De Obras Research Articles

Mnemofictions: Rewriting the Past in Ghost Light by Joseph O’Connor

Abstract. John Millington Synge's contributions to the development of modern Irish drama and to the Gaelic Revival (and, thereby, to Irish memory culture at large) are undeniable. Little is known, however, of his relationship with Miss Molly Allgood, who was an actress at the Abbey Theatre and his fiancee. In this essay I read Joseph O'Connor's 2010 novel, Ghost Light, as a specimen of posthumous ventriloquism--a work of fiction which seeks to give voice to an elderly, forgotten woman who, in 1952 and thenceforth, after her death, was shamefully deprived of her right to keep Synge company in the collective memory of her nation. O'Connor creates prosthetic memories (which I call mnemofictions) for Molly Allgood so that she may eventually claim her due place in Irish memory culture. Consequently, O'Connor's work of fiction effectively redeems a past whose records were originally censored and tampered with. Key Words. Historical Fiction, History, John Millington Synge, Molly Allgood, Memory Culture, Narrative Resumen. Es bien conocida la notable contribucion de John Millington Synge al desarrollo del teatro moderno en Irlanda, asi como su papel fundamental en el Renacimiento Celtico (y por tanto, en la memoria cultural irlandesa en general). Poco se sabe, sin embargo, de su relacion con Molly Allgood, su prometida, que era actriz en el Abbey Theatre. En este articulo se interpreta la novela de Joseph O'Connor (2010) Ghost Light como un caso de ventriloquia postuma, es decir, como una obra de ficcion que pretende dar voz a una anciana olvidada a quien, en 1952, y posteriormente despues de su muerte, se le privo del derecho de estar al lado de Synge en la memoria colectiva de su pais. En su novela, O'Connor crea recuerdos prosteticos (que llamare mnemoficciones) para Molly Allgood, de forma que asi pueda ocupar el lugar que le corresponde en la memoria cultural irlandesa. Desde este punto de vista, la ficcion de O'Connor recupera un pasado cuyos recuerdos fueron en su dia censurados y manipulados. Palabras clave. Ficcion historica, historia, John Millington Synge, Molly Allgood, cultura de la memoria, narrativa When he was still alive, John Millington Synge may have defied his family and acted against their wishes by consorting with a certain young actress, but Miss Molly Allgood (the actress in question) was not meant to be remembered as the great Irish playwright's official fiancee in the annals of literary history. Following Synge's premature death in 1909 his family made her return all his love letters, and, even though they had been formally engaged, Miss Allgood was not permitted to attend Synge's funeral. The poor Catholic girl, who solicit remuneration by exhibiting herself publicly (O'Connor 2011: 57) at the Abbey Theatre, lost the only tangible reminder of the writer's genuine affection. History would remember her as Synge's mistress at best, a girl who provided a brief diversion in his suffering, rather than as his muse and the love of his life. Fortunately, Synge's letters to Molly had been preserved and were eventually published in the 1980s. At least one side of the story was disclosed. Still, in the absence of Molly's testimony, history is powerless to tell us the whole truth about their relationship. We are left with fiction and the truth(s) it has to offer. Molly Allgood, also known as Maire O'Neill, did not leave behind any record of her relationship with John Millington Synge. This is why, by focusing almost exclusively on her memories, dreams, imaginings, reveries and reflections, Ghost Light, the 2010 novel by Joseph O'Connor, leaves us with no choice but to identify it as fiction. And yet it is also a historical novel in the sense that O'Connor brings back to life actual historical figures, well known Irish artists and the entire cultural milieu of early 20th-century Dublin. At the same time, Ghost Light explores what history programmatically ignores: the personal, the emotional, the hypothetical, the imaginable. …

500 years of Gabriel Alonso de Herrera’s Obra de Agricultura

The 8th of June 2013 was the 500th anniversary of Gabriel Alonso de Herrera’s Obra de Agricultura (printed by Arnao Guillen de Brocar in Alcala de Henares, Spain) (figure 1).1 Such an important ann...

Longitudinal distribution of extreme pressures in a hydraulic jump downstream of a stepped spillway

ABSTRACT The overflow system of a dam safely controls the water level of a reservoir. The design of these structures should predict the damage caused by the action of the turbulent flow to which they are subject to. The combination formed by a stepped spillway followed by a stilling basin promotes a considerable portion of the energy dissipation in the actual chute of the stepped spillway but it is not sufficient to completely avoid the risk of damaging the basin. In this paper, we analyze the longitudinal distribution of extreme pressures in a stilling basin downstream of a stepped spillway. The study was based on the instant pressure data from the tests carried out in a physical model in the Laboratório de Obras Hidráulicas in IPH/UFRGS. Thus, it was found that the pressure behavior is similar to that observed in studies involving smooth chute spillways, except in the area surrounding the base of the stepped spillway, where high pressure fluctuations may occur. This happens as a result of the impact caused by the flow in the dissipation structure, which is not observed downstream of smooth chute spillways due to the existence of a vertical concordance curve between the spillway and the stilling basin.

Carajicomedia: Parody and Satire in Early Modern Spain by Frank A. Domínguez

Reviewed by: Carajicomedia: Parody and Satire in Early Modern Spain by Frank A. Domínguez E. Michael Gerli Frank A. Domínguez, Carajicomedia: Parody and Satire in Early Modern Spain. With an edition and translation of the text. Támesis, 2015. 585 pp. The anonymous Carajicomedia, first published in the Cancionero de obras provocantes a risa (1519), is one of Castilian literature's lewdest and most salacious works of poetry. Its aggressive obscenity is only matched by the uncompromising force of its 117 stanzas of dodecasyllabic lines of arte mayor that deliberately parody the solemnity of Juan de Mena's Laberinto de Fortuna (1444) as it was glossed in Hernán Núñez de Guzmán's annotated edition of Mena's work known as Las Trezientas (1499, 1505). The result is a sustained contracfactum of the latter, which had sought to recuperate Mena's Laberinto as a prophetic work of the Spanish empire at the height of the reign of the Catholic Kings. It is doubtless because of its uninhibited obscenity that scholarly interest in the Carajicomedia and the equally bawdy Pleyto del manto (Cancionero general, [End Page 529] Valencia, 1514; republished in the Cancionero de obras provocantes a risa) has with rare exceptions been limited, usually receiving mention only in footnotes as an inconvenient philological curiosity. Despite its scandalous content and bawdy interest, the Carajicomedia is a complex work of sustained satirical genius which comprises some of the best literary parody and social satire of early peninsular letters, just as it is anchored in a distinct historical moment. Divided into two poems attributed to a pair of mock religious authors, Fray Bugeo de Montesino (a malicious caricature of the historical Fray Ambrosio de Montesino) to whom stanzas 1–92 are attributed, and Fray Juan de Hempudia, supposed creator of Stanzas 93–117 (Hempudia is a transparent sendup of the famed preacher from Valladolid, Fray Juan de Ampudia, whose name in the text doubtless puns in low register on the word impudica), the Carajicomedia riffs mercilessly off of Mena's Laberinto and its glosses as ostentatiously annotated by Núñez. As it does so, it improvises the woes and recent events in the life of the hoary Fajardo, an aged aristocrat whose sexual impotency plagues him in old age. Fajardo is likely a not-too-concealed evocation of one of several Diegos of the Fajardo clan, known to have been closely linked to the patents on prostitution in Málaga and Granada ceded to an ancestor, Alonso Fajardo, "el Africano," late in the fifteenth century by Fernando and Isabel. After an invocation that strictly echoes Mena's summons of King Juan II ("Al muy impotente : carajo profundo / de Diego Fajardo: de todos ahuelo"), the character Fajardo in the Carajicomedia is visited by the Goddess Luxuria, who materializes in the form of La Zamorana, a famous old whore. He appeals to her for a tonic to resuscitate his lost virility and, his wish granted, he is whisked off to Valladolid, where María de Vellasco, another old prostitute, seeks to help him recuperate his potency with some heavy massaging. Grasping Fajardo by his penis, María leads him to Valladolid's municipal brothel, where Fajardo experiences a vision of thirty-five realm-renowned hookers who belong to the Orders of Venus and the Moon lustfully practicing their trade. Although they embody but a small segment of the two thousand harlots Fajardo has "known" in his lifetime, the explicit, unvarnished portrayal of their activities is meant to revitalize Fajardo's carnal powers, just as their pseudonyms enticingly raise transparent connections to historical personages elicited in each stanza's accompanying commentary redacted in prose. By means of the humorous glosses that complement the verse, in conjunction with contemporary accounts like Lorenzo Galíndez de Carvajal's Memorial o registro breve, we can deduce that Fajardo is likely a stand-in for the agèd Fernando de Aragón, and that María de Vellasco is the thinly veiled literary avatar of María de Velasco, the principal lady in waiting to Germaine de Foix (Fernando's second wife), who in 1513 was involved in administering a potion to restore the old monarch...

Beyond Bolaño: The Global Latin American Novel by Héctor Hoyos

Reviewed by: Beyond Bolaño: The Global Latin American Novel by Héctor Hoyos Juliet Lynd Héctor Hoyos. Beyond Bolaño: The Global Latin American Novel. New York: Columbia UP, 2015. ix + 283 pp. Héctor Hoyos's Beyond Bolaño: The Global Latin American Novel brings Latin American novels (in addition to those written by literary superstar Roberto Bolaño) to the forum of world literature and makes a case for Latin Americanism to seriously engage the world literature paradigm. The result is a multifaceted approach to a set of literary texts that allow for critical discussion of globalization, understood here as the manifestation of late capitalism in different locales since 1989—that is, since the collapse of the Soviet Union and the end of the Cold War. Hoyos's effort to put Bolaño in dialogue with his contemporaries is a valuable contribution to scholarship on world literature and Latin Americanism alike. As the title suggests, Bolaño has become a household name (at least in literary circles), which Hoyos attributes to the Chilean author's ability to theorize the present in novel form. One of Hoyos's principal concerns is the singularity of Bolaño's success, which belies the existence of other Latin American authors who similarly offer insights into the cross-cultural flow of people, ideas, and goods in a world no longer defined by center-periphery models. Rightly criticizing the tendency to take one writer as representative of a region, Hoyos brings a number of talented writers into the conversation: Jorge Volpi, Ignacio Padilla, Chico Buarque, Diamela Eltit, Alberto Fuguet, César Aira, Fernando Vallejo, Homero Aridjis, and Mario Bellatin. He offers sustained close readings of these authors' "global novels"—that is, [End Page 588] "novel[s] that can have a world literary standing" (6)—as texts that reflect and refract distinctly global experiences of the post-1989 world in Chile, Mexico, Colombia, Brazil, and Argentina. The literary corpus Hoyos creates is not culturally derivative; these are novels that determine what the global novel is and can be. Drawing on cultural studies, critical theory, and rhetorical and ideological critique, he scrutinizes each text with and against the grain, each chapter interrogating novelistic representations of a particular discourse or symptom of the post-1989 world. "Nazi Tales from the Americas" examines Latin American takes on the legacy of World War II, including Bolaño's Nazi Literature in America, Volpi's In Search of Klingsor, and Padilla's Shadow Without a Name. Given Latin America's distance from this history, Hoyos sees evidence of how Nazism has become part of a global cultural imaginary and—particularly in the case of Bolaño, who interrogates the Nazi theme more thoroughly than his peers—a broader interrogation of the roots of fascism, which has in fact plagued Latin America. Hoyos reads these forays into the topic (and also Volpi's polemical, if obvious, declaration that literature from Mexico need not be about Mexico) as points of entry into important conversations about divorcing Latin American literature from national frameworks. In "The Cosmopolitics of South-South Escapism," Hoyos quickly departs from the globetrotting theme of Bolaño's work to explore Buarque's Budapeste. Hoyos is certainly critical of the novel's shortcomings: the uninterrogated machismo and individualism of its characters, as well as its apolitical inattention to history, politics, and even language in its unique choice of locales, Brazil and Hungary in the 1990s. Nevertheless, Hoyos not only signals the disappearance of a metropolitan world center in this tale of travel from the former Third World to the former Second but also exploits the critical potential of reading against the grain to show how discourses of globality shape novels and readers and vice versa. "All the World's a Supermarket (And All the Men and Women Merely Shoppers)" utilizes this globally recognizable scenario as a site to interrogate the state of "market-driven transnationalism" (28). Beginning with a reading of Eltit's Mano de obra in relation to the Chilean labor history the novel explicitly evokes, Hoyos examines Eltit's critique of the current lack of solidarity among an exploited labor force. He goes on to read...

Carajicomedia. Parody and Satire in Early Modern Spain, with an Edition and Translation of the Text by Domínguez, Frank A

Reviewed by: Carajicomedia. Parody and Satire in Early Modern Spain, with an Edition and Translation of the Text by Domínguez, Frank A Eric Woodfin Naylor Domínguez, Frank A. Carajicomedia. Parody and Satire in Early Modern Spain, with an Edition and Translation of the Text. Woodbridge, Suffolk: Tamesis, 2015. xxiii + 585 pp. ISBN: 978-1-85566-289-6 This admirable and complete study of the Carajicomedia is a magnum opus and represents years of study and work on the part of Frank Domínguez. It consists of a long introduction, a paleographic-style edition of the text with very extensive notes, followed by an appendix with a Modern Spanish version facing an English translation. The unique copy of Carajicomedia appears in the Cancionero de obras de burlas provocantes a risa (Valencia, 1519) and contains the text of the poem along with extensive glosses which burlesque those of Hernán Nuñez's (aka El Comendador Griego) learned 1499 edition of Juan de Mena's El laberinto de Fortuna (1444). It is one of the few "dirty" poems that survives from pre-counter-reformation Europe since the papal Index (1559) forbad the creation and preservation of all works of this sort. Carajicomedia is a satirical poem of 117 stanzas in arte mayor, which parallels and parodies Juan de Mena's El laberinto and is divided into two parts. In the first Luxuria (Lust) appears to the impotent Diego Fajardo who is then introduced to an old whore, María de Vellasco (La Buiza) who will be his guide to Spanish whores who might restore his potency. His docent shows him prominent public prostitutes in various Spanish cities with comments on the virtues and professional skills of each. The second part or "continuation" of the poem portrays an assault on a whorehouse by pricks and defended by cunts. Based in El laberinto's famous account of the drowning of the second count of Niebla during an assault on Gibraltar, this part ends with the drowning of the pricks "by (i.e. 'in') the cunts". Domínguez is convinced, and proposes to show here, that the poem is a cutting political satire of certain magnates and of the Franciscans, reflecting the predominant political preoccupations of many in Castile after the death of Isabel [End Page 305] I. "Behind their names, I contend, we glimpse shadows that represent some of the most prominent people in the realm, among them are King Fernando of Aragón and Cardinal/Regent Francisco Jiménez de Cisneros". In Domínguez' opinion the work reflects the views of "the high nobles and their clerical/letrado allies who were in opposition to the king and his regent and were the most capable of producing and decoding its jest" (p. 209). This group commonly composed cantigas d'escarnho e maldizer, scurrilous burlesque poetry. Domínguez suggests that the 1519 poem and its proposed satirical message reflect the attitudes of many of the upper class shortly before the Comuneros rising of 1520 (p. 225) and was probably composed by men from the cultured aristocratic class who were in the employ of the great nobles, a group that would admire the Laberinto, a type of poetry which was out of style with Italianate writers and others devoted to high literature. The clergy, and particularly the Franciscans, are satirized in many ways such as in the names of the two putative authors. Fray Bugeo Montesino, parodies the name of Fray Ambrosio Montesino, an author and favorite confessor of Isabel I and resident in the newly built Franciscan convent of San Juan de los Reyes in Toledo. Bugeo is a cutting name and refers to the macaque ape. Fray Juan de Hempudia, is the name of a real friar (1450?-1531/34?) at Valladolid, friend of the Enríquez family and author of treatises written in Castilian to explain the Latin liturgy to aristocratic lay folk. The two mock Franciscan authors brush very closely to Cardinal Cisneros, one of the magnates Domínguez believes is being criticized and in that turbulent epoch being very clear about who is being satirized was extremely dangerous to one's health; since the authorities did not take lese...

Comedias varias. Volumen 3.1: Morir y disimular, Gravedad en Villaverde, La más constante mujer by Juan Pérez de Montalbán

Reviewed by: Comedias varias. Volumen 3.1: Morir y disimular, Gravedad en Villaverde, La más constante mujer by Juan Pérez de Montalbán Sidney Donnell Juan Pérez de Montalbán. Comedias varias. Volumen 3.1: Morir y disimular, Gravedad en Villaverde, La más constante mujer. Edición de Claudia Demattè, David Arbesú y Philip Allen. Edition Reichenberger, 2016. 356 Pp. CLAUDIA DEMATTÈ DIRECTS THE SERIES Obras de Juan Pérez de Montalbán, which consists of critical editions of works by this celebrated author from the early seventeenth century. The present volume, Comedias varias, 3.1, is the first in the series to include three plays that never appeared in the official collected works that Montalbán and his father, Madrid bookseller Alonso Pérez, authorized for publication in 1635 and 1638. Morir y disimular, Gravedad en Villaverde, and La más constante mujer are edited and introduced, respectively, by Demattè, David Arbesú, and Philip Allen. Arbesú provides the volume’s general introduction, briefly situating this installment in relation to the remainder of the series and, immediately thereafter, placing each of the three plays in relation to Montalbán’s oeuvre in general. As Arbesú explains, Morir y disimular (circa 1618) is possibly the very first three-act play the young dramatist ever wrote, Gravedad en Villaverde (circa 1624–25) is an adaptation of his exemplary novel La villana de Pinto (1624), and La más constante mujer (1632) is one of Montalbán’s most successful plays in terms of public and critical acclaim. Demattè’s, Arbesú’s, and Allen’s respective prologues provide concise explanations as to the provenance of Morir y disimular, Gravedad en Villaverde, and La más constante mujer and include detailed plot summaries, stemmata indicating the text’s transmission, and summaries of the metrical composition of the play texts. Works are presented in chronological order, and spelling is modernized following the standard practice among editors in the field. The volume’s editors discreetly limit their use of footnotes to clarifying usage (idioms and parlance unique to the early modern period), to explaining historical and literary references, and to elucidating published variants of [End Page 189] verse. The volume concludes with an index of footnote references (in lieu of a glossary) and a complete bibliography. The main body of the volume opens with Demattè’s introduction to her critical edition of Montalbán’s earliest play, Morir y disimular. The scholar offers a short yet well-documented discussion of the date of composition of the work, the general literary milieu in which the young poet grew and thrived, and the emblematic writing style that appears in this and his other plays. In this last respect, Demattè convincingly supports Montalbán’s authorship of this comedia heroica due to his frequent and keen use of metatextual references, irony, and other rhetorical devices characteristic of his corpus. In this regard, the critic correctly notes that Morir y disimular echoes plays by Montalbán’s chief mentor, Lope de Vega. In her philological study, Demattè rightly takes a moment to pay homage to the Modern Language Association’s efforts in 1938 to microfilm a large number of works (including a rare suelta edition of Morir y disimular) that were housed in the Staatsbibliothek in Berlin and subsequently lost during the Second World War. Arbesú introduces the volume’s second full-length dramatic work, Gravedad en Villaverde. He summarizes scholarly debate as to the play’s authorship and settles on Victor Dixon’s definitive argument connecting the play text to its primary source, Montalbán’s exemplary novel La villana de Pinto. In addition to including a full plot summary of Gravedad en Villaverde, Arbesú compares Montalbán’s dramatic adaptation in verse with its earlier rendering in prose. The heroine of this tale of mistaken identity, which concludes with her romantic union with a nobleman, has a much more explicit origin story in Montalbán’s exemplary novel than in his play. A farmer (the young woman’s adoptive father) encounters a noblewoman (the heroine’s biological mother) who is about to kill her illegitimate baby (the future heroine). The farmer intervenes and adopts...

Aportación a la historia del léxico del s. XVIII: análisis de las Obras de Mengs de D. José Nicolás de Azara

A partir del estudio de las Obras de D. Antonio Rafael Mengs, primer pintor de Cámara del Rey, publicadas por D. José Nicolás de Azara a finales del siglo XVIII, la autora de esta investigación realiza, en primer lugar, una caracterización lexicológica de este tratado teórico-artístico, prestando especial atención al léxico propio del género al que pertenece. A continuación, se analizan los neologismos del siglo XVIII encontrados en el texto.

O olhar da arquitetura da informação em ambiente informacional de cordéis: análise sobre sistemas de busca

O nordeste brasileiro é rico em produtos culturais, a saber, música, repente e cordel. A Biblioteca de Obras Raras Átila Almeida (BORAA) possui folhetos dos primórdios da produção brasileira. Sua constante manipulação os deteriora em função de sua composição física delicada. Para salvaguardar e democratizar o seu acesso, desenvolveu-se projetos desde 2010 envolvendo tratamento técnico, digitalização e disponibilização desses cordéis, criando uma base de dados em ambiente de internet. Visando o seu aprimoramento, realizou-se estudo em outras bases brasileiras de cordel, a saber, Acervo Maria Alice Amorim, Acervo Fundação Casa de Rui Barbosa e Centro Nacional de Folclore e Cultura Popular. A luz da Arquitetura da Informação (AI), na perspectiva da otimização do sistema de busca, o objetivo desse relato de experiência foi avaliar tais sites, sugerindo melhorias na interface da BORAA. A abordagem de análise foi a qualitativa com o uso de observação participante e registro em diário de bordo como instrumentos de coleta de dados. Como resultado do estudo percebe-se a necessidade de melhorias quanto à inserção de campos de busca de informação, ao impacto imagético e à construção de índices no site da BORAA. Percebe-se o quanto é fundamental o uso da AI como mecanismo de análise e de otimização das interfaces web com os seus usuários.

“Obra de arte yo too”: Eduardo Mendicutti on soccer, glamour, and the “Beckham effect”

ABSTRACTLa Susi en el vestuario blanco (2003) is a fictional chronicle of life in the Real Madrid locker room, a privileged insight into the sanctum sanctorum of the world's richest soccer team. The hiring of Susi as glamour coach ostensibly aims to boost the competitive advantage of the galácticos in foreign as well as local markets (reflecting the reality of the club at the time). In Mendicutti's homoeroticizing gaze, it also serves to uncover the homophobic substrate reportedly still common in male team sports and teases at the anxieties of the players. This article explores the peculiar function of Susi as she sets the comic tone of the work and engages with the varied virilities before her. It examines the notions of “glamour” and “identification” both as tongue-in-cheek team objectives and as phenomena with wider relevance for the way spectators relate to sport and players relate to the world around them.

Instrumentation Techniques for Studying the Horizontal Behavior of High-Speed Railways

AimIn recent years the Spanish Geotechnical Laboratory of CEDEX (Centro de Estudios y Experimentación de Obras Públicas) has developed for ADIF (Administrador de Infraestructuras Ferroviarias) a series of monitoring techniques (with different types of sensors) to be used in combination with numerical models in order to define the vertical dynamic behavior of the track structure in high-speed railways. Currently we are extending our work with the purpose of monitoring and studying also the horizontal response of the track superstructure. In this contribution we present our methods for measuring vertical and horizontal displacements and loads on the rail in high-speed railways. MethodNumerical models have been used to evaluate results from different instrumentation configurations that have been designed to measure horizontal displacements and loads on the rail. Several tests in the CEDEX real scale track box facility have also been carried out. The obtained data have been interpreted in the light of the numerical models. In this way we have been able to pick out the best configurations, which have been later put in a real high-speed rail section. Besides, we have studied relationships between simultaneous measurements of horizontal force on the rail and horizontal rail-sleeper relative displacement. A good correlation between both parameters has been observed. New tests are being carried out in the CEDEX real scale track box facility with the purpose of optimizing the developed techniques and improving the numerical model calibration. ResultsWith all these techniques we are improving the knowledge of different railway sections (sections with significant thickness of ballast, transitions slab track - ballasted track, sections with bituminous sub-ballast, etc.), and optimizing their design. New techniques for analyzing the horizontal behavior of high-speed railways have been developed based on numerical models and different tests carried out in the CEDEX real scale track box facility.

La reseña bibliográfica y la inestabilidad textual en “Examen de la obra de Herbert Quain” (1941), de Jorge Luis Borges

Borges produced a kind of oscillatory writing that conceived both an innovative body of literature and a reader-accomplice that allowed him to sketch a new level of aesthetic experience. In his short story “Examen de la obra de Herbert Quain,” a hypothetical author attempts to build a systematic structure which, for Borges, was both potential,—in the sense that it generated non-existent texts—and potentializing, as it stretched his writing to its limits. The systematic structure created by Quain is a bibliographic and meticulous critical review of texts engendered by other texts. This article proposes two main paths of interpretation of Borges’s “Examen”: as a piece of potential literature (Oulipo), and as a destabilizing text. Quain relies on conventional standards of critical reviews and on techniques from the discipline of bibliography. These parameters allow him to build his own set of constraints, to then play against these constraints, and to approach literature as an object of study in order to then destabilize it.

The Triumphus Mortis translated by Juan Coloma

The aim of this article is to frame the translation of the Triumph of Death made by Juan Coloma within the lyric corpus of this poet. The relevant features of this translation are analysed in the context of other Castilian translations of the Triumphs in the 16th century; furthermore several hypotheses are suggested to explain why the Coloma’s translation was selected to be placed at the very beginning of the Cancionero general de obras nuevas (Zaragoza: Esteban Najera, 1554).

Cinética e morfologia de espermatozoides de carpa comum criopreservados em água de coco em pó ACP-104

RESUMOO objetivo deste estudo foi avaliar o efeito de diferentes taxas de diluição seminal sobre a motilidade, velocidade e presença de anormalidades espermáticas no sêmen descongelado de carpa comum (Cyprinus carpio). Utilizaram-se 20 machos sexualmente maduros, pertencentes ao Departamento Nacional de Obras Contra as Secas (DNOCS). A partir do sêmen coletado, foi formado um total de nove pools. O sêmen de cada pool foi avaliado quanto à motilidade, velocidade e morfologia espermática antes e depois da criopreservação. A criopreservação seminal foi realizada em meio ACP-104 + DMSO 10% diluído em 1:1 ou 1:3 (sêmen:diluidor). As amostras foram envasadas em palhetas de 0,25mL, congeladas em vapor de nitrogênio líquido (caixa de poliestireno) e estocadas em nitrogênio líquido (-196 °C). Não houve diferença significativa (P>0,05) entre as taxas de diluições sobre os parâmetros cinéticos e morfológicos de sêmen descongelado de carpa comum. Entretanto, esses parâmetros apresentaram diferença significativa (P<0,05) em relação ao sêmen fresco (controle). Baixos valores de velocidade foram registrados no sêmen descongelado (VCL 42,6-46,5μm/s; VSL 33,2-37,1μm/s; VAP 38,9-43,2μm/s); contudo, observaram-se motilidades acima de 59% (59,8-67,8%) e baixos índices de anormalidades espermáticas (19,3-19,5%), sugerindo que o ACP pode ser usado como um meio favorável à criopreservação do sêmen de carpa comum em qualquer uma das taxas de diluição testadas.

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. …

Elementos auxiliares de construcción en la arquitectura gótica. El pilar «major» de la catedral de Tortosa

Gothic construction wouldn’t have been possible without the use of auxiliary resources which could handle the efforts of the structure during the raising process. In the cathedral of Tortosa case, the ‘libros de obra’ refers to a big pillar used during the building of the apse, which is named ‘pilar major’. The logic of the construction, and also the knowledge about the building phases, has let to deduce the role and the location of this element. Complementarily, it have been verified by graphical methods that the equilibrium of the apse is not possible before the presbitery is closed, without an element of buttressing. The study of the subsoil by means of a georadar has let to identify a solid mass on the center of the apse, where the ‘pilar major’ would be situated. It probably could be the foundation for its construction.

O que está à sombra na carga de trabalho de estivadores?

O objetivo do estudo é o de analisar as diferentes dimensões da carga de trabalho do estivador e sua influência nos processos de saúde/doença. O estudo caracteriza-se como transversal, descritivo e exploratório e desenvolveu-se entre 2010 a 2013 em Paranaguá, Paraná. A amostra foi composta por 300 sujeitos do sexo masculino, estivadores sindicalizados e pertencentes ao OGMO (Órgão Gestor de Mão de Obra) do Estado do Paraná. Os instrumentos de coleta incluíram: um questionário relativo ao perfil dos trabalhadores entrevistados, questionário para avaliação do risco de lombalgia, questionário Nórdico e observações em terreno. A análise mostrou que são trabalhadores com uma média de 20 anos de antiguidade, numa atividade marcada por relações de parentesco ou amizade, em que existem exigências físicas importantes, mas também exigências mentais não negligenciáveis. Há muitos problemas de saúde como altíssimo risco de lombalgia (74, 7%), sensação de cansaço físico e mental ao final da jornada de trabalho muito frequente. Aqueles que se sentem mais cansados, também são os que apresentam mais queixas osteomusculares em diversas regiões do corpo. Os dados apontam para uma associação entre organização do trabalho e carga mental do trabalho.

Productivity Monitoring of Land Pipelines Welding via Control Chart Using the Monte Carlo Simulation

This article evaluates the efficacy of a tool developed in the Monte Carlo simulation and referred to as control chart. This tool is used in order to detect changes in productivity resulting from the occurrence of a given event during the welding of land pipelines with self shielded flux cored wire (FCAW). The elaboration of this control chart is based on the data from the Cumulative Probability Density Function (CDF) curve, and generated in the Monte Carlo simulation using version 6 of the Palisade Corporation’s @Risk software for Excel, in a sample with productivity data from 29 welded joints, gathered through direct observation which considers the productive and unproductive times. In order to evaluate the control chart efficacy, the performance of welding productivity with a FCAW process with low alloy steels has been assessed during 29 days, summing up to 842 welded joints registered on “Relatorios Diarios de Obras” (Construction Works Daily Reports). The results show that the model developed for the control chart elaboration is effective in monitoring the productivity of the observed welding procedure.

ELE NOS DEU HISTÓRIAS: EXEMPLOS DE INTERTEXTUALIDADE ENTRE A NARRATIVA BÍBLICA E A OBRA DE MACHADO DE ASSIS "He gave us stories: examples of intertextuality between the biblical narrative and the work of Machado de Assis"

O foco deste texto é despertar o interesse pelo estudo da Bíblia, não somente devido ao seu valor como texto de religião, mas principalmente pelo seu valor literário. E, para isto, o artigo demonstrará, de modo breve, algumas características da narrativa bíblica; e por meio do conceito linguístico de intertextualidade, apresentará alguns exemplos da influência das narrativas bíblicas em textos do escritor brasileiro, Machado de Assis.Palavras-chave: Bíblia. Literatura. Interface. Hermenêutica.AbstractThe focus of this text is to awaken interest in the study of the Bible, not only because of its value as text religion, but mainly for their literary value. And for this, the article will demonstrate, briefly, some features of the biblical narrative, and through the linguistic concept of intertextuality. It will show some examples of the influence of the biblical narratives in the texts of the Brazilian writer Machado de Assis.Keywords: Bible. Literature. Interface. Hermeneutics.

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.