Academic literature on the topic 'Miguel (1972-....)'

El año de Artaud. Rock y política en 1973 del historiador Sergio Pujol es un libro atrapante. Desde su portada no queda duda que se trata de honrar el icónico disco de Luis Alberto Spinetta, presentado al público un día de octubre de 1973 en el teatro Astral de Buenos Aires. Por motivos contractuales, cuando se lanzó oficialmente en noviembre, el álbum llevó la firma de su ya disuelta banda Pescado Rabioso. Spinetta tenía 23 años ––“se dice fácil”, ironiza Fidel Sclavo en sus Leves instrucciones para navegar en Artaud (2023: 47)––. Ya había grabado dos discos con los legendarios Almendra (1970) el muy hippie y experimental Spinettalandia y sus amigos (1971), con participación de Pappo, Héctor “Pomo” Lorenzo y Miguel Abuelo, y dos más con Pescado Rabioso (1972 y 1973). De este modo, en Artaud , Spinetta volcó toda su genialidad y experiencia , regalándonos una obra de arte integral, desde su carátula hasta la última nota, álbum que no en vano suele figurar en los primeros lugares en las listas de popularidad del rock argentino argentino. Casi 37 minutos de música, poesía y surrealismo; un disco eternoeterno Continuar leyendo Encuentralo aquí

Antonio Martín Moreno, Catedrático de la Universidad. Inició sus estudios musicales en el Seminario Menor de Granada (1959) con José Castañeda y Juan Alfonso García y en el Conservatorio de Música de Córdoba con Joaquín Reyes Cabrera y Rafael Quero, ampliándolos en el de Madrid con Julián López Gimeno, Manuel Carra, Federido Sopeña, Gerardo Gombau, Francisco Calés y Antonio Barrera Maraver, entre otros, obteniendo el Título Superior en 1973. En 1969 finalizó la Licenciatura en Filosofía y Letras (Sección Filosofía) en la Universidad Pontificia de Comillas (Santander y Madrid), y en 1970 la Licenciatura en Filosofía Pura en la Universidad Complutense (Madrid). Una beca de “Ayuda a la formación de personal investigador)” (1972-1975) le permitió proseguir su especialización musicológica en el Instituto Español de Musicología del CSIC de Barcelona con el profesor Miguel Querol, bajo cuya dirección realizó su tesis doctoral sobre “Las ideas musicales del P. Feijoo y la polémica que suscitaron: orígenes e influencias”, defendida en octubre de 1975 en el Departamento de Arte de la Universidad Autónoma de Barcelona, ante el tribunal integrado por Francisco Rico, Francisco Bonastre, Miguel Querol, José Blecua, y Martín de Riquer obteniendo la máxima calificación y el Premio Extraordinario de Doctorado. Ese mismo año se le concedió el Primer Premio Nacional del “Concurso Permanente de Composición e Investigación Musical” del Ministerio de Educación, en su primera edición (BOE de 26.12.1975) y fue becado por la Fundación Juan March, para la que realizó una amplia investigación sobre la vida y obras del compositor Sebastián Durón (1660-1716). Amplió su formación musical gracias a numerosas becas que le permitieron asistir a cursos en la Academia Chigiana de Siena (Italia), Música en Compostela, cursos de Pedagogía Musical Ataúlfo Argenta (Castro Urdiales) y cursos Manuel de Falla del Festival Internacional de Música y Danza de Granada, entre otros.

Este trabajo analiza el testimonio Miguel Mármol (1972), de Roque Dalton, como una proclamación de lealtad a un proyecto insurgente en El Salvador. El discurso del narrador construye un modelo de imitación en base a una vida llena de virtudes militantes, que están ligadas al sufrimiento y a la inminencia de la muerte. Como hipótesis, este artículo explora las analogías entre esta retórica, presente en otros testimonios centroamericanos durante la Guerra Fría, y la tradición cristiana del martirio, pues ambos propagan e impulsan verdades morales colectivas a través de modelos de imitación que sufren y mueren por sus creencias.

ABSTRACT: An outline of the personal relationship of an intellectual nature between the author and Víctor Infantes. It is structured as a convergence along four lines: the poetic experimentations of the author that began in 1964, and culminated in 1972 (experimental poetry); an interest in emblems and hieroglyphics; my book Juegos del Sacromonte; and finally, el conde de Villamediana, Don Juan de Tassis y Peralta, Correo Mayor de Felipe IV, Mercurio-Hermes de la Corte. KEYWORDS: Víctor Infantes; Experimental Poetry; Emblematics; Juegos del Sacromonte; Juan de Tassis y Peralta. RESUMEN: Un esquema de la relación personal de carácter intelectual del autor con Víctor Infantes. Se estructura como una convergencia en cuatro líneas: experimentaciones poéticas del autor, que se iniciaron en 1964 y culminaron en 1972 (poesía experimental); interés por los emblemas y jeroglíficos; los Juegos del Sacromonte; y en cuarto lugar, el conde de Villamediana, Don Juan de Tassis y Peralta, Correo Mayor de Felipe IV, Mercurio-Hermes de la Corte. PALABRAS CLAVES: Víctor Infantes; poesía experimental; emblemática; Juegos del Sacromonte; Juan de Tassis y Peralta.

José-Miguel Ullán, en la poética manuscrita que preside Maniluvios (1972), presenta el libro como un "retablo sin autor". En una entrevista aparecida en Triunfo ese mismo año, el poeta hace explícito su rechazo a la coartada biográfica que sustenta la lectura, la interpretación, coincidiendo con la crítica que pocos años atrás había formulado Roland Barthes en "La muerte del autor" (1968). La desaparición o, al menos, el enmascaramiento del autor se materializa en los propios poemas, espacio donde conviven múltiples voces heterogéneas, donde se instaura el montaje como principio constructivo, el azar como ley. La poesía practica la destrucción, consigna que pretende la subversión frente al discurso del poder, que proclama la voluntad de habitar los límites del lenguaje, del poema.

Miguel Rubio Zapata es director y miembro fundador del Grupo Cultural Yuyachkani,1 además de investigador de teatro latinoamericano. Junto con los integrantes de Yuyachkani, el maestro Rubio postula un teatro de creación e investigación a partir del material que los actores y las actrices producen, siempre en relación con la cultura, la sociedad y la situación política del Perú. Es egresado de la Facultad de Ciencias Sociales de la Especialidad de Sociología de la Universidad Particular Inca Garcilaso de la Vega (1974), su experiencia tiene como base la investigación de la cultura peruana y su aplicación en las expresiones artísticas contemporáneas. Ha sido director de múltiples obras teatrales y creaciones colectivas, tales como: Puño de cobre (1972), Los músicos ambulantes (1983), Antígona (2000), Santiago (2000), Sin título: técnica mixta (2004), Con-cierto olvido (2010), Cartas de Chimbote (2015) y Discurso de promoción (2017). En 2010, la Universidad de La Habana ISA (Cuba) le otorgó el doctorado honoris causa en Arte. En 2019 fue galardonado en su país natal con el Premio Nacional de Cultura, en la categoría “Trayectoria”. Ha publicado los libros Notas sobre teatro (2000), El cuerpo ausente (performance política) (2008), Raíces y semillas. Maestros y caminos del teatro en América Latina (2011) y Guerrilla en Paucartambo (2013), entre otras. Recibido: 01 de noviembre de 2019Aceptado: 19 de marzo de 2020

Machado-Joseph disease (MJD), or spinocerebellar ataxia type 3, was originally described in members of the families of Machado, Thomas, and Joseph from São Miguel Island, Azores, Portugal, in 1972. The purpose of this article is to present previous descriptions of hereditary ataxia resembling the heterogeneous phenotypic intra-familiar presentation of MJD. We suggest that the condition would best be called dominant spino-pontine atrophy.

En este artículo partimos de la demanda que el filósofo danés Søren Kierkegaard formulara en su libro Prólogos (1844) acerca de la necesidad de elaborar una teoría del prólogo, algo que más de un siglo después llevó adelante Gérard Genette en su estudio sobre los llamados «paratextos» y que tituló precisamente Umbrales, haciendo referencia a los aledaños del texto. Luego de realizar un rápido recorrido a través de varios textos, entre ellos Cinco prefacios a cinco libros no escritos (1872) de Friedrich Nietzsche, «Fuera–de–libro (Prefacios)» (1972) de Jaques Derrida y Prólogos con un prólogo de prólogos (1975) de Jorge Luis Borges, nos detendremos especialmente en el caso paradigmático de Miguel de Unamuno y en su filiación con Macedonio Fernández. Las conclusiones apuntan a subrayar la novedad que este «género» adquiere en las formulaciones de estos escritores: el gesto autorreferencial de teorizar desde el prólogo sobre el prólogo en un ejercicio de deconstrucción y resignificación del mismo. El lugar privilegiado que ambos asignan al problema teórico de lo marginal versus lo central, de lo abierto versus lo cerrado, de lo concluso versus lo inconcluso responde a una común concepción estética que apuesta por el fragmento, el esbozo o el proyecto provisional deconstruyendo la mímesis realista del XIX.

RESUMEN: En la Biblioteca del Palacio de Peralada —creada por los nobles mallorquines los hermanos D. Antonio y D. Tomás de Rocabertí Dameto en el último cuarto del siglo XIX y, a partir de 1923, proseguida por el bibliófilo D. Miguel Mateu Pla (1898-1972)—, se preservan ejemplares que pertenecieron a bibliófilos y coleccionistas de distintos puntos de España y Europa. En esta ocasión, se dan a conocer ocho pliegos sueltos de la primera década del siglo XVII, con paradero desconocido para algunos de ellos hasta hoy, adquiridos por Miguel Mateu; piezas únicas que pertenecieron a la extraordinaria biblioteca formada por el banquero y coleccionista inglés, Henry Huth (1815-1878) y, a su deceso, preservadas por su hijo Alfred Henry Huth (1850-1910). Para un mejor conocimiento de su procedencia se contextualiza con una síntesis biográfica de los protagonistas, el estudio de su exlibris, la escisión de sus colecciones bibliográficas y, finalmente, se aportan localizaciones actuales de relevantes obras de la paradigmática biblioteca preservadas en instituciones nacionales e internacionales. ABSTRACT: In Peralada’s Palace Library —created by the Majorcan noblemen the brothers D. Antonio and D. Tomás de Rocabertí Dameto in the last quarter of the 19th century and, from 1923 on, continued by the bibliophile D. Miguel Mateu Pla (1898-1972)—, are preserved copies that belonged to bibliophiles and collectors from different parts of Spain and Europe. On this occasion, are unveiled eight loose sheets from 17th first decade, acquired by Miguel Mateu; unique pieces with unknown whereabouts for some of them until today, which belonged to the extraordinary library formed by the English banker and collector, Henry Huth (1815-1878) and, on his death, preserved by his son Alfred Henry Huth (1850-1910). For a better knowledge of its origin, it is contextualized with a biographical synthesis of the protagonists, the study of their bookplates, the division of its bibliographic collections and, finally, current locations of relevant works from the paradigmatic library preserved in national and international institutions are provided.

Miguel Mihura (1905-1977) a débuté comme humoriste de presse en publiant des narrations brèves humoristiques dans de nombreux périodiques dès 1923. Le corpus formé par les 150 créations mihuriennes parues dans les revues festives "Muchas gracias" (1924-1927) et "Gutierrez" (1927-1933) qui se caractérise par un humour absurde, fondé sur les paradoxes, sur la parodie, sur des personnages déshumanisés et sur un référent culturel populaire, inscrit Miguel Mihura dans une certaine avant-garde littéraire, influencé par les courants surréalistes et déshumanisants des années 1930. Ces premiers textes sont fortement théâtralisés et constituent les matériaux de base de l’œuvre dramatique postérieure de Mihura. Sa première pièce « Tres sombreros de copa », écrite en 1932, est une véritable mosaïque d'éléments empruntés à sa production journalistique de jeunesse. Trois autres pièces, "Ni pobre ni rico", "Sino todo lo contrario", "El caso del señor vestido de Violeta et Carlota", écrites entre 1939 et 1957, montrent d'importantes homologies avec le style originel de l'auteur. Les dix-neuf autres pièces de Mihura font encore des emprunts sporadiques à ses créations de jeunesse, mais divergent d'elles pour suivre le courant plus réaliste du théâtre comique espagnol
Miguel Mihura (1905-1977) started his career as press humorist, publishing brief humorous narrations in a great number of periodicals between 1923 and 1933. The 150 mihurian creations published in the humorous reviews "Muchas gracias" (1924-1927) and "Gutierrez" (1927-1933) contain an absurd humour, founded on paradoxes, parody, deshumanized characters and a popular cultural referent,and place Mihura in a certain avant-garde, influenced by surrealism and dehumanization. Mihura grave a theatrical form to his works and built his later dramatic works from his youth production. His first play, tres sombreros de copa, is a real mosaic of borrowings from his journalistic works and other three plays, "Ni pobre ni rico", "Sino todo lo contrario", "El caso del senor vestido de Violeta et Carlota", written between 1939 and 1957, contain important homologies with the original mihurian style. The other nineteen plays borrow yet from the youth creations but diverge from them to follow the more realistic current of the spanish comic theatre of the time

Partant de l’inscription « populaire » de la chanson, cette thèse vise à questionner les dynamiques de représentation du peuple engendrées par sa présence dans la filmographie portugaise, du cinéma muet des années 1920 jusqu’au cinéma contemporain. A travers une diversité de séquences chantées (fado, etc.), elle fait ressortir des figures saillantes du peuple, significatives de ses différents moments politiques. Elle se penche tout autant sur la construction, souvent incomplète et contradictoire, des prétendus topos de la « portugalité », hérités du XIXe siècle et relayés par la propagande de la longue dictature, que sur les modalités de leur critique. En particulier à travers la quête de modernité du cinéma, qui, à partir des années 1950, montre le peuple du « pays réel », contre l’essentialisme de la « nation » séculaire bientôt ébranlée par la Révolution des Œillets (1974). Sur la base d’un corpus d’une trentaine de films, l’analyse - chronologique - apporte un nouvel éclairage sur la dimension sonore du cinéma portugais, et met en avant certains films contemporains de ce point de vue très significatifs, tels ceux de Miguel Gomes.Ce travail, qui s’inscrit dans le renouveau récent de l’historiographie de ce cinéma, s’appuie sur les apports des sound studies et sur certaines théories esthétiques (Rancière, Deleuze). Il vise à enrichir les outils d’une politique de la chanson au cinéma, en dépassant les approches exclusivement textuelle, esthétique ou scénaristique, qui réduisent parfois ces « moments musicaux » complexes et émancipateurs (Amy Herzog) à leur supposé conformisme divertissant, censé servir la mise en scène univoque d’un peuple sentimentaliste et dépolitisé
Questioning the “popular” anchoring of the song, this dissertation aims to shed light on the dynamics of the people’s representation, throughout the history of Portuguese cinema, from silent cinema of the 1920’s to contemporary productions. Eclectic song sequences (fado, etc.) punctuate this cinematography, triggering different representations of the people, depending on its political moments. On the one hand, this work proposes to bring to light the construction, often incomplete and contradictory, of the supposedly topos of the “portugality”, inherited from the XIXe century and relayed by the regime’s propaganda. On the other hand, it analyses the ways these stereotypes have been criticized, particularly through the quest for modernity of the late 1950’s cinema, which tries to show the people in relation to the “real country”, as opposed to the essentialist age-old nation that will be undermined by the Carnation revolution (1974). Covering thirty films, the chronological case analysis contributes to the sound studies of Portuguese cinema, and highlights some particularly significant contemporary films like those of Miguel Gomes. This thesis, which falls within the recent renewal of Portuguese cinema studies, bases its approach on Sound studies contributions and aesthetic theories (Rancière, Deleuze). It aims to broaden the tools of song politics applied to film music, beyond the strictly textual, aesthetic or script issues, which often reduce these “musical moments” to a conformist entertainment, spreading the image of a sentimentalist and depoliticized people, in spite of their complexity and ability to empowerment (Amy Herzog)

As Canciones Catalanas para violão de Miguel Llobet pertencem ao campo do folclore musical catalão, cuja tradição é milenar. Portanto, buscamos na história da música e na etnomusicologia catalã as informações a respeito da origem de tais melodias usadas na obra do compositor catalão. Ao penetrarmos neste universo localizamos os textos inseridos nas melodias que ajudam a reconhecer o significado delas, estabelecendo assim novos elementos de interpretação para esta coleção de versões de canções tradicionais catalãs para violão. Consultamos o cancioneiro tradicional catalão e encontramos as melodias em sua forma primitiva, junto com seus textos em catalão, que foram transcritos e traduzidos para o português. A pesquisa das Canciones Catalanas enfatiza que tais transcrições representam um marco para a literatura do violão do século XX. Os procedimentos técnicos e expressivos usados nestas transcrições contribuíram para o instrumento entrar numa nova fase idiomática e influenciou outros compositores a escreverem para violão. Analisar o papel das canções tradicionais catalãs no início do século XIX possibilitou traçar a personalidade artística multifacetada de Llobet cuja biografia final ainda não se encontra publicada. Os resultados que encontramos ajudam a posicioná-lo como uma figura extremamente importante para história do violão. No entanto, sua produção foi sufocada por uma série de tragédias ocasionadas pela guerra civil espanhola e algumas obras foram esquecidas. O reconhecimento progressivo do legado deixado pelas atividades de Llobet tem gradativamente fomentado uma pesquisa que vem resgatando tais obras. Portanto, esta dissertação pretende dar sua contribuição neste processo a fim de completar um capítulo essencial na história do violão.
The Canciones Catalanas for the guitar by Miguel Llobet belong to the Catalan folklore music area, whose tradition is millennial. However we search in the history of music and Catalan etnomusicology the information about the origin of such melodies used in the works of the Catalan composer. When we enter this universe, we find the texts which are inserted in the melodies that help recognise the meaning of them and establish new elements of interpretation for the collection of Catalan traditional songs for the guitar. We have consulted the Catalan traditional Cancioneros and we have found the melodies in their primitive forms with their texts in the Catalan language transcribed and translated into the Portuguese language. The research about Canciones Catalanas emphasizes the statement that they are a mark in the literature of the guitar from the twenthieth century. The technical and expressive procedures used in these transcriptions contributed towards the entrance of the instrument into a new idiomatic phase and influenced other composers to write for the guitar. To analyse the function of the traditional melodies in the beginning of the nineteenth century, propitiates the possibility to trace Llobet´s manifold artistic personality, whose final biography has not been published yet. The results helped to give him a position as an extremely important figure for the history of the guitar. However, his production was stifled by several tragedies brought about by the Spanish Civil War and some of the works fell into oblivion. The progressive recognition of the legacy left by Llobet´s activities has been gradually promoting a research and thus rescuing his works. However, the present dissertation intends to give a contribution to this process so as to complete an essential chapter in the history of the guitar.

Memoria (licenciado en ciencias jurídicas y sociales)
El presente estudio biográfico revisa, cronológicamente, las diversas etapas en la vida de don Miguel Aylwin Gajardo. Su objetivo es desnudar las principales características de la personalidad de este profesor y juez, así como también conocer, desde su perspectiva, la realidad educacional y judicial de la primera mitad del siglo XX. Para ello la investigación se centró en bibliografía diversa, como libros de historia, diarios de época, jurisprudencias y entrevistas a los señores Tomás y Patricio Aylwin Azócar. El resultado es una obra que, a partir del repaso de la vida este reconocido juez, permite evaluar comparativamente los reales avances que ha experimentado la judicatura actual y mantener así también viva su historia y la de los hombres que la han constituido.

Il s'agit d'une etude des strategies d'ecriture tropique et symbolique de m. A. Asturias a partir d'un corpus de trois romans (<< hombres de maiz >>, <>, << maladron >>) dont il est fait une approche intertextuelle afin de degager les singularites et les constantes d'ecriture. Les mecanismes de fonctionnement interne mis au jour laissent apparaitre comment tropes et symboles, organises,pour les premiers, en reseaux de signification, pour les seconds, en constellations, contribuent a guider le lecteur, par paliers, vers le sens du sens. Organisee en trois parties, cette these propose d'abord une reflexion theorique d'ordre conceptuel et methodologique puis une mise en pratique en deux volets concus comme deux etapes hermeneutiques. Le premier volet suit une demarche d'analyse structurale des reseaux de tropes et propose, sur la base des donnees recueillies, une analyse textuelle du role des tropes dans chaque roman - supports du sens dans << mulata de tal >>, vecteurs du sens dans << hombres de maiz >>, matrice genetique du sens dans << maladron >> - et dans le texte asturien dans son ensemble. Le second volet d'interpretation, descriptive et analytique, des constellations symboliques eclaire le role fondamental des reseaux tropiques dans la constitution du mode d'etre symbolique du texte asturien. En suivant les etapes d'une methodologie d'approche rhetorique, en interrogeant les lieux de conversion textuels ou s'opere le passage du sens direct au sens indirect, sont mises au jour les potentialites semantiques du texte : les strucutres superficielles de la langue asturienne le niveau discursif particulierement actif que constituent tropes et symboles, en interaction avec le niveau denotatif, donnent acces aux schemes logico-semantiques des structures profondes de l'univers asturien.

Esta pesquisa tem como objetivo analisar as representações políticas sobre o Chile na obra fílmica do cineasta Miguel Littín realizada em seu exílio político, entre 1973 e 1990. Engajado politicamente, o diretor produziu filmes no Chile e, devido à sua identificação com o governo de Salvador Allende (1970-1973), foi obrigado a exilar-se após o golpe de Estado, ocorrido em 1973. Em sua trajetória no exílio, Miguel Littín transitou por diversos países europeus e americanos dirigindo películas, participando de debates e construindo redes de solidariedades. Procuramos mostrar que essa forma de resistência a partir do exílio foi permeada por diversas tensões e divergências entre estrangeiros e exilados chilenos. Dentre as obras selecionadas para a pesquisa, analisaremos de forma privilegiada Actas de Marusia e Acta general de Chile, porque abordam a realidade chilena. A primeira foi produzida no México em 1975 e retrata um massacre de trabalhadores do salitre ocorrido no norte do Chile, no início do século XX. A segunda constitui uma série de documentários exibida pela Televisión Española em 1986 e exibe a luta social contra a ditadura de Augusto Pinochet. Procuraremos mostrar que a filmografia de Miguel Littín e sua atuação no exterior contribuem para a compreensão das lutas contra a ditadura chilena a partir de um novo ângulo, o audiovisual.
This research aims to analyze the political representations of Chile in the film work of the filmmaker Miguel Littin made in his political exile from 1973 to 1990. Politically engaged, the director made films in Chile and, because of its identification with the government of Salvador Allende (1970-1973), was forced to go into exile, after the coup d\'état in 1973. During his career in exile, Miguel Littin moved between European and American countries directing films, participating in debates and extending solidarity networks. We tried to show that this form of \"resistance\" from the exile was permeated by various tensions and disagreements with foreigners and Chilean exiles. Among the works selected for the research, we will analyze in a privileged way the films Actas de Marusia and Acta General de Chile, because they represented the Chilean reality. The first was produced in Mexico in 1975 and portrait a massacre of saltpetre workers that occurred in northern Chile, in the early twentieth century. The second is a documentary series aired by Televisión Española in 1986, and displays the social struggle against the dictatorship of Augusto Pinochet. We seek to show that the filmography of Miguel Littin and its activities abroad contribute to the understanding of the struggles against the Chilean dictatorship from a new angle, the audiovisual.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Education provided by schools presents itself as a privileged field surrounded by pedagogical ideals that promise to transform society and life by educational institutions. Towards this direction, the questioning movement by New School, which takes form in the second quarter of the 20th century, becomes the main tool for the comprehension of the opposite speech between old and new in different moments of history, so that it wouldn t restrict, in the present, the teaching/learning techniques to the past mimicry or to illusions of a total renovation of school cultures. There are, in this time/space of remainings and changes defined by the Brazilian New School Movement, many statements and actions to be still reflected. Therefore, this research promoted the documental analysis of the New School movement practice representations, from two manuals whose author is Alfredo Miguel Aguayo: Didática da Escola Nova e Pedagogia Científica because it comprises the established connections between the book and the reading in this timing as projected spaces for the remeaning of school chores. Sustained by the manual field, this research consists in a historical reading of two books written for the formation of elementary school teachers from the theorical foundation by Michel de Certeau and Roger Chartier. It s important to emphasize that Aguayo s texts under analysis, witch were created to turn the school routines scientific, safeguard purposes and a specific group of people, and are representations of reading/reflections of a professor/writer who was a part of a place where saying New School was much more than proposing a new school. Therefore, observing these representations of practice inside his manuals provided with texts - COMUNICADOS written by elementary school teachers from Santa Catarina - in an ongoing formation process in the 1940 s along with other official documents from the Department of Education in SC, made possible to learn the reverberation and the recurrence of some ideas that represented the pedagogical renovation for that time. By questioning these statement productions which pointed the triad of learning process, motivation/interest/attention, and the main themes from discipline-body/moral/hygiene and discipline-knowledge (National Language/Arithmetics/Geography/Arts), it became clear that the new schools from last century didn t point to one solution only nor to an only end, and didn t define common goals to the society. On the contrary, they embodied different interpretations and experiences. Thereby, it was possible to recognize facets of a Escola Nova in SC that, even though entitled as renewing by the school authorities and designed by the scientific discoveries, it preserved antidemocratic social relationships to the elementary school teachers continuing formation process, as well as to the models of reading and writing that belong to that school named at a certain time/space as traditional.
A educação escolarizada configura-se como um campo privilegiado em que circulam ideários pedagógicos que prometem transformar a sociedade e a vida por meio de instituições de ensino. Nessa direção, a problematização do movimento pela Escola Nova, que toma corpo no segundo quartel do século XX, torna-se ferramenta fundamental para a apreensão da oposição discursiva entre o novo e o velho em diferentes momentos da história, a fim de não reduzirmos, no presente, as práticas de ensino/aprendizagem a mimetismos do passado ou a ilusões de total renovação das culturas escolares. Há, nesse tempo/espaço de permanências e mudanças configuradas pelo movimento escolanovista brasileiro, muitos enunciados e ações a serem ainda refletidos. Sendo assim, esta pesquisa promoveu a análise documental de representações de práticas escolanovistas a partir de dois manuais didáticos de autoria de Alfredo Miguel Aguayo: Didática da Escola Nova e Pedagogia Científica porque compreende as relações estabelecidas entre o livro e a leitura nessa temporalidade como espaços projetados para a ressignificação dos fazeres escolares. Ancorado no campo da manualística este estudo compõe uma leitura histórica de dois livros fabricados para a formação de professores/professoras primários/primárias a partir do aporte teórico de Michel de Certeau e Roger Chartier. Cumpre salientar que os textos de Aguayo em análise, produzidos com o intuito de tornar científico o cotidiano escolar, salvaguardam finalidades e destinatários particulares e constituem-se como representações de leituras/reflexões de um professor/escritor inserido num lugar em que dizer Escola Nova era construir um discurso bastante complexo. Dessa maneira, ao cotejar essas representações de práticas presentes em seus manuais com textos - Comunicados - escritos por docentes do ensino primário catarinense - em processos de formação continuada na década de 1940 - e outros documentos oficiais do Departamento de Educação de Santa Catarina foi possível apreender a reverberação e a recorrência de algumas ideias que configuraram a renovação pedagógica para o período. Por meio da problematização dessas produções discursivas que apontam a tríade da aprendizagem, motivação/interesse/atenção, e as principais temáticas do ensino disciplina-corpo/moral/higiene e disciplina-saber (Língua Nacional/Aritmética/História/Geografia/Desenho) como basilares aclarou-se o entendimento de que as Escolas Novas do século passado não apontaram para uma única direção, não conjugaram um único fim, não projetaram objetivos comuns a toda uma sociedade. Ao contrário, essas configuraram diferentes interpretações e experiências. Nesse sentido, foi possível perceber facetas de uma Escola Nova catarinense que, mesmo enunciada como renovadora pelas autoridades escolares e prescrita a partir das novas descobertas científicas, conservou na formação continuada do professorado primário relações sociais antidemocráticas e modelos de leitura e escrita pertencentes à escola nomeada naquele tempo/espaço como tradicional.

AbstractThe first decade of this time period was characterized by the central importance of Lazaro Cardenas’s presidency (1934–1940), including his reforms that sought to promote equality in land ownership in the countryside and his support for the immigration of Spanish republicans, which would have an important intellectual influence in the development of social sciences and humanities in Mexico. The second decade, during the presidential periods of Avila Camacho (1940–1946) and Miguel Aleman (1946–1952) saw economic policies that promoted the industrialization and urbanization of the country, which was often described as the “Mexican Miracle.” Sociology went through an institutionalization process with the founding of research institutions, editorial houses, specialized journals, and bachelor’s programs.

Site 8JE106 was discovered, recorded, and investigated between 1968 and 1972, by B. Calvin Jones, an archaeologist from what was then the State of Florida’s Division of Archives, History, and Records Management. Jones identified the site as the location of the seventeenth-century Mission San Miguel de Asilé. Site 8JE106 is located just to the west of the Aucilla River, which is considered to be the traditional dividing line between Timucua and Apalachee provinces in northern Florida, with Apalachee to the west and Timucua to the east. Historical documentation suggests that San Miguel de Asilé was a Timucuan mission. Following that theory, Miguel de Asilé would be located on the eastern side of the Aucilla River, contradictory to Jones’ conclusions. This chapter present the results of analysis of the artifacts and Jones’ excavation documents reinterpret the site.

La agresiva simiente de la Ilustración, según la llamó Picón Salas (1969: 176), borró o, por lo menos, hizo olvidar, al declarar una guerra contra el pasado en términos políticos (Briceño-lragorry 1972: 64 y Montero Castro 1992: 22-23), lo que fue la cultura colonial en su mejor aspecto: la difusión de valores culturales como coproducto de la religión. La soberbia de los enciclopedistas, quienes al condenar a los jesuitas entendían al mundo anterior a la Enciclopedia como una era tenebrosa y al posterior como la era de la razón iluminada, sobrevivió mucho tiempo, casi hasta hoy (Arciniegas 1980: 168)

Yolanda Martínez-San Miguel proposes a reinterpretation of Rodríguez de Tió’s classic text by offering a “juxtaposed reading” of two short stories, “Página en blanco y staccato” (1987) by the Puerto Rican Manuel Ramos Otero, and “Los fundadores: Alfonso” (1972), by Lourdes Casal. These stories “project a queered imaginary of Cuban and Puerto Rican imaginaries” by decentering the Hispanophile and Creolist definitions of national identity, highlighting the black and mulatto elements of that identity, and creating Asian and queer characters as emblematic of the Hispanic Caribbean. In many ways, both Casal and Ramos Otero were writing to compensate for the absence of Afro-Asian voices within the historical archives as well as the national literature of their countries during the 1970s and 1980s. Martínez-San Miguel concludes her essay with a discussion of how archipelagic themes and diasporic themes present in these tales undermine traditional nationalist narratives about Cuba and Puerto Rico.

En 1973 apareció en la colección de libros de bolsillo de Alianza Editorial el volumen Narrativa Peruana 1950/1970, una antología de catorce textos en prosa seleccionados y prologados por Abelardo Oquendo. Una sección del volumen incluía una encuesta a los autores de los textos: seis, casi la mitad de ellos, pertenecían o eran allegados al grupo Narración, organizado alrededor de una revista del mismo nombre, publicada por primera vez en 1966 como una contraparte literaria de la experiencia guerrillera peruana de esos tiempos. Oswaldo Reynoso, nacido en Arequipa en 1932, autor del libro de cuentos Los inocentes (1961) y las novelas En octubre no hay milagros (1965) y El escarabajo y el hombre (1970), fundador del grupo, aparte de ser su portavoz más carismático, describió así su vocación: «La escritura es la última etapa de la reacción que comienza con el deslumbramiento, la rabia, la piedad o la violencia frente a esta realidad de mierda de nuestra pura América»

This research raises as thesis the idea that Linear Park is an urban instrument capable of vertebrate the city and, consequently, of regenerate it. To this end, ten parks strategically located in big cities such as Rio de Janeiro, London, Paris, Madrid, Barcelona, ​​or in medium or small cities such as Valencia, Castellón or Figueres, have been analyzed. Of this analysis we have deduced some characteristics that are considered key in the linear and transversal vertebration of the city, such as: - Green axis-corridor approach - Sequence of events with integration of public buildings - Continuity derived from the union of different areas - Promotion of active leisure activities, individual or collective: sports, cultural, .... - Capability of relation and regeneration of ecosystems: forest, meadow, orchard, nurseries, water, city, .... - Capability to restore environment, with reduction in CO2, in noise pollution, ... - Establish relations between the city and the territory with definition of natural parks - Contribute to prevent thermal inversion in the city - Establish a beginning and an end as recognizable elements in city. - Confrontation of opposites: static or dynamic; soft (green) or hard (pavement); unitary or fragmentary, cartesian or organic, ... The parks thus understood can be organized in diverse typologies, such us: classic order; in net; upholstery-continuos map; linear order with grooves, tapes or bands; landscaper and naturalist; ... .. The work delves into these themes by recognizing tools of interest such as: harmonic relationship; human scale; non-guided tours; sensory experimentation: spaces, sights, aromas, sounds, colorful, ...; unexpected and random; pragmatic and passionate; order within disorder; activation of spaces without hierarchies or apriorisms; flee from monotony; evocations; ... KEY WORDS: linear park, green corridor, city vertebrador, urban regeneration, sensorial experimentation, harmonious relationship, ... REFERENCES: Referred to the following urban parks: Paseo de Copacabana, 1979 Burle Max; La Vilette project 1975, León Krier; La Vilette 1981-87, Bernard Tschumi; Turia Park, 1981, Ricardo Bofill; Botanic Garden, Barcelona, ​​2002, Carlos Ferrater; Thames Barrier Park, London, 2000, Signes Group; Garden of the senses, Castellón, Del Rey-Magro; Park of the Manzanares, Madrid, Burgos-Garrido; Les Aigües Park, Figueres, Oliac-Batle; Parque Cabecera, Valencia, De Miguel-Corell-Muñoz

Channel Islands National Park includes the five northern islands off the coast of southern California (San Miguel, Santa Rosa, Santa Cruz, Anacapa, and Santa Barbara Islands) and the surrounding waters out one nautical mile. There are approximately 176 miles of coastline around the islands, about 80% of which is composed of rock. The diversity and undisturbed nature of the tidepools of this rocky coastline were recognized as special features of the islands in the enabling legislation. To conserve these communities unimpaired for future generations, the National Park Service has been monitoring the rocky intertidal communities at the islands since 1982. Sites were established between 1982 and 1998. Site selection considered visitation, accessibility, presence of representative organisms, wildlife disturbance, and safety. This report summarizes the 2018–2019 sampling year efforts (from November 2018 to April 2019) and findings of the Channel Islands National Park Rocky Intertidal Community Monitoring Program. Specific monitoring objectives are 1) to determine the long-term trends in percent cover of key sessile organisms in the rocky intertidal ecosystem, and 2) to determine population dynamics of black abalone (Haliotis cracherodii), owl limpets (Lottia gigantea), and ochre sea stars (Pisaster ochraceus). Objectives were met by monitoring percent cover of core species in target intertidal zones using photoplots and transects, and by measuring size frequency and abundance of black abalone, owl limpets, and sea stars using fixed plots or timed searches. Twelve key species or assemblages, as well as the substrate, tar, have been monitored twice per year at 21 sites on the five park islands as part of the rocky intertidal community monitoring program. Fixed photoplots were used to monitor the percent cover of thatched and acorn barnacles (Tetraclita rubescens, Balanus glandula/Chthamalus spp., respectively), mussels (Mytilus californianus), rockweeds (Silvetia compressa, and Pelvetiopsis californica (formerly Hesperophycus californicus), turfweed (Endocladia muricata), goose barnacles (Pollicipes polymerus) and tar. Point-intercept transects were used to determine the percent cover of surfgrass (Phyllospadix spp.). Information about size distribution (i.e., “size frequency” data) was collected for owl limpets in circular plots. Size distribution and relative abundance of black abalone and ochre sea stars were determined using timed searches. The maximum number of shorebirds and pinnipeds seen at one time were counted at each site. The number of concession boat visitors to the Anacapa tidepools was collected and reported. All sites were monitored in 2018–2019. This was the third year that we officially reduced our sampling interval from twice per year (spring and fall) to once in order to streamline the program and allow for the implementation of additional protocols. Weather conditions during the site visits were satisfactory, but high wind coupled with strong swell and surge limited or prevented the completion of some of the abalone and sea star searches. The percent cover for most key species or assemblages targeted in the photoplots was highly variable among sites. Mussel (Mytilus californianus) cover remained below average at Anacapa and Santa Barbara Islands. Record or near record low abundances for Mytilus were measured at Middle West Anacapa (Anacapa Island), Harris Point (San Miguel Island), Prisoner’s Harbor (Santa Cruz Island), and Sea Lion Rookery (Santa Barbara Island) sites. The only site that appeared to have above average Mytilus cover was Scorpion Rock on Santa Cruz Island. All other sites had mussel cover near or below the long-term mean. Qualitatively, Mytilus recruitment appeared low at most sites. Both rockweed species, Silvetia compressa and Pelvetiopsis californica (formerly Hesperophycus californicus), continued to decrease markedly in abundance this year at the majority of sites compared to combined averages for previous years. Fossil Reef and Northwest-Talcott on Santa Rosa Island, Sea Lion Rookery on Santa Barbara Island, and South Frenchy’s Cove on Anacapa Island were the only sites that supported Silvetia cover that was near the long-term mean. No sites exhibited above average cover of rockweed. Extremely high levels of recruitment for Silvetia and Pelvetiopsis were documented at many sites. Most sites exhibited marked declines in S. compressa abundances beginning in the early 2000s, with little recovery observed for the rockweed through this year. Barnacle (Chthamalus/Balanus spp.) cover fell below the long-term means at all islands except Anacapa, where barnacle cover was slightly above average. Endocladia muricata abundances remained comparable to the grand mean calculated for previous years at Santa Barbara, Santa Cruz, and Santa Rosa Islands, while cover of the alga decreased slightly below the long-term means at Anacapa and San Miguel Islands. Black abalone (Haliotis cracherodii) abundances at the islands remain less than one percent of 1985 population levels. Zero abalone were found throughout the entire site at Landing Cove on Santa Barbara Island and South Frenchy’s Cove on Anacapa Island. Above average abundances relative to the long-term mean generated from post-1995 data were observed at all but five sites. Juvenile black abalone were seen at all islands except Santa Barbara. Ochre sea star (Pisaster ochraceus) populations crashed in 2014 at all monitoring sites due to Sea Star Wasting Syndrome, an illness characterized by a suite of symptoms that generally result in death. The mortality event was widely considered to be the largest mortality event for marine diseases ever seen. Beginning in June 2013, the disease swiftly and significantly impacted P. ochraceus (among other species of sea stars) populations along the North American Pacific coast from Alaska to Baja California, Mexico. By the beginning of 2014, P. ochraceus abundances had declined by >95% at nearly all Channel Islands long-term intertidal monitoring sites, in addition to numerous other locations along the West Coast. At various times during the past decade, extremely high abundances (~ 500 P. ochraceus) have been observed at multiple sites, and most locations have supported >100 sea stars counted during 30-minute site-wide searches. This year, abundances ranged 0–13 individuals per site with all but one site having fewer than 10 P. ochraceus seen during routine searches. Insufficient numbers of sea stars were seen to accurately estimate the size structure of P. ochraceus populations. Only two juveniles (i.e., <50 mm) were observed at all sites combined. Giant owl limpet densities in 2018–2019 were comparable or slightly above the long-term mean at seven sites. Exceptionally high densities were measured at Northwest-Talcott on Santa Rosa Island, Otter Harbor on San Miguel Island, and Willows Anchorage on Santa Cruz Island. The sizes of L. gigantea this year varied among sites and islands. The smallest L. gigantea were observed at Otter Harbor followed closely by Willows Anchorage and Anacapa Middle West, and the largest were seen at Northwest-Talcott. Temporally, the mean sizes of L. gigantea in 2018–2019 decreased below the long-term mean at each island except Anacapa. Surfgrasses (Phyllospadix spp.) are typically monitored biannually at two sites each on Santa Cruz and Santa Rosa Islands. Beginning in 2015, all transects at each of the monitoring sites were only sampled once per year. At East Point on Santa Rosa Island, the conditions were not conducive to sampling the surfgrass transects, but qualitatively, percent cover of surfgrass appeared to be near 100% on all three transects. Relative to past years, cover of surfgrass increased above the long-term mean at Fraser Cove on Santa Cruz Island, fell slightly below the mean at Trailer on Santa Cruz Island, and remained approximately equivalent to the mean at the two Santa Rosa Island sites. Overall, the abundance and diversity of shorebirds in 2018–2019 at all sites appeared similar to observations made in recent years, with the exception of elevated numbers of brown pelicans (Pelecanus occidentalis) observed at East Point on Santa Rosa Island. Black oystercatchers (Haematopus bachmani) were the most ubiquitous shorebird seen at all sites. Black turnstones (Arenaria melanocephala) were not common relative to past years. Pinniped abundances remained comparable in 2018–2019 to historical counts for all three species that are commonly seen at the islands. Harbor seals (Phoca vitulina) were seen in the vicinity of eight sites this year. As in past years, harbor seals were most abundant at Otter Harbor and Harris Point on San Miguel Island. Elephant seals (Mirounga angustirostris) were seen at six sites during the year, where abundances ranged 1–5 individuals per location. California sea lions (Zalophus californianus) were common at Santa Barbara Island; 117 individuals were observed at Sea Lion Rookery. Sea lion abundances were higher than usual at Harris Point (N = 160) and Otter Harbor (N = 82) on San Miguel Island. Relative to past years, abundances this year were considered average at other locations.

Channel Islands National Park (CHIS) has conducted long-term ecological monitoring of the kelp forests around San Miguel, Santa Rosa, Santa Cruz, Anacapa and Santa Barbara Islands since 1982. The original permanent transects were established at 16 sites between 1981 and 1986 with the first sampling beginning in 1982, this being the 33rd year of monitoring. An additional site, Miracle Mile, was established at San Miguel Island in 2001 by a commercial fisherman with assistance from the park. Miracle Mile was partially monitored from 2002 to 2004, and then fully monitored (using all KFM protocols) since 2005. In 2005, 16 additional permanent sites were established to collect baseline data from inside and adjacent to four marine reserves that were established in 2003. Sampling results from all 33 sites mentioned above are included in this report. Funding for the Kelp Forest Monitoring Program (KFM) in 2014 was provided by the National Park Service (NPS). The 2014 monitoring efforts utilized 49 days of vessel time to conduct 1,040 dives for a total of 1,059 hours of bottom time. Population dynamics of a select list of 71 “indicator species” (consisting of taxa or categories of algae, fish, and invertebrates) were measured at the 33 permanent sites. In addition, population dynamics were measured for all additional species of fish observed at the sites during the roving diver fish count. Survey techniques follow the CHIS Kelp Forest Monitoring Protocol Handbook (Davis et al. 1997) and an update to the sampling protocol handbook currently being developed (Kushner and Sprague, in progress). The techniques utilize SCUBA and surface-supplied-air to conduct the following monitoring protocols: 1 m2 quadrats, 5 m2 quadrats, band transects, random point contacts, fish transects, roving diver fish counts, video transects, size frequency measurements, and artificial recruitment modules. Hourly temperature data were collected using remote temperature loggers at 32 sites, the exception being Miracle Mile where there is no temperature logger installed. This annual report contains a brief description of each site including any notable observations or anomalies, a summary of methods used, and monitoring results for 2014. All the data collected during 2014 can be found in the appendices and in an Excel workbook on the NPS Integrated Resource Management Applications (IRMA) portal. In the 2013 annual report (Sprague et al. 2020) several changes were made to the appendices. Previously, annual report density and percent cover data tables only included the current year’s data. Now, density and percent cover data are presented in graphical format and include all years of available monitoring data. Roving diver fish count (RDFC), fish size frequency, natural habitat size frequency, and Artificial Recruitment Module (ARM) size frequency data are now stored on IRMA at https://irma.nps.gov/DataStore/Reference/Profile/2259651. The temperature data graphs in Appendix L include the same graphs that were used in past reports, but include additional violin plot sections that compare monthly means from the current year to past years. In addition to the changes listed above, the layout of the discussion section was reordered by species instead of by site. The status of kelp forests differed among the five park islands. This is a result of a combination of factors including but not limited to, oceanography, biogeography and associated differences in species abundance and composition, as well as sport and commercial fishing pressure. All 33 permanent sites were established in areas that had or were historically known to have had kelp forests in the past. In 2014, 15 of the 33 sites monitored were characterized as developing kelp forest, kelp forest or mature kelp forest. In addition, three sites were in a state of transition. Two sites were part kelp forest and part dominated by Strongylocentrotus purpuratus...