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We know the specific strengths of various cities, are aware of their ranking, are able to discuss their density and growth. But what do all cities have in common, what do we know about the “lowest common denominator”? The “city as a species”, the “primal genetic material of the city”: this is the subject of A Quantum City. This colossal work is a love letter to the city and intellectual culture. We follow the fictional narrative figure, Orlando, beginning in 320 BC, on his odyssey through the Western world up to the present time. The book is divided into four interrelated chapters and can be read page by page in a discursive manner, however randomly browsing through the book also offers new and multi-faceted interpretations. Great intellectual achievements are compared with obscure and mundane events. A Quantum City offers an inspiring view of the city that is in us and around us.
Imposing Harmony is a groundbreaking analysis of the role of music and musicians in the social and political life of colonial Cuzco. Challenging musicology’s cathedral-centered approach to the history of music in colonial Latin America, Geoffrey Baker demonstrates that rather than being dominated by the cathedral, Cuzco’s musical culture was remarkably decentralized. He shows that institutions such as parish churches and monasteries employed indigenous professional musicians, rivaling Cuzco Cathedral in the scale and frequency of the musical performances they staged. Building on recent scholarship by social historians and urban musicologists and drawing on extensive archival research, Baker highlights European music as a significant vehicle for reproducing and contesting power relations in Cuzco. He examines how Andean communities embraced European music, creating an extraordinary cultural florescence, at the same time that Spanish missionaries used the music as a mechanism of colonialization and control. Uncovering a musical life of considerable and unexpected richness throughout the diocese of Cuzco, Baker describes a musical culture sustained by both Hispanic institutional patrons and the upper strata of indigenous society. Mastery of European music enabled elite Andeans to consolidate their position within the colonial social hierarchy. Indigenous professional musicians distinguished themselves by fulfilling important functions in colonial society, acting as educators, religious leaders, and mediators between the Catholic Church and indigenous communities.
This fascinating book examines the particular importance of cities in Spanish and Hispanic-American culture as well as the different meanings that artists and cartographers invested in their depiction of New and Old Wold cities and towns. Kagan maintains that cities are both built human structures and human communities, and that representations of the urban form reflect both points of view. He discusses the peculiar character of Spain's empire of towns; the history and development of the cityscape as an independent artistic genre, both in Europe and the Americas; the interaction between European and native mapping traditions; differences between European maps of urban America and those produced by local residents, whether native or creole; and the urban iconography of four different New World towns. Lavishly illustrated with a variety of maps, pictures, and plans, many reproduced here for the first time, this interdisciplinary study will be of interest to general readers and to specialists in art history, cartography, history, urbanism, and related fields.
Unlike other vocabulary guides that require the rote memorization of literally thousands of words, this book starts from the premise that using the etymological connections between Spanish and English words—their common derivations from Latin, Greek, and other languages—is the most effective way to acquire and remember vocabulary. This approach is suitable for beginners as well as for advanced students. Teachers of the language will also find much material that can be used to help motivate their students to acquire, and retain, Spanish vocabulary. Spanish Vocabulary is divided into four parts and four annexes: Part I provides background material on the origins of Spanish and begins the process of presenting Spanish vocabulary. Part II presents "classical" Spanish vocabulary—words whose form (in both Spanish and English) is nearly unchanged from Latin and Greek. Part III deals with "popular" Spanish vocabulary, which underwent significant changes in form (and often meaning) during the evolution from Latin to Spanish. A number of linguistic patterns are identified that will help learners recognize and remember new vocabulary. Part IV treats a wide range of themes, including words of Germanic and Arabic origin, numbers, time, food and animals, the family, the body, and politics. Annex A: Principal exceptions to the "Simplified Gender Rule" Annex B: 700 words whose relations, if any, to English words are not immediately obvious Annex C: -cer verbs and related words Annex D: 4,500 additional words, either individually or in groups, with English correspondences