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As the adults sit down to gossip over a long wedding lunch and the rest of the children rush off to play, a young boy slips out of sight beneath the table. Tommy is twelve years old but his weak heart prevents him from joining his cousins' games, so he sets his MP3 player to record the voices chattering above him. But then the conversation turns to his mother's death and he overhears something he was never meant to know: that she didn't die of an illness, but took her own life. Confused and hurt, Tommy keeps what he has learned to himself and begins his own secret investigation into what really happened. At the same time, his father and stepmother have problems of their own to contend with. Juan is racked by private grief and guilt after the death of one of his patients, and Alma, his second wife, senses an increasing distance in their marriage and gradually finds herself drawn back towards an old flame. As all three withdraw into their own worlds, leaving more and more unsaid between them, their family story moves inexorably, affectingly towards its devastating conclusion.
Antigonas: Writing from Latin America is the first book in the English language to approach classical reception through the study of one classical fragment as it circulates throughout Latin America. This interdisciplinary research engages comparative literature, Latin American studies,classical reception, history, feminist theory, political philosophy, and theatre history. Moira Fradinger tracks the ways in which, since the early nineteenth century, fragments of Antigone's myth and tragedy have been persistently cannibalized and ruminated throughout South and Central America andthe Caribbean, quilted to local dramatic forms, revealing an archive of political thought about Latin America's heterogeneous neo-colonial histories. Antigona is consistently characterized as a national mother and, as the twentieth century advances, multiplied on stage, forming female collectives,foregrounding the urgency of systemic change or staging gender politics. Through meticulous examination of classical culture in necolonial contexts, Fradinger explores ways of reading Creole texts from the geopolitical South that disrupt the colonial reading protocols that deracinate texts or lockthem into locality. By historicizing Antigona plays and interpreting them with a purpose to address specific colonial legacies, the book reveals how Antigona has ceased being Greek and instead tells stories of twentieth- and twenty-first-century Latin America. Antigonas rethinks the paradigmsthrough which we understand the presence of ancient cultural materials in former colonial territories, while illuminating an understudied continent in Anglophone reception studies.
From Wild Tales to Zama, Argentine cinema has produced some of the most visually striking and critically lauded films of the 2000s. Argentina also boasts some of the most exciting contemporary poetry in the Spanish language. What happens when its film and poetry meet on screen? Moving Verses studies the relationship between poetry and cinema in Argentina. Although both the poetics of cinema and literary adaptation have become established areas of film scholarship in recent years, the diverse modes of exchange between poetry and cinema have received little critical attention. The book analyses how film and poetry transform each another, and how these two expressive media behave when placed into dialogue. Going beyond theories of adaptation, and engaging critically with concepts around intermediality and interdisciplinarity, Moving Verses offers tools and methods for studying both experimental and mainstream film from Latin America and beyond. The corpus includes some of Argentina's most exciting and radical contemporary directors (Raúl Perrone, Gustavo Fontán) as well as established modern masters (María Luisa Bemberg, Eliseo Subiela), and seldom studied experimental projects (Narcisa Hirsch, Claudio Caldini). The critical approach draws on recent works on intermediality and impure cinema to sketch and assess the many and varied ways in which directors read poetry on screen.
CONTRAPORTADA Los miembros del CLUB DE LAS MENTES MAESTRAS, no están dotados de “poderes sobrenaturales”, ni usan “hechizos o magia” para interactuar con su mundo. Son personas comunes y corrientes. Lo que marca la diferencia, es que ellos utilizan los dones, otorgados a cada uno de nosotros por el Creador, desde el inicio de los tiempos. Puestos a prueba al alinearse con la Inteligencia Infinita, en armonía con las leyes universales inmutables. En medio de conflictos, misterios e intrigas, desplegando es poder que todos llevamos en nuestro mundo interior, suceden los milagros y en el prodigio de sus mentes, solo creen que todo asunto puede resolverse al exponerse a la luz. Despertar a ese poder y ponerlo a nuestro servicio y al de la humanidad, para el bien, el amor y la misericordia, es el verdadero salto a la grandeza.
Este libro fue escrito en homenaje a todos aquellos niños de alrededor del mundo que afectados por la pobreza, intolerancia e incomprensión se ven obligados a hacerse cargo de sus propias vidas y quienes creen que difícilmente los sueños se hacen realidad. Es la historia de un niño, que nació y creció en medio de una familia disfuncional. Su abuelo, un hombre de carácter débil pero el único que le demostraba cariño, le confesó, que había un secreto en su vida, ¿pero cual? El niño abandonó su casa a muy corta edad y se fue a vivir a las frías calles Bogotanas donde hizo amistad con otros dos niños quienes se convirtieron en su familia y con los que vivió muchas aventuras. Al pasar algunos años, regresó a casa con la intención de ver a su hermanita. Al llegar encontró muchos cambios. El menor de sus hermanos vivía con personas extrañas. ¿Qué había pasado con su abuela y su tía? ¿Dónde estaban su mamá y sus hermanos? ¿Qué pasó con su hermanita? A raíz de esto se comienza a descubrir el misterio. La historia tiene un final sorprendente e inesperado.