Relevant bibliographies by topics / Juan (1966-....)

Academic literature on the topic 'Juan (1966-....)'

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Published: 21 September 2024

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Journal articles on the topic "Juan (1966-....)"

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Stagnaro, Juan Carlos. "Grandes psiquiatras argentinas." Vertex Revista Argentina de Psiquiatría 30, no. 148 (December 1, 2019): 426–53. http://dx.doi.org/10.53680/vertex.v30i148.125.

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Dossier: Grandes psiquiatras argentinas: Arturo AMEGHINO (1869-1948), René ARDITI ROCHA (1904-1962), Gregorio BERMANN (1894-1972), José T. BORDA (1869-1936), Gonzalo BOSCH (1885-1965), Exequías BRINGAS NÚÑEZ (1904-2000),Domingo CABRED (1859-1929), Raúl CAMINO (1939-2018), Lanfranco CIAMPI (1885-1962), Juan DALMA (1895-1977), Francisco DE VEYGA (1866-1942), Noel FELDMAN (1928-2001), R. Horacio ETCHEGOYEN (1919-2016), Jorge GARCÍA BADARACCO (1924-2010), Mauricio GOLDENBERG (1916-2006), José INGENIEROS (1877-1925), Cristofredo JAKOB (1856-1966), Alejandro KORN (1860 -1936), Enrique Eduardo KRAPF (1901-1963), Osvaldo LOUDET (1889-1983), Lucio MELÉNDEZ (1844-1901), Braulio MOYANO (1906-1959), Juan M. OBARRIO (1878-1958), Elpidio R. OLIVERA (1924-2016), Carlos Rodolfo PEREYRA (1903-1965), Enrique PICHON RIVIÈRE (1907-1977), José María RAMOS MEJÍA (1852-1914), Telma RECA (1904-1979), Carolina TOBAR GARCIA (1898-1962), Guillermo VIDAL (1917-2000).
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Quiñones Aguilar, Mariuska, and Ernesto Santiesteban Leyva. "Valores historiográficos del cine cubano de ficción en los años sesenta." Espergesia 11, no. 1 (June 29, 2024): e110107. http://dx.doi.org/10.18050/rev.espergesia.v11i1.2896.

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Desde su nacimiento, la Historia y el Cine han estado interrelacionados. Este ensayo examinó cómo el cine cubano de ficción de los años sesenta reflejó y contribuyó a la comprensión de los procesos revolucionarios y la construcción de una identidad nacional en Cuba. El objetivo general fue analizar y destacar los valores historiográficos del cine cubano de ficción producido en esa década, evaluando cómo estas obras cinematográficas reflejaron y contribuyeron a la comprensión de los procesos revolucionarios y la construcción de una identidad nacional en Cuba. A partir del triunfo de la Revolución Cubana y la creación del Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) en 1959, se produjeron películas emblemáticas que capturaron las transformaciones sociales y políticas del país. Películas como Historias de la Revolución (1960), Cuba baila (1960), El joven rebelde (1961), Las doce sillas (1962), Manuela (1966), La muerte de un burócrata (1966), Aventuras de Juan Quinquín (1967), Lucía (1968), Memorias del subdesarrollo (1968) y La primera carga al machete (1969); destacaron por su capacidad para documentar y criticar eventos históricos y ofrecer perspectivas sobre la identidad nacional. El análisis detallado de estas películas reveló cómo sirvieron de herramientas historiográficas, proporcionando una comprensión profunda de los conflictos de clase, las tensiones políticas y las transformaciones culturales de la época.
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Cerdán, Josetxo, and Lucía Rodríguez García de Herreros. "“El futuro es de la mujer porque el pasado es del hombre”. La recuperación del cine de Nadia Werba en España (1965-1967)." Fotocinema. Revista Científica de Cine y Fotografía, no. 29 (July 19, 2024): 173–200. http://dx.doi.org/10.24310/fotocinema.29.2024.19575.

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La pintora y cineasta Nadia Werba, afincada hace tiempo en Italia pero residente en Madrid durante unos diez años a partir de 1956, realizó en los años 60 cuatro cortometrajes documentales con un estilo observacional muy particular: San Juan del Toro (1965), Maestros del duende (1966), Unos chicos, unas chicas (1966) y Catch (1967). Además de su valor cinematográfico, estos trabajos tienen interés como retrato sociológico, puesto que muestran diferentes aspectos de la España de su tiempo, desde el mundo taurino al yeyé, pasando por la lucha libre. Como parte del interés actual de los estudios fílmicos feministas por la memoria de directoras olvidadas, este texto pretende recuperar la figura de Werba y, en especial, su producción de documentales en su periodo en España. Para ello, se utilizará el trabajo de archivo, pero, sobre todo, se documentarán los procesos de restauración que se han realizado en Filmoteca Española a partir de los materiales cinematográficos atribuidos a la directora y disponibles en sus fondos.
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Olivares Bruno, Itzel. "Asistir a la invención propia." La Palabra y el Hombre, revista de la Universidad Veracruzana 1, no. 43 (May 2, 2018): 72–74. http://dx.doi.org/10.25009/lpyh.v1i43.2536.

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La autobiografía, un género muy estudiado en la actualidad, tuvo un papel protagónico en la literatura mexicana durante la década de 1960 con el proyecto Nuevos escritores mexicanos del siglo XX presentados por sí mismos. En él participaron varios autores con sus "autobiografías precoces", entre los que destaca Juan Vicente Melo quien discurre sobre su vida y su obra con una relación estrecha, comenzando con la prosa sumamente "inventiva" y los elementos retóricos con los cuales reconstruye acontecimientos del pasado. A 50 años de haberse publicado su Autobiografía (1966), la Editorial UV la reedita en la serie Obras Juan Vicente Melo junto con La obediencia nocturna y una compilación de sus Cuentos completos.
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Zelaya, Diego Gabriel, Marina Güller, and Rüdiger Bieler. "Doubling the known diversity of a remote island fauna: marine bivalves of the Juan Fernández and Desventuradas oceanic archipelagos (Southeastern Pacific Ocean)." PeerJ 12 (June 28, 2024): e17305. http://dx.doi.org/10.7717/peerj.17305.

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Juan Fernández and Desventuradas are two oceanic archipelagos located in the southeastern Pacific Ocean far off the Chilean coast that received protected status as marine parks in 2016. Remoteness and access difficulty contributed to historically poor biodiversity sampling and limited associated research. This is particularly noticeable for bivalves, with most prior regional publications focused on single taxa or un-illustrated checklists. This study investigates marine bivalves collected between the intertidal and 415 m depth during (1) the 1997 IOC97 expedition aboard the M/V Carlos Porter, with special focus on scuba-collected micro-mollusks of both archipelagos, (2) two expeditions by the R/V Anton Bruun (Cruise 12/1965 and Cruise 17/1966), and (3) Cruise 21 of USNS Eltanin under the United States Antarctic Program, which sampled at Juan Fernández in 1965. Also, relevant historical material of the British H.M.S. Challenger Expedition (1873–1876), the Swedish Pacific Expedition (1916–1917), and by German zoologist Ludwig H. Plate (1893–1895) is critically revised. A total of 48 species are recognized and illustrated, including 19 new species (described herein) and six other potentially new species. The presence of two species mentioned in the literature for the region (Aulacomya atra and Saccella cuneata) could not be confirmed. The genera Verticipronus and Halonympha are reported for the first time from the Eastern Pacific, as are Anadara and Condylocardia from Chilean waters. Lectotypes are designated for Arca (Barbatia) platei and Mytilus algosus. These findings double the number of extant bivalve species known from the Juan Fernández and Desventuradas archipelagos, highlighting the lack of attention these islands groups have received in the past. A high percentage of species endemic to one or both archipelagos are recognized herein, accounting for almost 78% of the total. The newly recognized level of bivalve endemism supports the consideration of Juan Fernández and Desventuradas as two different biogeographic units (Provinces or Ecoregions) of the Eastern Pacific Ocean.
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Antunes Klais, Thalita Beatriz, Fabricio Bau Dalmas, Giancarlo Lastoria, and Antonio Conceição Paranhos Filho. "ANÁLISE MULTITEMPORAL DA COBERTURA DO SOLO DO MUNICÍPIO DE PONTA PORÃ, MATO GROSSO DO SUL, DE 1966 A 2006?" Geoambiente On-line, no. 19 (January 3, 2013): 01. http://dx.doi.org/10.5216/revgeoamb.v0i19.26050.

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Neste trabalho avaliou-se a evolução do uso e ocupação do solo em Ponta Porã – MS no período compreendido entre 1966 e 2006, tendo como base o uso de geotecnologias e dados de sensoriamento remoto, permitindo o monitoramento ambiental dos processos antrópicos. Ponta Porã é cidade limítrofe a oeste com a República Federativa do Paraguai, formando uma conurbação internacional com Pedro Juan Caballero, isso confere a região vantagens relacionadas à logística e a boas condições para o desenvolvimento econômico. Para a análise multitemporal da cobertura do solo foram utilizadas as cartas topográficas do DSG/IBGE da década de 1960 e imagens de satélite Landsat de 1989 e 2006. Na classificação da cobertura do solo utilizou-se a legenda do Projeto CORINE. Entre 1966 e 1989 houve um decréscimo nas áreas ocupadas por áreas naturais de 24,15% para 15,94% da superfície do município e um acréscimo entre 1989 e 2006, para 18,83%. Considerando o período total (1966 - 2006), a evolução do uso e ocupação do solo decorrente da ação antrópica permaneceu estável, pois houve apenas um decréscimo de 5,32% de áreas naturais.
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Kazmina, Anastasia O. "The Philosophical Code in the Performances Staged by Anatoly Efros of the 1960s." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2023): 144–57. http://dx.doi.org/10.35852/2588-0144-2023-3-144-157.

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The poetics of Anatoly Efros’s performances and his metaplot in the directing process in the context of the theatre aesthetics of the Soviet era was often analyzed from the point of view of hermeneutics. Many reviews of his contemporaries are written from this perspective. The approach to the analysis of Efros's work by codes, described in detail by the French theatre critics Anne Ubersfeld and Patrice Pavis, seems to be the most accurate for understanding the deep semantic structures of his individual productions and his work as a united whole. On the example of the performances On the Wedding Day (1964), 104 Pages About Love (1964), My Poor Marat (1965), A Movie Is Made (1965), The Seagull (1966), Molière (1966) there is considered the transformation of the social theme, which initially dominated in the artistic semiotics of Efros, into a metaphysical one. The philosophical code of Anatoly Efros’s performances at the Lenin Komsomol Theatre is connected with the director’s comprehension of spiritual life, the problem of the characters’ internal choice, their transcendence, the rapidly changing time, the ideas of the existentialists and European philosophy of the 20th century that were penetrating social mind. This is verified by the fact of Efros’s performances in the genre of tragedy at the Theatre on Malaya Bronnaya. They are Romeo and Juliet (1970), The Man from the Outside (1971), Don Juan (1973), The Marriage (1975) and Othello (1976). Efros tried to make this genre up-to-date, not via laboratory testing of book concepts, but, first of all, overcoming the boundaries of the theatre, immersion in the spiritual life of the hero and artist, and lyricism.
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Prims i Vila, Roger. "Josep Miquel Ramis (ed.), «Epistolari Sebastià Juan Arbó - Joan Sales (1966-1982)», Barcelona, Publicacions de l’Abadia de Montserrat («Textos i Estudis de Cultura Catalana», 221), 2018, 167 pp." Caplletra. Revista Internacional de Filologia, no. 65 (September 28, 2018): 250. http://dx.doi.org/10.7203/caplletra.65.12717.

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Ressenya sobre el llibre de Josep Miquel Ramis (ed.), Epistolari Sebastià Juan Arbó - Joan Sales (1966-1982), Barcelona, Publicacions de l’Abadia de Montserrat («Textos i Estudis de Cultura Catalana», 221), 2018, 167 pp., ISBN: 978-84-9883-956-2.
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Kalenić Ramšak, Branka. "Las técnicas narrativas de la novella Española de la posguerra, con la atención especial a la novella de los años." Verba Hispanica 7, no. 1 (December 31, 1998): 5–46. http://dx.doi.org/10.4312/vh.7.1.5-46.

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En los años sesenta de la posguerra española aparecen tres novelas que pueden ser con­ sideradas como nove/as de ruptura: Tiempo de silencio (1962) de Luis Martín-Santos, Señas de identidad (1966) de Juan Goytisolo y Cinco horas con Mario (1966) de Miguel Delibes. Las tres obras son ejemplo de un nuevo paradigma en la narrativa española de posguerra que la historia y la crítica literaria suelen denominar realismo dialéctico. Este tipo de realismo introduce muchas novedades formales queriendo liberarse del realismo social o realismo objetivo, vigente en la literatura española de posguerra aproximadamente hasta los comienzos de los años sesenta. A pesar de muchas novedades formales, entre elias la más importante es la introducción de nuevas técnicas narrativas, las tres novelas guardan, sin embargo, muchas conexiones con Ia corriente precedente. Los autores mencionados intro­ ducen las novedades literarias sobre todo por dar una respuesta artísticamente adecuada a las condiciones agobiantes de la época franquista.
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Pereira, André Cesar. "Percusos de Don Juan nas Américas." Língua e Literatura, no. 27 (October 15, 2003): 245. http://dx.doi.org/10.11606/issn.2594-5963.lilit.2003.105467.

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Esse trabalho analisa o mito de Don Juan em duas obras das Américas (Le Don Juan chrétien - 1966, do autor quebequense Jacques Ferron, e Don Juan acorrentado -1999, da autora brasileira Wanda Fabian) a partir da análise de Jean Rousset (O mito de Don Juan - 1981), que estuda o mito através de três pontos fundamentais: o ser inconstante, o grupo feminino e a figura do morto. Inicialmente apresenta-se o percurso histórico do mito de Don Juan na literatura escrita da Europa, observando as suas características. Em um segundo momento, desenvolve-se a análise de Jean Rousset e em seguida, estuda-se a migração do mito para o imaginário americano, no Quebec, com a obra de Jacques Ferron e no Brasil, com a obra de Wanda Fabian, tratando-o através dos três pontos fundamentais levantados por Jean Rousset. Por fim, busca-se observar as transformações do mito de Don Juan ao encontrar-se em um novo contexto social e literário, ao migrar para um novo imaginário cultural. Busca-se ainda estudar quais características do mito inicial serão mantidas nessas recorrências americanas e quais o ressemantizarão.
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Dissertations / Theses on the topic "Juan (1966-....)"

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Quinteros, Marcela Cristina. "Juan Natalicio González (1897-1966): um intelectual plural." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-07022017-151430/.

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Esta tese procura identificar quais eram os principais objetivos intelectuais e políticos de Juan Natalicio González (1897-1966), um escritor paraguaio que desempenhou um amplo leque de atividades jornalista, ensaísta, editor, político, militante do Partido Colorado e diplomata. A partir da análise de suas biografias, de seus próprios textos (autobiografia, ensaios e a revista Guarania) e do resgate feito pela historiografia, consideramos que González atingiu parcialmente suas ambições políticas, na medida em que chegou a ser presidente de seu país, foi derrubado e já não pôde voltar a ocupar um papel protagonista na cena política nacional. Por outro lado, teve grande sucesso na difusão e na consolidação da interpretação revisionista da história paraguaia, ao articular-se em diversos grupos de intelectuais latino-americanos que reproduziram amplamente sua versão da história.
This thesis seeks to identify the main intellectual and political objectives of Juan Natalicio González (1897-1966), a Paraguayan writer who played an extensive variety of activities (journalist, essayist, editor, politician, Colorado Partys member and diplomatic). From the analysis of their biographies, their own texts (autobiography, essays and magazine Guarania) and the study done by historians we consider that Gonzalez partially achieved his political ambitions, because he became president of his country but he was deposed and did not return to play a leading role in the national political scene. He succeeded in spreading and consolidation of the revisionist interpretation of Paraguayan history, after participating in various groups of Latin American intellectuals who widely reproduced his version of the history.
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Lee, A. E. "Order and chaos in Juan Goytisolo's fictional works from 1966 to 1982." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384499.

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Jermyn, Tracy Aileen. "Savage impossibility : the paradox of rebellion in the novels of Juan Goytisolo, 1966-1988." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/283935.

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This study proposes a non-chronological reading of the six novels written by Juan Goytisolo between 1966 and 1988 in the light of the French thinker Georges Bataille and others related to his theory of a 'general economy' of excess. My approach to these novels focuses primarily on the theme of rebellion and the paradox inherent in the quest for liberation embarked upon by each. Reading this paradox in relation to the basic Bataillian premise that transgression does not destroy the limit but completes and reinforces it, I have structured my study around the various categories Bataille formulates in his treatment of the modes of human spending which 'transcend without suppressing' the limitations of the regional economy of project and goal, accumulation and production. Thus in chapter one I examine the category of sovereignty in Reivindicación del Conde don Julián, applying Bataille's reading of the Sadean sovereign and 'la forme ruineuse de l'érotisme' he derives thereof, to the orgy of destruction carried out by the narrator on his native land. Chapter two explores the question of sacrifice in Makbara and how the quest for freedom undertaken by the two dissident protagonists of this novel assumes the form of mutual sacrifices and expenditure without profit outlined by Bataille in such works as La Part maudite and L'Erotisme. Michel Foucault's 'Preface to Transgression', written in homage to Bataille on the occasion of his death, provides the theoretical framework for chapter three's reading of freedom and the limit in Juan sin tierra. Here Foucault's metaphorical use of the spiral to describe the limit's constant displacement of itself in the movement of transgression is employed to take issue with the notion of freedom as a cara/culo reconciliation espoused by the narrator in his assault on his Spanish origins. Chapters four and five offer a psychoanalytic reading of Señas de identidad and Paisajes después de la batalla respectively.
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Teixeira, Romeu da Silva. "Embates sociais da Espanha nos anos 50 em Últimas tardes con Teresa (1966), de Juan Marsé /." Assis, 2020. http://hdl.handle.net/11449/192120.

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Orientador: Maira Angélica Pandolfi
Resumo: O trabalho em questão visa, a partir de Últimas tardes con Teresa (1966), de Juan Marsé, discutir os embates sociais da década de 50 na Espanha franquista. Marsé cria a história da relação amorosa de dois integrantes de classes sociais diferentes, que por olhos mais superficiais pode ser considerado como tradicional e debate, durante a narrativa, questões de significativa importância histórica. Há a intenção de discutir as questões sociais presentes em Lazarillo de Tormes, clássico produção espanhola e suas relações com o romance de Juan Marsé, seus temas e subtemas. A utilização de diversas vozes persuasivas e irônicas na obra de Marsé possibilita o estudo de questões importantes no período pós-guerra espanhola. Os conceitos de Cronotopo e Dialogia (teorias difundidas pelo Círculo de Bakhtin) permeiam a interpretação da obra e, juntos à narrativa, constroem uma personagem emblemática da literatura espanhola contemporânea: Pijoaparte, jovem andaluz, representante de migrantes, ladrão de motos, que elabora uma relação peculiar com a burguesia estudantil dos anos 50, especificamente em Barcelona.
Resumen: El trabajo en cuestión tiene como objetivo, a partir de Últimas tardes con Teresa (1966), de Juan Marsé, discutir las luchas sociales de la década de 1950 en la España franquista. Marsé crea la historia de la relación amorosa de dos miembros de diferentes clases sociales, que desde un punto de vista más superficial puede considerarse tradicional y debatir, durante la narración, cuestiones de importancia histórica significativa. Su objetivo es discutir los problemas sociales presentes en Lazarillo de Tormes, la producción clásica española y sus relaciones con la novela de Juan Marsé, sus temas y subtemas. El uso de varias voces persuasivas e irónicas en el trabajo de Marsé permite estudiar cuestiones importantes en el período de la posguerra en España. Los conceptos de Cronotopo y Dialogismo (teorías difundidas por el Círculo de Bakhtin) impregnan la interpretación de la obra y, junto con la narrativa, construyen un personaje emblemático de la literatura española contemporánea: Pijoaparte, joven andaluz, representante de migrantes, ladrón de motocicletas, que construye una peculiar relación con la burguesía estudiantil de los años cincuenta, específicamente en Barcelona.
Abstract: The work in question aims, starting from Juan Marsé's Últimas tardes con Teresa (1966), to discuss the social struggles of the 1950s in Francoist Spain. Marsé creates the story of the love relationship of two members of different social classes, which by more superficial eyes can be considered as traditional and debate, during the narrative, issues of significant historical importance. It is intended to discuss the social issues present in Lazarillo de Tormes, classic Spanish production and its relations with the novel of Juan Marsé, its themes and subthemes. The use of various persuasive and ironic voices in Marsé's work makes it possible to study important issues in the postwar period of Spain. The concepts of Chronotope and Dialogy (theories spread by the Bakhtin Circle) permeate the interpretation of the work and, together with the narrative, build an emblematic character of contemporary Spanish literature: Pijoaparte, young Andalusian, representative of migrants, motorcycle thief, who builds a peculiar relationship with the student bourgeoisie of the 1950s, specifically in Barcelona.
Mestre
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5

Chipi, Eneko. "Intimes liminalités, Poétique des frontières et figuration du Moi dans l'oeuvre nouvellistique de Juan Bonilla." Electronic Thesis or Diss., Pau, 2024. https://theses.hal.science/tel-04702409.

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L'objectif de la thèse est de démontrer l'existence, dans l'œuvre nouvellistique de Juan Bonilla, d'une double articulation poétique entre l'imagerie de la frontière, la redéfinition spéculaire de la littérarité par l'entremise de l'hybridité générique du texte et la construction d'une modalité autoréférentielle particulière fondée sur cette réactualisation métalittéraire du motif liminaire. La réflexivité bonillienne s'inscrit dans un régime éloigné d'une mimésis consciente et l'identité auctoriale demeure toujours à la marge de l'objet du discours, perpendiculaire à la substance de la narration. Cette identité s'exprime par d'autres biais : par le style, d'abord, qui joue d'un système pronominal poly-référentiel entretenant l'ambigüité des niveaux énonciatifs ; et par le labyrinthe hypotextuel que chaque récit convoque, comme l'immense cartographie d'une mémoire lectoriale, véritable peinture d'une intimité auctoriale latente. Le Moi bonillien s'exprime par la « figuration » (Pozuelo Yvancos), ou encore par « l'incorporation » auctoriale (Maingueneau), qui point dans l'acte de réception et dans le partage intime entre le texte et son lecteur, et par extension, entre les lecteurs de références intertextuelles communes. Les nombreuses références intertextuelles, les analyses littéraires enchâssées dans les récits, les considérations métalittéraires et autres jeux spéculaires et transfictionnels édifient une ample bibliothèque de l'intimité auctoriale, un univers de lectures qui donne à voir tout ce que la littérature a construit de l'identité de l'écrivain. Car l'objet central du discours bonillien n'est autre que la littérature elle-même. Dans le parcours vagabond de la mémoire lectoriale de Bonilla, transparaît la figuration d'une identité qu'il souhaite montrer par l'intime rencontre qui se tisse dans l'interstice d'un souvenir de lecture partagée. En cela, la transgénéricité entretenue jusqu'au flou générique participe à la construction de l'unique catalogue de son intime bibliothèque. L'autoréférentialité bonillienne s'exprime à la frontière des genres, dans l'espace liminaire de l'intertexte, au cœur de l'interface intime qui se crée par l'expérience partagée d'une lecture, par l'empreinte identitaire que le texte laisse sur le lecteur et qui renseigne l'identité de tous les autres lecteurs d'un même texte. L'autobiographisme bonillien s'érige ainsi sous la forme d'une « bio-blographie » : une écriture des souvenirs de lecture qui ont gravé dans l'identité auctoriale une réalité bien plus tangible, et plus apte à être partagée, que celle d'un réel empirique menacé par l'ombre du soupçon post-mimétique. Dans son intime bibliothèque, Bonilla nous offre la vision d'une nouvelle manière de faire signifier l'identité, de dépeindre une intimité liminaire, sise dans l'utopie infinie du limes (Louis Marin), du chemin à la frontière ambivalente entre le texte et la vie
The aim of this thesis is to demonstrate the existence, in Juan Bonilla's short stories, of a double poetic articulation between the imagery of the frontiers, the specular redefinition of literarity through the generic hybridity of the text, and the construction of a specific self-referential modality based on this metaliterary re-actualization of the liminal representation. Bonillian reflexivity expresses itself through a mode distant from conscious mimesis, and the auctorial identity always remains at the margin of the object of discourse, perpendicular to the substance of the tale. The identity is expressed in other ways: firstly, through the style, which exploits a poly-referential pronominal system that maintains the ambiguity of enunciative levels; and secondly, through the hypotextual labyrinth that each story calls, like the immense cartography of a lectorial memory, an authentic depiction of a latent auctorial intimacy. The bonillian self is expressed through a “figuration” (Pozuelo Yvancos), or an auctorial “incorporation” (Maingueneau), which emerges in the act of reception and in the intimate exchange between text and reader, and by extension, between readers of common intertextual references. The many intertextual references, the literary analyses embedded in the stories, the metaliterary considerations and other specular and transfictional effects build up a vast library of the auctorial intimacy, a universe of reading experiences that reveals all that literature has constructed of the writer's identity. For the central object of the Bonillian discourse is none other than literature itself. In Bonilla's wandering lectorial memory, we see the figuration of an identity that he wishes to show through the intimate encounter that develops in the interstice of a shared literary remembrance. In this way, the transgenicity maintained to the point of generic ambiguity contributes to the construction of the unique catalog of his intimate library. Bonillian self-referentiality expresses itself at the boundaries of genres, in the liminal space of intertext, at the heart of the intimate interface created by the shared experience of reading, by the identity imprint that the text leaves on the reader and which informs the identity of all other readers of the same text. Bonilla's autobiography thus takes the form of a “bio-blography”: a writing of reading memories that have engraved in the auctorial identity a reality far more tangible, and more apt to be shared, than that of an empirical reality threatened by the shadow of post-mimetic doubt. In his intimate library, Bonilla offers us a vision of a new way of making identity meaningful, of depicting a liminal intimacy, set in the infinite utopia of the limes (Louis Marin), of the path at the ambivalent frontier between text and life
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Bury, Laurence. "Les élections de juin 1968$$eévénements [i. E. évènements], traces, mythes : l'exemple du département du Nord." Tours, 1997. http://www.theses.fr/1997TOUR1007.

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A l'origine de cette thèse, un constat : si les évènements de mai-juin 1968 ont suscité une abondante littérature, l'épisode électoral de juin, souvent présenté comme simple épilogue à une crise qui seule retient l'attention, occupe une place minime dans les ouvrages. Surtout, le scrutin n'a pas fait l'objet d'analyses complètes et systématiques, contrairement aux autres consultations électorales. Ce détournement de curiosité a favorisé une généralisation hâtive des premiers commentaires des journalistes et observateurs de l'époque : "élections de la peur", "raz de marée gaulliste", "chambre introuvable" : soit le sens commun forgé dans l'instant et qui nous parvient encore en écho. Il semblerait donc que dans un espace délaissé par la politologie et l'histoire, se soit construit autour de ces résultats un discours mythique. Nous proposons de découvrir les ressorts de cette structuration. Avec l'hypothèse centrale que le scrutin a été perçu de façon originale, nous avons choisi de l'analyser a partir d'un point de vue "monographique", avant de rechercher comment sont nées, sur ce socle de faits tangibles, un certain nombre de représentations. Représentations qu'il nous a semblé intéressant d'observer au fil du temps : de juin 1968 à nos jours. Car on peut émettre l'hypothèse suivante : les représentations associées à la consultation, ne se sont-elles pas formées, comme le récit légendaire, par couches successives? Des commentaires "à chaud" aux interprétations moins immédiates, il s'agissait de rechercher les différents discours génèrés par la consultation. Cette étude diachronique nous a permis de suivre l'évolution de ces représentations. Or, si notre proposition s'avère féconde, nous devrions repérer dans les récits qui se sont succèdes les stigmates des premiers commentaires, mais également leur altération dans le temps. Recherche, donc, autour de deux axes : analyse de cette consultation électorale particulière et étude des discours et représentations qui lui sont liés
This thesis originates in this statement : if the events of may-june 68 have aroused the production of numerous written works, the june 68 electoral episode, often described as a simple conclusion to a crisis which is the only one that does attract people's attention, plays a minor role in the written works. The ballot has not been completely and systematically analysed unlike other electoral consultations. This lack of curiosity has favoured a hasty generalization of comments by journalists and observers at that time : "fear elections", "big swing to the gaullists", "impossible chamber" represent these common-place ideas set in 68 and which still come back to our ears. Therefore, it seems that, at the expense of historical and political observations, a mythical discourse has been built concerning the results of the ballot. This is the mechanism of this structuring that we aim, here, to display. Our main hypotesis, being that the june elections have been percieved in a particuliar way, we have chosen to analyse it from a monographique point of view, before understanding, how, yet based on tangible facts, a number of representations were born. It seemed interesing to us to observe them as time goes by, thus, from june 68, up to now. In fact, one can put forward the following assumption : are the representions associated with the electoral consultation not assembled like a legendary tale by a succession of sedimentations. From immediate comments to thoughtful interpretations, it was all about searching for the different discours generated by the consultation. And yet, if our proposition is proved to be a fertile one, we shall notice, in the numerous written works publisched one after the others, the influence of the early comments, as wel as, its alteration, as time goes by. This rechearch revolves around two main themes : we analyse this awkward electoral consultation and then we study the evolution of discourse and represention linked to the june consultation
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Lavergne, Lucie, and Lucie Lavergne. "L'écriture poétique, d'espaces et de rythmes : regards croisés sur six recueils de la poésie hispanophone contemporaine : Rubén Darío, Cantos de vida y esperanza (1905) ; Juan Ramón Jiménez, Diario de un poeta reciencasado (1916) ; Rafael Alberti, Marinero en tierra (1924) ; Vicente Aleixandre, Espadas como labios (1932) ; Pere Gimferrer, Arde el mar (1966) ; Leopoldo María Panero, Teoría (1973)." Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2011. http://tel.archives-ouvertes.fr/tel-00942945.

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Par les analyses croisées de six recueils de la poésie hispanophone du XXe siècle, cette thèse se propose de définir l'écriture poétique à travers son rythme. Ce dernier est envisagé relation avec la notion d'espace. Partant de l'association traditionnelle du rythme et de la métrique, la première partie observe comment l'espace métrique de l'écriture versifiée, par sa structure, ses frontières, met en jeu la loi et sa transgression. En revanche, la seconde partie considère l'espace comme " substance ", c'est-à-dire qu'elle observe l'écriture dans son déroulement même, d'abord langagier et phrastique. Centrée sur la figure de la ligne, cette seconde conception du rythme implique également la temporalité, contenue dans les mots (les verbes), et engendrée par l'agencement des phrases. Dans les recueils, cependant, la linéarité est parfois disloquée par différents phénomènes ayant trait au langage (dissolution de la syntaxe), au vers (enjambements, échelonnement) et à la spatialisation. Le dernier chapitre de la seconde partie est donc consacré à la visibilité de l'écriture sur la page. Cette dernière, corps de l'écriture, révèle dans le poème le corps de l'écrivant. C'est sur le sujet et ses différents visages et représentations que se centre notre dernière partie. Le rythme apparaît, enfin, comme une mosaïque d'espaces du discours et d'espaces de sens (et d'images) qui implique tout autant le locuteur que le lecteur.
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Lavergne, Lucie. "L’écriture poétique, d’espaces et de rythmes : regards croisés sur six recueils de la poésie hispanophone contemporaine : Rubén Darío, Cantos de vida y esperanza (1905) ; Juan Ramón Jiménez, Diario de un poeta reciencasado (1916) ; Rafael Alberti, Marinero en tierra (1924) ; Vicente Aleixandre, Espadas como labios (1932) ; Pere Gimferrer, Arde el mar (1966) ; Leopoldo María Panero, Teoría (1973)." Thesis, Clermont-Ferrand 2, 2011. http://www.theses.fr/2011CLF20021/document.

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Par les analyses croisées de six recueils de la poésie hispanophone du XXe siècle, cette thèse se propose de définir l’écriture poétique à travers son rythme. Ce dernier est envisagé relation avec la notion d’espace. Partant de l’association traditionnelle du rythme et de la métrique, la première partie observe comment l’espace métrique de l’écriture versifiée, par sa structure, ses frontières, met en jeu la loi et sa transgression. En revanche, la seconde partie considère l’espace comme « substance », c’est-à-dire qu’elle observe l’écriture dans son déroulement même, d’abord langagier et phrastique. Centrée sur la figure de la ligne, cette seconde conception du rythme implique également la temporalité, contenue dans les mots (les verbes), et engendrée par l’agencement des phrases. Dans les recueils, cependant, la linéarité est parfois disloquée par différents phénomènes ayant trait au langage (dissolution de la syntaxe), au vers (enjambements, échelonnement) et à la spatialisation. Le dernier chapitre de la seconde partie est donc consacré à la visibilité de l’écriture sur la page. Cette dernière, corps de l’écriture, révèle dans le poème le corps de l’écrivant. C’est sur le sujet et ses différents visages et représentations que se centre notre dernière partie. Le rythme apparaît, enfin, comme une mosaïque d’espaces du discours et d’espaces de sens (et d’images) qui implique tout autant le locuteur que le lecteur
Through the combined analysis of six poem books of contemporary Spanish poetry, this thesis aims to define poetic writings and its rhythm. Rhythm is considered in relation with the notion of space. Starting with the traditional association of rhythm and meter, the first part studies how the metrical space of the writing of verses, with its structures and boundaries, involves the law and its transgression. On the other hand, the second part considers space as a “substance”: poetic writing is analyzed through its development in the language and sentences. Centered on the figure of the “line”, the second conception of rhythm also implies temporality, which is included in the words themselves (the verbs) and generated by the combination of the sentences. However, in the poem books, sometimes linearity is deconstructed by different phenomenon that deal with language (the dissolution of syntaxes), verse (the enjambment, the dissemination on various lines), and the page. The last chapter is dedicated to the visibility of writing on the page. As a concretization of the writing act, the page is also a revelation of the writer of the poem. Our third and last part is centered on the subject, its different faces and representations. Rhythm appears, at last, as a mosaic of discursive and semantic spaces that imply the speaker as much as the reader
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Castillo, Arce Macarena. "El ingreso al museo mediante la canonización cenicienta de Juan Emar en la exposición “Juan Emar ¡Armonía! eso es todo”." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/109790.

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El presente trabajo tiene como finalidad el análisis y lectura de la exposición “Juan Emar, ¡Armonía! eso es todo” , realizada en la Biblioteca Nacional entre el 5 de junio y el 27 de julio del año 2007, llevada a cabo bajo el alero del Archivo Nacional de Bibliotecas, Archivos y Museos (DIBAM), del Archivo del Escritor, perteneciente a la misma institución, y de la Galería Cité Jofré al Fondo, siendo esta última la propietaria de los dibujos y croquis expuestos, los que fueron donados posteriormente al Archivo. En el año 1995 se funda bajo el alero de la Biblioteca Nacional y de la Dirección Nacional de Bibliotecas, Archivos y Museos (DIBAM), el Archivo del Escritor, el que se planteó como una instancia de rescate y conservación de las letras nacionales. Entre sus tareas se encuentran el resguardo y recopilación de objetos y textos de los autores chilenos, que tengan un valor ya sea intelectual como simbólico, y la conservación de ellos. Estos son conseguidos por el Archivo mediante la donación de parte de los familiares, fundaciones o de mano de los mismos artistas.
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Tennenini, Roberta. "El fulgor de la palabra : el oficio poético de Juan Gelman (1956-2014)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20115.

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Cette thèse porte sur l’oeuvre complète du poète argentin Juan Gelman (1930-2014). Bien qu’il soit un auteur de renommée internationale, les recueils qu’il a publiés pendant les dernières années de sa vie restent amplement méconnus. Ainsi, à trois ans de sa mort, nous proposons une étude qui analyse sa production la plus récente en la mettant en perspective avec la poésie qu’il a écrite auparavant. La richesse et l’originalité de son écriture ainsi que la complexité du contexte historique dans lequel elle s’inscrit, nous ont amenée à adopter une perspective critique post-théorique, à savoir une approche caractérisée par une certaine performativité interdisciplinaire. De cette manière, nous avons pu établir une dialectique féconde entre analyse littéraire etquestionnement épistémologique et dresser, par la suite, une carte rhizomatique de l’oeuvre du poète. À cette fin, nous nous sommes focalisée sur ce que nous considérons comme étant les aspects fondamentaux de la poésie de l’Argentin : l’engagement politique, la fictionnalisation de la voix poétique, le témoignage littéraire, le travail de deuil et l’expérience de l’exil. Chaque aspect faisant l’objet d’une problématisation transdisciplinaire, notre thèse vise à contribuer à l’actualisation du discours critique sur la poésie de notre auteur et à restituer à son oeuvre la complexité qui lui est propre
In this thesis, we analyse the complete work of the Argentinian poet Juan Gelman (1930-2014). Even though his poetry has earned great renown, the collections he published later in his life remain largely unknown. Accordingly, we wrote a study that focuses on his later works while bringing a new perspective on his previous books. The richness and originality of his riting as well as the complexity of the historical context in which he lived, led us to adopt a post-theoretical approach to his poetry. The dialectic relationship we established between literary analysis and epistemological questioning allowed us to draw a rhizomatic map of Gelman's work. In particular, we focused on what we consider to be the fundamental aspects of his poetry: the political commitment, the fictionalisation of the poetic voice, the notion of literary testimony, the work of mourning and the experience of exile. In this way, our thesis aims to complete and update the critical discourse on Gelman’s poetry and to reflect the complexity of his writing
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Books on the topic "Juan (1966-....)"

1

Angeles, José Luis. Narraciones imposibles: Juan Goytisolo : narrativa (1966-1975). New York: P. Lang, 2006.

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Qujing juan yan chang zhi bian zuan wei yuan hui. Qujing juan yan chang zhi, 1966-2009. Kunming Shi: Yunnan ren min chu ban she, 2010.

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1912-1983, Sales Joan, and Ramis Josep Miquel 1982-, eds. Epistolari Sebastià Juan Arbó-Joan Sales (1966-1982). Barcelona: Publicacions de l'Abadia de Montserrat, 2018.

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Galván, Valeria, and Florencia Osuna. Política y cultura durante el "Onganiato": Nuevas perspectivas para la investigación de la presidencia de Juan Carlos Onganía (1966-1970). Rosario: Prohistoria Ediciones, 2014.

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Cancel, Alex Figueroa. El camino al cerro pelado: La oposicion del Gobierno de Puerto Rico a la participación de Cuba en los X Juegos Centroamericanos y del Caribe en 1966. [Puerto Rico]: Editorial Deportiva CAIN, 2016.

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author, Rabionet Silvia E., Román Franco, Ángel A., author, Hernández García, María Concepción, editor, and Rosario Urrutia, Mayra, writer of supplementary textual content, eds. Historia de la medicina tropical en Puerto Rico en el siglo XX. San Juan, Puerto Rico: Ediciones Laberinto, 2022.

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Juan, Hidalgo. Juan Hidalgo de Juan Hidalgo (1961-1991). Valencia: Pre-Textos, 1991.

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Cristóbal, Juan. Juan Cristóbal (1896-1961). Granada]: Patronato de la Alhambra y el Generalife, 2014.

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Schwartz, Claude. Un certain goût du bonheur: Mai 1968-juin 1969. [Paris]: Editions Findakly, 1998.

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Sordo Madaleno, J. (Juan), 1916-1985, ed. Juan Sordo Madaleno (1916-1985). Ciudad de México: Arquine, 2013.

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Book chapters on the topic "Juan (1966-....)"

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Danby, Colin. "Noyola, Juan (1922–1962)." In The New Palgrave Dictionary of Economics, 1–3. London: Palgrave Macmillan UK, 2021. http://dx.doi.org/10.1057/978-1-349-95121-5_3105-1.

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di Tella, Guido, and Carlos Rodríguez Braun. "Lorenzo Juan Sigaut." In Argentina, 1946–83: The Economic Ministers Speak, 181–90. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-11756-7_15.

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Salorio, Demetrio Barcia. "Juan Barcia Caballero (1852-1926)." In WPA Anthology of Spanish Language Psychiatric Texts, 155–66. Chichester, UK: John Wiley & Sons, Ltd, 2008. http://dx.doi.org/10.1002/9780470986752.ch12.

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Díaz-Rubio, Manuel. "Juan José López Ibor (1906-1991)." In WPA Anthology of Spanish Language Psychiatric Texts, 457–85. Chichester, UK: John Wiley & Sons, Ltd, 2008. http://dx.doi.org/10.1002/9780470986752.ch27.

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Wittenborn, J. R. "The 15th Congress — San Juan 1986." In Thirty Years CINP, 51–55. Berlin, Heidelberg: Springer Berlin Heidelberg, 1988. http://dx.doi.org/10.1007/978-3-642-73956-9_16.

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Vališová, Marie. "Řečové akty omluvy u českých studentů v angličtině (L2): vybrané výsledky pilotáže." In Výzkum v didaktice cizích jazyků II, 157–88. Brno: Masaryk University Press, 2019. http://dx.doi.org/10.5817/cz.muni.p210-9547-2019-8.

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During the second half of the 20th century, there was a shift in focus in second language acquisition research from linguistic competence to communicative and pragmatic competence (Hymes, 1972; Canale & Swain, 1980; Canale, 1983; Bachman, 1990; Bachman & Palmer, 1996; Usó-Juan & Martínez-Flor, 2006). This resulted in a growing number of studies on speech acts in general. Motivated by a lack of studies on the speech acts of apology in conversations of Czech learners of English as a foreign language, my dissertation project aims to shed light on apology strategies used by Czech university students.
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Rocha, Carolina. "Juan Moreira." In Argentine Cinema and National Identity (1966-1976). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940544.003.0009.

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This chapter is devoted to survey the process of adapting and shooting Juan Moreira, one of the most popular accounts about an outlaw gaucho who ends up defeated by the forces of civilization and progress. I discuss the challenges faced by its director, Leonardo Favio, and the popular success the film received, relying on press releases and film reviews of 1973.
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Rocha, Carolina. "Juan Manuel de Rosas." In Argentine Cinema and National Identity (1966-1976). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940544.003.0014.

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This chapter chronicles Juan Manuel de Rosas’ pre-production and its weak reception among critics. I analyse the film as a biopic that differs from the previous ones which had aimed to be inspirational ones.
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"6 Hay que sonreír (1966)." In Juan Carlos Onetti, Manuel Puig and Luisa Valenzuela, 109–29. Boydell and Brewer, 2005. http://dx.doi.org/10.1515/9781846154065-007.

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Rocha, Carolina. "Political and Social Tensions in Post-1955 Argentina." In Argentine Cinema and National Identity (1966-1976). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940544.003.0002.

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This chapter provides a brief account of post 1955 political events in Argentina, starting with the coup d’état that ousted Juan Domingo Perón and established the revolución libertadora. I argue that after 1955, a new vision for Argentina was developed and implemented. The Armed Forces’ intervention in the country’s affairs coincided with developments in other parts of Latin America that encouraged the notion of socio-political change and developmentalism which was evident in the arts and sciences. I also contend that these changes contributed to reaffirm Argentine nationalism which aligned Argentina with Western values and Catholicism. I also survey the military and civil governments in the late 1960s and early 1970s.
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Conference papers on the topic "Juan (1966-....)"

1

A. B., P. "O INSTITUTO JUAN BAUTISTA ALBERDI (1956-1974) NO PARAGUAI DE STROESSNER." In ANAIS DO II CONGRESSO INTERNACIONAL PAULO FREIRE: O LEGADO GLOBAL. Galoa, 2018. http://dx.doi.org/10.17648/paulofreire-2018-89664.

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Michot, Pierre. "Quatre avatars de la statue (1969-1995) : Strehler, Langhoff et deux fois Chéreau." In Crime et châtiment : la mort de Don Juan (Molière et Mozart, 1965-2019). Fabula, 2022. http://dx.doi.org/10.58282/colloques.7948.

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Maino Ansaldo, Sandro. "Le Corbusier, el punto de partida de Juan Borchers." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.631.

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Resumen: La figura de Le Corbusier ejerció una influencia sin contrapeso en la arquitectura moderna chilena, caracterizada salvo excepciones, por una adopción superficial y figurativa de sus ideas y formas. Entre estas excepciones está el singular caso del arquitecto Juan Borchers Fernández (1910-75) quien mediante sus agudas observaciones y lúcida crítica expone su adhesión mientras al mismo tiempo desmonta las contradicciones, los errores de interpretación y las falencias de las tesis lecorbuserianas. Para el análisis se utilizaron dos libros fundamentales (Vers une Architecture, 1923; Le Modulor, 1950) y dos artículos (L’angle droit, 1923; L’espace indicible, 1946) de Le Corbusier y las referencias a ellos en los libros, artículos, manuscritos, correspondencia y libretas de viajes de Borchers. Abstract: Corbusier’s influence in Chilean modern architecture is unique and it is characterized, with few exceptions, by superficial and figurative adoptions of his ideas and forms. Among these exceptions is the singular case of the architect Juan Borchers Fernández (1910-1975), whose acute observations and lucid review expose his adherence while at the same time they reveal the contradictions, misinterpretations and shortcomings about corbuserian’s thesis. This analysis is based on two fundamental original books (Vers une Architecture, 1923; Le Modulor, 1950) and two articles (L’angle droit, 1923; L’espace indicible, 1946) by Le Corbusier and references to them in Borchers’ books, articles, manuscripts, correspondence and travel journals. Palabras clave: Chile, teoría de la arquitectura, plástica, escala. Keywords: Chile, Architectural theory, plastic, scale. DOI: http://dx.doi.org/10.4995/LC2015.2015.631
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Terribilini, Josefa. "Quand Don Juan finit sur grand écran. Sganarelle hors champ (Bluwal 1965 – Weber 1998)." In Crime et châtiment : la mort de Don Juan (Molière et Mozart, 1965-2019). Fabula, 2022. http://dx.doi.org/10.58282/colloques.8000.

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Lodo, Gabriela Cristina. "Marta Traba e a construção de duas histórias da arte na América Latina." In Encontro de História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4085.

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Marta Traba (1930-1983) foi uma importante escritora e crítica de arte argentino-colombiana, formada em Filosofia e Letras pela Universidade Nacional de Buenos Aires, e História da Arte pela Sorbonne de Paris. Radicou-se em Bogotá na década de 1950, onde obteve a cátedra de História da Arte na Universidade Nacional da Colômbia, residindo no país até 1968, quando passou, então, por outras cidades, como: Montevidéu, Caracas, San Juan de Puerto Rico, Washington, Princeton, Barcelona e Paris.
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Escola, Marc. "Don Juan foudroyé par Vitez (Avignon, 1978)." In Crime et châtiment : la mort de Don Juan (Molière et Mozart, 1965-2019). Fabula, 2022. http://dx.doi.org/10.58282/colloques.7891.

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Bucchi, Gabriele, and Lise Michel. "Entretien avec Jean-François Sivadier : la mort de Don Juan dans Don Juan (2016) et Don Giovanni (2017)." In Crime et châtiment : la mort de Don Juan (Molière et Mozart, 1965-2019). Fabula, 2022. http://dx.doi.org/10.58282/colloques.7892.

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Toichkina, Alexandra V. "KULISH AND BYRON (TO THE HISTORY OF DON JUAN’S TRANSLATIONS INTO UKRAINIAN)." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.19.

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Translations of Byron’s works occupy a special place in the work of P. A. Kulish (1819– 1897). They can be divided into three parts: nine poems included in the poetry collection Borrowed kobza; Don Juan, first canto; Childe Harold’s Pilgrimage. As far as we know, Kulish was the first to attempt to translate Byron’s last, unfinished poem into Ukrainian. He chose not the “learned” type of translation, but “rehash”, which allowed more free experimentation in the field of vocabulary and rhythm. The edition was published as a separate reprint in 1891. Kulish saw his task in providing a translation of Byron’s poem Don Juan to help the younger generation of Ukrainians as a kind of textbook of life, as a means of protecting oneself from spiritual passions, from human egoism. In addition, the translation of the poem was important for Kulish in terms of developing a lyrical narrative style, which he applied in his last poem Kulish in Hell. Byron developed his own style of narration and used a confidential tone in the poem, referring to the direct experience of the reader. Kulish’s translation into Ukrainian of such a complex and rich work in terms of vocabulary, intonation, and rhyme was a rather difficult experiment. This translation is important both for the study of the creativity of Kulish and the processes of formation of the Ukrainian literary language and Ukrainian poetry. Refs 10.
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Ferrer Forés, Jaime J. "Binibeca Vell. Interpreting tradition." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15325.

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Following the visual and volumetric bases extracted from the traditional Mediterranean architecture, Francisco Juan Barba Corsini (1916-2008) and Antoni Sintes Mercadal (1921-1981) designed Binibeca Vell (1964-1972) a respectful complex with the environment and the constructive traditions. The integration in the site, the built forms, the materials used and the urban structure reflect the organization of a traditional village. The research aims to analyze the architectural features, the reinterpretation of vernacular elements and the local traditional construction crafts involved in the complex and the details, symbolism and aesthetics. Binibeca consists of 165 townhouses, shopping center, hotel, social club, church and a small marina, all arranged in the form of a fishing village. The urban structure, the different typologies and the construction process is considered an alternative to the block of apartments of tourist promotion, reinterpreting a model of traditional settlement. The initial proposal was to recreate a traditional fishing village that would inspire the work of intellectuals, painters and writers. Barba Corsini stated that he had felt closer to the way a fisherman builds than to an architect: “I have met Alvar Aalto on several occasions and I came to understand the superiority of the beauty of a wall made by a fisherman or a farmer compared to that of a specialist technician” (Barba Corsini, 2005). With the reinterpretation of an architecture of the past, Binibeca Vell recovers the autochthonous values of the Mediterranean coast. The resonance between topography and architecture, the harmony with the constructive traditions, the plasticity of organic integration and the picturesqueness of the access route characterize Binibeca, which incorporates the adjective "Vell" to the toponym to distinguish itself from new constructions.
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Terribilini, Josefa, and Aurélien Maignant. "Entretien avec Julien Basler sur le Dom Juan des Fondateurs (2018)." In Crime et châtiment : la mort de Don Juan (Molière et Mozart, 1965-2019). Fabula, 2022. http://dx.doi.org/10.58282/colloques.7895.

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Reports on the topic "Juan (1966-....)"

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Pérez Torres, Raúl. Brief Notes on Ecuadorian and U.S. Literature. Inter-American Development Bank, March 1997. http://dx.doi.org/10.18235/0007923.

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O'Sullivan, Robert B. Geology of the Cedar Mesa - Boundary Butte Area, San Juan County, Utah (GIS Reproduction of USGS Map in B-1186 [1965]). Utah Geological Survey, 2019. http://dx.doi.org/10.34191/ofr-713dr.

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Henderson, Tim, Vincet Santucci, Tim Connors, and Justin Tweet. National Park Service geologic type section inventory: North Coast and Cascades Inventory & Monitoring Network. National Park Service, March 2022. http://dx.doi.org/10.36967/nrr-2293013.

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A fundamental responsibility of the National Park Service (NPS) is to ensure that park resources are preserved, protected, and managed in consideration of the resources themselves and for the benefit and enjoyment by the public. Through the inventory, monitoring, and study of park resources, we gain a greater understanding of the scope, significance, distribution, and management issues associated with these resources and their use. This baseline of natural resource information is available to inform park managers, scientists, stakeholders, and the public about the conditions of these resources and the factors or activities which may threaten or influence their stability and preservation. There are several different categories of geologic or stratigraphic units (supergroup, group, formation, member, bed) that form a hierarchical system of classification. The mapping of stratigraphic units involves the evaluation of lithologies (rock types), bedding properties, thickness, geographic distribution, and other factors. Mappable geologic units may be described and named through a rigorously defined process that is standardized and codified by the professional geologic community (North American Commission on Stratigraphic Nomenclature 2021). In most instances, when a new geologic unit (such as a formation) is described and named in the scientific literature, a specific and well-exposed section or exposure area of the unit is designated as the stratotype (see “Definitions” below). The type section is an important reference exposure for a named geologic unit that presents a relatively complete and representative example for this unit. Geologic stratotypes are important both historically and scientifically, and should be available for other researchers to evaluate in the future. The inventory of all geologic stratotypes throughout the 423 units of the NPS is an important effort in documenting these locations in order that NPS staff recognize and protect these areas for future studies. The focus adopted for completing the baseline inventories throughout the NPS was centered on the 32 inventory and monitoring (I&M) networks established during the late 1990s. The I&M networks are clusters of parks within a defined geographic area based on the ecoregions of North America (Fenneman 1946; Bailey 1976; Omernik 1987). These networks share similar physical resources (geology, hydrology, climate), biological resources (flora, fauna), and ecological characteristics. Specialists familiar with the resources and ecological parameters of the network, and associated parks, work with park staff to support network-level activities (inventory, monitoring, research, and data management). Adopting a network-based approach to inventories worked well when the NPS undertook paleontological resource inventories for the 32 I&M networks. The planning team from the NPS Geologic Resources Division who proposed and designed this inventory selected the Greater Yellowstone Inventory and Monitoring Network (GRYN) as the pilot network for initiating this project. Through the research undertaken to identify the geologic stratotypes within the parks of the GRYN methodologies for data mining and reporting on these resources were established. Methodologies and reporting adopted for the GRYN have been used in the development of this report for the North Coast and Cascades Inventory & Monitoring Network (NCCN). The goal of this project is to consolidate information pertaining to geologic type sections that occur within NPS-administered areas, in order that this information is available throughout the NPS to inform park managers and to promote the preservation and protection of these important geologic landmarks and geologic heritage resources. The review of stratotype occurrences for the NCCN shows there are currently no designated stratotypes for Fort Vancouver National Historic Site (FOVA), Lewis and Clark National Historical Park (LEWI), or San Juan...
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Research Department - Government Finance - Statements of Revenue and Expenditure - File 2 - Including Public Utilities WA - Balance Sheets - Dec 1944 - Jun 1960. Reserve Bank of Australia, March 2022. http://dx.doi.org/10.47688/rba_archives_2006/17182.

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Elevation of the water-table surface for the alluvial aquifer and hydrologic conditions in the Santa Isabel-Juana Diaz area, Puerto Rico, March 1986. US Geological Survey, 1987. http://dx.doi.org/10.3133/wri874123.

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