‘‘Sus escenarios son los interiores y exteriores de una fortaleza, donde el Varón de Rabinal desafía al Varón de los Queché, sanguinario guerrero que ha causado el pánico entre los señoríos cercanos, destruido pueblos e intentado raptar a mancebos locales. Rabinal lo toma prisionero y lo ata a un árbol en espera del veredicto del ‘‘Jefe Cinco Lluvias’’ al pedido de libertad. El Varón del Queché no se siente predispuesto a pedir clemencia y se muestra altanero, por lo que es condenado a muerte. Como gracia especial se le permite entablar nuevos combates con guerreros, y obtener el fugaz amor de una muchacha, pero no se le autoriza, durante un año del calendario maya, a despedirse de la tierra donde había nacido y conquistado victorias. Los ejecutores supremos, el Águila y el Jaguar, lo llevan hasta el altar de sacrificios, no sin antes escuchar una larga despedida que concluye con un coro general poco antes de la inmolación’’ (Cairo, C. V., & Córdova, I. (1990). Literaturas de la América precolombina).
Georges Raynaud (1958) traductor del Popol Vuh y del Chilam Balam de Chumayel al francés, ha escrito: ‘‘Vertido a la escritura latina desde 1856, no deja aún de ser, según mis conocimientos, es la única pieza del antiguo teatro amerindio… La pieza pertenece –por entero- a los tiempos prehispánicos. ’’ (Citado en: C. Cairo et al, 1990).
El Rabinal Achí, obra del Siglo XVI (d.C.) de tradición oral, podría ser catalogado como un drama, de aire aleccionante. Puesto en escritura por Brasseur de Bourbourg, cura párroco del pueblo de San Pablo de Rabinal, con apoyo de Bartolo Zis, entre 1850 y 1855. En 1928, George Raynaud hizo una nueva traducción al francés, a partir de la cual Luis de Cardoza y Aragón en 1964, reali...
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... medio fundamental de la expresión del lenguaje.
El proceso de adaptación que sufre el teatro indígena, lo acerca más a la realidad ideológica de los qué efectúan estás transformaciones, generando el ocultamiento del ‘’otro’’, pues todas las dimensiones que no coinciden con las de la cultura dominante deben desaparecer.
El traspaso intergeneracional del Rabinal Achi, da cuenta de la modalidad de intercambio entre parentesco. Proceso que ejemplifica una de las modalidades de relaciones sociales que poseen los miembros de ésta sociedad. Como un don, traspasado el Rabinal Achi es usado como un bien social que permanece en constante circulación, puesto que no es una propiedad.
Anualmente, los directores y protectores del Rabinal Achi deben trabajar arduamente para escenificar la obra. Restaurando una poética escénica de acorde con la forma y rítmica del universo.
The perspective of another society is always subjective, especially when two completely different cultures interact for the first time. In Bernal Diaz del Castillo’s The History of the Conquest of New Spain, the first hand account illustrates a barbaric and pagan society where sacrifices are pervasive in everyday life. However, David Carrasco’s essays titled “The Exaggeration of Human Sacrifice” and “Human Sacrifice / Debt Payments from the Aztec Point of View” shed a significant amount of insight into the religious roles that human sacrifice played in Aztec society rather than the cruel and barbaric connotations which Díaz heavily implied. Based on the readings of Bernal Diaz del Castillo, Carrasco’s essays offered an outside perspective
Yo picador, macho errado, macho galopeado, me con¬fieso a Dios bardadero y a soneta María tampoco, y al bien trobado san Miguelelajo y al bien trobado san Sán¬chez Batista, y a los sonetos apóstatas san Perro y san Palo, y a vos padre espertual, daca la culpa, toma la culpa. Vuélvome a confesiar a todos estos que quedan aquí de¬trás y a vos padre espertual, que estás en lugar de Dios, me deis pestilencia de mis pescados y sorbáis dellos, amén Jesús
Palmas, at this time, took the task of retelling a traditional religious tale with his own twist, and that twist allowed him to entertain as well as criticize his own material. Criticizing religious folklore with methods of “costumbrismo” was vital in teaching his Latin American audience to be able to find the humor and irony in what they absorb through literature, and that is especially important with religious text. In a time when social and political reform went hand in hand with Latin American writing, Palmas did not just want to entertain with this humorous and enthralling piece, he wanted his audience to learn to be able to challenge religion in literature, and finally and most importantly, within the government in order to form a more liberal, secular
Valle’s most significant contribution to the Spanish theatre is his invention of the literary style of esperpento, which is best represented in one of his most famous plays, Luces de Bohemia. Valle created esperpento with the aim of representing the harsh realities of Spanish twentieth century society through the concave lens of grotesque deformation, so that he could present the lives of the Spaniards in the light of mockery and absurdity. During his writing of Luces de Bohemia, the Spanish society has been brought to a halt, along with the lack of political progress and social improvement, therefore this concerning political situation has influenced and steered Valle towards his literary evolution, the exaggerated grotesque, which he though was the only suitable way to represent the shocking reality and problems of Spain. In this way, he could alarm the people to terminate their complacent acceptance of this reality and he could also produce a distancing effect which renders the reader immune to the play’s purpose, thus making the artistic experience more tolerable. His experience in the killing fields was what made him t...
of conversion will function as a tropological hinge between the unsettled (the ontological underdeterminacy of La Mancha) and the unsettling (its hauntology). Sheeps shall become bandits and giants will turn into windmills (or was it the other way around?) for the sake of offering a metaphorical displacement of the shortcomings of the State’s ontological plan. It is in this sense that as Henry Kamen observes, in Don Quixote I-II Cervantes presents us with “una perspectiva de una sociedad en que las cosas no parecen ser lo que son” (2005). Consequently, in this part of the essay my analysis of Cervantes’s magical rhetoric I will not be focusing on the State-enforced divine performatives (at the end the day, they have shown to be infelicitous).
Despite the many advances of modern society, especially in areas of scientific, artistic, and political pursuit, there still remains a gap in the fundamental knowledge of human interaction and development. This disconnect lies in the points of what is known and how this knowledge came into knowing, and if such information can be validate as truth and successfully applied. A more specific case, which will be the main focus of this paper, deals with the problem facing many who assert themselves as Chicana/o, figuring out just what a Chicana/o is. In this paper there will be research presented which has helped shed light and direct many on the matter but, as this research and as will be empirically shown with the case study, there still remains a complexity to the subject that has been escaping quantification. This lack of understanding can be dangerous for those you practice the methods of psychology because the results may have unintended consequences, especially for those who deal directly with patients. By providing the research with a case study the answer to whether such work is moving in the right direction and functioning may become clear to the reader.
“The Conquest of New Spain” is the first hand account of Bernal Diaz (translated by J.M. Cohen) who writes about his personal accounts of the conquest of Mexico by himself and other conquistadors beginning in 1517. Unlike other authors who wrote about their first hand accounts, Diaz offers a more positive outlook of the conquest and the conquistadors motives as they moved through mainland Mexico. The beginning chapters go into detail about the expeditions of some Spanish conquistadors such as Francisco Hernandez de Cordoba, Juan de Grijalva and Hernando Cotes. This book, though, focuses mainly on Diaz’s travels with Hernando Cortes. Bernal Diaz’s uses the idea of the “Just War Theory” as his argument for why the conquests were justifiable
In conclusion, this paper showed that Diaz’s is more believable compared to the others for three reasons. First, the objectivity of his tone that he used, so it is difficult to recognize his point of view. Second, he wrote it after a while of the event, therefore he did not tend to his group on his writing. Finally, he wrote it to inform the public about his own experience with the Aztec.
`La Tierra de Alvargonzález' is similar to the old ballads in its content of crime and violence. Machado leaves much of the background o...
“It’s a well-documented fact that in Trujillo’s DR if you were of a certain class and you put your cute daughter anywhere near El Jefe, within the week she’d be mamando his ripio like an old pro,” and Trujillo “took women away from their husbands on their wedding nights and then would brag publicly about ‘the great honeymoon’ he’d had the night before,” (Diaz 217,
...rcía Márquez concentrates on the idea that the animals incorporated into the work are portrayed to highlight the degradation of Santiago Nasar and the nature of his murder.
Societies progress can lead to intercultural similarities, and vastily obvious differences. These influences can be seen within the contemporary theatre of the times, explaining and progressing the status of community through storytelling and performance. The reactions to these changes are important, and help shape the society we have today. These elements are best seen between the medieval ans renaissance period.
Los sueños han sido considerados un elemento místico a través de diversas culturas y épocas, una forma de llave astral con la capacidad de guiarnos ya sea a dimensiones paralelas, a un viaje introspectivo a lo más profundo de nuestro ser e incluso a predecir el futuro. La utilización e interpretación de los sueños ha cautivado al ser humano y tanto Borges como Cortázar no son la excepción; en sus obras "El etnógrafo" y "La noche boca arriba" respectivamente, los author
El libro cuenta la historia de la familia Buendía en el pueblo de Macondo. El pueblo es fundado por diversas familias conducidas por José Arcadio Buendía y Úrsula Iguaran. Los dos son primos y se casaron con el temor que sus hijos pudieran tener cola de cerdo. Igualmente tuvieron tres hijos: José Arcadio, Aureliano y Amaranta. José Arcadio, el fundador, es la persona que lidera e investiga con las novedades que traen los gitanos al pueblo, y termina su vida atado al árbol hasta donde llega el fantasma de su enemigo Prudencio Aguilar con el que dialoga. Úrsula es la matriarca y jefe de la familia, quien vive durante más de cien años cuidando de la familia y del hogar.
Tomás, d., & Abad de Aparicio, H. (1880). Suma teológica / Santo Tomás de Aquino ; traducida directamente del latín por Hilario Abad de Aparicio ; revisada y anotada por Manuel Mendía, con la colaboración de Pompilio Díaz ; precedida de un prólogo de Ramón Martínez Vigil. Madrid : Moya y Plaza, 1880-1883