El microrrelato como fragmento de un amplio conjunto narrativo en Bartleby y compañía de Enrique Vila-Matas

En Bartleby y compañía Enrique Vila-Matas reúne un gran número de relatos breves y brevísimos de escritores que en cierto momento de su vida dejaron de escribir. La autonomía de estos 'microrrelatos' es parecida a la de los relatos orales que los autores/editores de los siglos XV y XVI reunían en antologías y colecciones de cuentos o libros de caballería y de pastores. Mientras que la invención de la imprenta facilita el desarrollo de texturas más enredadas y un sutil sistema de subordinaciones que confieren una creciente coherencia a amplios conjuntos narrativos, Enrique Vila-Matas opta por una estructura esencialmente paratáctica. Mediante un juego de alusiones a una multitud de hipotextos, esta estructura sugiere un estado de fragmentación y una libertad de asociación que ilustra la temática central del libro, el rechazo de una 'literatura alimenticia' a favor de la literatura del No.

La representación de la prueba caballeresca como aventura familiar en tres imágenes del Ms.P del Libro del cavallero Zifar

El manuscrito P (Biblioteca Nacional de Francia) del Libro del cavallero Zifar es un códice de fines del siglo XV que, debido a las cerca de 240 ilustraciones que contiene, permite apreciar la dinámica particular de producción y recepción de aquellos manuscritos medievales en los que se conjugan el texto y la imagen como configuradores de sentido. A través de la focalización de un grupo de ilustraciones miniadas que dan cuenta de la dinámica de la aventura caballeresca, centrada tanto en Zifar como en su familia, el presente trabajo postula la relación de esas imágenes con el texto en una retórica deudora tanto de la redacción inicial del texto como de su recepción más de un siglo y medio después

El Cid humanístico : La configuración del paradigma caballeresco

Si bien el Cid sigue su camino cuatrocentista en las derivaciones cronísticas y en el romancero épico, se afirma paralelamente a lo largo del siglo xv un nuevo paradigma en torno a Rodrigo, para acercarlo a los esquemas de la actuación caballeresca con que se entraman las biografías o crónicas particulares de héroes reales. Las ponderaciones del héroe en la literatura de la época se vinculan con los principales proyectos de renovación de la caballería, instigados a lo largo de los tres reinados de esta centuria, en especial a los promovidos en el entorno de don Álvaro de Luna y en el marco militar de los Reyes Católicos.

La representación de la prueba caballeresca como aventura familiar en tres imágenes del Ms.P del Libro del cavallero Zifar

El manuscrito P (Biblioteca Nacional de Francia) del Libro del cavallero Zifar es un códice de fines del siglo XV que, debido a las cerca de 240 ilustraciones que contiene, permite apreciar la dinámica particular de producción y recepción de aquellos manuscritos medievales en los que se conjugan el texto y la imagen como configuradores de sentido. A través de la focalización de un grupo de ilustraciones miniadas que dan cuenta de la dinámica de la aventura caballeresca, centrada tanto en Zifar como en su familia, el presente trabajo postula la relación de esas imágenes con el texto en una retórica deudora tanto de la redacción inicial del texto como de su recepción más de un siglo y medio después

El Cid humanístico : La configuración del paradigma caballeresco

Si bien el Cid sigue su camino cuatrocentista en las derivaciones cronísticas y en el romancero épico, se afirma paralelamente a lo largo del siglo xv un nuevo paradigma en torno a Rodrigo, para acercarlo a los esquemas de la actuación caballeresca con que se entraman las biografías o crónicas particulares de héroes reales. Las ponderaciones del héroe en la literatura de la época se vinculan con los principales proyectos de renovación de la caballería, instigados a lo largo de los tres reinados de esta centuria, en especial a los promovidos en el entorno de don Álvaro de Luna y en el marco militar de los Reyes Católicos.

El microrrelato como fragmento de un amplio conjunto narrativo en Bartleby y compañía de Enrique Vila-Matas

En Bartleby y compañía Enrique Vila-Matas reúne un gran número de relatos breves y brevísimos de escritores que en cierto momento de su vida dejaron de escribir. La autonomía de estos 'microrrelatos' es parecida a la de los relatos orales que los autores/editores de los siglos XV y XVI reunían en antologías y colecciones de cuentos o libros de caballería y de pastores. Mientras que la invención de la imprenta facilita el desarrollo de texturas más enredadas y un sutil sistema de subordinaciones que confieren una creciente coherencia a amplios conjuntos narrativos, Enrique Vila-Matas opta por una estructura esencialmente paratáctica. Mediante un juego de alusiones a una multitud de hipotextos, esta estructura sugiere un estado de fragmentación y una libertad de asociación que ilustra la temática central del libro, el rechazo de una 'literatura alimenticia' a favor de la literatura del No.

Case Study of Applied LIP Approach/Activities in the Philippines The Training Services Enhancement Project for Rural Life Improvement (TSEP-RLI) Experience

TSEP-RLI was a technical cooperation project jointly conducted by GOP thru DA-Agricultural Training Institute (ATI) and GOJ thru JICA aimed at institutionalizing the training program for Rural Life Improvement (RLI) at the (ATI). As expected, farmers, fisherfolk, women, youth and extension agents were provided with efficient and effective training services from ATI leading to the improvement of quality of life in the rural areas through efforts of human resource development. The ATI- Bohol was chosen as the model center where participatory trials and various activities of the project were undertaken for five years. These activities were participatory surveys and data collection of on-farm and off-farm productive activities; planning workshop for RLI; feedbacking of survey results and action plans to the community and the Local Government Units (LGUs), and signing of Memorandum of Agreement between the Project and participating LGUs. The above activities were done to facilitate the planning and development of most effective and necessary rural life improvement activities, to confirm the willingness of the people to support and participate and to formalize the partnership between the Project and the LGUs. Since the concept of rural life covers a vast range of activities, a consensus had been reached that the total aspects of rural life be grasped in three spheres, namely, Production & Livelihood (P/L), Rural Living Condition (RLC) and Community Environment (C/E). The RLI for Ubi (Yam) Growers was one of the pilot activities undertaken in two pilot barangays and the target beneficiaries were members of the Rural Improvement Club (RIC- a group of organized women) with the LGU of the Municipality of Corella as the implementing partner. During the planning workshop, the barangay residents articulated their desire to promote production and processing of ubi (sphere on P/L - as the entry point), lack of nutritious food was one of the identified problem (sphere on RLC- expansion point) and environmental degradation such as deforestation, and soil erosion was another problem articulated by the community people (sphere on C/E- expansion point). Major activities that were undertaken namely, Ubi cooking contest, cooking/processing seminar, training courses on entrepreneurial development, ubi production and storage technology, packaging and product design, human resource development and simplified bookkeeping motivated the beneficiaries as well as developed and enhanced their skills & capabilities while strengthening their associations. Their participation to the 5 ubi festivals and other related activities had brought some impacts on their economic and rural life improvement activities. The seven principles of TSEP-RLI include the participatory process, holistic approach, dialogical approach, bottom -up training needs assessment, demand-driven approach, cost sharing approach and collaborative implementation with other agencies including LGUs and the community.

Therapeutic metaphors in engineering: how to cure a building structure

Cognitive linguistics have conscientiously pointed out the pervasiveness of conceptual mappings, particularly as conceptual blending and integration, that underlie language and that are unconsciously used in everyday speech (Fauconnier 1997, Fauconnier & Turner 2002; Rohrer 2007; Grady, Oakley & Coulson 1999). Moreover, as a further development of this work, there is a growing interest in research devoted to the conceptual mappings that make up specialized technical disciplines. Lakoff & Núñez 2000, for example, have produced a major breakthrough on the understanding of concepts in mathematics, through conceptual metaphor and as a result not of purely abstract concepts but rather of embodiment. On the engineering and architecture front, analyses on the use of metaphor, blending and categorization in English and Spanish have likewise appeared in recent times (Úbeda 2001, Roldán 1999, Caballero 2003a, 2003b, Roldán & Ubeda 2006, Roldán & Protasenia 2007). The present paper seeks to show a number of significant conceptual mappings underlying the language of architecture and civil engineering that seem to shape the way engineers and architects communicate. In order to work with a significant segment of linguistic expressions in this field, a corpus taken from a widely used technical Spanish engineering journal article was collected and analysed. The examination of the data obtained indicates that many tokens make a direct reference to therapeutic conceptual mappings, highlighting medical domains such as diagnosing,treating and curing. Hence, the paper illustrates how this notion is instantiated by the corresponding bodily conceptual integration. In addition, we wish to underline the function of visual metaphors in the world of modern architecture by evoking parts of human or animal anatomy, and how this is visibly noticeable in contemporary buildings and public works structures.

Historiografia del «Ball de Torrent»: de la moixiganga barroca al quadre de balls populars valencians (1692-1929)

El Ball de Torrent és una moixiganga dramàtica popular escenificada a la ciutat de València i altres indrets del País Valencià des de finals del segle XVII fins a principis del segle XX. Estava organitzada per agrupacions gremials, juntes d’hospitals o clavaris de festes i protagonitzada per personatges agrupats en comparses que representaven una paròdia sobre les relacions entre les estructures de poder i les classes populars. Tot i la variabilitat segons el moment històric, es conforma com una mescla de quadres amb danses, música i jocs teatrals. El ball interacciona de diverses formes amb algunes festes valencianes i és, probablement, una de les mostres de teatre de carrer més nostrades i menys estudiades de la València Moderna. En aquest article es realitza una revisió bibliogràfica crítica i una primera anàlisi historiogràfica.

The University of Alicante Library copy of Palmerin d'Oliva (London, 1637): A Bibliographical Description

The purpose of this article is to provide bibliographical information about a copy of the fourth edition of the two parts of Anthony Munday's translation of Palmerin d'Oliva (London, 1637; STC 19160) recently purchased by the University of Alicante Library and not mentioned in the standard bibliographies. The article contains a detailed bibliographical description based on Bowers's principles (1949) and is designed to be useful to scholars by making direct consultation of the copy in most cases unnecessary. The description is preceded by a short introduction to the literary text and its publication in England.

Las fiestas de Sevilla,

Mode of access: Internet.

Monumens de l'histoire de France, en estampes et dessins ...

The present 30 volumes seem to have remained with the Dukes of Leuchtenberg, until the ducal library was acquired for sale in 1935 by the dealers Ulrich Hoepli (Milan) and Braus-Riggenbach (Basel). The volumes are not complete, as leaves have been wholly or partly removed throughout; this is particularly evident in preliminary volumes 2 and 10 and volume 75. Prints and the relatively small number of drawings are mostly French, with some German, Dutch and English, and are mostly of the 17th or 18th centuries. They are mounted generally on rectos of leaves, often with hand-written captions. Large prints are occasionally bound in directly; these are often folded. The engraved general title page (bearing the date 1788) appears at the beginning of each volume; below the printed title a hand-written volume number and brief title describing the volume's contents usually appear. In many volumes the title leaf is followed by a hand-written contents leaf listing the section titles, which are also written individually throughout the volume on leaves with etched decorative frames. Sections are numbered continuously throughout the work as a whole. Numbering of the leaves, when present, appears in black ink within each volume at top center recto. Printmakers include B. & J. Audran, Francesco Bartolozzi, Abraham Bosse, Stefano della Bella, Jacques Callot, François Chéreau, Wenceslaus Hollar, Romeyn de Hooghe, Raymond La Fage, Sébastien Le Clerc, Pierre Lepautre, Claude Mellan, Bernard Picart, and Simon Thomassin. There are also early color prints by Gautier-Dagoty and Jean-Baptiste Morret.

Narrazione delle solenni reali feste : fatte celebrare in Napoli da Sua Maestà il re delle Due Sicilie Carlo infante di Spagna, duca di Parma, Piacenza &c. &c. per la nascita del suo primogenito Filippo real principe delle Due Sicilie.

The plates depict floor plans of the Palazzo reale and of the Teatro di San Carlo in Naples, a vertical cross section of the Palazzo reale; interior decoration of the Teatro di San Carlo; most plates depict festivities taking place in the decorated interiors of the theater and the royal palace, including a masquerade at the royal palace, the stage scenery and a scene from the opera "Il sogno di Olimpia" by Ranieri de Calzabigi, which was performed at the Teatro di San Carlo; a view of the illuminated Castello Nuovo in Naples, the fireworks installation at the Piazza del Castello Nuovo, and a floorplan of the fire works installation. Plate XI depicts the mythical land of plenty "Cuccagna", arranged as a landscaped hill with an architectural grotto, richly decorated with food and drink, which was offered as part of the festivities to the common people. Most plates have a detailed legend in the lower margin.

Description historique de l'edifice que les sieurs Guerin pere & fils, Testard & Dodenand, artificiers du roy, auront l'honneur de présenter pour bouquet à Sa Majesté à la fête de la Saint Louis, 1741.

Head-piece; decorative initial.

Applavsi festivi fatti in Roma per l'elezzione di Ferdinando III. al regno de' romani dal ser.mo princ. Mavrizio card. di Savoia /

Illustrations: allegorical title page and eleven plates, some of them numbered. Four plates depict decorations designed by the architect Orazio Turriani: the colonnade on the Piazza della Spada in Rome, two plates of a triumphal arch, and a fountain structured as a nymphaea. Seven plates depict temporary structures used for fireworks display, including 2 states of plate numbered "70" or "02". The plates are etched by Luca Ciamberlano after Niccolò Tornioli.