"Escapa a la vejez, que no te alcance en la vida una tumba. Con afan y buenas ganas, y una sonrisa muy sincera, hagamos nuestra vida productiva y solucionemos los dilemas. Encontraremos la verdad que la madurez exuda, con la habilidad que resulta de afrontar todo problema. Caminemos en busca de nuevos horizontes, por la ruta que nos traza la sabiduria y la experiencia, obteniendo nuevos gozos para nuestra corta existencia. Si nos sumimos en recuerdos y si vivimos del pasado, el final de nuestros dias ha llegado, y seremos viejos y cansados y amargados, a pesar de que en optimismo todavia podamos, vivir sin llegar a ser tan viejos."
Creada a su imagen, en palabras de la autora, responde a la necesidad de proveer herramientas bíblicas y teológicas a más de la mitad de las personas que asisten a nuestras iglesias. No hay iglesia que no testifique de la presencia, trabajo y tesón de las mujeres en todos los ámbitos de trabajo y servicio eclesial. Sin embargo, pocas veces nos preguntamos si nuestro ministerio es integral y pertinente a las necesidades y esperanzas de estas mujeres que son parte del cuerpo de Cristo. Esta obra pretende dar respuesta a esta necesidad y proveer una pastoral diseñada para la mujer.
La mayoria de las personas, consideran la vida como una tremenda batalla... ...Pero la vida no es un juego y Francisco Flores lo ha demostrado y ha sabido utlizar la imaginación, la razón, la inteligencia y la sensibilidad ante las adversidades de la vida para hacer de ellas algo hermoso. Y gracias a su imaginación y gran corazón Francisco Flores, ha sabido destruir obstáculos para tener el don de poder transmitir sus experiencias, y es tanto su talento que provoca en su audiencia revivir emociones y sentimientos que una vez nacieron en su corazón, y gracias a ese talento y humildad Francisco Flores nos muestra en este libro “Remedios Caseros para un corazón Herido”, que a pesar de todo, el mundo sigue girando.
Analyzes literary and cultural representations of iconic Mexican women to explore how these reimaginings can undermine or perpetuate gender norms in contemporary Mexico. In Troubled Memories, Oswaldo Estrada traces the literary and cultural representations of several iconic Mexican women produced in the midst of neoliberalism, gender debates, and the widespread commodification of cultural memory. He examines recent fictionalizations of Malinche, Hernán Cortéss indigenous translator during the Conquest of Mexico; Sor Juana Inés de la Cruz, the famous Baroque intellectual of New Spain; Leona Vicario, a supporter of the Mexican War of Independence; the soldaderas of the Mexican Revolution; and Frida Kahlo, the tormented painter of the twentieth century. Long associated with gendered archetypes and symbols, these women have achieved mythical status in Mexican culture and continue to play a complex role in Mexican literature. Focusing on contemporary novels, plays, and chronicles in connection to films, television series, and corridos of the Mexican Revolution, Estrada interrogates how and why authors repeatedly recreate the lives of these historical women from contemporary perspectives, often generating hybrid narratives that fuse history, memory, and fiction. In so doing, he reveals the innovative and sometimes troublesome ways in which authors can challenge or perpetuate gendered conventions of writing womens lives. A leading scholar on gender and literature, Oswaldo Estrada delivers a thorough, rigorous, and exciting account on the persistence of female icons in contemporary culture. Steeped in his deep knowledge of Mexicos cultural history, Estradas book is a key contribution to questions of gender, iconicity, and the interrelations between popular and literary culturea must read for scholars and students. Ignacio M. Sánchez Prado, author of Strategic Occidentalism: On Mexican Fiction, the Neoliberal Book Market, and the Question of World Literature By studying the way some of the most prominent female Mexican icons of all time have been reimagined in contemporary fiction and transformed into objects of consumerism, symbols of national identity, and memories of the past, this book fills a dire need in the Mexican studies field. The scholarship is exemplary, the style is impeccable, and reading the author is a pleasure. Patricia Saldarriaga, Middlebury College
Este libro contiene mensajes de las cosas mas importantes para nosotros: la vida, Dios y el amor. Y otras cosas que nos afectan: soledad, miedos, pruebas, dudas y no entender por que. Estos mensajes se pueden usar como devocional, estudio biblico o predicacion.
Hind draws on poetry, short stories, plays, novels, photographs, personal correspondence, advertising, and interviews to make visible the anti-feminine tendencies in femmenism and to imagine a femmenism that will appeal to the next generation of women.
Demonstrates how film adaptations intersect with feminist discourse in neoliberal Mexico. Adapting Gender offers a cogent introduction to Mexicos film industry, the history of womens filmmaking in Mexico, a new approach to adaptation as a potential feminist strategy, and a cultural history of generational changes in Mexico.Ilana Dann Luna examines how adapted films have the potential to subvert not only the intentions of the source text, but how they can also interrupt the hegemony of gender stereotypes in a broader socio-political context. Luna follows the industrial shifts that began with Salinas de Gortaris presidency, which made the long 1990s the precise moment in which subversive filmmakers, particularly women, were able to participate more fully in the industry and portrayed the lived experiences of women and non-gender-conforming men. The analysis focuses on Busi Cortéss El secreto de Romelia (1988), an adaptation of Rosario Castellanoss short novel El viudo Román (1964); Sabina Berman and Isabelle Tardáns Entre Pancho Villa y una mujer desnuda (1996), an adaptation of Bermans own play, Entre Villa y una mujer desnuda (1992); Guita Schyfters Novia que te vea (1993), an adaptation of Rosa Nissáns eponymous novel (1992); and Jaime Humberto Hermosillos De noche vienes, Esmeralda (1997), an adaptation of Elena Poniatowskas short story De noche vienes (1979). These adapted texts established a significant alternative to monolithic notions of national (gendered) identity, while critiquing, updating, and even queering, notions of feminism in the Mexican context. Adapting Gender demonstrates Lunas considerable skills as a scholar. She deftly carries out a careful analysis of the literary and cinematic texts, putting them in the context of the evolving publishing and film industries. Written in a lively and engaging style, this is a unique synthesis of the evolution of feminism and the roles women have hadindeed, at times, been limited toin Mexico and what this has meant for their creative output. Niamh Thornton, author of Revolution and Rebellion in Mexican Film
