Dos versos de Pablo Neruda.

Se presenta un proyecto de composición musical para trabajar en el aula de Secundaria. El objetivo es fomentar la creatividad musical en los alumnos. Se realizan actividades de sensibilización musical; se eligen notas determinadas para flautas y láminas para interiorizar los sonidos y dar una mayor seguridad y soltura a la digitación y a la ejecución musical; se escucha música de películas para escribir una escena en la que se describan los personajes, la acción y el ambiente; se estudia el pentagrama para plasmar en él las composiciones musicales; o se realizan actividades de creación musical y literaria.

Nuevas tecnologías en el Pablo Neruda.

El proyecto consiste en utilizar los medios informáticos como recurso pedagógico para que los alumnos afiancen algunos de los objetivos del proyecto curricular, sobre todo las técnicas instrumentales. La experiencia se realiza fomentando la igualdad de oportunidades del alumnado, en un centro que cuenta con alumnos con necesidades educativas especiales. Los objetivos son capacitar al alumno para recabar información que le ayude a resolver problemas; familiarizar al alumno desde sus primeros años con las nuevas tecnologías; y aumentar la calidad de la enseñanza en el centro. La metodología es individualizada e interactiva. La evaluación es continua, los alumnos se autoevalúan y se realiza un cuestionario final para recoger posibles mejoras para cursos posteriores. En cuanto a los materiales, los alumnos elaboran rompecabezas, asociaciones y sopa de letras de forma individual, y se tiene previsto elaborar una página web para el curso siguiente.

Curso cultural en memoria de Pablo Neruda.

Se incluyen, en anexos, el guión para el desarrollo de actividades y diverso material gráfico elaborado por los alumnos

Pablo Neruda : propuesta didáctica para un grupo superior-perfeccionamiento de español como lengua extranjera.

Resumen tomado de la publiacación

Pablo Neruda 'regresa' a España.

Comentario sobre el documental emitido el 4 de abril de 1995, sobre la vida y obra de Pablo Neruda y la exposición de su colección de objetos, que intenta una aproximación a los diferentes mundos de Neruda.

A poesia plural de Pablo Neruda

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Unidad didáctica "El cartero de Neruda" (Ardiente paciencia) de Antonio Skármeta y la versión cinematográfica "El cartero (y Pablo Neruda)" de Michael Radford

Módulo B del Curso La palabra cinematográfica: Didáctica de las relaciones Literatura y Cine, Curso impartido dentro del Programa de Formación y Perfeccionamiento del Profesorado del Colegio oficial de doctores y licenciados en Filosofía y Letras y en Ciencias de Las Palmas (Islas Canarias). Con Convenio de colaboración con la Consejería de Educación, Universidades, Cultura y Deportes (octubre y diciembre de 2004).

Lectura y consagración en El hondero entusiasta de Pablo Neruda

Se aborda el estudio de los conceptos de lectura y lector, junto con la obra El hondero entusiasta, de Pablo Neruda.

THE BORDER CHARACTER OF URBANITE SUBJECT IN PABLO NERUDA

ABSTRACT: The imagetic process in Pablo Neruda's work is built through the creation of images resulting from life experiences kept in memories. It is also an existential questioning of the poet based upon the critical look on the historical and personal moment. In this creative process, Neruda's imagetic world strongly references Temuco's natural aspects, the everyday setting of his childhood and adolescence, part of the scenery that remained in his memory and crystalized in his works. The ascertainment that Neruda, in the transition from province to metropolis, does not reach his emotional final destination, remaining in a long transitory state (threshold), allowing us to highlight the emergence of a "border subject", situated between the provincial universe and the urban universe. In Neruda, the concept of border does not only references a territorial boundary between two regions that are politically and culturally different, but also temporal boundaries, since in his stay in the city the poet turns into a body that experiences the location and establishes a critical relationship towards it: he describes it poetically and develops a temporal mobility from the city to the province. This border state shows an intermediary position in individuals that by moving within his/her own country feel in the margins of his/her own culture. In neruda, the notion of border is a recurring issue in the subject of cities, in which the border is related to the geographical space (country, city and harbor) with the time space (present and past), and with cultural space in which concerns the regional identity differences of a certain country. Thus, it is important to approach the analysis of border overcoming regarding the geographical and cultural issues, but above all to the subjective formulations as a result of interpersonal processes. KEYWORDS: Border; Identity; Pablo Neruda.

Exposición Neruda regresa a España.

Programa emitido el 4 de abril de 1995

Denigración y elogio de Balboa en el Canto general de Neruda /

Actas Simposio Intercontinental Pablo Neruda, p. 139-158

CANCIONES ARGENTINAS (SONGS OFARGENTINA): A RECORDING PROJECT

This Dissertation Project comprises recordings of Argentine art songs. The discs are approximately 40-60 minutes in length and consist of songs from the traditional art-song repertoire for voice and piano. This project is particularly appropriate because of the very limited number of recordings of Argentine songs, which are notable both not only for their high quality but for their accessibility of performance for voice teachers, students, and professional singers alike. Art songs in the Spanish language are a welcome resource, and the poetry included in this project is of an outstanding quality. Some of the poets set to music are Gabriela Mistral (a poet laureate of Chile and the first Latin American woman to win the Nobel Prize for Literature), Pablo Neruda (also a Nobel laureate), Luis Cernuda, and Leon Benar6s. The lyrics of some songs are based on traditional sources, and the melodies and rhythms of all are representative of South American-indigenous and European­ immigrant cultures. The composers represented here will be familiar to some listeners but more than likely unfamiliar to most. Yet Alberto Ginastera (1916-1983) is considered to be the greatest of all Argentine composers. Alberto Williams (1862-1952) is known as the father of the Nationalist School of composition in Argentina, and Carlos Lopez Buchardo (1881-1963) is a most influential composer and pedagogue after whom the national Conservatory of Music in Buenos Aries is named. Two composers who remain relatively unknown outside of South America, Abraham Jurafsky (1906- 1993) and Julio Perceval (1903-1963) are also represented in this project. A complete compact disc is devoted to the works of Carlos Guastavino. Known as the "Argentine Schubert", Guastavino has over 250 songs to his credit. Chiefly a composer for piano and voice, his recent death (October 2000) makes a recording of his works especially appropriate. This project also includes a written component, a supportive dissertation briefly describing the history of the Argentine art song and the lives and influences of the composers and poets represented in the studio recordings. The CD recordings are held in the Michelle Smith Performing Arts Library at the University of Maryland.