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In the historical novel "Death Comes for the Archbishop," Willa Cather depicts Padre Antonio Jose Martinez as an unscrupulous, backward, rogue priest, and Archbishop Jean Baptiste Lamy as a civilizing, heroic, and monumental figure. Countering Cather's portrayal, de Aragon attempts to set the historical record straight.
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Modernism, Ruben Darío, and the Poetics of Despair presents a detailed study of a neglected facet of Ruben Darío, and in general, of Hispanic Modernism: metaphysical and existential dimensions as preludes to Modernity. Alberto Acereda and J. Rigoberto Guevara approach the life and death issues in Darío works with special emphasis on his poetry. The authors demonstrate how the Nicaraguan poet takes the first steps towards poetic modernity. The tragic component of Darío works are examined in the light of Nineteenth Century philosophy, especially the work of Arthur Schopenhauer. Various thematic proposals are also formulated for the study of the works of Ruben Darío.
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Ulises quiere ser titiritero. Para ello, realiza un viaje al mundo de los títeres: ansía conocer a Lorca, a Villafañe y a todos los grandes maestros del teatro de muñecos. Su camino será difícil: deberá vencer las duras pruebas a las que lo somete el Diablo. Ante cada paso, un nuevo obstáculo que enfrentar, y la posibilidad, a la vez, de alcanzar sus sueños. De eficaz dramaturgia y con referentes intertextuales en función de la puesta en escena, esta obra de teatro aborda grandes temas —la mediocridad, la hipocresía, el facilismo, la ignorancia— con elegancia y sutileza, a la vez que con dinamismo, ironía y humor, y constituye, sobre todo, un homenaje a los maestros titiriteros y al teatro de títeres de todos los tiempos.