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Operating at the intersection where new technology meets literature, this collection discovers the relationship among image, sound, and touch in the long nineteenth century. The chapters speak to the special mixed-media properties of literature, while exploring the important interconnections of science, technology, and art at the historical moment when media was being theorized, debated, and scrutinized. Each chapter focuses on a specific visual, acoustic, or haptic dimension of media, while also calling attention to the relationships among the three. Famous works such as Wordsworth's "I wandered lonely as a cloud" and Shelley's Frankenstein are discussed alongside a range of lesser-known literary, scientific, and pornographic writings. Topics include the development of a print culture for the visually impaired; the relationship between photography and narrative; the kaleidoscope and modern urban experience; Christmas gift books; poetry, painting and music as remediated forms; the interface among the piano, telegraph, and typewriter; Ernst Heinrich Weber's model of rationalized tactility; and how the shift from visual to auditory telegraphic instruments amplified anxieties about the place of women in nineteenth-century information networks. Full of surprising insights and connections, the collection offers new impetus for stimulating historical conversations and debates about nineteenth-century media, while also contributing fresh perspectives on new media and (re)mediation today.
A masterpiece of modernist fiction about one man’s search for meaning, Dream of Reason (La sinrazón) reveals Rosa Chacel as an intellectual and literary innovator whose work stands alongside that of Joyce, Proust, and Woolf. This meditative novel, grounded in the thinking of Spain’s great modern philosopher Ortega y Gasset, unfolds as the journal of a bourgeois chemist who makes his way in Buenos Aires just before and during the Spanish Civil War. Tracing his relationship with three women, Santiago Hernández explores the power of his own intentions and the limits of human reason. His introspective experiment, set against the background of world-altering events, documents the workings of a self-absorbed mind speculating on the inseparability of self and circumstance and is a brilliant enactment of how, from such tensions, narrative emerges.
The gripping, autobiographical story of the Spanish Civil War by the legendary Communist leader.
"Far more 'modern' than ever Hemingway or even Gertie ever thought of being" is how William Carlos Williams described The Dog and the Fever: "The first recorded use of the pure image to tell a story" and "hot as hell besides." Williams translated this Spanish novella, originally published in 1625, with the help of Raquel Hélene Williams, his Puerto Rican mother. Williams recalled that its biting satire -- targeting the corruption of the court, the church, and society and driven by comic double entendre -- made them laugh out loud and amused them tremendously as they worked on the translation. The editor, Jonathan Cohen, contributes a surprising introduction with details about Williams as translator and the novella's author Pedro Espinosa, setting the stage for this charming tale from the Spanish Golden Age.