scholarly journals Las ayudas del ejecutivo socialista en españa: un breve estudio sobre las ayudas en el regimen de alquiler de viviendas a las personas discapacitadas e inmigrantes legales

2019 ◽  
Vol 42 (3) ◽  
pp. 114-129
Author(s):  
Salvador Morales Ferrer
Keyword(s):  
Social Environment ◽  
20Th Century ◽  
21St Century ◽  
Social Inclusion ◽  
The Other ◽  
Disabled People ◽  
Spanish Society ◽  
Socialist Government ◽  
Siglo Xx ◽  
Legal Immigrants

Desde os tempos antigos, as pessoas com deficiência foram retirados de suas famílias e até mesmo tem sido um fardo para a sociedade até a chegada do século XX, de modo que, no século XXI, vivemos o governo socialista da Espanha através Plano de habitação 2018-2021, tenta ir além adaptando habitações alugadas para as necessidades deste grupo, desde que eles não podem financeiramente cobrir sua residência, eles e seus familiares. Por outro lado, e com caráter de novato também são atendidos neste programa os imigrantes legais e suas famílias, incluindo seus parceiros, que por necessidades econômicas não possam pagar o aluguel habitual de sua casa, portanto, o legislador socialista tenda a executar sua inclusão social na sociedade espanhola, para que seu ambiente social seja o mais adequado para a sociedade. Resumen Desde la antigüedad, las personas discapacitadas han sido apartadas de sus familias e incluso han sido una carga para la sociedad hasta la llegada del Siglo XX, por lo que, en el Siglo XXI, en que vivimos el gobierno socialista de España por medio del Plan Estatal de Vivienda 2018-2021, intenta llegar más allá adaptando las viviendas en régimen de alquiler a las necesidades de este colectivo, siempre que no puedan cubrir económicamente su vivienda habitual, ellos y sus familiares. Por otro lado, y con carácter novatorio también se atiende en esta norma   a las personas inmigrantes legales y sus familiares incluso a sus parejas de hecho, que por necesidades económicas no pueden pagar el alquiler habitual de su casa por tanto el legislador socialista tiende a realizar su inclusión social dentro de la sociedad española, para que su entorno social sea lo más adecuado para la sociedad. Abstract Since antiquity, disabled people have been separated from their families and have even been a burden on society until the arrival of the 20th century, so, in the 21st century, in which we live the socialist government of Spain through of the State Housing Plan 2018-2021, tries to go further by adapting the houses in rental regime to the needs of this group, as long as they cannot cover their usual home economically, they and their relatives. On the other hand, and with novatory character is also addressed in this rule to legal immigrants and their families including their partners, who for economic needs cannot pay the usual rent of their house so the socialist legislator tends to perform its social inclusion within Spanish society, so that its social environment is the most appropriate for society.

Wonder, Horror, Mystery: Letters on Cinema and Religion in Malick, Von Trier, and Kieślowski

2021 ◽  
Author(s):  
Morgan Meis ◽  
J.M. Tyree
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Film Theory ◽  
The Other ◽  
Life Meaning ◽  
Late 20Th Century ◽  
Early 21St Century ◽  
Lars Von Trier ◽  
Creative Writer ◽  
Film Critic

Wonder, Horror, Mystery is a dialogue between two friends, both notable arts critics, that takes the form of a series of letters about movies and religion. One of the friends, J.M. Tyree, is a film critic, creative writer, and agnostic, while the other, Morgan Meis, is a philosophy PhD, art critic, and practicing Catholic. The question of cinema is raised here in a spirit of friendly friction that binds the personal with the critical and the spiritual. What is film? What’s it for? What does it do? Why do we so intensely love or hate films that dare to broach the subjects of the divine and the diabolical? These questions stimulate further thoughts about life, meaning, philosophy, absurdity, friendship, tragedy, humor, death, and God. The letters focus on three filmmakers who challenged secular assumptions in the late 20th century and early 21st century through various modes of cinematic re-enchantment: Terrence Malick, Lars von Trier, and Krzysztof Kieślowski. The book works backwards in time, giving intensive analysis to Malick’s To The Wonder (2012), Von Trier’s Antichrist (2009), and Kieślowski’s Dekalog (1988), respectively, in each of the book’s three sections. Meis and Tyree discuss the filmmakers and films as well as related ideas about philosophy, theology, and film theory in an accessible but illuminating way. The discussion ranges from the shamelessly intellectual to the embarrassingly personal. Spoiler alert: No conclusions are reached either about God or the movies. Nonetheless, it is a fun ride.

scholarly journals A través de la pantalla: Infancias queer en la literatura argentina del nuevo milenio

2021 ◽  
Vol 1 (2) ◽  
pp. 35-48
Author(s):  
María José Punte
Keyword(s):  
Present Article ◽  
20Th Century ◽  
21St Century ◽  
Children’S Literature ◽  
Argentine Literature ◽  
Theoretical Frameworks ◽  
Social Crisis ◽  
Contemporary Writers ◽  
Literatura Argentina ◽  
Siglo Xx

Childhood is taken up time and again in Argentine literature of the first decades of the 21st century. These are novels that engage various forms of humor, from extreme satire to imposed naivety. This broad register serves to destabilize ideas established throughout the 20th century about the management of the lives of minors. Imaginaries formed by television have become part of several texts, together with what could be termed the “infant library”, that is to say, the children’s literature read by contemporary writers. Argentine narrative of the period accounts for the serious social crisis caused by the hegemony of neoliberalism, as well as its consequences on children’s lives, revealing the fissures in the discourses surrounding their rights. The present article examines these issues in relation to three recent novels: Quedate conmigo (2017) by I. Acevedo, La maldición de Jacinta Pichimahuida (2007) by Lucía Puenzo and Osos (2010) by Diego Vecchio. They will be addressed here within the theoretical frameworks offered by Kathryn B. Stockton in her book The Queer Child (2009). --- La infancia es retomada por la literatura escrita en Argentina durante las primeras décadas del siglo XXI en novelas que apuestan a diversas formas del humor. Desde la sátira extrema hasta una ingenuidad impostada, aparece un registro amplio que sirve para desestabilizar ideas fijadas a lo largo del siglo XX en lo relacionado con la administración de la vida de los menores de edad. Los imaginarios televisivos entran a formar parte de los textos fundiéndose con la “biblioteca infante”, es decir, con las lecturas que acompañaron las infancias de los y las escritoras contemporáneos. La narrativa argentina del período también da cuenta de la grave crisis social producida por la hegemonía del neoliberalismo, así como sus consecuencias en las vidas de las infancias, lo que tendió a mostrar las fisuras de los discursos en torno a sus derechos. Estas discusiones quedan registradas en las tres novelas—Quedate conmigo (2017) de I. Acevedo, La maldición de Jacinta Pichimahuida (2007) de Lucía Puenzo, Osos (2010) de Diego Vecchio—que serán abordadas aquí desde los marcos teóricos ofrecidos por la teoría queer, en particular por la propuesta de Kathryn B. Stockton.

scholarly journals Rituales de tinta. Antología de dramaturgas mexicanas

2021 ◽  
Vol 12 (19) ◽  
pp. 149-157
Author(s):  
Gabriela Ynclán
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Mexican Women ◽  
Women Playwrights ◽  
Siglo Xx

En este texto, Gabriela Ynclán comparte el proceso de investigación y edición de Rituales de tinta. Antología de dramaturgas mexicanas, una antología que reúne obras de teatro escritas por dramaturgas mexicanas del siglo XXI, y la gestación de una nueva publicación dedicada a la dramaturgia femenina del siglo XX en México.Ritualizing ink. Anthology of Mexican playwrightsAbstractIn this article, author Gabriela Ynclán reflects on the process of searching and editing the anthology Rituales de Tinta. Antología de Dramaturgas Mexicanas (Ink Rituals. An Anthology of Mexican Women Playwrights). The book gathers together plays written by 11 Mexican women playwrights of 21st century. The author prepares a new publication about women playwrights of 20th century Mexico.Recibido: 09 de septiembre de 2020Aceptado: 09 de diciembre de 2020

scholarly journals LA TRADICIÓN CLÁSICA EN LA OBRA DE FERNANDO PESSOA

2004 ◽  
Vol 64 ◽  
Author(s):  
Liliana Swiderski
Keyword(s):  
Classical Tradition ◽  
20Th Century ◽  
The Other ◽  
Formal Models ◽  
Fernando Pessoa ◽  
The One ◽  
Siglo Xx

O regresso de Pessoa às fontes clássicas seguiu duas direções, que neste artigo procuro identificar e analisar. De um lado, foi uma das bases de suas utopias estéticas e políticas, que expressou através de revistas, movimentos e profecias de regeneração; de outro, é relevante na produção do seu heterônimo Ricardo Reis, quem, em pleno século XX, recupera nas Odes os moldes formais e os temas de Horácio. Resumen El regreso a las fuentes clásicas que Pessoa impulsó siguió dos direcciones, que en este artículo intento identificar y analizar. Por un lado, fue una de las bases de sus utopías estéticas y políticas, que expresó a través de revistas, movimientos y profecías de regeneración; por otro, es fundamental en la producción de su heterónimo Ricardo Reis, quien, en pleno siglo XX, recupera en sus Odes los moldes formales y temáticos de Horacio. Classical tradition in Fernando Pessoa’s works Abstract This article attempts to identify and analyze the influence of classical tradition in Pessoa in two ways. On the one hand, it functions as one of the bases for his aesthetic and political utopias revealed in magazines, movements, and regeneration prophecies. On the other, it is relevant to the production under the pseudonym Ricardo Reis who, in the 20th century, restores the formal models and Horace’s themes through the Odes.

Self-learned folk musician

2013 ◽  
pp. 81
Author(s):  
Iveta Dukaļska
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Folk Music ◽  
Instrumental Music ◽  
Field Work ◽  
The Other ◽  
Single Individual ◽  
Musical Score ◽  
Music Making ◽  
Culture Environment

A folk musician is an important carrier of the folk music tradition. Most of the folk musicians are talented representatives of the musicians’ craft, highly appreciated in the 20th century by the countryside society. Music making is a must at different gatherings and family celebrations (birthday parties, weddings, seasonal festivities, etc.), and this secures a high social status for the musician within the culture environment, though this also gives rise to competition among the musicians. Along with the changes within the countryside culture environment at the turn of the 20th and 21st century, also the society’s attitude towards the folk music- making tradition has changed, on the one hand viewing it as some old-fashioned activity of elderly men (the musicians), while on the other it is viewed as an important object of study for the preservation of the tradition, its renewal and reintroduction into the culture environment of the 21st century. The present study traces the development of the notion “kaktu muzikants” (literally ‘corner musician’ – a busker; self-taught, amateur musician) in Latvia from both historical and contemporary perspective, performing the culture semiotic analysis of the symbolic and mythic meanings of corner. In the Latvian culture discourse the designation “kaktu muzikants” has the following semantic aspects: 1) in the macro space – opposition of the periphery and the centre; 2) in the micro space – a special location in the inner space (the location of the musician, while playing at the dance; the „red” corner); 3) the level of professionalism, its expressive belittlement (playing without the musical score). The present study characterises the importance of the “kaktu muzikants” in the Latvian culture in 1930’s-60’s and in the present day – in the context of the traditional instrumental music. This study also uses the field-work method in order to obtain the empiric material. During field-work the data are gathered in direct interviews, deeply or partially structured interviews, where the data are obtained from the original source in the presence of the interviewer; as the result a joint view of the culture environment of the period under study was formed, along with a view of the importance and place of a country musician in the aforementioned culture environment. In the 1930’s-40’s the folk music-making tradition is mostly a local tradition of some secluded culture environment – within the boundaries of a single family, village or parish. The first skills of music making as well as those of singing are acquired within the family, where these are inherited from the members of family belonging to the older generation. Each village and parish has its musicians. Usually within a parish a single group is formed of musicians having gained recognition by the community, with this group playing at all most important events within that community – like the weddings of the better-off families and the most important dances (e.g. the dance after the remembrance event at the local cemetery). All other musicians are peripheral musicians in relation to this main group, usually playing on their own or in duos. The situations when the music is played without a written score are self-explanatory and characteristic of folk - musicians’ technique. Lacking the knowledge of musical score, the folk - musicians mainly base on the auditory or musical memory and the song’s text, the latter taking the place of notes. In cases of purely instrumental pieces playing is based on musical hearing alone. Such a technique provides good opportunities for improvisation, and reveals the creativity of the musician, his sense of music and taste. Lack of knowledge of the musical score unites people for whom music is an important part of their lives, providing them with the experience of public performance and the sense of belonging to the group of musicians, simultaneously positioning themselves as musicians of lower status compared to those graduated from some musical education institution. The division by the level of professionalism into insiders and outsiders in relation to one or the other group of musicians was especially pronounced in 1950’s-60’s, but this division has still been retained. In any music playing situation the musician has a special place within the available space allocated to him, where this space can be either inside a house (a single room), some shed or place chosen for an open air dance as a relative space. According to the data gathered during the interviews conducted in the field, the musician most frequently is seated in the corner, that corner becoming the place of honour and the centre for the musician. The designation “kaktu muzikants” is not only current in the culture environment of the 20th century countryside, but is still retained. In 1920’s-40’s quite frequently the designation “kaktu balle” (local, less important or inferior quality dance-party) is used to indicate that the event is organised by the local community (dance at some farmstead, open air dance at some grove, etc.) as compared to more official events organised and recognised by the state institutions. With this also the designation “kaktu balles muzikants” enters currency, though this has no relation to the level of professionalism of the particular musician, instead his location – the periphery. The modern designation “kaktu muzikants” is actualised particularly in the memories of the folk musicians and their life stories of the period beginning with the 1950’s. In the vocabulary of the younger generation of musicians (meaning by that the early 21st century) “kaktu muzikants” prevails as a designation of a musician aiming at understanding of the folk music-making tradition and/or the ones who have restored a music-making tradition of some of the aforementioned periods or imitate the particular instrument technique of a single individual musician.

scholarly journals Nada de humanidad: El mundo animal de la posguerra española

2015 ◽  
Vol 5 (1) ◽  
Author(s):  
Molly Tun
Keyword(s):  
Civil War ◽  
20Th Century ◽  
Literary Tradition ◽  
Carmen Laforet ◽  
Spanish Society ◽  
Literary Movement ◽  
Literary Device ◽  
Siglo Xx ◽  
Scholarly Inquiry

La novela de Carmen Laforet Nada es uno de los grandes ejemplos del tremendismo español del siglo XX la cual retrata las duras y sombrías realidades de la guerra civil y la postguerra. No obstante, quienes han analizado esta obra han dejado pasar el uso de la animalización como un recurso utilizado en esta obra para poner en primer plano el contexto degradante y bestial de la sociedad española de la posguerra. Esta investigación ve a la animalización como una técnica literaria que concede atributos de animales a los seres humanos con el fin de hacer hincapié en que tanto el hombre y los animales viven en un mundo deshumanizante donde la supervivencia es el principal objetivo. Mientras que es un aspecto muy integral de la tradición literaria, la técnica de la animalización ha eludido la investigación académica en numerosos niveles. En este ensayo se teorizan las expresiones literarias de formas animales y sus conexiones con personajes humanos con el fin de ilustrar que este mundo dominado por instintos animales y la falta de facultades humanas es precisamente el producto de su propio contexto social e histórico degradante. Carmen Laforet’s novel Nada is one of the leading examples of the 20th century Spanish literary movement tremendismo that portrays the harsh, grim realities of civil war and its aftermath. Scholars have failed to recognize, however, the novel’s use of animalization as a technique that brings to the forefront the degrading and bestial context of postwar Spanish society. This research conceives animalization as the literary device that grants animal attributes to humans in order to emphasize that both man and animal inhabit a dehumanizing world where the main objective is survival. While a highly integral aspect of literary tradition, the technique of animalization has evaded scholarly inquiry on numerous levels. This essay theorizes the literary expressions of animal forms and their connections with human characters in order to illustrate that this animalized world dominated by instincts and the lack of human faculties is precisely the product of its very own degrading social and historic context.

Euripides

Classics ◽  
2012 ◽  
Author(s):  
Sophie Mills
Keyword(s):  
20Th Century ◽  
21St Century ◽  
The Other ◽  
Social Equality ◽  
Early 21St Century ◽  
Nature Versus Nurture ◽  
Dramatic Structure ◽  
And Shifts ◽  
Modern Era ◽  
Morality Of War

Euripides is one of the great Athenian tragedians whose dramatic output has survived, if only partially, into the modern era. His contemporary, the comic writer Aristophanes, mocks him for technically flawed and intellectually subversive plays, and it may be significant that, as compared with Aeschylus’s thirteen and Sophocles’ eighteen, he won only five first prizes at the Dionysiac competitions: for an unknown play in 441 bce, for Hippolytus (428 bce), and posthumously for the trilogy that included The Bacchae and Iphigenia in Aulis. However, since he competed regularly at the Dionysia, one can hardly call him unpopular with the Athenians, who, like many people in the early 21st century, must sometimes have enjoyed provocative art. See pages 52–94 in Euripides and the Tragic Tradition (Michelini 1987), cited under Dramatic Structure and Technique and Electra/Elektra: Scholarship. His reputation for problematic and flawed plays, which has had a huge influence on modern Euripidean criticism, dogged him even as early as Aristophanes and Aristotle and lasted until well into the 20th century for two main reasons. First, August Wilhelm von Schlegel and Friedrich von Schlegel considered Sophocles’ plays the perfect tragedies in their thematic clarity and “unity”: see Behler 1986 (cited under Later Critical Reputation) in the journal Greek, Roman, and Byzantine Studies. The diversity of mood and shifts in tone that characterize Euripidean tragedy, especially those plays without conventionally “tragic” endings, put him at a disadvantage within these standards. Second, whereas only a highly select seven plays each by Aeschylus and Sophocles survive, eighteen tragedies and one satyr play ascribed to Euripides have come down to us out of a total of ninety-two. Some, such as Hippolytus, Medea, and The Bacchae, have always been admired, partly because they conform more closely to a supposedly Sophoclean “unity,” but with almost three times as many plays as the other two tragedians, his extant work inevitably seems more uneven in technique and theme, and plays such as the Children of Heracles and Suppliants have received general disapprobation. Some later tragedies, such as Iphigenia in Tauris, Ion, and Helen, baffled earlier critics: how are they tragedies when their plots are fantastical and their endings happy? Criticism since the early 1970s has, however, come to appreciate Euripides on his own terms, reevaluating their centrifugal quality as integral to successful Euripidean rather than failed Sophoclean drama and redefining what tragedy can be to encompass Euripides’ contribution. Moreover, his abiding fascination with controversial questions—social equality, the morality of war, nature versus nurture—and apparent interest in psychology have made him a favorite with modern audiences.

scholarly journals La visión responsable de Javier Marías: una narrativa entre el pensamiento literario de Julián Marías y la literatura como reconocimiento de Marcel Proust

2020 ◽  
pp. 215-244
Author(s):  
Santiago Bertrán
Keyword(s):  
Creative Writing ◽  
20Th Century ◽  
Marcel Proust ◽  
The Other ◽  
Jose Ortega Y Gasset ◽  
Visual Poetics ◽  
Ethical Implications ◽  
The World ◽  
The One ◽  
Siglo Xx

Este artículo explora los aspectos filosóficos y éticos de la literatura de Javier Marías a la luz de la filosofía de Julián Marías y la literatura de Marcel Proust. Las ficciones de Javier Marías nos presentan una serie de personajes que se demuestran como agudos observadores que interpretan el mundo para entenderlo mejor y para orientarse en él. Este artículo defiende el argumento que esta tarea hermenéutica se extiende también a la propia poética de Javier Marías, la cual refleja dos conceptos esenciales no del todo bien estudiados hasta la fecha: por una parte, lo que Marías, tomando prestado un término de su padre, Julián Marías, denomina "pensamiento literario", un concepto que entiende la escritura como una de las herramientas más poderosas que tiene el autor de explorar y entender la realidad; por otra parte, el concepto de "reconocimiento", una noción muy próxima a la poética de Marcel Proust que describe la experiencia cognitiva por la cual el lector 'se ve' o 'se reconoce' a sí mismo en la narración. Al investigar estas poéticas visuales y sus implicaciones éticas se descubre el contexto metafísico y ontológico al cual se aproxima la obra mariesca, que no es otro que el paradigma filosófico de la "realidad radical" establecido por Ortega y Gasset a comienzos del siglo XX.   This article examines the ethical and philosophical aspects of Javier Marías’s literature in light of the philosophy of Julián Marías and the poetics of Marcel Proust. Javier Marías’s fictions famously present us with a series of characters that prove to be acute observers, interpreting the world both to understand it better and to orientate themselves within it. I argue that this hermeneutical approach extends to Marías’s poetics, which reflect two main concepts not yet well studied: on the one hand, what Marías, borrowing a term from his father, the philosopher Julián Marías, calls ‘pensamiento literario’, which describes creative writing as one of the most powerful tools the author has to explore and understand reality; and on the other, his idea of ‘reconocimiento’, a concept which echoes Marcel Proust’s poetics and which defines the sympathetic process by which the reader ‘sees’ or ‘recognises’ him or herself in the narrative. In investigating these ‘visual’ poetics and their ethical implications, we will discover the metaphysical and ontological context intrinsic to Marías’s narrative, which is based on the philosophical paradigm of the ‘realidad radical’ established by José Ortega y Gasset at the beginning of the 20th Century.

Publication Bias

2021 ◽  
pp. 15-38
Author(s):  
R. Barker Bausell
Keyword(s):  
Data Mining ◽  
Publication Bias ◽  
20Th Century ◽  
21St Century ◽  
The Other ◽  
Physical Sciences ◽  
Robert Boyle ◽  
High Prevalence ◽  
Major Facilitator ◽  
Positive Results

Publication bias, defined as a “tendency for positive results to be overrepresented in the published literature,” was recognized and bemoaned as early as the 17th century by the chemist Robert Boyle. In the latter half of the 20th century, it began to be recognized as an increasingly serious scientific problem characterized by a deluge of positive published results (actually exceeded 95% in some areas of psychology). And, by the second decade of the 21st century, data mining techniques indicated that the phenomenon had reached epic proportions, not only in psychology and the other social sciences, but in many of the life and physical sciences as well: a finding that might have been viewed as an amusing idiosyncratic scientific fact of life if not for a concomitant realization that most of these positive scientific findings were wrong. And that publication bias, if not a cause of this debacle, was at least a major facilitator. This chapter provides documentation for the high prevalence of this odd phenomenon in a wide swath of myriad empirical scientific literatures along with the accompanying compulsion it fosters for producing positive rather than reproducible results.

Sign in / Sign up

Export Citation Format

Share Document