De El Research Articles

La curación del ciego de El Greco

La curación del ciego de El Greco

Cervantes and His Don Quixote

Cervantes and His Don Quixote A. J. Greimas Translated by Julija Korostenskienė, Translator Through the broadest seas and non-seas,And through mountains topped with white wreaths,Asking neither about the paths nor the days,He will come as if from the Nemunas Valley. —Brazdžionis The noble hidalgo, a long-awaited guest, has finally come to us, too. He comes at a time when we require his assistance and advice perhaps the most. In the terrible collision of the giants of this world, our small and dear country desperately needs just such naïve belief in its human cultural mission. The armor-bearers have been waiting for their knights-errant and have missed them so badly that the appearance of the great optimist in the fields of our literature may definitely be regarded as the best omen sent to us by the gods. It is notable that the incorporation of Cervantes into the Lithuanian depository is perhaps the most important, if not the only, fact of our literary life this past year. We are shamefully ignorant of the classics; nor do we apprehend those ideological and artistic opportunities which, amassed in the works of great masters, offer themselves to every traveler of this earth as a shared property of humanity. The occasional earlier translations of the classics, as well as dry rudimentary literature textbooks only terrify the youth and scare them away from taking any interest in literature. If he has spoken to his students about Dante with enthusiasm, a conscientious professor of literature is forced to forbid them to read the Divine Comedy in Lithuanian, for fear of passing for a charlatan. This is why, upon receiving a truly exemplary translation [End Page 171] of Don Quixote, a pleasure for both the eye and the soul¸ ever more so must we “make merry and rejoice,” thanking Andriušis and Churginas for all the toil they have put into it. If every nation must contribute its seed into the common granary of humanity, Spain has paid off its debt in full with one stroke by Don Quixote, by effecting a true salto immortale. Confronted with the work by Cervantes, just as when confronted with any great work by a genius, the reader experiences the entire complex of his human nothingness, feeling not only the abyss that separates him from the heights of the genius’s thought, but also comprehending the enormous disproportion between the author and his era, on the one hand, and between the author and his work, on the other. Even the pen of the most sophisticated critic working according to the principles of Taine’s determinism that have already been put to the test, will not be able to elucidate Don Quixote through Cervantes, a hero of Lepanto, nor Hamlet through a dozen problematic Lord Shakespeares. The mysterious gap which separates man from the greatness of thought that he himself has created will remain unexplained. Cervantes emerges in Spain in the fairest days of its Golden Age. Born in the empire of Charles V on which the sun never set, as a war invalid missing a hand, Cervantes experiences Spain’s full honor and grandeur along with Philip II, and dies seeing its decline. Alongside his contemporaries Lope de Vega and El Greco, and the somewhat younger Quevedo, Velázquez, Calderón and Murillo, he forms Spain’s iron honor guard. Spain is a strange country: having saved Europe from Islam in the battle against the Moors which lasted for eight centuries; having discovered and conquered America; having created the largest empire in the world, expelling the Jews and the Moors—restoring the unity of the true faith, enthroning popes and kings, and ruling the gold of the entire world—the hidalgo suddenly noticed that he was ragged and indigent and had to tramp. Heroically devoted to both the chivalrous and folk medieval tradition, full of the valorous spirit to fight for that abstract honor which is of no benefit to himself, having sacrificed himself to the struggle for king and faith, stunned by the boundless opportunities [End Page 172] supplied to him by space and time, the proud Spaniard didn’t have the...

<em>El corazón de Voltaire</em> and <em>El silencio de Galileo</em>

Luis Lopez Nieves’s novels and short stories are concerned with the demystification of History (with a capital “H”) and with the multiple versions of history. Lopez Nieves mixes “la historia trocada” and the new epistolary technique because they are the ways he has found to transcend genre, age and time. Using multiple voices and narrators, his hybrid novels concern the action of a male and a female protagonist, target young and old readers, mix past, present and future all in the same story. In so doing, Lopez Nieves has created an innovative writing style, a novel way of rethinking history and, above all, works of literature that transcend the local and become true examples of the global experience of human life. This article argues that Luis Lopez Nieves’s style, as it emerged in his last two novels, can be defined as a new epistolary cybernetic postmodern genre mediated by the e-mail structure concerning a neo-historical topic. To support this thesis, the article analyzes Lopez Nieves’s last two novels, El corazon de Voltaire (Voltaire’s Heart, 2005) and El silencio de Galileo (Galileo’s silence, 2009). In addition, it offers the results of an interview originally conducted with the author in Puerto Rico in 2011 and 2012 and integrated and updated through personal communications with the author in May 2016.

Música y liturgia en la Catedral de Huesca en la Edad Media by David Andrés Fernández

Reviewed by: Música y liturgia en la Catedral de Huesca en la Edad Media by David Andrés Fernández Jane morlet hardie Andrés Fernández, David, Música y liturgia en la Catedral de Huesca en la Edad Media (Cathedralis Oscensis, 1), Zaragoza, Comuniter, 2015; paperback; pp. 213 ; 59 colour plates; R.R.P. €20.00; ; ISBN 9788415126942. The processional book has been little studied in its medieval and early modern history, in spite of the fact that scholars have been studying processions for many years. Only recently have scholars begun to fill in this gap. The young Spanish scholar, David Andrés Fernández, is now recognised as the major authority on Spanish manuscript processionals. Here, he extends his earlier studies on Spanish processionals to two hitherto unstudied books from the Cathedral of Huesca, namely, Brussels, Bibliothèque Royale de Belgique, MS IV/473 (B-Br IV/473) (olim Zaragoza, Biblioteca Capitular, 30-119), and Barbastro (Huesca), Archivo Diocesano, caja 95 (E-BAR 95) (olim Zaragoza, Biblioteca Capitular, 30-115). The magisterial work of Michel Huglo on processional books that is well known to musicologists – (Les Manuscrits du Processionnal, 2 vols (Henle Verlag, 1999–2004)) – is extended here for Spanish processionals by Andrés Fernández. Trained as a palaeographer, musicologist, and historian, he is able to provide meanings and contexts for the two manuscripts that are the subject of this book. While seemingly a simple book containing liturgical chant of the music to be sung in a procession, the processional has an interdisciplinary reach. Scholars from a number of different disciplines have long studied processions and their books from the perspectives of their own areas of interest. Art historians are interested in the decorative aspects for both their intrinsic and their symbolic meanings. Liturgical scholars can gain insights into practices from a regional, local, or monastic point of view. Historians of drama and performance have studied the procession and its books, and processions have been used as markers of religious/sacred space. Spanish documents contemporary with medieval and early modern processionals talk about the use of singers, dancers, and instrumentalists in processions thereby expanding the concept of a book containing a single line of music to its place as just one strand in a religio-performative moment. This small book may be most properly described as a ‘handbook’, and as such joins a small number of other very useful books describing similar manuscripts of Spanish provenance. One should cite as examples studies of the manuscripts from the Biblioteca de la Real Colegiata de San Isidoro de León (Ana Suárez González, III Los Codices VI-X.2 (Universidad de León, Secretariado de Publicaciones, 2001)) and the Cathedral of Burgo de Osma (Anna Muntada Torrellas, Cantorales del Monasterio de San Jerónimo de Espeja, Catedral de El Burgo de Osma: estudio y catálogo (Cabildo S. I. Catedral de El Burgo de Osma, 2003)). [End Page 137] Even in this digital age, when so much manuscript material is accessible online, sources such as the ones discussed in this book are unlikely ever to be generally available. They come from churches, cathedrals, and archives in Spain that are very difficult to access. That said, they belong to a vibrant tradition of liturgical music in Spain, and can offer insights into provenance, musical and liturgical practices and contexts about which we still know very little. While one of these books is readily accessible to scholars (B-Br IV/473), the other (E-BAR 95) is not. Hence any information such as that provided here by Andrés Fernández is extremely valuable, and may provide clues to other manuscripts for which no information is available. Andrés Fernández divides his book into three parts, dealing respectively with codicological description of each manuscript, the liturgico-musical repertory of each manuscript, and what he calls ‘synthesis’. The first two of these sections are, by and large, technical, and the third is predominantly interpretative. In the first two chapters, Andrés Fernández provides a clear discussion of the norms that he uses for his ensuing chapters. Thus, the reader can be clear about the bases for...

Prácticas de lectura y escritura medieval en la compilación de las historias piadosas del Ms. Esc. h-I-13

MS h-I-13 of the Library of San Lorenzo de El Escorial, a mid-fourteenth to early fifteenth century codex, contains nine Castilian translations of medieval French tales that can be divided by genre in order of appearance: three saints’ lives, two martyrdoms and four romances. The codex is a coherently organized anthology of legends by the compilation of these stories according to textual patterns, motifs and character types that create a tightly woven web of correspondences. The present work shows evidence of the compilation, considering the connections, the echoes and the analogies among all of these works through the references to the medieval practices of reading and writing in the legends.

Perspective and the Eye of the Beholder in Luis de Góngora’s Minor Poems

Perspective and the Eye of the Beholder in Luis de Góngora’s Minor Poems Natalia Fernández He serves only as a watcher… The relevance of the way of looking An anonymous contemporary of Luis de Góngora acidly commented on his Soledad primera. To his mind, the poem revealed as incoherent, plotless, illogical: Sale un mancebito, la principal figura que Vm. introduce, y no le da nombre. Este fue al mar y vino de el mar, sin que sepáis cómo ni para qué; él no sirve sino de mirón, y no dice cosa buena ni mala, ni despega su boca… (Qtd. in Smith [87]) This perception of Góngora’s poetic style, which derived from the astonishment of the readers at a “monster that appears to transgress the constrictive paradigm of sixteenth-century poetics” (Smith 88), became perpetuated through centuries. And, even the most remarkable researchers—and supporters—on the Cordovan’s work have felt uneasy at the frequently alleged human emptiness which characterizes his poetry: “With Góngora, we can’t imagine the poet behind the poem; we can’t take his pulse, hear his voice” (Gaylord 236). This blurred subjectivity, which has been highlighted as an aesthetic Baroque survival in twentieth-century poetry (Martín Estudillo 11), can be pointed out as a direct effect of a new way of looking that came to substitute the [End Page 320] centralism and linearity of Cartesian perspective—because, as Erwin Panofsky clearly showed, perspective encloses a symbolic meaning: Si la perspectiva no es un momento artístico, constituye, sin embargo, un momento estilístico y, utilizando el feliz término acuñado por Ernst Cassirer, debe servir a la historia del arte como una de aquellas formas simbólicas mediante las cuales un particular contenido espiritual se une a un signo sensible concreto y se identifica íntimamente con él. Y es, en este sentido, esencialmente significativa para las diferentes épocas y campos artísticos, no solo en tanto tengan o no perspectiva, sino en cuanto al tipo de perspectiva que posean. (Panofsky 24) At this light, Martin Jay (1993) and Christine Buci-Glucksmann (1994) have set the bases for the understanding of the link between aesthetic expressions and scopic trends. And, even more recently, Kirsten Kramer (“Einleitung” 16) has insisted on the absolute interconnection between cultural practices and visual regimes: Visualisierungstechniken sind in dieser Perspektive stets auf eine umgebende Kulturelle Ordnung bezogen, wie auch umgekehrt jede Kulturelle Formation in ihrer Entstehung und Durchsetzung auf konkreten visuellen Repräsentationssystemen und Bildpraktiken beruht, die sie in soziale Ablaufprozesse integriert und im Hinblick auf die Erlangung spezifischer Handlungsziele funktionalisiert.1 The general context of crisis which emerges in seventeenth-century Spain explodes into an epistemical crisis which dramatically affects the approach to reality and to the Self and, consequently, plays a decisive role concerning mimesis as a means of representation.2 This is at the base of the emergence of a scopic regime—according to Martin Jay’s concept—which rules uncertainty and, as a result, theatricality: “If life is a dream, the world is truly a theatre, and theatre is that ‘intermediate world,’ the metaphor for an invisible visible and a visible invisible, for an inganni gli occhi, to use the italian expression” (Buci-Glucksmann 60). The vague limits between observed and observer, reality and appearance, memory and perception, along with the indeterminacy of the subject of enunciation, reveal themselves as the rhetorical and [End Page 321] aesthetic responses to a way of looking which unavoidably pervades artistic expression. Moreover, the visual act itself, with all its possible nuances, becomes a thematic motif in a number of artistic expressions, both pictorial and literary. It is the ultimate consequence of a cultural paradigm which privileges the view—deceitful as it could be—over any other sense. It is not thus a coincidence that, according to the passage which I mentioned above, the figure of the Soledades is precisely a mirón, a watcher, a silent observer whose eyes work as a reality filter. The major works by Luis de Góngora, the Fábula de Polifemo y Galatea and the Soledades, both published in 1613, are extreme and...

Eugerres castroaguirrei González-Acosta et Rodiles-Hernández, 2013 is a junior synonym of Eugerres mexicanus (Steindachner, 1863) (Actinopterygii: Perciformes: Gerreidae)

Background. The Lacandon mojarra, Eugerres castroaguirrei González-Acosta et Rodiles-Hernández, 2013, was described from the Grijalva–Usumacinta River basin (Mexico). According to the diagnosis E. castroaguirrei differs from the only other freshwater Gerreidae, the Mexican mojarra, Eugerres mexicanus (Steindachner, 1863) by the combination of certain morphological characters. However, a comparison of materials obtained in the Usumacinta River, besides of type materials and other preserved specimens, yielded contradictory results. Therefore, the objective of this paper was to clearly determine if E. mexicanus and E. castroaguirrei are subjective synonyms applying morphological and molecular analyses. Materials and methods. A total of 44 specimens were included in this study including the specimens collected specifically for this study, the type and non-type materials of Eugerres castroaguirrei from Colección de Peces de El Colegio de la Frontera Sur, Unidad San Cristóbal, Chiapas, México, and the types of Eugerres mexicanus, belonging to the Museum of Natural History, Wien, Austria. The morphological comparison also included data from the 42 specimens of E. castroaguirrei reported in the new species description. Biometric data were analysed as body proportions. We used Friedman’s test to compare our biological materials with those used in the new species description. Molecular genetics comparisons on both putative freshwater gerreid species were made based on three mitochondrial gene fragments: 12SrRNA, 16SrRNA, and Cytochrome Oxidase subunit I (COI), and the nuclear gene: Recombination-Activating protein 1 (RAG1). Results. Neither the non-parametric Friedman’s test nor the Nemenyi’s procedure showed differences among individuals for both putative species in multiple pair-wise comparisons of body proportions. Moreover, the genetic divergence from all genes indicated that all individuals exhibited almost identical sequences, with inter-specific pair-wise genetic distances that ranged from 0.00% to 0.100% in all of the fragments. Conclusion. Our morphological and molecular genetics analyses demonstrated that E. mexicanus and E. castroaguirrei are subjective synonyms, therefore, Eugerres mexicanus (Steindachner, 1863) must be considered a valid species name, and Eugerres castroaguirrei González-Acosta et Rodiles-Hernández, 2013 a junior synonym.

Incidencia de sistemas agroforestales con Hevea brasiliensis (Willd. ex A.Juss.) Müll.Arg. sobre propiedades físicas de suelos de lomerío en el departamento de Caquetá, Colombia

En los municipios Belén de los Andaquies, Florencia y El Doncello (departamento de Caquetá, Colombia), se colectaron muestras de suelo en lomerío bajo cinco tipos de cobertura (Bosque secundario, Arreglo Agroforestal <em>H. brasiliensis</em> Muell asociado con frutales y/o frutales, Arreglo Agroforestal con H. brasiliensis Muell y rastrojo, H. brasiliensis Muell en monocultivo y Pastura nativa), con el fin de determinar la incidencia que tienen los sistemas agroforestales con Hevea brasiliensis sobre las propiedades físicas de los suelos. Se encontró que el comportamiento de las variables profundidad del horizonte A, compactación, densidad real y humedad gravimétrica es similar en suelos bajo monocultivo de H. brasiliensis y bajo pastura nativa. El efecto positivo de la especie H. brasiliensis en sistemas agroforestales con frutales y con rastrojos se evidenció en las variables profundidad del horizonte A, densidad aparente, compactación y porosidad total, las cuales se comportaron en forma similar a las de suelos bajo bosque secundario. En general se observa la incidencia de los arreglos agroforestales sobre la modificación de variables físicas del suelo en el piedemonte amazónico.

Seed Germination and Seedling Growth of Five Plant Species for Assessing Potential Strategies to Stabilizing or Recovering Metals from Mine Tailings

This study evaluated the seed germination and dry mass accumulation of five plant species (Brassica napus L., Brassica rapa L., Celosia cristata L., Tagetes erecta L., and Calendula officinalis L.) grown in five mine tailings collected from Zacatecas, Mexico. Sampled mines were El Bote, Noria de San Pantaleon, Noria de Angeles, Vetagrande, and El Bordo-El Lampotal, in which Pb (3.9–69.7 mg kg−1), As (0.7–26.2 mg kg−1), Hg (0.05–0.10 mg kg−1), and Au (0.01–0.02 mg kg−1) were detected. The most abundant elements at each mine site were as follows: Pb and Au (3.9 and 0.023 mg kg−1, respectively) for El Bote; As, Pb, and Hg (7.4, 6.1, and 0.10 mg kg−1, respectively) for the Noria de San Pantaleon; Pb, As, and Hg (69.7, 26.2, and 0.08 mg kg−1, respectively) for Noria de Angeles; Pb (20.8 mg kg−1) for Vetagrande; and Pb (5.3 mg kg−1) for El Bordo-El Lampotal. Both Noria de Angeles and Vetagrande mine tailings had high values of sodium, sulfates, and electrical conductivity, chemical properties that impaired seed germination and dry mass accumulation. Regardless the mining tailings, B. napus showed high seed germination (66 %), tolerance, growth, and total dry mass accumulation (0.041 g). Either B. napus or C. cristata has good potential for stabilizing or recovering metals from mine tailings.

A new epigean species of the genus Anelpistina (Insecta: Zygentoma: Nicoletiidae) from Sierra de El Abra, Taninul, Mexico

Anelpistina taninuli sp. nov. (Insecta: Zygentoma: Nicoletiidae), a species from Taninul, Sierra de El Abra, San Luis Potosi, Mexico, is described. We also report the 16S rRNA sequence of this new species.

Mecanismos del secreto en «El secretario confuso» de Jacinto Cordeiro

This article studies the mechanism of secrets and secrecy in El secretario confuso (1634), comedy by Jacinto Cordeiro; he is a playwright that belongs to the group of lusitan authors that write in Spanish during the Dual Monarchy period (1580-1640). This work, that can be included in the secretario subtype of comedia palatina genre —based on the infatuation between a noble lady and her secretary— shows thematic and structural coincidences with the main comedies of this moda­lity — El perro del hortelano by Lope de Vega and El vergonzoso en palacio by Tirso de Molina—, but providing new variations to this corpus focussed on the communicational dynamics of remaining silent, concealing and declaring love between the different characters.

Multiple geophysical methods used to examine neotectonic structures in the western foothills of the Sierra de El Maitén (Argentina), North Patagonian Andes

ABSTRACTA high‐resolution geophysical study was carried out in a region of the retroarc of the Patagonian Andes located on the western slope of the Sierra de El Maitén. This structure is characterized by an imbricated west‐vergent fault system developed in the orogenic front area of the North Patagonian Andes that has uplifted. Oligocene volcanic rocks (Ventana Formation) affect Miocene to Quaternary sediments. Even though neotectonic fault scarps are affecting Quaternary deposits in the foothills of this range, no direct observation of slip in Quaternary strata was determined. The main objective of this study is to determine geometry of recognized neotectonic structures, characterizing them by variations in magnetic susceptibility, density, and p‐wave velocities. The combined application of different geophysical methods has allowed the characterization of the bedrock geometry and the determination of neotectonic displacements along faults. The potential field model and its integration with a seismic profile show the accurate geometry of this tectonic zone, which is crucial for seismogenic hazard analysis, in the area of northern Patagonia, a highly significant economic zone due to tourism with several towns (El Maitén, Esquel, and San Carlos de Bariloche) dispersed throughout the area of young tectonic activity.

Texto Completo del No.10 - Revista de El Colegio de San Luis Nueva Época

Revista de El Colegio de San Luis en su totalidad, incluyendo artículos, notas y reseñas del No. 10.

Diachronic analysis of cultural dental wear at the Atapuerca sites (Spain)

Abstract Cultural dental wear provides useful information about the use of anterior teeth for non-masticatory purposes. Non-alimentary tasks are usually related to economic and cultural activities. The presence of cultural dental wear has been checked in four different Homo species from the Sierra de Atapuerca sites (Sima del Elefante, Gran Dolina-TD6, Sima de los Huesos and El Mirador cave). The chronology of these sites ranges from more than one million to 4000 years ago. Evidence of dental wear has been documented in the four Homo species analysed, confirming that hominins began using their teeth as tools as far back as one million years ago. Each species exhibits specific typologies and frequencies of dental wear features. Also, dental features are located on different dental surfaces and tooth types, indicating a diversity of activities carried out using the anterior teeth as a tool. The use of the teeth as a tool was a widespread habit in the genus Homo . However, the diversity of dental wear patterns can be related to cultural and economic activities, broadening our knowledge of the behaviour of ancient hominins.

Los modelos tridimensionales de Gaspar Becerra y la uniformidad del Romanismo en España

Los testimonios sobre el proceso de creación escultórica son escasos en la España del Renacimiento. Gaspar Becerra (1520–68), formado en Italia, se convirtió junto a Alonso Berruguete en paradigma del escultor. Sin embargo su papel fue el de un gran director de equipo, especialmente a la hora de tallar la madera. Siguiendo el método italiano no sólo facilitaba dibujos sino también pequeños modelos que eran realizados por sus discípulos. El uso de esos modelos y su reiteración contribuyeron a la uniformidad, y también al agotamiento, del movimiento artístico que en España se ha denominado Romanismo.

Langston Hughes and Performing Transnational Presence: Scottsboro Limited and Harvest

Theatre revealed shifts between movements black modernism of 1920s and 1930s. As Langston Hughes recalls his autobiography Big Sea (1940) the 1920's were years of Manhattan's black Renaissance.... [T]he musical revue, Shuffle Along ... gave a scintillating send-off to vogue Manhattan, which reached its peak just before crash of 1929, crash sent ... all rolling down hill toward Works Progress Administration. (1) Hughes wrote Scottsboro Limited (1931) just before visiting Soviet Union. Hughes co-authored Harvest with Ella Winter and Ann Hawkins shortly after returning to United States but left play unfinished 1934. Both scripts provoke politically while experimenting theatrical forms to aestheticize narratives of recent upheaval United States. Following Hughes's markers for what he calls that vogue, Scottsboro Limited and Harvest fall chronologically between Shuffle Along (1921) and plays of WPA's Federal Theatre Project (1935-39). These plays remain powerful indicators of a transitional cultural moment which Soviet drama was also vogue. Attending to these plays reasserts theatre as a ubiquitous and influential medium 1930s cultures of United States. Analysis of these plays participates debates on status of transnational modernism at large, while clarifying a crucial element of Hughes's exchange with Soviet culture missing from recent literary studies. Internationally renowned as a poet, Langston Hughes has received renewed critical attention recent years with valuable research on transnational characteristics of his life, poetry, autobiography, and short stories. (2) Theatre, however, has received relatively little attention this critical revival, despite its centrality to Hughes's broad cultural consumption and to his literary work (as is evident from assessments of his biographers and from his correspondence with Carl Van Vechten). This essay reads Hughes's plays Scottsboro Limited and Harvest as theatrical representations of prisoners and workers specific to US contexts mirror Soviet-dominated internationalist film, journalistic theatre, and pageants. Hughes's 1930s participation a transnational aesthetic community of theatrical innovation devoted to developing proletarian theatre remains under-researched. His plays from period embody collaboration and emotional commitment across national lines. Hughes's travel supported circulation and translation of his works journals such as Soviet International Literature (with publications multiple languages) and many Spanish-language journals such as Contemporaneos, Sur, Revista de La Habana, El Diario de la Marina, Cristol, and El Mono Azul. (3) I argue Hughes's work revises Soviet cinematic and theatrical conventions, and these aesthetic choices affirm internationalism. Hughes modifies Soviet forms an act of international exchange, echoing Soviet calls for revolution, while challenging Comintern's Black Belt Nation Thesis and its implications for his poetics. (4) Hughes ends article Moscow: In a Land Where There Is No Jim Crow for International Literature with an English translation of Russian poem KINSHIR (5) For Hughes, Julian Anisimov's poem claims kinship in art between The Russian and Negro through the blood of Pushkin with a vision of unity between cultural nationalities in International. (6) Hughes's work and travel enacted an internationalism dialogue with Anisimov's vision, but Hughes resisted Moscow's authority within ideology of Soviet Internationalism as worldwide communist revolution. Still, Hughes celebrates impression Moscow there are no color bars, and very nature of Soviet system can never admit any sort of discriminatory racial separation, or setting apart from general worker's life of Negroes or any other minority group. …

Bailes, tonadas & cachuas: La música del códice Trujillo del Perú en el siglo XVIII [The Music of the 18th Century Codex Trujillo del Peru] by Adrián Rodríguez van der Spoel (review)

Bailes, tonadas & cachuas: musica del codice Trujillo del Peru en el siglo XVIII [The Music of the 18th Century Codex Trujillo del Peru]. By Adrian Rodriguez van der Spoel. Translated and edited by Sarah Griffin-Masson and Servicio. The Hague: Deuss Music, 2013. [238 p. ISBN 9789080944589. 45. [euro]] Music examples, transcriptions, illustrations, facsimiles, bibliography. In terms of visual appeal, no source from late-colonial Latin America rivals the Codice Trujillo del Peru, a nine-volume encyclopedic work compiled between 1782 and 1785. Conserved at the Real Biblioteca del Palacio Real in Madrid and in partial copies at libraries in Colombia and Peru, this lavish work depicts the natural world as well as the fabric of colonial society through nearly 1,400 anonymous watercolor images, with little corresponding text. Known also as the Codice Martinez Companon, it was commissioned by Baltasar Jaime Martinez (1737-1797), a highly-educated religious authority of peninsular Spanish origin, who remitted it to King Charles IV of Spain following fieldwork undertaken while serving as Bishop of Trujillo. An exemplar of the Enlightenment prelate, Martinez advocated for the affairs of indigenous peoples, promoted education throughout his diocese, and supported other relatively progressive projects within the framework of the late-colonial Bourbon reforms. Whereas volumes 3 through 8 of the codex document the plant life, animals, birds, and fish of Peru, volumes 1, 2, and 9 concentrate on the viceroyalty's cultures. The images encompass professionally-drawn maps, portraits of colonial officials, scenes of everyday life at all social levels, and archeological ruins. Amazingly, twenty pieces of dance music also appear in the codex between folios 176 and 194 of the second volume, within a section that contains illustrations of dancers and performing musicians in various settings. Neatly written in score format, seventeen of the pieces are songs or sung dances and three of them are instrumental. Most of the scores contain music for violin, a bass instrument, and up to four voices, which are essentially tunes with simple accompaniments in standard tonal harmony. One of the pieces (number 6, Tonada de el Chimo) contains unpitched notation for percussion, and one other (number 5, Baile de danzantes con pifano y tamboril) seems to give notation for percussion, although the line is labeled Bass. Comprising three genres, bailes (dances), tonadas (Spanish lyric song of the late eighteenth century), and cachuas or qhachwas (historical duple-meter round dances of Peru), the pieces often feature syncopated rhythms, some of which are local in origin (Diana Fernandez Calvo, La musica en el codice del obispo Baltasar Jaime Martinez Companon in El obispo Martinez Companon: Vida y obra de un Navarro ilustrado en America, ed. Ignacio Arellano and Carlos Mata Indurain [Pamplona: Gobierno de Navarra, 2012], 312). Since the musical notation is descriptive rather than prescriptive, and succinct in form, a certain amount of improvisation would be expected if performing from the scores, including embellishing the melodic lines, adding or changing instruments, and repeating musical sections. Writing during the 1950s about the musical content of the codex, Robert Stevenson noted that the pieces had received little serious attention from musicians and music scholars on account of their popular or folkloric nature, and thus concluded that what is therefore needed is a publication that will include all twenty items ... that will follow the order of the manuscript, and that will faithfully adhere to both the original notes and texts (Robert Stevenson, The Music of Peru: Aboriginal and Viceroyal Epochs [Washington, DC: Pan American Union, 1959], 159). This precisely describes Adrian Rodriguez van der Spoel's accomplishment in Bailes, Tonadas & Cachuas: The Music of the 18th Century Codex Trujillo del Peru [sic], a bilingual book and music edition that complements a similarly-titled recording sold separately (Bailes, Tonadas & Cachuas, Musica Temprana, dir. …

Los ojos de Amanda Berenguer y de Marosa di Giorgio para una exégesis de “El Jardín de las delicias” de El Bosco

If in Hieronymus Bosch’s (1453-­‐‑1516) hybrids and metamorphosis Marosa di Giorgio (1932-­‐‑2004) absorbs the most symbolic and disturbing aspects of his “maravilloso negro”, in the same flamish painter Amanda Berenguer (1921-­‐‑2010) finds the inspiration for a subversive discourse. Writings and images enlighten and strengthen each other while the two extraordinary texts of uruguayan literature (Papeles salvajes and Los culos de El Bosco) intertwine and converse with triptych of The Garden of Earthly Delights, thus participating in its own complex exegesis.

Texto Completo del No. 9 en versión e-pub - Revista de El Colegio de San Luis Nueva Época

Revista de El Colegio de San Luis en su totalidad, incluyendo artículos, notas y reseñas del No. 9

Behavioral and ecological observations on some central coastal CaliforniaTachysphexKohl, 1883 (Hymenoptera: Crabronidae)

Abstract. The behavioral and ecological activities of Tachysphex tarsatus (Say, 1823), T. miwok Pulawski, 1988, T. musciventris Pulawski, 1982, and T. clarconis Viereck, 1906 were studied in spring 2010–2014 at Montana de Oro State Park and El Moro Elfin Forest, San Luis Obispo County, California. Adult wasps were active from late February (T. miwok)-March (T. miwok, T. clarconis, T. tarsatus) to April-early May (T. miwok)-late June (T. clarconis, T. tarsatus) in association with ample seasonal rainfall, moist malleable sand, reduced coastal fog, increased sunshine, flush of low growth flowering plants, and abundance of nymphal prey Caelifera (Orthoptera). The absence of these species in summer 2009–2014 was probably related to extremely limited rainfall, dry loose sand, frequent coastal fog, senescence of flowering plants, and substantially reduced number of nymphal prey Caelifera. Tachyphex amplus was active from July to September 2011–2012 under droughty summer climatic conditions. The five species hav...