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Kirjallisuusarvostelu

Secular Possession: Cinematic Iconography of Addiction

Addiction, and the experience of being addicted, is notoriously difficult to describe verbally and explain rationally. Would multifaceted and multisensory cinematic images work better in making addiction understandable? This study enquires how cinematic expression can render visible the experience of being addicted which is invisible as such. The basic data consists of circa 50 mainly North American and European fiction films from the early 1900s to the early 2000s that deal with addictive disorders as defined in the psychiatric DSM-V classification (substance dependence- and gambling disorders). The study develops an approach for analyzing and interpreting a large volume of digital film data: digital cinematic iconography is a framework to study the multifaceted cinematic images by processing and viewing them in the ���digital image-laboratory��� of the computer. Images are cut and classified by editing software and algorithmic sorting. The approach draws on early 1900s German art historian Aby Waburg���s image research and media archaeology, that are connected to film studies inspired by the phenomenology of the body and Gilles Deleuze���s film-philosophy. The first main chapter, ���Montage���, analyses montage, gestural and postural images, and colors in addiction films. The second main chapter, ���Thingness���, focuses on the close-ups of material objects and faces, and their relation to the theme of spirituality in cinema and art history, The study argues that the cinema engages the spectator to "feel" what addiction is through everyday experience and art historical imagery. There is a particular, historically transmitted cinematic iconography of addiction that is profane, material, thing-centered, abject, and repetitive. The experience of being addicted is visualized through montages of images characterized by dark and earthy colors, horizontal compositions and downward- directed movements. This is very profane and secular imagery that, however, circulates image-historical traces of Christian iconography, such as that of being in the grip of an unknown power.

El ingenioso hidalgo don Quixote de la Mancha

UANL

Colecci��n de las obras sueltas, assi en prosa como en verso

UANL

Obras de don Francisco de Quevedo Villegas, caballero del h��bito de Santiago, secretario de su Majestad, y se��or de la Villa de la Torre de Juan Abad

UANL

Obras de Lorenzo Gracian

UANL

Rimas del Licenciado Tom�� de Burguillas, seud.

UANL

El ingenioso hidalgo Don Quijote de la Mancha

UANL

[Ressenya del llibre Convenci��n y recepci��n : estudios sobre el teatro del Siglo de Oro, d���Ignacio Arellano]

Ressenya del llibre Convenci�� y recepci��n. Estudios sobre el teatro del Siglo de Oro, d���Ignacio Arellano . L���obra ��s, segons Ramos Nogales, el millor estudi de conjunt sobre la com��dia del Segle d���Or que ha aparegut en els ��ltims anys aix�� com una crida a la investigaci�� tradicional

Those Essex girls: the lives and letters of Lettice Knollys, Penelope Rich, Dorothy Perrott Percy, and Frances Walsingham

This essay examines the lives and letters of four of the most influential women at the court of Queen Elizabeth I: Lettice Knollys her daughters Penelope Rich and Dorothy Perrott Percy and her daughter-in-law Frances Walsingham, all of whom lived scandalous but powerful lives.

Rumores da escrita, vest��gios do passado: uma interpreta����o fonol��gica das vogais do portugu��s arcaico por meio da poesia medieval

A proposta do presente livro �� oferecer ao leitor uma descri����o fonol��gica das qualidades voc��licas vigentes na primeira fase (per��odo trovadoresco) do portugu��s arcaico a partir da an��lise das rimas e da grafia das Cantigas de Santa Maria, de Afonso X, o S��bio, Rei de Le��o e Castela, elaboradas na segunda metade do s��culo XIII.

Narrative and critical history of America /

"Pre-Columbian explorations": v. 1, p. 59-132.

Di��logo con Europa, di��logo con el pasado. Antepasados y tradici��n entre la nobleza colonial nahua

En este trabajo presentamos un acercamiento a los modos de referirse al pasado en los testimonios dejados por los miembros de la nobleza colonial nahua. La lectura de las fuentes nos permite distinguir dos perspectivas ���intelectual y pragm��tica��� asociadas respectivamente con el proyecto de unir las tradiciones hist��ricas ind��gena y europea y con la b��squeda de argumentos en la lucha por tierras y privilegios. El enfoque del art��culo son los conceptos nahuas de ��tradici��n�� y ��antepasados�� (huehuetqueh), manifiestos en ambas perspectivas. Al analizar el vocabulario, ret��rica e iconograf��a intentamos entender el significado de estos conceptos dentro de la cultura nahua prehisp��nica y su modificaci��n bajo las circunstancias coloniales, tanto como su papel en la continuaci��n de la identidad nahua.