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UN DRAMA DE FEDERICO GARCíA LORCA
QUER ANTICH,SANTIAGO;
Literatura y lingüística , 1998, DOI: 10.4067/S0716-58111998001100004
Abstract: el artículo caracteriza, en términos generales, el teatro del poeta granadino federico garcía lorca y luego hace un análisis detallado de la penúltima de las obras teatrales mayores del autor: do?a rosita la soltera o el lenguaje de las flores, en cuanto a su estructura teatral, personajes y desarrollo, lo cual, al final sintetiza
UN DRAMA DE FEDERICO GARCíA LORCA  [cached]
SANTIAGO QUER ANTICH
Literatura y lingüística , 1998,
Abstract: El artículo caracteriza, en términos generales, el teatro del poeta granadino Federico García Lorca y luego hace un análisis detallado de la penúltima de las obras teatrales mayores del autor: Do a Rosita la Soltera o El Lenguaje de las Flores, en cuanto a su estructura teatral, personajes y desarrollo, lo cual, al final sintetiza
Objetivo: García Lorca. Nuevas inquisiciones cinematográficas y televisivas sobre la vida, obra y muerte del poeta  [cached]
Marí, Jorge
Arbor : Ciencia, Pensamiento y Cultura , 2011, DOI: 10.3989/arbor.2011.748n2002
Abstract: This essay, “Objetivo: García Lorca. Nuevas inquisiciones cinematográficas y televisivas sobre la vida, obra y muerte del poeta”, explores several representations of Federico García Lorca in Spanish film and TV productions of recent decades. The focus on the figure of the author rather than on the adaptations of his plays favors the analysis of the representation of two, closely intertwined processes: that of literary creation-how the creative process is portrayed, and how the artist’s life is seen to intertwine with his work-and that of the cultural construction of the artist, in retrospect, as a historic figure and a cultural icon. This seems a particularly appropriate perspective in the case of García Lorca, whose fame and cultural significance owe as much to the circumstances of his life and death as they do to his plays and poems, and who in recent decades has been vindicated, reinvented, and re-introduced as an emblematic presence and a foundational myth of a contemporary, autonomous Andalucía and a democratic Spain. The article traces all those processes through recent documentaries such as Emilio Ruiz Barrachina’s Lorca, el mar deja de moverse, Magali Negroni’s F.G.L. (1898-1936): Federico cumple 100 a os and Basilio Martín Patino’s “mockumentary” El jardín de los poetas. Este ensayo explora algunas representaciones de la figura de Federico García Lorca en la televisión y el cine espa oles de las últimas décadas. El énfasis en la representación de la figura de García Lorca más que en las adaptaciones de sus obras dramáticas favorece el análisis de dos cuestiones íntimamente conectadas entre sí: en primer lugar, la representación mediático-audiovisual del proceso de creación literaria y de la interacción de autor y texto –es decir, cómo se construye la figura del escritor como ente creador, cómo se entiende dicho proceso de creación, y muy especialmente cómo se presenta la relación e influencia mutuas entre la vida y la obra del artista– y en segundo lugar, la construcción, realizada desde la distancia temporal y desde un contexto muy diverso al de su propia vida, de la figura del artista como personaje histórico y mito cultural. Este enfoque parece especialmente apropiado al tratarse de un autor que, por su vida y su muerte tanto o más que por su obra, ha pasado de ser un proscrito bajo el primer franquismo a convertirse en una figura emblemática de la Andalucía autonómica y de la Espa a democrática. El ensayo traza este proceso de recuperación, reinvención, reivindicación y debate sobre García Lorca a través de documentales como Lorca, el mar d
TITLE: The Intrahistory in the Historic Drama Mariana Pineda by Federico García Lorca. TíTULO: La intrahistoria en el drama histórico Mariana Pineda de Federico García Lorca  [cached]
Beatriz Domínguez Hermida
Castilla : Estudios de Literatura , 2011,
Abstract: ABSTRACT: It is the intention of this article to pay attention to contradictory and, because of that, original construction of Federico García Lorca's work, "Mariana Pineda". Tradicionally, this text has been considered historical due to performing events; nevertheless, the source and the constitutive elements (such as the main character, the atmosphere, the time, narrators, the tone, and the ending) are intrahistorical. In relationship with that, Lorca reflects on History and, after the Spanish-American War in 1898, decides to come close to the important events through the intrahistorical thing. RESUMEN: El propósito de este trabajo es llamar la atención sobre la contradictoria y, por ello, original construcción de la obra de Federico García Lorca, "Mariana Pineda". Si bien es cierto que este texto ha sido considerado un drama histórico en base a los eventos representados, es más cierto que la fuente y los elementos constitutivos (como el carácter de la protagonista, la ambientación, el tratamiento del tiempo, los narradores, el tono y el desenlace) comulgan con los valores intrahistóricos. En este sentido, Lorca reflexiona sobre la historia y, tras el desastre del 98, opta por un acercamiento intrahistórico a los grandes acontecimientos.
Comentario de un poema de Federico García Lorca
OELKER,DIETER;
Acta literaria , 2003, DOI: 10.4067/S0717-68482003002800009
Abstract: the diverse operative phases of text commentary allow us to understand the poem "caracola" from the book canciones (1927) by federico garcía lorca, as a composition that strives to become a complex sign of totality. the technique to achieve this intention is the combination of heterogeneous realities, which allows us to see the interrelationship of the phenomena and their fundamental unit. "caracola" and "corazón" are the structural centers of the text. from these centers an alternation of rhythms is projected that wraps the poem in that dynamics of expansion an retraction. in that alternation the limits are dissolved, so that nature and man, the material and the spiritual, the circumstance and the cosmos unite and share the same universal pulsation. the use of the montage to unveil in the empirical reality, dispersed and fragmented, the existense of a second reality, indicates the cubist and surrealistic origin of the composition. the poet uses this technique to construct a poem that in the gathering of dissimilar elements shapes an aesthetic, nom-imitative structure, which conveys a neither partial nor gragmented but whole reality _the aesthetic pre-appearance of the lost totality whose reconstitution appeals to the free endeavor of the reader
Comentario de un poema de Federico García Lorca  [cached]
DIETER OELKER
Acta Literaria , 2003,
Abstract: Las diversas fases operatorias del comentario de texto permiten comprender el poema "Caracola" del libro Canciones (1972) de Federico García Lorca, como una composición que trabaja para constituirse en un complejo signo de totalidad. La técnica para lograr ese propósito es la combinación de realidades heterogéneas, que permite mostrar la interrelación de los fenómenos y su fundamental unidad. "Caracola" y "corazón" son los centros estructurales del texto. A partir de ellos se proyecta una alternancia de ritmos que envuelve el poema en una dinámica de expansión y recogimiento. En ella se disuelven los límites, de manera que la naturaleza y el hombre, lo material y lo espiritual, la circunstancia y el cosmos se integran y participan de una misma pulsación universal. La utilización del montaje para develar en realidad empírica, dispersa y fragmentada, la existencia de una segunda realidad, se ala la procedencia cubista y surrealista de la composición. El poeta se vale de esa técnica para construir un poema que en el encuentro de elementos disímiles conforma una estructura estética no imitativa, que transparenta una realidad, no parcial ni fragmentada, sino total -pre-apariencia estética de la totalidad perdida cuya reconstitución apela a la libre actividad del lector The diverse operative phases of text commentary allow us to understand the poem "Caracola" from the book Canciones (1927) by Federico García Lorca, as a composition that strives to become a complex sign of totality. The technique to achieve this intention is the combination of heterogeneous realities, which allows us to see the interrelationship of the phenomena and their fundamental unit. "Caracola" and "corazón" are the structural centers of the text. From these centers an alternation of rhythms is projected that wraps the poem in that dynamics of expansion an retraction. In that alternation the limits are dissolved, so that nature and man, the material and the spiritual, the circumstance and the cosmos unite and share the same universal pulsation. The use of the montage to unveil in the empirical reality, dispersed and fragmented, the existense of a second reality, indicates the cubist and surrealistic origin of the composition. The poet uses this technique to construct a poem that in the gathering of dissimilar elements shapes an aesthetic, nom-imitative structure, which conveys a neither partial nor gragmented but whole reality _the aesthetic pre-appearance of the lost totality whose reconstitution appeals to the free endeavor of the reader
LECTURA DEL GUIóN VIAJE A LA LUNA DE FEDERICO GARCíA LORCA Y DE LA ADAPTACIóN FíLMICA DE FREDERIC AMAT Federico García Lorca’s Viaje a la luna’s Script Reading and Frederic Amat’s Film Adaptation  [cached]
Macarena Roca Leiva
Alpha (Osorno) , 2010,
Abstract: El presente estudio establece las divergencias producidas en la recepción del guión Viaje a la luna (1929) de Federico García Lorca y la adaptación cinematográfica realizada por Frederic Amat (1998). Tanto el guión como la película presentan disparidades en su actualización, debido a las diferencias entre lector y observador, desplazamientos que serán analizados a partir de los conceptos esenciales de la teoría de la lectura de W. Iser y los niveles estructurales de R. Barthes. The present study seeks to establish the divergences produced in the reception of the script Viaje a la luna (1929) from Federico García Lorca and the cinematographic adaptation carried out by Frederic Amat (1998). Both stories-written and cinematographical-present dissimilarities in their actualization due to the difference between reader and observer. The displacements between both productions will be revised from the essential concepts of Wiser’s theory of the reading and R.Barthes’s structural sequences.
LECTURA DEL GUIóN VIAJE A LA LUNA DE FEDERICO GARCíA LORCA Y DE LA ADAPTACIóN FíLMICA DE FREDERIC AMAT
Roca Leiva,Macarena;
Alpha (Osorno) , 2010, DOI: 10.4067/S0718-22012010000200009
Abstract: the present study seeks to establish the divergences produced in the reception of the script viaje a la luna (1929) from federico garcía lorca and the cinematographic adaptation carried out by frederic amat (1998). both stories-written and cinematographical-present dissimilarities in their actualization due to the difference between reader and observer. the displacements between both productions will be revised from the essential concepts of wiser’s theory of the reading and r.barthes’s structural sequences.
Entrevista com Federico Casalegno  [cached]
Casalegno, Federico
Sess?es do Imaginário , 2011,
Abstract: Diretor do Mobile Experience Lab do MIT, Federico Casalegno, pesquisa o impacto das tecnologias digitais em rede sobre o comportamento humano e a sociedade. Enquanto professor e pesquisador, lidera projetos que desenvolvem mídias interativas para conectar informa es, pessoas e espa o físico. Doutor em Sociologia da Cultura e Comunica o pela Université René Descartes, Paris V, Sorbonne, fez sua tese com foco na intera o social nas comunidades em rede e na comunica o mediada pelos dispositivos móveis. Em visita à FAMECOS para o XI Seminário Internacional da Comunica o, concedeu entrevista à Sess es do Imaginário, antes de sua palestra sobre “O Lugar Experimental”.
Tuberculosis en la comarca de Lorca: adaptarse o resistir
Ruiz López,F. J.; Zarauz García,J. M.; Ortiz Romero,M. M.; Valero Martínez,J. R.; Pe?alver Mellado,C.; Sánchez Gascón,F.; Lorenzo Cruz,M.;
Anales de Medicina Interna , 2006, DOI: 10.4321/S0212-71992006000700005
Abstract: objetive: we studied the epidemiological characteristic of tuberculosis in lorca area, drug resistant and the effect of the immigration population (ecuador) in this area. patients and methods: a retrospective study for six years ago (1999, january to 2004, december) was realized. epidemiological data, initial diagnostic probability, mycobacteria stain and cultive, drug resistance, treatment response, and epidemiological differences between immigrants and spain population were compared. results: within 158 cases registred, 41.7 percent were immigrants with less than one year in spain, the most part ecuador population. we observed that extrapulmonar tuberculosis was lower initial diagnostic probability than pleural disease as well too haemoptisis, pleural pain and weight loss. it was identified positive micobacterial stain in 35.4 percent of respiratory samples. it was succesfully results in 74 percent of cases and 13.9 percent of patients were lost, this result was frecuently registred in immigrants, the isoniazide resistant in patients with not previous treatment was 5.3 percent and it was 9.5 percent in immigrants and 10.8 percent in ecuador population. conclusion: it is necessary improve: the diagnostic of extrapulmonar tuberculosis and avoid loss patient by programs of capture and then the succesfully treatments raise. the isoniazide resistant in this area suggest that we must use initial four drug than tree and this manner not raise the drug resistant in the area.
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