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En la actualidad el actor (el lector) parece ser una persona, sujeto individual, escindida en gran proporción del conjunto y de la realidad respecto de su historia colectiva. Somos conscientes de lo actual teorizando sobre lo real, sobre hechos y conceptos, sobre la racionalidad con que la actualidad se entiende, sobre la existencia propia en la realidad, y su relación con lo colectivo, y su vinculación con la ética, definida por esta relación entre lo subjetivo y lo objetivo. El individuo se determina a hacerse práctico desde una comprensión de lo que es el bien, la virtud y el poder. Vivir, según José Ortega y Gasset, no es más que tratar con el mundo. El cariz general que el mun...
Erhaps even more attractive is the idea to use the sun's heat for splitting water into hydrogen and oxygen and storing them in two separate vessels. The high temperature produced by recombining oxygen and hydrogen is known to be the most intense heat available to mankind. Moreover, one could use the hydrogen for lighting, and inexpensively produced oxygen would also close a longstanding gap. But how can one use the sun's energy to split water? In my opinion, thermopiles, which have already accomplished excellent performance, could solve this problem ..."--The Back Cover.
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In The Archive and the Repertoire preeminent performance studies scholar Diana Taylor provides a new understanding of the vital role of performance in the Americas. From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory—conveyed in gestures, the spoken word, movement, dance, song, and other performances—offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas b...
Covering the recent development in enzymatic organic synthesis, this text focuses on the use of isolated enzymes. It includes a discussion of the characteristics of enzymes as catalysts and different types of chemical transformations.
This book provides an in-depth examination and analysis of the film and television adaptations of Lope de Vega’s theatrical dramas that have appeared on Spanish screens since the mid-twentieth century. Using a multidisciplinary approach, Allen draws on critical media literacy studies, film and adaptation studies, literary theory, cultural studies, and cultural historiography in his analysis. Allen argues that, given the problematic reception of Lope’s works in Francoist Spain, the canonical author never held a privileged position in the dictatorial propaganda machine. In fact, adaptations of Lope’s theater productions were subject to the same rigorous scrutiny, if not more, than any other screenplays that landed under censorship’s microscope. Allen analyzes adaptations produced during and after the nearly forty-year dictatorship and questions whether the adaptors of the democratic era created films and television shows that can sufficiently demonstrate how the spirit of Lope’s life and works can resonate with modern audiences. Scholars of film and television studies, adaptation studies, and history will find this book particularly useful.