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Luis Cardoza y Aragón
A trav s de una prosa tan l cida como sugerente, Gilberto Prado Gal n observa el rbol creativo animado por Luis Cardoza y Arag n, eterno ni o antig e o. el ensayista valora las principales ramas de la obra erigida por el poeta de Guatemala: la infancia, la cr tica de arte, la poes a, la soledad y el pensamiento pol tico.
Luis Cardoza y Aragón
La presente colecci n de fotograf as, dibujos y pinturas ofrece la posibilidad de conocer de cerca los momentos m s relevantes de la vida de Luis Cardoza y Arag n, uno de los poetas guatemaltecos m s importantes del siglo XX. Como resultado de la labor de recopilaci n de la investigadora Alba C. de Rojo, esta memoria gr fica permite reconstruir el contexto en que se desenvolvi el poeta y sus encuentros con figuras como Picasso, Guill n, Neruda, Asturias o Rulfo, as como con Lya Kostakowski, quien lo acompa por m s de cuarenta a os.
Luna Park
Poetry. Latino/Latina Studies. Art. Hand-sewn and bound in a recycled cardboard cover. Translated from the Spanish by Anthony Seidman."We hear Cardoza defend poetry not as an activity in service of the revolution, but as the expression of perpetual human subversion. Cardoza was the bridge between the vanguard and the poets of my age. A bridge extending not between two shores, but between two opposing forces." Octavio Paz "Luis Cardoza y Aragon knows that his own existence and his capacity to interpret exactly the reason for his current location justifies the celebration of this refulgent promenade through the future. He knows that he can bend poetry in his favor. He can be swift and expose t...
Atrapada
Este libro de la poeta Patricia Mu oz Meza se suma a la larga lista de t tulos de la colecci n intercultural Luis Cardoza y Arag n, misma que tiene por objeto dar a conocer lo mejor de la literatura en lengua ind gena de Guatemala. Atrapada parece recuperar la musicalidad original de las palabras del comienzo de los tiempos.
André Breton
El FCE re ne en este volumen dos textos de la obra cr tica del poeta guatemalteco Luis Cardoza y Arag n (1904-1992). Versa el primero sobre Andr Breton. En el segundo, se acerca al te rico y artista del suprematismo, Malevich, al tiempo que diserta sobre el abstraccionismo en pintura y el realismo socialista.
ESTETICA E HISTORIA EN LAS ARTES VISUALES
Luis Cardoza y Arag n traduce a un tambi n renombrado cr tico y te rico del arte, que emprende aqu una descripci n de los elementos que intervienen en la obra de arte, sus ra ces, su historia y aquellas cualidades intr nsecas o que la hacen bella, perdurable y digna de elogio o imitaci n saludable.
América sintaxis
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Cardozo
Benjamin Nathan Cardozo, unarguably one of the most outstanding judges of the twentieth century, is a man whose name remains prominent and whose contributions to the law remain relevant. This first complete biography of the longtime member and chief judge of the New York Court of Appeals and Justice of the Supreme Court of the United States during the turbulent years of the New Deal is a monumental achievement by a distinguished interpreter of constitutional law. Cardozo was a progressive judge who understood and defended the proposition that judge-made law must be adapted to modern conditions. He also preached and practiced the doctrine that respect for precedent, history, and all branches ...
Self Portrait in Green
'NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.
