Muchas historias se entretejen bajo los cimientos del cielo. En esta inesperada tormenta, habitan leyendas de un lugar escondido del mundo. El ciclón David, así fue llamado aquel temporal que destruyó parte de nuestro país y dejó un legado marcado por el dolor y del cual todavía hoy se menciona en la narrativa del pueblo que lo padeció. Esta historia está basada en algunos eventos reales y otros ficticios.
The classic conception of human transcendental consciousness assumes its self-supporting existential status within the horizon of life-world, nature and earth. Yet this assumed absoluteness does not entail the nature of its powers, neither their constitutive force. This latter call for an existential source reaching beyond the generative life-world network. Transcendental consciousness, having lost its absolute status (its point of reference) it is the role of the logos to lay down the harmonious positioning in the cosmic sphere of the all, establishing an original foundation of phenomenology in the primogenital ontopoiesis of life.
Entropic comedy is the phrase coined by Patrick O'Neill in this study to identify a particular mode of twentieth-century narrative that is not generally recognized. He describes it as the narrative expression of forms of decentred humour, or what might more loosely be called 'black humour.' O'Neill begins his investigation by examining the rise of an essentially new form of humour over the last three hundred years or so in the context of a rapid decay of confidence in traditional authoritative value systems. O'Neill analyses the resulting reorganization of the spectrum of humour, and examines th implications of this for the ways in which we read texts and the world we live in. He then turns from intellectual history to narratology and considers the relationship, in theoretical terms, of homour, play, and narrative as systems of discourse and the role of the reader as a textualizing agent. Finally, he considers some dozen twentieth-century narratives in French, German, and English (with occasional reference to other literatures) in the context of those historical and theoretical concerns. Authors of the texts analysed include Céline, Camus, Satre, and Robbe-Grillet in French; Heller, Beckett, Pynchon, Nabokov, and Joyce in English; Grass, Kafka, and Handke in German. The analyses proceed along lines suggested by structuralist, semiotic, and post-structuraist narrative and literary theory. From his analyses of these works O'Neill concludes they illustrate in narrative terms a mode of modern writing definable as entropic comedy, and he develops a taxonomy of the mode.
And Forget My Name concerns the life of Robert Zimmerman, the youth who would later be known as Bob Dylan. Through poetic interpretations and speculations, Scobie discovers a deeper truth behind one of the great living enigmas of our time.
This pocketsized paperback is one of the twentyfour titles published for 2017 Hong Kong International Poetry Nights. The theme of IPHHK2017 is "Ancient Enmity". IPNHK is one of the most influential international poetry events in Asia. From 22–26 November 2017, over 20 invited poets from various countries will be in Hong Kong to read their works based on the theme "ncient Enmity". Included in the anthology and box set, these unique works are presented with Chinese and English translations in bilingual or trilingual formats.
In 1922 the Fascist 'March on Rome' brought Benito Mussolini to power. He promised Italians that his fascist revolution would unite them as never before and make Italy a strong and respected nation internationally. In the next two decades, Mussolini set about rebuilding the city of Rome as the site and symbol of the new fascist Italy. Through an ambitious program of demolition and construction he sought to make Rome a modern capital of a nation and an empire worthy of Rome's imperial past. Building the new Rome put people to work, 'liberated' ancient monuments, cleared slums, produced new "cities" for education, sports, and cinema, produced wide new streets, and provided the regime with a setting to showcase fascism's dynamism, power, and greatness. Mussolini's Rome thus embodied the movement, the man and the myth that made up fascist Italy.
