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En esta obra el autor nos guía a través de un análisis de las Sagradas Escrituras. En esta ocasión el autor se pregunta qué es lo que debe hacer cada persona para cumplir con la voluntad divina, qué implicaciones tiene y cómo conseguir gracia delante de la mirada del Creador. En qué consiste su plan divino, quiénes pueden considerarse elegidos por Dios y qué puede hacerse para atender a ese llamado de salvación que viene de la misericordia de Dios.
LA VOZ DE M.A.Y.O: TATA RAMBO is based on the oral history of Ramon Jaurigue, an orphan and WWII veteran who co-founded the Mexican, American, Yaqui, and Others (M.A.Y.O.) organization, which successfully lobbied the Tucson City Council to improve living and working conditions for members of the Pascua Yaqui tribe, paving the way to their federal recognition. Meanwhile, RamonÕs home life suffered as his focus was pulled from his family to the wider community, and from domesticity to the adrenaline of the campaign. A resonant, neglected slice of American history is brought to life for the first time with art by J. GONZO, letter art by BERNARDO BRICE, editing by CLAIRE NAPIER, and a script by HENRY BARAJASÑthe great-grandson of Ramon Jaurigue, a.k.a. Tata Rambo.
Surveying the Latina theatre movement in the United States since the 1980s, La Voz Latina brings together contemporary plays and performance pieces by innovative Latina playwrights. This rich collection of varying styles, forms, themes, and genres includes work by Yareli Arizmendi, Josefina B ez, The Colorado Sisters, Migdalia Cruz, Evelina Fern ndez, Cherr e Moraga, Carmen Pelaez, Carmen Rivera, Celia H. Rodr guez, Diane Rodriguez, and Milcha Sanchez-Scott, as well as commentary by Kathy Perkins and Caridad Svich on the present state of Latinas in theatre roles. La Voz Latina expands the field of Latina theatre while situating it in the larger spectrum of American stage and performance studies. In highlighting the ethnic and cultural roots of the performance artists, Elizabeth C. Ram rez and Catherine Casiano provide historical context as well as a short biography, production history, and artistic statement from each playwright.
"Historians have long looked to networks of elite liberal and anti-clerical men as the driving forces in Mexican history over the course of the long nineteenth century. This traditional view, writes Margaret Chowning, cannot account for the continued power of the Catholic Church in Mexico, which has withstood extensive and sustained political opposition for over a century. How, then, must the scholarly consensus change to better reflect Mexico's history? In this book, Chowning shows that the church repeatedly emerged as a political player, even when liberals won elections, primarily because of the overlooked importance of women in politics. Catholic women kept the church alive through the wars of independence and made it into the political force it continues to be in present-day Mexico. Using archival sources from ten Mexican states, the book shows how women, who were denied the vote and expected to stay out of the political sphere, nevertheless forged their own form of citizenship through the church. After Mexico gained its independence in 1821, women self-consciously developed new lay associations and assumed leadership roles within them. These new associations not only kept Catholicism vibrant, they also pushed women into public sphere. Methodologically, this book shows the value of exploring gender in political and religious history and reveals the equal importance of informal political power to more formal activities like voting"--