Competence in research planning in the fourth level of Spanish Secondary Education: a case study

In the last years, “Inquiry-Based Science Education” methodologies (IBSE) are being recommended by European institutions in order to improve the competence levels and the attitudes towards science of primary and secondary school students. Therefore, the aim of this study is to test the effectiveness of an IBSE methodology, the Methodology of Problem Solving as an Investigation (MPSI), for the teaching-learning process of planning of experiments in the fourth level of Spanish Secondary Education. By means of the students’ solutions for a series of open problems, the progress in the learning of the competences related to the planning of experiments has been analyzed, along with the influence of the methodology on the development of these competencies. The results show a students’ command from higher to lower levels on: emission of hypothesis, design of the experiment, qualitative analysis, identification of variables and reformulation of the open problem. Furthermore, the Methodology has contributed to an improvement of the scientific competence in the area of planning experiments.

Sporting with the Classics: The Latin Poetry of William Dillingham

Sporting with the Classics: The Latin Poetry of William Dillingham (2010) (back cover)

Dana Sutton, University of California:
‘The great merit of Estelle Haan's study is that she is willing to take Dillingham seriously as a poet. Her reproduction of his work, together with an English translation and very detailed studies of his individual poems have the combined effect of rescuing an interesting poet from near-total oblivion. This, in my opinion, is the finest thing a neo-Latin scholar can do, and Haan accomplishes her task with the same skill, sensitivity, and eloquence that have distinguished her studies of other neo-Latin poets of this period (Joseph Addison and Vincent Bourne). It is impossible not to react to this volume with extreme respect and appreciation’.

Gordon Campbell, University of Leicester:
‘Nothing substantial has ever been published on Dillingham, but with this volume we have a new corpus of poetry that intersects with the work of many other seventeenth-century neo-Latin and vernacular poets. Professor Haan’s scholarship is here (as always) placed at the service of the poet, and she leads the reader gently through the work of a new poet. Professor Haan is the most eminent and able neo-Latinist of her generation, and her scholarship never fails; sometimes it dazzles as in the chapters on the hangman's stone and on Renaissance topiary. Her research is always up-to-date, and her translations have a gracefulness that other laborers in the vineyard can only envy’.

The portrait of the first poster artists of Spanish cinema: From the genre scene to the realistic portrait

The article, which is part of a more detailed piece of work, aims to highlight the use of the portrait on the film posters of the first Spanish poster artists before the Star-System was introduced in Spain. For this it is posed the evolution that occurs in the representation of the characters in the film poster from the second decade to the beginning of the thirties in the twentieth century, a historical period of profound influences of the artistic and advertising vanguards in our poster artists´ work. However, in the late twenties moving from the simple inclusion of the scene based on the picture of a film, to the chromatic and realistic representation of the star´s face. These were the years when the influence of the major North American studios began to show in Spain. Nevertheless, it highlights their technical and compositional freedom and their influence on subsequent poster artists, as many of them will integrate the portraits and settings on their posters, following the guidelines of the major studios or the independent ones. But without forgetting their own personal way of painting the film stars’ faces on their posters.

The conflict between realism and abstraction in the field of spanish art as an iteration of la "Querelle des Anciens et des Modernes"

Based on the analysis model favored by the study of the conditions in which the seventeenth century Querelle des Anciens et des Modernes took place, we examine the case of confrontation between realism and abstraction, which occurred in the context of Spanish art in the nineties of the twentieth century. Connections are established with other aesthetic conflicts which are considered part of a genealogy whose most explicit antecedent could be placed in the before mentioned complaint, such as the confrontation between realism and abstraction in the American art scene, which occurred in the fifties of the last century, and the more recent controversy on pluralism and the end of art.

Politics and Literary Prizes:A Case Study of Spanish America and the Premio Cervantes

The Premio Cervantes, one of the most prestigious prizes awarded for literature in the Spanish language, was established in 1976 as Spain negotiated the Transition to democracy in the post-Franco era. This article examines the context in which the prize was created and subsequently used to negotiate inter-continental relations between Spain and Latin America. The article highlights the exchanges of economic, political and symbolic capital which took place between the Spanish State, its representative, the King of Spain, and winning Latin American authors. Significantly, the involvement of the Spanish State is shown to bring political capital into play in a way that commercial prizes do not. In so doing, the Premio Cervantes gives those formerly at the colonial periphery the opportunity to speak out and negotiate the terms of a new kind of relationship with the former colonial center.

Mixed Messages: American Correspondences in Visual and Verbal Practices

Mixed Messages presents and interrogates ten distinct moments from the arts of nineteenth, twentieth and twenty-first century America where visual and verbal forms blend and clash. Charting correspondences concerned with the expression and meaning of human experience, this volume moves beyond standard interdisciplinary theoretical approaches to consider the written and visual artwork in embodied, cognitive, and contextual terms.

Offering a genuinely interdisciplinary contribution to the intersecting fields of art history, avant-garde studies, word-image relations, and literary studies, Mixed Messages takes in architecture, notebooks, poetry, painting, conceptual art, contemporary art, comic books, photographs and installations, ending with a speculative conclusion on the role of the body in the experience of digital mixed media. Each of the ten case studies explores the juxtaposition of visual and verbal forms in a manner that moves away from treating verbal and visual symbols as operating in binary or oppositional systems, and towards a consideration of mixed media, multi-media and intermedia work as brought together in acts of creation, exhibition, reading, viewing, and immersion. The collection advances research into embodiment theory, affect, pragmatist aesthetics, as well as into the continuing legacy of romanticism and of dada, conceptual art and surrealism in an American context.

Reinventing America on the battlefields of Spain or following the party line: conflicting perceptions of the Spanish Civil War in the present and in the past

Isolationism and neutrality are two of the recurrent themes in the study of the history of the U.S. foreign policy in the interwar years. The trauma of the Great War, which had swept away 130.000 U.S. lives and had cost $30 billion, had led public opinion to strongly oppose any involvement with European affairs. Besides, the urgent need for economic recovery during the dismal years of the Great Depression did not leave Roosevelt much room for manoeuvre to influence international events. His positions regarding the intentions of the Fascist states remained, at best, ambivalent. These facts notwithstanding, about 2800 U.S. citizens crossed the Atlantic and rushed in to help democratic Spain, which was on the verge of becoming one more hostage in the hands of the Fascism. They joined the other British, Irish and Canadian volunteers and formed the XV International Brigade. 900 Americans never returned home. This alone should challenge the commonly held assumption that the American people were indifferent to the rise of the Fascist threat in Europe. But it also begs other questions. Considering the prevailing isolationist mood, what really motivated them? With what discursive elements did these men construct their anti Fascist representations? How far did their understanding of the Spanish democracy correspond to their own American democratic ideal? In what way did their war experience across the Atlantic mould their perception of U.S. politics (both domestic and foreign)? How far did the Spanish Civil War constitute one first step towards the realization that the U.S. might actually be drawn into another international conflict of unpredictable consequences? Last but not the least, what ideological, political and cultural complicity existed between the men from the English-speaking battalions? In order to unearth some of the answers, I intend to examine their letters and see how these men recorded the historical events in which they took part. Their correspondence emerged from the desire to prove their commitment to a common cause and spoke of a common war experience, but each letter, in its uniqueness, ends up mirroring not only the social and political background of each individual fighter, but also his own particular perspective of the war, of world politics and of the Spanish people. We shall see how these letters differ and converge and how these particular accounts weave, as in an epistolary novel, a larger-than-life narrative of outrage and solidarity, despair and hope.

The American Naval and Patriotic Songster: As Sung at Various Places of Amusement, in Honour of Hull, Jones, Decatur, Perry, Bainbridge, Lawrence, Etc. Etc. Etc. (1834)

Volume of songs sung in praise of celebrated American War of 1812 heroes.

"The nothing that is" : An Ethics of Absence Within the Poetry of Wallace Stevens

Cette thèse se concentre sur ce que j'appelle «l’espace négatif» de la représentation dans la poésie de Stevens comme étant un véritable espace d'engagement politique, une interprétation qui se distingue de la plus grande partie de la critique sur Stevens. En suivant les écrits philosophiques d'Emmanuel Levinas, j'affirme que l'emphase que Stevens place sur la représentation de la représentation elle-même ouvre un espace au-delà des limites rigides de l'identité-ce que Levinas appelle « le je [sujet] semblable », permettant un contact authentique avec « l'Autre» ainsi qu’avec le concept de « l'infini ». Bien que Stevens s’est farouchement opposé à la notion Romantique de la sublime transcendance, c’est-à-dire d'un espace censé exister en dehors des limites de l'imagination humaine, il se concerne néanmoins avec l'exploration d'un espace au-delà de l'identité individuelle. Pour Stevens, cependant, « la transcendance» est toujours, nécessairement, liée par les restrictions reconnues du langage humain et de l'imagination, et donc par la réalité du monde perceptible. Toute « transcendance» qui est recherchée ou atteinte, dans la poésie de Stevens ne devrait donc pas - ma thèse affirme - être entendu dans le sens sublime déterminé auparavant par les Romantiques. Une connexion plus appropriée peut plutôt être faite avec la transcendance concrète et immédiate décrit par Lévinas comme le «face à face ». L’attention que Stevens accordent aux notions concrètes et immédiates est souvent exprimé à travers son attention sur les qualités esthétiques de la langue. Sa poésie a en effet la poésie pour sujet, mais pas dans le sens solipsiste qui lui est souvent attribué. En se concentrant sur le processus actif et créateur inhérent à l'écriture et à la lecture de la poésie, Stevens explore la nature de l'Etre lui-même. Je compare cette exploration dans le travail de Stevens à celle du dessinateur, ou de l'artiste, et dans ma conclusion, je suggère les liens entre l'approche d'enquête de Stevens et celle d’artistes visuels contemporains qui se sont également engagés à la figuration du processus créatif. L’ artiste sud-africain William Kentridge est mon exemple principal , en raison de sa conviction que la méthode est intrinsèquement liée à l'engagement politique et social.

La traduction de la littérature hispano-américaine au Québec : de l'intégration immigrante à la mondialisation éditoriale

En 2012, la traduction au Québec d'ouvrages littéraires d'auteurs issus de l'Amérique hispanique est encore un phénomène marginal. Pourtant, les entreprises de traduction de tels ouvrages se sont faites plus nombreuses au cours des vingt dernières années, et deux maisons d'édition québécoises leur ont fait la part belle : Les Écrits des Forges et Les Allusifs. La première a publié en français de nombreux canons de la poésie mexicaine tandis que la seconde possède à son catalogue (maintenant chez Leméac) bon nombre d'auteurs hispano-américains. Les efforts de ces éditeurs ont été précédés d'un premier mouvement d'accueil de la littérature hispano-américaine, mouvement principalement lié à la venue au Canada d'auteurs hispano-américains immigrants, souvent des réfugiés qui avaient fui la guerre ou la dictature dans leur pays d'origine. À partir de la théorie des champs de Pierre Bourdieu et de l’application de cette théorie à l’espace littéraire international par Pascale Casanova, ce mémoire cherche à expliquer plus en détail les conditions et logiques qui sous-tendent la traduction et l’édition des littératures hispano-américaines au Québec. Pour ce faire, il analyse la trajectoire de trois auteurs dont chacun a vu au moins un de ses titres publié en français. Ces auteurs sont le Salvadorien Horacio Castellanos Moya, dont le roman intitulé Le Dégoût a été publié aux Allusifs en 2003, le Mexicain Jaime Sabines, dont Poemas del peatón/Poèmes du piéton a été publié aux Écrits des Forges en 1997, et la Colombienne québécoise Yvonne América Truque, dont le recueil de poèmes Proyección de los silencios/Projection des silences a été publié au CÉDAH en 1986. Chacune des trajectoires illustre un modèle de production et de diffusion particulier de la littérature hispano-américaine en traduction qui s’est manifesté durant les vingt dernières années. Ensemble, elles permettent de dégager le parcours évolutif de l’édition vers une intégration de plus en plus mondialisée des mécanismes de diffusion des biens symboliques.