1000 resultados para Cuba-Historia-1959-
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On Friday May 16, the Ministry of Foreign Affairs of Cuba summoned the newly-appointed charged’affairs of the European Commission in Havana and announced the withdrawal of the application procedure for membership in the Cotonou Agreement of the Africa, Caribbean, and Pacific (ACP) countries, and in fact renouncing to benefit from European development aid.1 In a blistering note published in the Granma official newspaper of the Cuban Communist Party, the government blamed the EU Commission for exerting undue pressure, its alleged alignment with the policies of the United States, and censure for the measures taken by Cuba during the previous weeks.2 In reality, Cuba avoided an embarrasin flat rejection for its application. This was the anti-climatic ending for a long process that can be traced back to the end of the Cold War, in a context where Cuba has been testing alternative grounds to substitute for the overwhelming protection of the Soviet Union
"La Llumanera de Nova York" (1874-1881): la veu d'una burgesia catalana a favor d'una Cuba espanyola
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Article que estudia 'La Llumanera de Nova York' a partir de l' objectiu prèviament establert d' analitzar el posicionament dels editors del periòdic amb relació a les aspiracions identitàries cubanes
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Versaliis in bibliothecam regiam illatus
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Desenvolupar una eina de software que pugui automatitzar i resoldre un model matemàtic, amb l'objectiu de minimitzar les despeses de transport des del camp a una central del sucre, i a la vegada garantir l'abastament diàri d'aquesta, per tal de minimitzar les despeses i situar adequadament els recursos disponibles.
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Peer-reviewed
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Comprend : Censura in quendam auctorem, qui sub falsa inscripsione Berosi Chaldaei circumfertur, Gaspare Varrerio auctore
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Background: Before the arrival of Europeans to Cuba, the island was inhabited by two Native American groups, the Tainos and the Ciboneys. Most of the present archaeological, linguistic and ancient DNA evidence indicates a South American origin for these populations. In colonial times, Cuban Native American people were replaced by European settlers and slaves from Africa. It is still unknown however, to what extent their genetic pool intermingled with and was 'diluted' by the arrival of newcomers. In order to investigate the demographic processes that gave rise to the current Cuban population, we analyzed the hypervariable region I (HVS-I) and five single nucleotide polymorphisms (SNPs) in the mitochondrial DNA (mtDNA) coding region in 245 individuals, and 40 Y-chromosome SNPs in 132 male individuals. Results: The Native American contribution to present-day Cubans accounted for 33% of the maternal lineages, whereas Africa and Eurasia contributed 45% and 22% of the lineages, respectively. This Native American substrate in Cuba cannot be traced back to a single origin within the American continent, as previously suggested by ancient DNA analyses. Strikingly, no Native American lineages were found for the Y-chromosome, for which the Eurasian and African contributions were around 80% and 20%, respectively. Conclusion: While the ancestral Native American substrate is still appreciable in the maternal lineages, the extensive process of population admixture in Cuba has left no trace of the paternal Native American lineages, mirroring the strong sexual bias in the admixture processes taking place during colonial times.
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La lectura de La estética de la resistencia nos permite detectar una serie de operaciones que, durante el proceso de escritura, Peter Weiss pone en marcha y queencontraremos reflejadas a su vez en algunos cineastas contemporáneos en la aproximación al tratamiento de la Historia. La novela nos da pie a intentar sacar a la luz sus costuras: el entrecruzamiento de temporalidades como forma de hacer saltarel presente; la recuperación del archivo personal que permitirá el tratamiento de laHistoria en primera persona; la evolución desde la incorporación del registro enbruto a la escenificación de las discusiones entre partes; la descripción exhaustiva deacontecimientos y obras de arte y su continua puesta en relación con la vidacotidiana de los personajes, que configurará lo que Fredric Jameson entiende comouna “pedagogía del subalterno” y que coincide plenamente con la “emancipaciónintelectual” que propone Jacques Rancière.