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En un tiempo de auge por la gran cantidad de poetas que demandan, en razón a su calidad, un sitio donde medrar a la sombra de sus versos, nos encontramos con una antología que reúne una serie de autores en la disparidad de los estilos que adornan la magia de la lírica actual. Ya lo habíamos observado en Área Reservada –Antología Poética 2007- y Un Mundo y Aparte –Antología Poética 2008, los temas recurrentes de todos los tiempos y autores persisten en los poetas de hoy. Es acaso la poesía una rueda, un sámsara que acumulando karma de vidas anteriores es capaz de reencarnarse para insistir, tal que en épocas pasadas, en exactos argumentos como el amor, los celos, la muerte, l...
The Atlas of the Hoverflies of Greece is the first of a kind within the Mediterranean region. It is the result of decades of research, many travels into the fascinating habitats of Greece (a biodiversity hotspot), visits to world museums, and many people’s passion for hoverflies. The Atlas is a concise presentation of all 418 hoverfly species for Greece known so far. The species are documented with photos and distribution GIS-maps and they are preceded by a general introduction on the hoverflies and Greek nature, and a generic key. The Atlas of the Hoverflies of Greece is a handbook for insect aficionados, students and teachers, everyone interested in nature, and managers and conservationists aiming at raising public awareness of a nature nowadays threatened more than ever.
Este libro recoge las investigaciones que sobre los procesos de retorno de la emigración y el exilio (siglos xx y xxi) se presentaron y debatieron en el Coloquio Internacional El retorno: una comparación entre la migración económica y el exilio político, coordinado por Aurelio Martín Nájera (Fundación Pablo Iglesias) y Pedro Pérez Herrero (Universidad de Alcalá) y celebrado en la Universidad de Alcalá los días 13 y 14 de marzo de 2013 con el patrocinio de la División Global Santander Universidades. El Coloquio fue convocado por la Cátedra del Exilio (conformada por la Universidad Nacional Autónoma de México, la Fundación Pablo Iglesias, la Universidad Nacional de Educación ...
Software development continues to be an ever-evolving field as organizations require new and innovative programs that can be implemented to make processes more efficient, productive, and cost-effective. Agile practices particularly have shown great benefits for improving the effectiveness of software development and its maintenance due to their ability to adapt to change. It is integral to remain up to date with the most emerging tactics and techniques involved in the development of new and innovative software. The Research Anthology on Agile Software, Software Development, and Testing is a comprehensive resource on the emerging trends of software development and testing. This text discusses the newest developments in agile software and its usage spanning multiple industries. Featuring a collection of insights from diverse authors, this research anthology offers international perspectives on agile software. Covering topics such as global software engineering, knowledge management, and product development, this comprehensive resource is valuable to software developers, software engineers, computer engineers, IT directors, students, managers, faculty, researchers, and academicians.
By describing the fabric of relationships indigenous peoples weave with their environment, The Land Within attempts to define a more precise notion of indigenous territoriality. A large part of the work of titling the South American indigenous territories may now be completed but this book aims to demonstrate that, in addition to management, these territories involve many other complex aspects that must not be overlooked if the risk of losing these areas to settlers or extraction companies is to be avoided. Alexandre Surralls holds a doctorate in anthropology from the School for Higher Studies in Social Sciences and is a researcher on the staff of the National Centre for Scientific Research. Pedro Garca Hierro is a lawyer from Madrid Complutense University and the Pontifical Catholic University of Peru. He has worked with various indigenous organizations, on issues related to the identification and development of collective rights and the promotion of intercultural democratic reforms.
Alonso Berruguete (c. 1489?1561), the first Spanish Renaissance sculptor, spent a fruitful stint in Italy, where he came into contact with Michelangelo, Raphael, and Bramante and was influenced by their enthusiasm for ancient ideals and their attitude to art. Sarcophaguses, ruins and statues fired his imagination, especially the Laocoön: its theatrical pathos, anatomical virtuosity, and bodies dancing in space left an indelible mark on his oeuvre.0Upon his return to Castile he felt himself to be a Renaissance man, a ?new? artist willing to defy the old authorities and defend his ingenium. Drawing on this heritage, he produced works steeped in emotion and visual vehemence that reveal an obsessive preference for the sombre and ?nocturnal? brand of Renaissance art: Dionysian as opposed to Apollonian brand, characterised by tormented and exaggerated gestures, expressive frenzy and the terribilità suffered by ?Laocoön?s sons.? For Berruguete?s pulsating modernity stems from his anticlassical classicism, the importance he attaches to freedom of rhythm and anguish, and an extreme subjectivity that combines the force of the ancient with the freshness of the modern.
Working at the local processing plant, Marcos is in the business of slaughtering humans—though no one calls them that anymore. His wife has left him, his father is sinking into dementia, and Marcos tries not to think too hard about how he makes a living. After all, it happened so quickly. First, it was reported that an infectious virus has made all animal meat poisonous to humans. Then governments initiated the “Transition.” Now, eating human meat—“special meat”—is legal. Marcos tries to stick to numbers, consignments, processing. Then one day he’s given a gift: a live specimen of the finest quality. Though he’s aware that any form of personal contact is forbidden on pain of death, little by little he starts to treat her like a human being. And soon, he becomes tortured by what has been lost—and what might still be saved.
This book examines the collecting practice and patronage of Camillo Massimo (16201677), papal nuncio to Spain, in the context of the society that produced him, and demonstrates how his importance lies not simply in his own activities as a patron and collector of artists such as Velzquez and Claude Lorrainbut in his role as an active force promoting particular artists and enterprises in Rome and in his impact on the following century.