e-book La universidad : novela teatral (Spanish Edition)

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Lo llamamos destierro. Es como una planta que sacas de la tierra y la ubicas en otro lugar. Just before we started rehearsals, I was talking with friends of mine, all immigrants from different countries. You keep your roots, but you are in another place. We call it destierro exile. And there is a lot of suffering because when you leave your country, you leave your family, you leave your friends, you leave everything—your food, the smells, the language—everything.

Many people will be touched by what happens in La Gringa Spanish.


La Gringa is a beautiful story and, fun fact, the longest running Off-Broadway Spanish language play. We all long to fit in, to find home, to know who we truly are—longing is inherent in our search to belong. Gracias por ser parte de nuestra aventura, su apoyo significa el mundo para nosotros. We are excited and empowered to now have a leadership committee that oversees the company in all respects.

They are committed to excellence and are dedicated to upholding the bylaws we worked so hard to create for the group.

Thank you for being part of our journey, your support means the world to us. TPC se compromete a identificar, desarrollar, celebrar e inspirar a los artistas latinos de Cleveland a compartir sus experiencias, culturas, perspectivas y talentos. TPC is committed to identifying, developing, celebrating, and inspiring Cleveland Latino artists to share their experiences, cultures, perspectives, and talents.

La Gringa Spanish. Del 14 de febrero del al 2 de marzo del Remarkable Rating:. Learn more about The Remarkable Rating System. No hay problema. No Spanish? No problem. For this to happen, someone had to sacrifice himself. The god Tezcuciztecatl also seen as Tecciztecatl volunteered, but another god was also required. Everyone else was afraid and no one stepped forward, so they turned to Nanahuatzin, who was covered with pustules, and he accepted gracefully.

Both gods prepared themselves for sacrifice by doing penance for four days. Tezcuciztecatl performed self-sacrifice using feathers, gold, and sharp fragments of precious stones and coral, while Nanahuatzin used humble materials and offered up his blood and pus. A large fire was lit and all the gods gathered around it at midnight, but when the moment came for Tezcuciztecatl to throw himself into the fire to be transformed into the sun, he hung back. Nanahuatzin, in contrast, bravely threw himself into the fire and began to shine. Only then did Tezcuciztecatl, who was envious, follow suit to be transformed into a second sun.

The gods had not reckoned on there being two lights of equal brightness in the sky, so one of them took a rabbit and hurled it into the second sun to diminish its brightness, which is how it came to be the moon, with the shape of a rabbit visible on its face.

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The paintings at folios , , and —81 relate to clothing. They show the loom, how clothing was made, and textile patterns worn by the nobility. The majority of the Aztec population could only wear clothes made from agave yarn, undyed and without adornment, but the nobles wore colored cotton clothes decorated with shell or bone-and-feather patches. The illustration on folio v depicts tlachtli, a ball game originally linked to the Mesoamerican view of the cosmos as the product of a clash between opposing but complementary forces, such as life and death, day and night, fertility and barrenness, and light and darkness.

The struggle was reproduced in the game, as two teams representing opposing cosmic forces faced each other on a court, striving to bounce a heavy rubber ball as many times as possible against the side walls of the court. The pochteca merchants were an important group in Aztec society. They undertook long journeys in search of precious commodities and goods, and they were valued for the information they gathered in the lands they visited, which the Aztecs often used to plan wars of conquest. Folio r contains an illustration showing porters with their loads.

Arte plumario feather art was one of the minor arts practiced in pre-Columbian Mesoamerica. Feather-art products were reserved for the Aztec elite—the king, nobles, priests, and warriors—who wore items such as cloaks, fans, and headdresses principally for ceremonies. Folio r has an illustration showing artisans at work on a headdress. Also discussed in Book IX is smoking, which the Mesoamericans did during banquets and religious ceremonies, using both pipes that were filled with herbs and grasses or by smoking cigars made by rolling up tobacco leaves.

Smoking is depicted on folio r. The beverage made from pure cacao and spices was considered the greatest delicacy, and was reserved only for the nobles. Book X also discusses agriculture and food preparation.


The Aztec economy was based mainly on agriculture. Farming was the responsibility of the commoners, who cultivated land assigned to them and the land of the nobles and rulers. The staple crop was corn, from which the Aztecs made a kind of bread. Preparing food was the task of women, and is depicted on folio r. While the commoners had a very simple diet, the elite ate richer and more abundant fare.

One tells of Quetzalcoatl and the Toltecs; the other gives an overview of the cultural evolution of the Nahua peoples. The discussion of animals draws upon Aztec legends about various animals, both real and mythical. The book is an especially important source for understanding how the Mesoamericans used natural resources before the arrival of the Europeans.

Many animals raised in Europe, such as cows, pigs, chickens, and horses, were unknown to Mesoamerican peoples. Instead they raised rabbits, xoloitzcuintli a breed of hairless dog , birds, and, in particular, turkeys. They supplemented their diet with wild boars, deer, tapirs, birds, frogs, ants, crickets, and snakes. Other animals were hunted chiefly for their skins, such as the jaguar and other felines, or for their feathers.

Book XI contains numerous illustrations of animals, including mammals jaguar and armadillo , birds, reptiles, amphibians, fish, and insects. The story is told from the perspective of indigenous elders who were living in Tenochtitlan at the time of the conquest and witnessed firsthand the events described.

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  8. It can be said that there are at least four versions of this Book XII. At the beginning of what was his new version he wrote down the following:. Those who helped me in this scripture were old principal and very knowledgeable […] who were present in the war when this city was conquered. In book XII, where it is about this Conquest, several defects were made, and it was that some things were put into the narration of this Conquest that were misplaced, and others were silent, that were poorly silenced.

    So we have two editions of Sahagun from this book XII, one from and another from There is a third version of this book, only in Spanish, known by the end of the 18th century and named Tolosa Manuscript for having been stored in the Franciscan convent of Tolosa Navarra. In addition, we can even consider a fourth version in Spanish. In later editions various editorial solutions have been given to the existence of different versions of the same work:. So far there are no satisfactory critical editions of the History of the conquest of New Spain , although at least we have the possibility to check online the different versions and get an idea of the evolution of this peculiar book:.

    Florence: Villa I Tatti. Introductory Essay by J. Elliott to Letters from Mexico. Translated, edited, and with a new introduction by Anthony Pagden.


    Dr. Joyce Tolliver PhD

    Revised edition published by Yale University Press in From Easter Sunday, , a single, supreme objective established itself clearly in his mind. From the moment of his hasty departure from Santiago, in Cuba, he found himself in a highly equivocal position, both in relation to his immediate superiors and to the Spanish Crown. Ferdinand the Catholic had died in , and in September, , Charles of Ghent arrived in Castile from Flanders to take up his Spanish inheritance.

    If he were ever to be a great conqueror in his own right, it was therefore essential for him to act with speed, and to obtain as much freedom for maneuver as possible. Thanks to Article 27, he was now empowered to take such measures as he might consider necessary, and which were not specifically covered by his instructions.

    Hence the indecent haste of his departure from Santiago. He knew well enough the grave risks he was running. The king was the fountainhead of justice. Similarly, he took formal possession of the land at the Tabasco River in the name of the Crown, in spite of—or, more accurately, precisely because of—the inconvenient fact that Grijalva had already taken formal possession at the same spot, on behalf of the governor of Cuba.

    The lines came from the ballad of Montesinos, who was exiled from court because of a false accusation by his mortal enemy, Tomillas.

    Carlos Gamerro – Escritor Carlos Gamerro

    They were concerned, like all conquistadors, with fame, riches and honor. But there was a wrong way, as well as a right way, of going about this great work. In the Antilles, the Castilians had gone about it the wrong way, with disastrous consequences. This was done with considerable skill, by playing on their desire for gold and land. At this point the troops, whose expectations had been aroused and now looked like being dashed, came out with what seemed to be a spontaneous demand that the expedition should continue.

    It was in pursuance of this simple but time-honored political philosophy that the remarkable events of June and July, , were enacted. As a municipality, they then proceeded to appoint the usual municipal officials, the alcaldes and regidores. But what seemed plausible enough in Mexico was bound to seem highly implausible in Cuba and at the Spanish Court. Everything now depended on the successful presentation of his case at Court, where the Fonseca group would certainly do all in its power to destroy him.