Antonio De Toni, assistant of Dal Piaz at the geological cabinet of Padua, heroically lost is life.

REDISCOVERING AMERICA: POLITICAL ECONOMY OF SPANISH COLONIES ACCORDING TO THE EXPLORERS JUAN-ULLOA, MALASPINA AND HUMBOLDT

ABSTRACTTwo scientists and sailors from the Spanish Navy, Jorge Juan and Antonio de Ulloa, the Italian sailor and explorer Alessandro Malaspina, and the German sage Alexander von Humboldt were the main actors in three great voyages to Spanish America between the second-third of the 18thcentury and the beginning of the 19thcentury. This enabled them to provide three first hand«photographs»of the state of the Spanish empire in America at three different moments in time: approximately before, during and after the implementation of colonial reforms designed in the reigns of Ferdinand VI and Charles III. This work aims, in the first place, to compare the socio-economic views of Spanish America deriving from the three expeditions, highlighting similarities and differences. Second, this work aims to connect the analysis of the weaknesses of the politico-institutional organisation of Spanish colonies, which the four travellers did at first hand, with the present debate on the role of colonial institutions in long-term economic development.

Latin America multidisciplinary research on heat shock proteins and cell stress: proceedings of the first conference of the Latin America Chapter of the Cell Stress Society International.

The First Conference of the Latin America Chapter of the Cell Stress Society International (CSSI) organized by CSSI was held in Montevideo, Uruguay, on March 11-14, 2014. The Latin America Chapter of the CSSI (LAC-CSSI) was established at the Workshop on the Molecular Biology of the Stress Response, Porto Alegre, Brazil, May 2012. The chapter's first meeting took place in the beautiful city of Montevideo and was chaired by the first (LAC-CSSI) elected president Professor María Bausero. Forty-two invited speakers presented their work to more than 100 scientists. The first day of the conference was dedicated to an introductory program for students, young investigators, and participants new to the field of molecular chaperones and the stress response. These seminars were held in the Pasteur Institute of Montevideo and the Faculty of Sciences of the University of the Republic. These institutions were carefully selected to give foreign participants a broad view of the diversity of students and institutions doing research in Uruguay, as well as an opportunity for direct interaction with our scientists and students. Invited speakers for the seminar series were Dr. Wolfgang Schumann, Dr. Cristina Bonorino, Dr. Antonio De Maio, Dr. Ian Brown, Dr. Rafael Radi, Dr. Daniel Ciocca, and Dr. Celia Quijano. The remaining days of the conference took place at the Sheraton Hotel in Montevideo, and the scientific sessions are discussed below.

'A promessa' e outros filmes: a censura no Portugal marcelista

Through the study of the censorship report from the film A promessa (1972), directed by Antonio de Macedo, and of other reports of the same period, as well as the Atas da Comissao de Censura, I intend to study the way how these filmes were censored and, in what A promessa is concerned, all the relationship established between the director, the distibutor and the Comissao de Censura. Through the analysis of some of the censored Portuguese filmography in Marcello Caetano’s time, I intend to help to understand the way how the Comissao de Censura operated in relation to the Portuguese films of that period what, by the way, may lead to a broader understanding of mentalities in Portuguese history. The present investigation is based on a study of the archives of the Secretaria de Estado da Informacao e Turismo (SEIT). All the information produced by the Comissao de Exame e Classificacao de Espectaculos under the Estado Novo is to be found in the relevant section of the Arquivo Nacional da Torre do Tombo (ANTT), in Lisbon. As well as looking at the handling of the censorship of films, this investigation is also based on the study of the Atas da Comissao de Censura corresponding to the period from 1971 to 25 April 1974.

La espiritualidad de Hipólita de Rocabertí y la construcción de su imagen en el siglo XVII

The article analyzes the objective characteristics of spirituality of Hipolita de Rocaberti expressed in his Autobiography. It contrast the religiosity of the Dominican nun with the construction of her image in the Seventeenth century: the gloss of the jesuit Jaume Puig, the biography written by Antonio de Lorea and the promotion and operation of the beatification developeds for his nephew Juan Tomas Rocaberti. There are studied the reasons of his process of unsuccessful beatification.

The Poetics of Piracy: Emulating Spain in English Literature by Barbara Fuchs (review)

fuchs, barbara. The Poetics of Piracy: Emulating Spain in English Literature. Philadelphia: U of Pennsylvania P, 2013. 186 pp.More than a generation has passed since Walter Cohen's Drama of a Nation: Public Theater in Renaissance England and Spain (1985) began inspiring us to challenge the truisms of Anglo-Spanish literary history by viewing national canons commonly regarded as ''rival'' in relationship rather than primarily in isolation. The subsequent accumulation of monographs, journal articles, edited volumes, institutes, conference panels, and dissertations suggests that ''Anglo-Hispanists'' now comprise a growing subfield within early modern studies. Among those who have energized this ''Spanish Connection,'' Barbara Fuchs has been the most prolific and visible, and so the arrival of her work on the occlusion of Spain in English literary history, The Poetics of Piracy: Emulating Spain in English Literature, has been eagerly awaited.Fuchs's introduction immediately brings the project into material focus. To my mind, the point that the English drew inspiration from Spanish literature-''even at the times of greatest rivalry between the two nations'' (1)-could not be made more effectively than with the accompanying reproduction of the Spanish reading list of Gabriel Harvey, the Cambridge-educated Latinist, Hispanophile, and improver of the English language, who has been most often remembered as a promoter of Edmund Spenser's poetry. As Fuchs observes, the titles Harvey jotted down on the flyleaf of his personal copy of Antonio de Corro's The Spanish Grammar (1590)-including Lazarillo de Tormes, Juan Huarte de San Juan's Examen de ingenios para las ciencias, Jorge Montemayor's Diana, the Petrarchan poetry of Juan Boscan and Garcilaso de la Vega, as well as ''other legends of chivalry and errant knights''-''would still belong on a master's exam in Spanish Golden Age literature'' (3).Harvey's interest in Spanish language and letters should not seem especially surprising. If England and Spain were often at odds in the early modern period, they also shared a long history of dynastic alliance, commercial exchange, and cultural connection. However, largely due to the ensuing institutionalization of literary study around our modern vernaculars, the transnational nature of the Anglo-Spanish literary relationship has often gone unrecognized. By demonstrating that ''the often vociferous rhetorical denunciation of Spain in the period and beyond did not impede literary traffic'' (4), Fuchs sets out to offer a corrective to modes of analysis emphasizing native traditions at the expense of broader patterns of interchange.The book's first chapter, ''Forcible Translation,'' observes how humanist notions of copia, imitatio, and translatio could take on a martial tenor during the highly nationalistic Elizabethan years, so that its second, ''Knights and Merchants,'' can demonstrate how these processes worked, especially in relation to the drama, during the more openly Hispanophilic reign of James I. English literature's extensive debt to Cervantes comes early to the stage via Francis Beaumont's The Knight of the Burning Pestle (1607), which one contemporary observed as ''a sort of Quixot [sic] on the Stage'' (39). Long a staple of Renaissance drama surveys, the play's allusiveness to Don Quixote has often seemed apparent to readers acquainted with Cervantes's masterwork. And yet, generations of English scholars have downplayed the possibility of a Spanish connection by insisting that Beaumont's play had been an independent development ''satirizing the same chivalric romances'' (43). As Fuchs rightly observes, even if there were no Cervantine intertextual presence within The Knight of the Burning Pestle-and I wholeheartedly believe that she is right to insist that there is-the romances the play satirizes themselves demonstrate Spanish influence. And yet, Fuchs argues, patterns of critical denial have indicated an attempt ''to contain Spanish influence in an effort to promote a national English canon that seems to depend on a refusal of influence, or its transmutation into a triumphant appropriation'' (42). …

El reconocimiento hidrológico del valle del Ebro efectuado por Antonio de Mesa en 1863

La memoria del “Reconocimiento del valle del Ebro” elaborada por Pedro Antonio de Mesa en 1865 como colofón de los trabajos de las brigadas hidrológicas de la Junta General de Estadística, constituye un documento inapreciable por la descripción geográfica, principalmente hidrológica pero no sólo, que realiza de la cuenca del Ebro. Un análisis en detalle del mismo permite la valoración adecuada de la labor pionera de Antonio de Mesa, así como servir de testimonio de referencia de la evolución operada en la cuenca del Ebro desde entonces.

Return to Aztlan: Indians, Spaniards, and the Invention of Nuevo México

In a scholarly convergence of historiography and anthropology, Danna Levin Rojo's study has achieved what both disciplines have fallen short of: a more profound understanding of the collaboration of Spaniards and Mesoamerican Indians that enabled the conquest and settlement of northern New Spain. She demonstrates that Nuevo México—the vast northern realm, contiguous but not equivalent with the modern state—had to be jointly invented as a “transcultural object of desire” before it could actually be located and colonized (p. 176).Sixteenth-century documents make only scant and passing mention of the participation of legions of indigenous warriors and settlers in colonial projects. So historians have largely avoided speculation on what could have possibly motivated these natives. And the exotic and mythical qualities of postconquest codices such as the Lienzo de Tlaxcala have frustrated anthropologists in assessing their historicity. Levin Rojo offers a comprehensive, encyclopedic survey of documents and codices to ground her central argument—that Nahua origin and migration stories were prime intercultural motivators for colonial expansion north of the Valley of Mexico.The “return to Aztlán” is the major theme of the collaborative Indo-Hispanic project. A deluxe collection of color plates and maps supplements the arguments, but one in particular recapitulates the central thesis. A leaf of the Códice de Tlatelolco (plate 15) illustrates Nahua participation in the Mixtón War and the 1540 expedition of Francisco Vázquez de Coronado to Cíbola. Colorfully costumed and well-armed Tlatelolca warriors tower over detailed but diminutive, black-and-white mounted Spanish knights and Viceroy Antonio de Mendoza himself. The Spaniards appear as auxiliaries to a clearly indigenous campaign.Levin Rojo sets the preconquest stage with an ethnohistorical overview of the territories where the “quest for Nuevo México” unfolded, explaining how Nahua political organization and local identities emerge from origin and migration narratives. Stories from across Mesoamerica share a common structure: ethnogenesis of a group under a tutelary deity, the north-to-south odyssey in search of a promised land, and the foundational miracle that signified their legitimacy in the new place. The apparition of the eagle, serpent, and cactus of Tenochtitlán is the most famous, but there are other examples.Narratives from dominant colonial discourses draw from another family of myths that underlies European triumphalism. The greatest impediment to assigning indigenous agency in Mexican historiography is what Levin Rojo calls the “medieval hypothesis” of the conquest, first articulated by Enrique de Gandía in the 1920s and prevalent in the rest of the century. This idea that imaginary places like the earthly paradise and Seven Cities of the island of Antillia, populated with Amazons, noble savages, and monstrous creatures, could be as important as the imperial designs of the crown and the ambition for gold and spice was as compelling as it was unquestioned. After a close reading of well- and lesser-known chronicles and diaries, Levin Rojo finds no evidence of the marvelous or of the influence of the medieval hypothesis. Many students of Mexican history still assume the Seven Cities of Cíbola to be a European myth when it actually springs from a commonplace in Mesoamerican origin myths, the seven caves of Chicomóstoc from which emerged seven foundational tribes.Even when scholars like Tzvetan Todorov finally broke through the veil of myth to identify the centrality of European empirical ideology and praxis in the conquest of Mexico, there was still a reluctance to assign any agency at all to the natives. But postconquest, it was the encounter with indigenous thought that enabled the next phase of northern expansion. Such pragmatism was missing from the expeditions prior to the Mexican adventure. Explorers like Christopher Columbus used only deductive reasoning based on textual authority of writings like the journals of Marco Polo, whose place-names, from Cathay and Cipango, were directly imposed on the American landscape.Levin Rojo convincingly deconstructs the most important toponyms in the next phase of colonial expansion, Nueva España and Nuevo México. To name the Mesoamerican heartland after Spain implied more than the conquistador's nostalgia for snowy mountains and temperate climes. Similarities were also social and cultural—cities built of stone and people dressed in woven clothes, engaged in advanced agriculture, and ruled by monarchs, with a complex religion presided over by a hierarchy of priests. The encounter was also an engagement, the proof of which resides in one of the most hybrid and oldest place-names of North America, a Nuevo México in the north with wealthy city-states to be rediscovered. After the conquest of Mexico, Spaniards were profoundly influenced by native worldviews, history, and traditions. Mexican Indians were fascinated by the idea of a return to Aztlán, their place of origin. As expeditions headed north on pre-Hispanic trade and migration routes, the ruins of great cities were found, confirming the historicity of native myths. The Indo-Hispanic collaboration was not just military but also cultural, ideological, and political.

Una aproximación al estatuto legal de las acllas y de las prostitutas en el incanato a partir de los Comentarios Reales

This study presents the norms that regulated the life of the Chosen Ones (Sun virgins) and the prostitutes during the Inca times, according to the work written by Inca Garcilaso de la Vega. All references are from his Comentarios reales de los Incas [1609 (1st edition)-1616 (2nd edition)] published in Lima (1985) by the Peruvian National Library. The subjects explained here are contradicted, enlarged or complemented by the chronicles of Francisco de Xerez (1534), Juan deBetanzos [1551], Pedro Cieza de Leon [1553], Juan de Matienzo [1567], Pedro Pizarro [1571], Jose de Acosta [1590], Blas Valera [1588 (?)], Miguel Cabello de Balboa [1586], Martin de Murua [1590], Antonio de Herrera (1615), Guaman Poma de Ayala [1615], Juan de Santa Cruz Pachacuti [1613], Bernabe Cobo [1653] among others.

A Design Laboratory Above the Clouds: Black & White and Color Stories of Portugal's Airline (1945–1979)

Take-Off Design has always been present in airlines as a way of giving them personality and transforming them. However, scientific studies on the relationship between aviation and design and its different elements—criticism, historiography, and culture—have been scarce around the world, and non-existent in Portugal.1 The study we have carried out allowed us to clarify the nature of the relationship between the profile of a company that represented the country (and helped to spread an image of modernity) and the different areas of design. The pronounced ideological conditioning, which is present visually in design projects produced for Transportes Aereos Portugueses (TAP), from the first years of its existence, emerged as the result of its status as flag carrier. The logos, the crew’s uniforms, the different types of communication media, and the planes’ interior design created a country that only existed “in the air.” In the real country, obliged to remain underdeveloped, poor, and rural, the “one way” ideology did not create job opportunities for designers outside the confines of what the regime understood to be official taste and expression—that is, following the historicist and grandiloquent Portuguese way.2 The political closure of the 1950s—a time which, metaphorically speaking, we paint in black & white—made way for a slow and progressive opening. The transition to the next decade saw the image shown in color, foreshadowing the “Marcelist Spring”3 in 1968 and the “Carnation Revolution” in 1974,4 which brought freedom to the country. In 1976, TAP kept the floral theme, with an image campaign called Spring Service. The close links between the rhetoric of the regime for external use and the TAP corporate image make for an unrivalled case study in the historiography of design in Portugal. 1 See Alexander von Vegesack and Jochen Eisenbrand, Airworld: Design and Architecture for Air Travel, 2 ed. ((Weil am Rhein: Vitra Design Museum, 2006), 6. 2 This is a reference to Jose-Augusto Franca’s strategy to characterize some of the key figures in modern Portuguese art, whose work, to some extent, establishes a dialogue with tradition or modernity. See Almada, o portugues sem mestre [Almada, the Masterless Portuguese Man] (Lisbon: Estudios Cor, 1974); We can also see a seminal study on the promiscuous relationship between art and the political regime by Jose-Augusto Franca, A Arte em Portugal no seculo XX [Art in Portugal in the 20th Century] (Lisbon: Bertrand,1974). 3 On September 27,1968, Marcelo Caetano (1906–1980) was appointed by the President of the Republic to replace Antonio de Oliveira Salazar (1889–1970). Recognizing the complex political and military situation in Portugal and the Overseas Provinces, Caetano attempted to reform and “open up” the regime. The period between September 27,1968 and January 21, 1971 raised hopes of a political renewal and was named the “Marcelist Spring.” 4 The carnation has become a symbol of the military coup on April 25, 1974, which ousted the Estado Novo. The name emerged because of a florist in Lisbon, who shared her joy at the end of the regime by giving her flowers to those around her, and to the soldiers, who placed them in the barrels of their rifles.

Performing and evaluating (non)modernities of Portuguese migrant figures on YouTube: The case of Antonio de Carglouch

AbstractWe analyze how France-based YouTube comedic performers Ro et Cut enact the stylized figure of a Portuguese migrant in France, Antonio, in their most popular video,Carglouch. We then examine how commenters respond to the enactment. Specifically, we apply Irvine and Gal's notion of semiotic differentiation to study how participants use language to construct and apply polycentric notions of modernity/nonmodernity. This allows us to analyze how YouTube performers and commenters produce their own and Antonio's relative (non)modernity, as they orient to different versions of a modern/nonmodern axis of differentiation, situated in multiple ‘centers’: France, Portugal, or Europe. That is, participants either interpret Antonio as a nonmodern immigrant in France, a nonmodern emigrant from Portugal, or an international representative of Portugal, spreading nonmodern images of Portugal abroad. We then consider how participants bring these differently centered images of the nonmodern Other into dialogue with each Other, with different outcomes for variously positioned participants. (Migration, heteroglossia, YouTube, transnationalism, Luso-descendants, (non)modernity, France, Portugal)*

"Eurídice y Orfeo", de Antonio de Solís (Casa de Oropesa, Pamplona, 1643 – Casón del Buen Retiro, Madrid, 1655)

Euridice y Orfeo represents a turning point in Antonio de Solis’s work given that it was his first foray into the theatre of the royal court. Its first composition, in the viceroyalty of Navarra, commissioned by the count of Oropesa dates from 1643. In 1655, when Solis had been named the king’s playwright, alongside Calderon, he adapted it to the setting and pomp of the royal court. There is no other comedy by Solis in the period between the first and the second version discussed here, but there are a number of changes in the author’s life. These circumstances are of great interest for the study of this work since they allow us to trace the differences in the author’s writing and his perception of the piece. Euridice y Orfeo has never been edited or studied in detail despite, in addition to those already mentioned, the peculiarities both in the treatment of the myth and Solis’ approach to the scene and musical accompaniment. With this in mind, this article presents the preliminary results of a detailed study of the piece and the critical edition that is underway. This will be done in light of its historical and political context and with special attention to its most significant theatrical aspects.

Espacio y tiempo de fiesta en Nueva España (1665-1760) by Judith Farré Vidal (review)

Reviewed by: Espacio y tiempo de fiesta en Nueva España (1665-1760) by Judith Farré Vidal Ben Post Farré Vidal, Judith. Espacio y tiempo de fiesta en Nueva España (1665-1760). Madrid: Iberoamericana, 2013: 311p. This study makes a valuable contribution to the field of colonial-era performance studies, thanks to its detailed analysis of individual fiestas, attention to the print history surrounding festive time, and recognition of the continuities between late Hapsburg and early Bourbon rule in Mexico. Farré Vidal resists the temptation to treat the momentous deaths at the end of the 17th Century (sor Juana, Sigüenza y Góngora, and Carlos II, last of the Spanish Hapsburgs) as a vast rupture in the cultural history of Mexico; instead, she presents the reader with a portrait of a theatricalized urban space that, in the 17th Century as well as the 18th, served to promote imperial power, criollo consciousness, and a sense of social cohesion. The book’s first half provides a framework for understanding these performances. Chapter One, which describes the social motivations for Novohispanic processions, moves beyond Maravall’s view of Early Modern mass culture as essentially propagandistic. The fiesta serves not only as a form of social control, but also as a search for novelty, display of conspicuous consumption, channel for public dissent, and expression of a sense of belonging to the creole patria. Chapter Two treats the role of Amerindians in the staging of these celebrations and contrasts the idealizing and mystifying tendencies of Mexico City, where criollo students dressed as indios and Sigüenza y Góngora used Aztec monarchs as models for the incoming viceroy, with celebrations in Oaxaca in which Amerindians participated more directly. After these chapters dedicated to social function and social reality, Chapter Three turns to the textual afterlife of the fiesta. Print accounts of these performances, Farré Vidal explains, create a kind of omniscient perspective on the fiesta in question, allowing intellectual elites to experience again and again events they may have witnessed only partially. [End Page 211] In the four chapters of the book’s second half, the reader encounters four different classes of performance: occasional processions (for the canonization of a saint or the death of a monarch) in Chapter Four, viceregal triumphal entrances in Chapter Five, burlesque university celebrations in Chapter Six, and convent theatre in Chapter Seven. The latter two chapters aim to show the public nature of such spectacles: Chapter Six brings university celebrations out into the city streets, while Chapter Seven reveals the convent walls to be quite porous at performance time. Each of these chapters, packed with examples from Farré Vidal’s copious research, culminates with a new edition of a performance-related text (whether post-fiesta descriptive poems in the first three chapters, or, in Chapter Seven, the text of a sainete performed for the visiting viceroy and virreine). Some of these texts have never appeared in modern editions; all are copiously annotated and help reveal the fashion in which Mexican performances echoed on in artful and complex written accounts. Of special interest is the 1680 Pierica narración, an account of the entrance of the marqués de la Laguna that describes the triumphal arches constructed by sor Juana and Sigüenza y Góngora. Espacio y tiempo de fiesta en Nueva España concludes with a 53-page glosario that draws on Antonio de Robles’ multi-decade Diario de sucesos notables and several prose texts that describe performances—ten entradas by viceroys and archbishops, two processions in honor of Santa Rosa de Lima’s beatification, a Jesuit celebration of San Francisco de Borja’s canonization, and a máscara by Sigüenza y Góngora. From these (mostly 17th-Century) sources, Farré Vidal identifies common performance techniques, locations, and themes, providing full citations and examples of each term. This account of several decades worth of arcos, carros, gigantones, toros, and volatines, to mention only a few of the entries, reinforces the author’s concern with the continuities of Mexican performances in this time period. [End Page 212] Ben Post University of Wisconsin, Madison Copyright © 2015 The Center of Latin American Studies

Here, There, and Now: Deictics and the Transposition of Orality to Image in Colonial Imagery

The conquest of the New World required the translation of its many languages into Spanish, as was foreseen by the fifteenth-century Spanish intellectual Antonio de Nebrija in terms of an Imperial linguistic project. In Mexico, this process of translation, as well as the many new contexts in which speech and image were submitted, meant that the pre-Hispanic relationship between oral discourse and pictorial codices was disrupted. This study looks at how Aztec song/poetry insinuated the pre-Hispanic speaker and listener into the codex through spatiotemporal references (deixis) such that the pictorial narrative became a phenomenological experience, created thorough a specific cultural synesthesia. This unity of experience was destroyed within a campaign of evangelical fervor. It is argued here that what was lost through this process of cultural and linguistic conquest was, at times, reconstituted by a number of innovative figures and compositions in colonial Mexican manuscripts that have a semantic rather than a narrative role.

2013 Siglo de Oro Drama Festival, Chamizal

De burladores y burladosThe National Park Service and Los Paisanos de Chamizal added a new twist to the 38th Siglo de Oro Drama Festival in El Paso-a matinee-as the festival's final performance. Presented at 3 p m. on Sunday, March 10, and featuring Morfeo Teatro Clasico in a Compilation of Comical Interludes billed as De burladores y burlados, this innovation was a resounding success. The audience proved large and lively, responding to the three-member troupe from Burgos (who presented their absorbing El coloquio de los perros on Saturday night) with enthusiastic applause during the performance and eager questions during the well-attended mesa redonda that followed.How did Morfeo achieve this triumphant finale to an impressive festival? How did three actors transport an audience across four centuries for ninety minutes, when such feats of captivation eluded other compilations recently seen at Chamizal (such as 2012's funny but uneven collage of one-act plays, Tiempo de Carnaval, and 201 I s stylish but emotionally empty collection of monologues, Entre clasicos anda el juego)? The keys to De burladores y burlados's success become evident in the compilation's clever incorporation of context, in the troupe's expert manipulations of performance text, and in the show's instructive strategies for creating and exceeding audience expectations.De burladores y burlados dramatizes the birth of a theater company-the historic partnership formed by Antonio de Escamilla, Maria de Quinones, and Mateo de Godoy around 1650. The performance opens with Escamilla (played by director Francisco Negro) discovering that all his actors have gone AWOL and attempting to recruit new talent from the audience (?No hay comico en la sala?). He soon encounters out-of-work thespians Quinones and Godoy (played by Mayte Bona and Felipe Santiago) and hears them audition with a burla in which Quinones persuades Godoy to impersonate a chicken and creates the illusion that he has laid an egg. Then Escamilla sets his new company to work rehearsing a repertory' of one acts. The setting is a convincing corral de comedias, evoked by pieces of period furniture that move against a beautiful backdrop, painted by Ricardo Blackman. The costumes are a gorgeous collection of period clothing, copied by' May'te Bona from paintings and museum pieces and housed in a handsome trunk, center stage, where actors don new characters in full view of the audience and in time to recorded classical music. The production's show-biz story'line, authentic look, and transparent theatricality' work together to contextualize the script's eclectic parts. Every' element in the compilation- each occasional poem and one-act play imported from the Siglo de Oro, plus the dialogue that Morfeo has created to connect them (written in Golden Age rhythms)-gains resonance from this rich context.In the hands of this talented cast, play texts take on new dimensions, too. Four one acts form the core of the new company's repertory': Lope de Rueda s El rufian cobarde, Luis Quinones de Benavente's La ronda and Don Satisfecho, and Bernardo de Quiros's El muerto. Each play within the play sparkles onstage, thanks not only to the quality of its play writing (which wins it a place in Morfeo's mas elegante seleccion del teatro burlesco del Siglo de Oro ), but also to the liveliness of Morfeo's performance choices, which respect the stageworthiness of these scripts too deeply to treat them as museum pieces. Under Negro's inspired direction, these entremeses become master classes in comic characterization, memorable blocking, and effective editing. Real-life husband-and-wife team Negro and Bona are particularly skillful at endowing characters with mannerisms that instantly identify them as comic types while clearly connecting them with enduring cultural anxieties. For example, in Don Satisfecho, the story of an unlikely engagement that unravels when the brideand groom-elect challenge the genuineness of each others' luxuriant hair, the prissy walk and precious diction that Negro uses to introduce the title character prepares the comic climax by stirring anxiety about Satisfecho's sexuality (how gay is this guy? …

Histopathological and immunohistochemical diagnosis from a B cell lymphoma in a bovine – CASE STUDY

Histopathological and immunohistochemical diagnosis from a B cell lymphoma in a bovine – CASE STUDY

The Geography of Grammar: Nebrija's Appropriation of the Laus Tradition in the Prologue to the Introduciones latinas (1488)

This article examines the prologue of Antonio de Nebrija's bilingual Castilian-Latin grammar, the 1488 Introduciones latinas, as a historical document. In this text Nebrija echoes the Laus Hispaniae [praise of Spain] first employed by Isidore of Seville in the History of the Goths, and then by various medieval historians including Rodrigo Ximenez de Rada and Alfonso X, in support of the neo-Gothic myth. Nebrija follows in the tradition of these texts in content and structure, but writes neither in favour of the Goths nor against the Arabs. Rather, he bypasses the Middle Ages to locate the true cultural heritage and borders of Spain in Roman Hispania. Nebrija uses the geography of Iberia to metonymically join the Roman and Latin past to the contemporary vernacular present and thereby close the gap between past and present made evident by his bilingual grammar.

Antonio de Cabezón y el órgano en el “Nuevo Mundo”

En el presente artículo pretendo contextualizar de manera sucinta la figura de Antonio de Cabezón en el Nuevo Mundo, a partir de las copias de sus Obras de Música que circularon en México desde el año de 1586, a tan solo ocho años de haber sido publicadas en Madrid por su hijo Hernando el año de 1578. Asimismo, argumento la existencia de una tipología de órgano en México, heredera del principio del Blockwerk, vinculada con el órgano castellano de la época cabezoniana, representada, en este caso, por un grupo de órganos históricos de la provincia de Oaxaca en el sureste de México.

<em>Audire, tangere, mirari</em>. Notas sobre el <em>instrumentarium</em> de los Cabezón

Como músico de cámara y capilla del príncipe Felipe, Antonio de Cabezón tuvo la oportunidad de oir, palpar y admirar instrumentos de características muy diversas, no sólo en España sino también en las numerosas ciudades europeas que visitó durante los años 1548-51 y 1554-55. El presente artículo intenta presentar un panorama general de ese instrumentarium, ponderando la influencia de los modelos organológicos fl amencos en el proceso de renovación de la organería hispana de finales del siglo XVI, con especial énfasis en los contactos establecidos en Bruselas entre Antonio de Cabezón y el organero Jean Crinon.