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Relato satírico de una velada íntima de una pareja matrimonial seguida de un encuentro social, todo ambientado en la ciudad de Concepción, Chile, durante un sábado lluvioso del invierno de 1972, poco antes del golpe militar del 73.
Latin American culture has given birth to numerous dramatic works, though it has often been difficult to locate information about these plays and playwrights. This volume traces the history of Latin American theater, including the Nuyorican and Chicano theaters of the United States, and surveys its history from the pre-Columbian period to the present. Sections cover individual Latin American countries. Each section features alphabetically arranged entries for playwrights, independent theaters, and cultural movements. The volume begins with an overview of the development of theater in Latin America. Each of the country sections begins with an introductory survey and concludes with copious bibliographical information. The entries for playwrights provide factual information about the dramatist's life and works and place the author within the larger context of international literature. Each entry closes with a list of works by and about the playwright. A selected, general bibliography appears at the end of the volume.
This book commemorates the bicentenary of the landmark Spanish Constitution of 1812. Drafted by Spanish and colonial Spanish American liberals (and non-liberals) holed up in Cadiz as Napoleon’s troops occupied the surrounding hills, this war-time Constitution set out radically to redefine ‘the Spanish nation’ for a new age. In the event, it divided Spaniards and threw into sharp relief the question of Spain’s legitimacy in her American colonies. Cadiz 1812 is a defining moment in the modern history of the Spanish-speaking world. Bringing together specialists in the history, politics and culture of Spain and Latin America (the Cadiz text was a cultural and ethnic document as much as a politico-legal one), this volume represents the only large-scale commemoration in the UK of one of the world’s first liberal constitutional tracts. The point of the book, however, as of the conference and accompanying exhibition on which it is based, is not solely to reflect on the significance and repercussions of Cadiz 1812 on both sides of the Hispanic Atlantic at the time. The book also considers later interpretations of Cadiz 1812 and examines, in addition, other constitutions in the Spanish-speaking world beyond 1812. Subjects treated include: Spain’s crisis of absolutism; the Inquisition before the Constitution; liberalism and Catholicism; discourses of the 1812 Constitution; the question of sovereignty; political theatre during the Napoleonic invasion; Goya; the Spanish crisis in the British press; Lord Holland and Blanco White; Pérez Galdós’s Cádiz; futuristic literary representations of Spain’s nineteenth-century crisis; political and philosophical echoes in Latin America in the nineteenth and twentieth centuries – in Cúcuta, Mexico, Argentina and Cuba; and, finally, politico-philosophical echoes in Spain – in the Liberal Triennium, in the mid-nineteenth century, in the Spanish Second Republic, in 1978, and in 2011 in the midst of the financial (but it is also a constitutional) crisis. The volume includes a specially-conducted interview with Spanish politician Alfonso Guerra, one of the figures behind the Spanish Constitution of 1978.
Good hair, bad hair registers the author in the genealogical tree of the great Caribbean writers such as Olive Senior, Jamaica Kincaid, and Mayra Santos-Febres. The speakers of this novel, shown through fragmented monologues, become archetypical voices that intertwine in the main character as if all of them were only one. The changes of narrative perspective create metaphors of the inherent ambiguity in the Caribbean amalgam. But beyond the tension that the title could imply, this novel is the story of a woman who, in spite of her restlessness or her fears, takes control over her life. Elidio La Torre Lagares Professor, Universidad de Puerto Rico
This play describes a teaching centre for young people who are blind, where a false unity is maintained by a mixture of fear, coercion and diversion and where education is seen as to play a part in the regime's ideological apparatus and to encourage the acceptance of pleasant and reassuring myths.
A “wonderfully twisted meditation on identity and individuality” from a Nobel Prize–winning author who pushes fiction to its very limits (The Boston Globe). As this novel by the author of Blindness and All the Names begins, Tertuliano Máximo Afonso is a divorced, depressed history teacher. To lift his spirits, a colleague suggests he rent a certain video. Tertuliano watches the film, unimpressed. But during the night, when he is awakened by noise, he finds the VCR replaying the video and watches in astonishment as a man who looks exactly like him—or, more specifically, exactly like he did five years earlier, mustachioed and fuller in the face—appears on the screen. Against his own better judgment, Tertuliano decides to pursue his double. As he roots out the man’s identity, what begins as a whimsical chase becomes a probing investigation into what makes us human. Can we be reduced to our outward appearance, rather than the sum of our experiences? The inspiration for the film Enemy starring Jake Gyllenhaal and directed by Denis Villeneuve, The Double is a timeless novel from a writer John Updike described in The New Yorker as “like Faulkner, so confident of his resources and ultimate destination that he can bring any impossibility to life by hurling words at it.” “It’s tempting to think of [The Double] as his masterpiece.” —The New York Times Translated from the Portuguese by Margaret Jull Costa
“A painful truth of family life: the most tender emotions can change in an instant. You think your parents love you but is it you they love, or the child who is theirs?” --Joyce Carol Oates, My Life as a Rat Which should prevail: loyalty to family or loyalty to the truth? Is telling the truth ever a mistake and is lying for one’s family ever justified? Can one do the right thing, but bitterly regret it? My Life as a Rat follows Violet Rue Kerrigan, a young woman who looks back upon her life in exile from her family following her testimony, at age twelve, concerning what she knew to be the racist murder of an African-American boy by her older brothers. In a succession of vividly recalled episodes Violet contemplates the circumstances of her life as the initially beloved youngest child of seven Kerrigan children who inadvertently “informs” on her brothers, setting into motion their arrests and convictions and her own long estrangement. Arresting and poignant, My Life as a Rat traces a life of banishment from a family—banishment from parents, siblings, and the Church—that forces Violet to discover her own identity, to break the powerful spell of family, and to emerge from her long exile as a “rat” into a transformed life.