#juan puig

[manuelcrespoale]

Reseña: Juan C. Puig, Natasha Sagardia Beltrán (editora y prólogo) y Roberto Pérez Reyes (contribuidor). «Ciertos relatos eco-ilógicos: Una encrucijada humana». Publicación independiente, 2023; 194 páginas.

Recuerdo que pasé muchos años esperando una entrega del Dr. Juan C. Puig, quien fue mi profesor de la clase de geografía, además de fungir como director del Departamento de Ciencias Sociales en la Universidad de Puerto Rico en Arecibo (UPRA). Tan pronto compré este trabajo se los enseñé a mis estudiantes con mucho orgullo y emoción. Observaban el libro por encima y veían, por ejemplo, las…

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#ambiente #análisis #ciencias sociales #eco-ilógicos #encrucijada humana #ensayos #geografía #juan puig #ley #libro #medio ambiente #naturaleza #pedagogía #relatos

[random-brushstrokes]

Juan Puig Soler (Spanish, 1906–1984) - Dama en la playa

#Juan Puig Soler #spanish art #portrait

[waru-chan8]

Just wanted to say thank you for posting the things said in cuatro tiempos. I’m not sure how many episodes there will be, but I’m relishing every moment you post (or Jorge posts on Instagram and I half understand)

Also quick question, was the (in)famous handshake in 2008?? It’s said the worst of their rivalry was in 2008 so what are some things that happened??

Lol I'm glad you like my post. I felt like I'm screaming to the void only the bits I find curios or I like. I was lucky that this episode was mostly about Dani and Jorge relationship and rivalries so it was a gold mine. Cuatro Tiempos is just 4 episodes, so we are half way done, but probably I'll rewatch some times and bring other bits if I feel like, or if someone ask for something from it.

If you want more bits of footatge, Izaskun Ruiz post in her insta stories the content DAZN post, plus she post interviews and photos of the team on track and they are funny to watch.

2008-2009 it's Dani's and Jorge's pick of rivalry basically because they have been forced to fight against each other since 2002 when Jorge debut on the championship. Basically all around them made them "enemies" plus their riding style and actituts. Dani was Honda's golden boy, he had the seal of approval from DORNA plus the support Jorge lacked (and a Cola Cao ad). Dani was the angel and Jorge the bad boy.

When they where both fighting in 250cc (year 2005), there was lots of contacts on track plus a lot of accusations flighting between Jorge, Puig and Amatriain. According to Jorge and Puig it was a way to destabilize the other rider on track and a means to and end. Back then, Jorge was very aggressive, he saw a gap and he throw himself there, which caused him a race ban. Spanish media was all over them back then.

Then Dani went to MotoGP as 3 times consecutively World Champion (125 in 2003 and 250 in 2004 and 2005). There was 2 years without their fights on track as Jorge was fighting for his 2 tittles in 250.

So in 2008 they both found themself in the same track with more or less equal machines fighting. Media was all over them to reignite the 250cc fight and because it was the first time that Spaniards had 2 very competitive riders on track fighting and having options to win in the big category. So again it was more about people around them than them.

But then again Dani has said, he did not like when Jorge won him, and by the type of character he his, it led to this:

So basically Jorge had been recriminating Dani to not congratulate him on the podium in Qatar. Then in Jerez, Jorge went to congratulate Dani for his pole, with a handshake, but Dani ignored him and Jorge and the other rider in there where kind of shocked.

The next day, Dani won the race and Jorge finished in 3rd place, so they had to share a podium. The King of Spain, Juan Carlos I (the older guy) was and is a fan of the races and was in charge of giving the trophies so he went to the cold-down room/the back of the podium and forced the hand shake. During the podium they did not look at each other.

This is according to the media, their worst/lowest point in their relationship, but Dani said pre-2010, so I'm guessing 2009 was like that too.

In 2012, it's when media and everyone knew that the hatched was buried and they where friends, when this happened in Qatar

And if there was doubts, Jorge asked Dani to marry him on a press conference that same year

I hope this is enough to answer the question

#Ask #Victoria's tag #MotoGP #250cc #125cc #DAZN Spain #Cuatro Tiempos #Dani Pedrosa #Jorge Lorenzo #Alberto Puig #Dani Amatriain #Pedrenzo #Rey Juan Carlos I #Juan Carlos I

[pasparal]

Untitled, 1959 Painter: Joan Puig Manera (1921–2013)

#Joan Puig Manera #Juan Puig Manera #1959 #painting #pintura #schilderij

[12endigital]

El PP destapa otro fake 'Ximoanuncio', Euronews no se instalará en Alicante

El diputado popular, José Juan Zaplana, ha lamentado que “de nuevo hemos destapado otro ‘Ximoanuncio’ con la supuesta llegada de Euronews al Distrito Digital de Alicante”.  Una noticia que “no era más que propaganda electoral del anterior president del Consell” ha denunciado. Zaplana ha recordado que “Puig anunció a bombo y platillo en mayo de 2022 que la cadena Euronews iba a instalar en…

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#Euronews #fake #José Juan Zaplana #PPCV #Ximo Puig #Ximoanuncio

[jujuygrafico]

Declaran la nulidad del juicio a Milagro Sala por la sustracción y destrucción de un expediente judicial

#Jujuy #Judiciales | Declaran la nulidad del juicio a #MilagroSala por la sustracción y destrucción de un #expedientejudicial

El  Tribunal en lo Criminal Nº 3  de Jujuy declaró la nulidad del juicio por la sustracción y destrucción de un expediente judicial, en el que están acusados Milagro Sala, al abogado Alberto Bellido y al empleado judicial Marcos Romero,  desde su inicio el 18 de agosto de 2022, por incapacidad física temporal sobreviviente de Alberto Bellido para estar en juicio; debido a que temporariamente ha…

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#Alberto Bellido #Ariel Ruarte #Carolina Pérez Rojas #Diego Funes #Juan Cabezas Hametti #Jujuy #Julián Palmieri #Marcelo Elías #Marcos Daniel Romero #Marcos Romero #María Margarita Nallar #Mario Ramón Puig #Milagro Sala #Rodrigo Burgos #Superior Tribunal de Justicia #Tribunal Criminal Nº 3

[42bakery]

I hope you all will allow me this post on Pedrenzo day. It won't be as well sourced as the previous ones, but I think we deserve a chronology.

Pre-World championship. They meet for the first time at the CEV (2000), but they have know about each other before that. They are both close to age (19 months) and both were pretty small. At this point, they use the other rider as a reference more than as a rival as they both are fighting against people older and more experience than them with the handicap of their age and height.

In 125cc (2002 and 2003) During this period of time, their rivalry started, but it was pretty tame. It's also important to note that it was mostly external factors that started it rather than the riders itself. Dani was racing for Telefonica/Movistar and Jorge for Caja Madrid/Fortuna), which made them two very young rider, with lots of talent and pretty promising, in Spanish teams. Their teams weren't friendly against each other, and their manager also used to be rivals. All of it, made the riders feel like they had to beat the other in the track at all cost. it got to the point on wanting to know the other's position to see if they have placed higher.

We also had their characters component, that is something that will follow them their whole life. Dani is quite and calm. He does things behind close doors and the talking on the track. Where Jorge is loud, very loud, and he uses the media and does the talking in the open. They also had 0 contact outside track between them, not even a 'hi' when meeting at the paddock.

In 250cc (2005) In here their 125cc rivalry is intensify. Dani was already 2 times World Champion and Jorge had still to prove himself. Dani was the dominant force to beat and Jorge wanted to be the one to do that. There was also the talking everyone did on the media, that fueled their rivalry. Everyone was accusing everyone of doing things. (mostly Puig, Amatriaín and Jorge).

In this year, the thing between them got much worse as they made contact on track several times. Germany is mentioned as the time that set everything into flames, but Catalunya was the turning point. Due to his excess of aggressiveness (and probably unconsciousness and stupidity), Jorge got a race ban (Malaysia 2005) after he made contact at the Japanese GP with De Angelis and Dani. Jorge used to blame Dani for that because instead of helping him, Dani took out all the receipts of the contact they made on track, which was the nail in Jorge's coffin according to Lorenzo. Older Jorge will admit he deserved it and that it was a turning point for him.

It's during this time when Dani refused to say Jorge's name or mention him (Germany 2005 forward), which pissed Jorge. And I think it still pisses him to some extend.

So by the time Dani moved to MotoGP, they were at each other's throats, specially with the media, and with Dani as a 3 times Word Champion and Jorge still needing to prove himself.

MotoGP When Jorge made it to MotoGP, media expected them pick their rivalry where they left it, and it kind of did with the Qatar incident. In that Grand Prix Dani didn't congratulate Jorge after a good result, and it pissed Jorge. Years later we learn it was due to an injury. However, it put them in the 'not speaking' terms and labelled as bitter rivals. The following Grand Prix, the ex-King of Spain (Juan Carlos I), who is a fan of racing, tried to show they get along and it was just a misunderstanding made them shake hands at the pre-podium.

Instead of cleaning the air in between them or cleaining their image it made it all worse. It looked like they couldn't be in the same room if they weren't forced to share the space.

On track they keep fighting hard against each other, more cleanly this time, and still with the same mentality as in 125cc and 250cc. If I can't win because there are other riders doing/having a better day than me, at least I have to beat Dani/Jorge.

Allegedly, 2008 was the worse point in their rivalry, but when asked them directly, they was the period of time between 2008-2010. Their rivalry got to that point it split the whole country. People were genuinely asking if you were Team Dani or Team Jorge. There are still videos of young Spanish riders having to choose (the Márquez used to be die hard Dani fans and Rins was team Jorge all the way).

Little by little, after fighting so much and for so long against each other, and sharing so many space and podiums together, their relationship moved from bitter rivals, to just rivals, to the rival I respect. Dani said that for him the big change was 2012, when their championship fight was the closes. Dani realized that he had been fighting his whole life with Jorge, therefore, they are as good as the other. Their rivalry had made them grown as riders because they had to outsmart and be better on track than the other, so it was a hats off moment.

In 2012 we also had the first physical approach between them. It was also in Qatar when they hugged for the first time, and it was a symbol of them finally burying the hatchet.

2012 also gave us the iconic marriage proposal (please watch the whole video, it explains Pedrenzo rivalry up to 2012).

From then on, their relationship improved a lot. It could also be that they both had change their managers by 2013, so part of what it set their rivalry wasn't in the equation anymore. They also had grown from kids to adults!

In 2015 Dani invited Jorge to Sete Gibernau's (ex-ride, and Dani's friend and coach) 'ranch'/track for a training weekend among other riders. Jorge ended up getting injured, and Dani went out of his way to check on him because Jorge was fighting for the championship. He got injured in the collarbone and Jorge himself admitted it was dumb because he just wanted to win against Dani when racing with smaller bikes. Apparently Pedrosa was miles faster than any other riders (Rins was there and I think the Espargarós too are mentiones

In 2018, when it was announced that Jorge was moving from Ducati to Honda and was going to replace Dani, Jorge tried to convince Pedrosa to stay in the championship by switching to the Petrona's team. It was pretty public with Jorge saying how a much smoother bike will suit Dani's riding style. Ultimately, Dani decided he didn't want to break anymore bones or suffer, so he retired.

Jorge and Dani exchanging helmets at the end of the 2018 season

After MotoGP Now they have a pretty good relationship. They can be in the same room and laugh and talk for hours about racing, including their 250cc races. Jorge will be the one pulling all the monts and remembering the weirdest stuff and Dani will look bamboozled because he doesn't remember that. In fact, among all DAZN's pundits, Jorge is the one that makes Dani smile and talk the most.

They're pretty quick to mention the other rider when possible (specially Jorge), and they are pretty open when asked about their battles in and out of the track. In fact Jorge will jump at any opportunity to mention and praise Dani. Dani will need a bit more of coaxing, but he will also talk and praise Jorge.

Now that the know parts are about, I want to share some thought I have about them.

I think this imatge basically summarizes their relationship. And creditto Jorge Lorenzo himself for putting it together.

First photo is pretty early in their relationship. You can see that they aren't interested in each other. It's basically a photo for the media. The middle one is Jerez 2008 and you can see how forced their handshake is. The king gets the wrong hand, and all of them are confused and wants to be done with it. And the last one, it's more than a handshake. They are truly happy and comfortable around the other. They want it.

Waru's thoughts I think young Jorge was really mad at Dani and wanted to win Dani no matter what due to the different way they got into the championship. All red tapes were broken for Dani. His ages was overlooked when he entered the Movistar Cup, when Jorge had to wait until he was 15 to make his debut. Dani had Puig who saw him and decided to bring him to the top, despite not meeting the criteria that was set, while Jorge had to fight and crawl all his way up. Yes Jorge got a manager and his dad, but he also had to prove himself over and over while Dani could flop and Puig would have still been at his side. It's also the relationship between Dani and his dad. Antonio was there to guide and support Dani, but at the end of the day it was Dani who took the decision, while Jorge didn't have a great relationship with his dad. Chicho acted more as a coach than a dad.

And then when Dani got the 125cc tittle, he got the ColaCao add, that made him look as the good boy that hasn't broken anything, while Jorge had the bad boy label. Dani had everything he wanted, DORNA's approval as he has come thought a DORNA's approved championship, a good relationship with his dad, a great mentor and a team behind. Basically it could be seen as DORNA had picked Dani to be the next Spanish winner at the big category (see why I translated Elegido para ganar as handpicked to win?) and instead, Jorge was the one who did it.

So yes, I think Jorge saw Dani having everything he had fighter for, and not having had to fight as hard as hi. So apart of all the things mentioned above, I think there was a bit of jealousy involved too. But well this is what I think, I might be wrong, but the way Jorge reacts when the ColaCao add is mentioned is prove that there was more there.

And here is all the chronology. If you think I forgot anything let me know! Also feel free to add things if you want.

#MotoGP #250cc #125cc #Dani Pedrosa #Jorge Lorenzo #Pedrenzo #Pedrenzo Chronology #DaniLoveFest2024 #DaniLoveFest #ummm didn't I write a similar post recently? #For this reason I think Permín is so Pedrenzo coded there are so many parallels

[justforbooks]

Claudia Piñeiro

Παρόλο που οι κριτικοί και οι βιβλιοπώλες κατατάσσουν τα βιβλία της στην αστυνομική λογοτεχνία, η συγγραφέας που τα τελευταία χρόνια έχουν λατρέψει οι Έλληνες αναγνώστες, μια σπουδαία φωνή της λατινοαμερικανικής λογοτεχνίας και του φεμινισμού, μοιάζει να ασφυκτιά σε τέτοια στενά πλαίσια.

«Το θέμα είναι να σηκώσει απλώς το δεξί πόδι μόλις λίγα εκατοστά πάνω απ’ το πάτωμα, να το σπρώξει στον αέρα, ώσπου να βγει μπροστά από τ’ αριστερό, και σ’ αυτή την απόσταση, όση κι αν είναι, πολλή ή λίγη, να το κάνει να κατέβει. Αυτό είναι όλο κι όλο το θέμα, σκέφτεται η Ελένα». Με αυτά τα λόγια η Κλαούδια Πινιέιρο μας εισάγει στον κόσμο τού βιβλίου που την έκανε διάσημη σε όλο τον κόσμο. Με το «Η Ελένα ξέρει», η Πινιέιρο έφερε τα πάνω κάτω στον χάρτη του αστυνομικού μυθιστορήματος, με ένα κείμενο βαθιά λυρικό, αποκαλυπτικά ανθρώπινο, τρομακτικά διαχρονικό και ά-τοπο. Η Ελένα και η κόρη της, η Ρίτα, θα μένουν για πάντα στο διπλανό μας διαμέρισμα. Ποια είναι όμως η συγγραφέας που τα τελευταία χρόνια έχουν λατρέψει οι Έλληνες αναγνώστες;

Γεννημένη στις 10 Απριλίου του 1960 στο Μπουρσάκο του Μπουένος Άιρες, η Πινιέιρο μεγάλωσε τις δεκαετίες που την Αργεντινή λυμαινόταν η δικτατορία του Χόρχε Ραφαέλ Βιντέλα, μία από τις πιο βάρβαρες δικτατορίες που γνώρισε ο σύγχρονος κόσμος, με φρικιαστικά εγκλήματα και πολύ αίμα. Μια θηριωδία που όμοιά της δύσκολα συναντά κανείς στην ιστορία της ανθρωπότητας. Μέσα σε αυτό το περιβάλλον τρομοκρατίας και πόνου, η Πινιέιρο ήθελε με πάθος να σπουδάσει κοινωνιολογία. Τα πανεπιστημιακά τμήματα ανθρωπιστικών σπουδών σφραγίστηκαν με εντολή του καθεστώτος, με αποτέλεσμα η νεαρή Πινιέιρο να στραφεί στις σπουδές οικονομικών. Η πρώτη της δουλειά ήταν στον τομέα αυτόν, σε μια εταιρεία παραγωγής εργαλείων και εξαρτημάτων. Ύστερα ασχολήθηκε με τον Τύπο, ως φωτορεπόρτερ σε περιοδικά και μετά ως δημοσιογράφος του αστυνομικού ρεπορτάζ. Η ίδια παραδέχεται πως το αστυνομικό ρεπορτάζ δεν τροφοδότησε τη λογοτεχνική της παραγωγή, αλλά μάλλον το αντίθετο συνέβη.

Γύρω στα τριάντα, και ταυτόχρονα με την εργασία της, σπούδασε σενάριο στη Δημοτική Σχολή Δραματικής Τέχνης και άρχισε να ασχολείται συστηματικά με τη γραφή, παρακολουθώντας πλήθος εργαστηρίων δημιουργικής γραφής (που ανθούν στην Αργεντινή), με μέντορά της τον Guillermo Saccomanno. Αγάπησε τη λογοτεχνία μέσα από την «Ιστορία ενός ναυαγού ναύτη» του Gabriel Garcia Marquez, που διάβασε ως παιδί, βιβλίο που υπήρχε στην πολύ μικρή βιβλιοθήκη του σπιτιού της. Στη δική της βιβλιοθήκη, σήμερα, θα βρούμε τον Antonio Di Benedetto, τον David Lodge, τον J. M. Coetzee, τον David Grossman, τον Anton Chekhov, τον John Cheever, τον Raymond Carver, την Patricia Highsmith, τη Natalia Ginzburg, τον Manuel Puig, τον Juan José Saer, τον Fernando Pessoa, την Clarise Lispector, τη Mariana Enríquez, αλλά και τον Πέτρο Μάρκαρη και τον Θοδωρή Καλλιφατίδη. Αγαπημένο της βιβλίο παραμένει το «To the end of the land» του David Grossman. Για την Πινιέιρο, καλός συγγραφέας σημαίνει πρώτα καλός αναγνώστης. Δεν γίνεται να γράφεις χωρίς να διαβάζεις. Πολύ και διαρκώς.

Παρόλο που οι κριτικοί και οι βιβλιοπώλες κατατάσσουν τα βιβλία της στην αστυνομική λογοτεχνία, η ίδια μοιάζει να ασφυκτιά σε τέτοια στενά πλαίσια, δηλώνοντας πως γράφει απλώς ιστορίες, που στην πορεία τους προκύπτει και ένα έγκλημα. Εξάλλου, όπως λέει κι η ίδια, σχεδόν όλοι οι Αργεντινοί συγγραφε��ς έχουν στο βιογραφικό τους από ένα, τουλάχιστον, αστυνομικό μυθιστόρημα – σαν έμφυτη κλίση των Αργεντινών. Εκείνη, όμως, δεν αρχίζει ποτέ ένα μυθιστόρημα έχοντας κατά νου έναν αστυνομικό ιστό. Εμφανίζονται στο μυαλό της κάποιοι χαρακτήρες, κι αν αυτοί αρχίσουν να αποκτούν φωνή και να διεκδικούν χώρο, τότε αρχίζει να γράφει, αλλιώς τους εγκαταλείπει. Για την Πινιέιρο η πλοκή είναι μόνο ένα εργαλείο, ένας τόπος όπου οι άνθρωποι της ιστορίας ζουν, μιλούν, δρουν. Αντιμετωπίζει τα γεγονότα της πλοκής ως απλές αφορμές προκειμένου να ψυχογραφηθούν οι χαρακτήρες της. Εξάλλου, στα μυθιστορήματά της ο αναγνώστης δεν ψάχνει τον δολοφόνο. Παρακολουθεί το ξεδίπλωμα του ψυχικού κόσμου και των σκέψεων των χαρακτήρων, γεγονός που την κάνει να ξεχωρίζει και να αγαπιέται βαθιά από τους αναγνώστες της.

Αν ρίξουμε μια κλεφτή ματιά στο συγγραφικό της εργαστήριο, θα δούμε την Πινιέιρο να ξυπνά νωρίς το πρωί για να γράψει (οι γυναίκες συγγραφείς πασχίζουν να βρουν στιγμές ησυχίας και συγκέντρωσης μέσα σε ένα σπίτι με έναν σύζυγο και τρία παιδιά, ομολογεί). Μια εικόνα τής είναι αρκετή για να ξεκινήσει ένα νέο μυθιστόρημα, η συγγραφή του οποίου κρατάει περίπου δύο με τρία χρόνια. Η εικόνα μιας άρρωστης ηλικιωμένης γυναίκας, καθισμένης στην κουζίνα, να περιμένει να δράσει το χάπι που πήρε, αποτέλεσε την αρχή τού «Η Ελένα ξέρει». Συχνά «φοράει» στους χαρακτήρες της στοιχεία που έχει δει και ξεχωρίσει σε ανθρώπους του περιβάλλοντός της, ενώ σε δύο από τα μυθιστορήματά της η αναφορά στους γονείς της είναι σαφής. Πρόκειται για το «Η Ελένα ξέρει» (2007) και το «Ένας κομμουνιστής με τα σώβρακα» (2013). Στο πρώτο, στο άρρωστο από Πάρκινσον σώμα της Ελένα βλέπουμε τη μητέρα τής Πινιέιρο, στην οποία με τρυφερότητα αφιερώνει το βιβλίο. Η ίδια λέει πως μέσα από την οδυνηρή εμπειρία της φροντίδας της μητέρας της ήρθε σε επαφή με την άβυσσο της αρρώστιας, που αποτέλεσε τον πυρήνα του μυθιστορήματός της. Στο δεύτερο, το πιο αυτοβιογραφικό από τα βιβλία της, αναφέρεται στην αντίσταση της οικογένειάς της –και ιδίως του πατέρα της– στη δικτατορία. Οι γονείς της, άνθρωποι φιλομαθείς που λόγω δυσκολιών δεν κατάφεραν να μορφωθούν, είχαν πάντοτε μια αγάπη προς τις τέχνες και τα γράμματα.

«Η μυθοπλασία πρέπει να επικεντρώνεται στην αφήγηση και την εξερεύνηση της γλώσσας», διατείνεται. Δοκιμάζει σε κάθε της κείμενο νέους τρόπους αφήγησης, εφευρίσκει κώδικες που να εξυπηρετούν τον σκοπό της εκάστοτε ιστορίας. Πρωτοπρόσωπη αφήγηση, πολυφωνική, χορωδιακή αλλά και ζωντανοί διάλογοι, επιστολές, ημερολογιακές καταγραφές και αστυνομικές καταθέσεις είναι κάποιες μόνο από τις εκφραστικές της μεθόδους. Σε κάθε μυθιστόρημα αναζητά τον κατάλληλο τρόπο να αφηγηθεί την ιστορία, τη γλώσσα με την οποία οι χαρακτήρες της θα μιλήσουν. Για την Πινιέιρο η γλώσσα είναι το μεγάλο ζητούμενο κάθε φορά, το στοίχημα που βάζει με τον εαυτό της – και το κερδίζει. Μια γλώσσα σπαρταριστή, ζωντανή, ποιητική αλλά και κοφτερή, ωμά βίαιη και αποτρόπαιη, μέσα από διαφορετικούς αφηγηματικούς τρόπους.

Στους συγκλονιστικούς «Καθεδρικούς» (2020) το μυθιστόρημα αναλαμβάνουν να αφηγηθούν έξι χαρακτήρες του, ενώ στο τέλος ένας έβδομος χαρακτήρας μιλά μέσω ενός γράμματος που είχε αφήσει πεθαίνοντας. Σε αυτό το χορωδιακό μυθιστόρημα, η πλοκή συνυφαίνεται από επτά διαφορετικές φωνές, με τον κάθε χαρακτήρα να παρουσιάζει τα γεγονότα από τη δική του σκοπιά, φέρνοντας έτσι στην επιφάνεια τον δικό του ψυχικό και νοητικό κόσμο. Στο τελευταίο της μυθιστόρημα, στον «Καιρό των μυγών» (2022), η Πινιέιρο συνεχίζει την ιστορία από το πρώτο της μυθιστόρημα, το «Δικιά σου για πάντα» (2005), είκοσι χρόνια μετά. Παρακολουθεί την Ινές, την ηρωίδα του πρώτου βιβλίου, μετά την αποφυλάκισή της (για τη δολοφονία της ερωμένης του συζύγου της). Σε αυτό, λοιπόν, το μυθιστόρημα εντάσσει ένα σύνολο γυναικών, έναν ενιαίο Χορό (βασισμένο στο πρότυπο του Χορού της αρχαίας ελληνικής τραγωδίας) που μιλά με μία φωνή και επεκτείνει όσα διαμείβονται στο μυαλό της Ινές. Λειτουργούν ως συνέλευση, ως συλλογικό σώμα, οι φωνές του οποίου ακούγονται σαν το βουητό των μυγών.

Την Πινιέιρο την ενδιαφέρουν οι άνθρωποι και το πώς αυτοί συμπεριφέρονται κάτω από συγκεκριμένες συνθήκες. Ποιες πλευρές τους ανακαλύπτουν, μέχρι πού είναι ικανοί να φτάσουν, ποια είναι τα όριά τους. Τα φρικιαστικά εγκλήματα που συμβαίνουν στα βιβλία της η ίδια τα γνωρίζει πολύ καλά. Μεγάλωσε σε ένα μέρος του κόσμου όπου η βία και ο θάνατος ήταν καθημερινές εικόνες. Στη γειτονιά της, όπως περιγράφει αφοπλιστικά, οι απελπισμένοι άνθρωποι, όντας φτωχοί, δεν είχαν άλλους τρόπους αυτοκτονίας από το να πέσουν στις γραμμές του τρένου ή να πηδήξουν από το καμπαναριό της εκκλησίας (έτσι πεθαίνει η Ρίτα, η κόρη της Ελένα). Μεγαλωμένη μέσα στο αίμα, σε μια πόλη στην οποία η μετακίνηση από το ένα σημείο στο άλλο αποτελούσε πάντοτε οδύσσεια, η Πινιέιρο ήξερε από μικρή πως η ζωή αναγκάζει τους ανθρώπους να κάνουν πράγματα που ποτέ δεν θα έκαναν, τους ωθεί σε πράξεις ασύλληπτες. Και τότε αποκαλύπτονται ως δυνάμει τέρατα.

Θέματα που επανέρχονται σε όλα της τα μυθιστορήματα, όπως ο εγκλωβισμός, η κοινωνική υποκρισία, η ανελέητη γραφειοκρατία, οι άκαμπτοι κρατικοί φορείς, η ανησυχία για τη γνώμη των άλλων, οι σωματικές και ψυχικές αρρώστιες, η αγωνία των εφήβων για τη ζωή τους, οι δύσκολες συγγενικές και συζυγικές σχέσεις, είναι ζητήματα φλέγοντα και κρίσιμα. Ωστόσο, ένα από τα βασικά της θέματα, που εντοπίζεται σχεδόν πάντα στον πυρήνα των μυθιστορημάτων της, είναι η γυναικεία φύση με όλες της τις πτυχές. Επεξεργάζεται βαθιά και λεπτομερώς το ζήτημα της μητρότητας (και της γονεϊκότητας), της άμβλωσης, της γυναικείας ψυχοσύνθεσης. Η ίδια είναι εξέχουσα μορφή του φεμινιστικού κινήματος της Αργεντινής, ρίχνεται με πάθος στους αγώνες των γυναικών για την προάσπιση των δικαιωμάτων τους και είναι παρούσα, στην πρώτη γραμμή, σε όλες τις σημαντικές στιγμές του φεμινιστικού κινήματος. Ήταν εκείνη που πρωτοστάτησε στον αγώνα για τη νομιμοποίηση των αμβλώσεων στην Αργεντινή (νόμος που θεσπίστηκε μόλις το 2020), πιστεύοντας πως η απαγόρευση των αμβλώσεων κρατά τις γυναίκες σε κατάσταση δουλείας, οδηγώντας τες στον θάνατο, αφού καταφεύγουν σε παράνομες και επικίνδυνες μεθόδους άμβλωσης. Το θέμα αυτό ανιχνεύεται σε όλα της τα μυθιστορήματα, αφού είναι μια διαχρονική της αγωνία. Για τις ακτιβιστικές της θέσεις και δραστηριότητες έχει δεχτεί απειλές για τη ζωή της, που ποτέ όμως δεν την απέτρεψαν από το να συνεχίζει.

Ο αγώνας της κατά της πατριαρχίας και των απόλυτων εννοιών, όπως μητρότητα, οικογένεια, πατρίδα, θρησκεία κ.λπ. είναι συνεχής και εντατικός. Θεωρεί πως στη μελλοντική ατζέντα του φεμινιστικού κινήματος πρέπει να ενταχθεί και η ανάδειξη της φροντίδας των γυναικών μέσα στο σπίτι ως κανονικής εργασίας. Αυτά που ανά τους αιώνες έχουν βαφτιστεί «αγάπη και φροντίδα», όπως οι δουλειές του σπιτιού, η ανατροφή των παιδιών, η περιποίηση του συντρόφου, είναι στην πραγματικότητα μια σκληρή και απλήρωτη εργασία. Στο μυθιστόρημά της «Λίγη Τύχη» (2015) αναπτύσσει το θέμα της γονεϊκότητας και της συγχώρεσης, με την ηρωίδα της να επιστρέφει στην οικογένειά της μετά από είκοσι χρόνια απουσίας. Η υποδοχή που της επιφυλάσσεται, οι απρόβλεπτες εξελίξεις, οι κοινωνικές επιπτώσεις και η ίδια που έχει αλλάξει μέσα στα χρόνια συνθέτουν ένα μυθιστόρημα-κατάθεση πάνω στο θέμα της οικογένειας. Ένα θέμα που λειτουργεί ως καμβάς για όλα της τα μυθιστορήματα, όπως και στο «Μια ρωγμή στον τοίχο» (2009). Εκεί, ένας αρχιτέκτονας, αποτυχημένος στη δουλειά του και ξένος μέσα στο σπίτι του, ψάχνει να βρει ενδιαφέρον σε μια ερωμένη που, χωρίς να το περιμένει, φέρνει ξανά στο φως το μυστικό ενός παλιού εγκλήματος, που θα κλονίσει το παρόν του. Το παρελθόν είναι πάντα παρόν.

Στο μυθιστόρημα «Χήρες το βράδυ της Πέμπτης» (2005), που διαδραματίζεται την εποχή των τρομοκρατικών επιθέσεων στις ΗΠΑ και της οικονομικής κρίσης στην Αργεντινή, η Πινιέιρο αποδομεί με χειρουργική ακρίβεια τα μέλη της αστικής τάξης της Αργεντινής, που με την υποκρισία τους, την αδιαφορία τους για το κοινωνικό σύνολο και τον κυνισμό τους μένουν απαθή στις ραγδαίες αλλαγές που επέρχονται στη ζωή όλων. Την ίδια διάθεση για κοινωνική αποδόμηση έχει και στο μυθιστόρημά της «Μπετιμπού» (2011), όπου ρίχνει φως στη σχέση δημοσιογραφίας και εξουσίας. Εδώ είχε εξαρχής την πρόθεση να γράψει ένα καθαρά αστυνομικό μυθιστόρημα. Παράλληλα, βέβαια, σχολιάζει καυστικά τον Τύπο και τους ανθρώπους του, τις διαπλοκές με την εξουσία και τα σαθρά κανάλια επικοινωνίας τους. Στο βρόμικο πεδίο της πολιτικής δοκιμάζεται και ο κεντρικός χαρακτήρας στις «Κατάρες» (2017), παλεύοντας με τα παλιά πρότυπα σε έναν κόσμο που αρνείται πεισματικά να προχωρήσει και προτιμά να μένει δέσμιος σε δεισιδαιμονίες και κατασκευάσματα.

Στον μυθιστορηματικό κόσμο της Πινιέιρο σημαντική θέση καταλαμβάνει και η θρησκεία. Εξετάζει τον ρόλο του Θεού στη σύγχρονη κοινωνία και τους λόγους για τους οποίους στη Λατινική Αμερική ο θεσμός της Καθολικής Εκκλησίας είναι ακόμη τόσο ισχυρός. Στα μυθιστορήματά της συναντά κανείς χαρακτήρες που πιστεύουν τυφλά και ακραία, άλλους που απορρίπτουν την ύπαρξη του Θεού, αλλά και πολλούς εκπροσώπους της Εκκλησίας. Η Πινιέιρο, που τάσσεται ξεκάθαρα υπέρ του διαχωρισμού κράτους - Εκκλησίας, διερευνά τα όρια μεταξύ ατομικής ελευθερίας και θρησκευτικής πίστης και δεν φοβάται να καταδείξει τις βαρβαρότητες και τις απάνθρωπες μεθόδους που η θρησκεία χρησιμοποιεί για να κρατά τους πιστούς υπό έλεγχο.

Η Πινιέιρο έχει γράψει και βιβλία για παιδιά, ενώ ασχολείται ζωηρά και με το θέατρο, το οποίο αγαπά πολύ τόσο ως δραματουργός όσο και ως θεατής (λατρεύει να παρακολουθεί παραστάσεις, και μάλιστα νέων δημιουργών). Έχει γράψει και εκδώσει επτά θεατρικά έργα, και όπως λέει με πολλή χαρά, όταν γράφει για το θέατρο νιώθει πραγματικά ελεύθερη, καθώς μπορεί να μιλήσει πιο ποιητικά, πιο αφαιρετικά, χωρίς να την περιορίζει τίποτα. Ωστόσο, δεν έχει αφήσει πίσω της και τη δημοσιογραφική της ιδιότητα, αφού μόλις το 2023 κυκλοφόρησε έναν τόμο με επιλεγμένα άρθρα της, με τίτλο «Γράφοντας τη σιωπή», όπου αναπτύσσεται ένα θεματικό τόξο που αγκαλιάζει από προσωπικά μέχρι πολιτικά και κοινωνικά ζητήματα, καθώς και προβληματισμούς πάνω στη λογοτεχνία.

Βραβεία, υποψηφιότητα για Booker, διακρίσεις, συνέδρια, ομιλίες, εκδόσεις, μεταφράσεις, διασκευές μυθιστορημάτων της για τον κινηματογράφο και την τηλεόραση, σενάρια για το Netflix, η τρίτη πιο πολυμεταφρασμένη συγγραφέας της Αργεντινής μετά τον Borges και τον Cortázar, η βασίλισσα του λατινοαμερικανικού νουάρ, είναι κάποια μόνο από τα στοιχεία που συνοδεύουν συχνά το όνομα της Κλαούδια Πινιέιρο. Η ίδια, όμως, περιγράφει κάπως αλλιώς τον εαυτό της.

«Γυναίκα, συγγραφέας, μητέρα, ειλικρινής, κουρελιασμένη».

Daily inspiration. Discover more photos at Just for Books…?

#just for books #Claudia Piñeiro #book review #Portrait

[latamclassiclitbracket]

Round 3

Info post Pedro Páramo

Info post El beso de la mujer araña

#Pedro Páramo #El beso de la mujer araña #literature #literatura #bracket #classic lit #classic lit bracket #classic literature #latam classic lit polls #round 3

[docpiplup]

A guide through the monarchs of Aragon in La Catedral del mar & Los Herederos de la tierra

@asongofstarkandtargaryen

During the series the role of the members of the monarchy is secondary, but they are used to help to establish a concrete historical context and they're very determinant in the situation of the Puig and Entanyol families involving political estrategies of supporting this or that king, that gave them benefits or dacay (Arnau's rise with Pedro IV, Genís & Roger rise with Juan I and Martín I and Bernat with Fernando I). So, I wanted to make a recopilation of the monarchs shown during these series and their families.

House of Aragon/ House of Barcelona (descendants of the Jimena dinasty)

The Jimena dinasty is called like that because its origin was Jimeno "the Strong", grandfather of Eneko Arizta, and one of its branches was the Arista-Iñiga dinasty started by Eneko.

Eneko, his son García Iñiguez and his grandson Fortún Garcés were Lords of Pamplona, Fortún Garcés married Awriya bint Lubb ibn Musa (great-grandaughter of Musa the Great), and one of their daughters was Oneka Fortúnez, who married Abd Allah I of Cordoba (their son was Muhammad, who fathered the calipha Abd al-Rahman III with a basque woman called Muzna) and then Oneka married Aznar Sánchez de Larraún, and had a daughter with him, Toda Aznárez. Toda married Sancho Garcés I, the truly first king of Pamplona, was Sancho Garcés I (the first king of the Jimena dinasty).

Sancho Garcés III (992-1036) was king of Pamplona, Count of Aragon and king consort of Castile, whose bastard son with Sancha de Aibar, Ramiro I, inherited the counties of Aragon, Sobarbe and Ribagorza, and united them to form the kingdom of Aragon.

Then Petronila I (1136-1173), Ramiro I's great-grandaughter, married Ramón Berenguer IV count of Barcelona. Their son Alfonso II of Aragon was the first king of the Crown of Aragon and Pedro IV's great-great- great-grandfather.

In summary all the Aragonese monarchs are descedants of Eneko Arizta (and that's the way we can link Irati with LCDM/LHDLT)

Pedro IV

Pedro IV of Aragon, II of Valencia and I of Mallorca (Balaguer, Lleida, Catalonia, September 5, 1319 - Barcelona, Catalonia, January 5, 1387), called "the Ceremonious" or the Punyalet ('the one with the dagger', due to a dagger he used to carry), son of Alfonso IV of Aragon and Teresa de Entenza.

King of Aragon, Valencia and Mallorca (1344-1387); Duke of Athens (1380-1387) and Neopatria (1377-1387); count of Barcelona (1336-1387) and of Ampurias (1386-1387).

In 1338 he married María de Navarra (1326-1347), daughter of Felipe III and Juana II of Navarra. Offspring:

Constanza (1343-1363), married in 1361 to Federico III of Sicily, and Juana (1344-1385), married in 1373 with Juan I de Ampurias.

In 1347 he married Leonor of Portugal (1328-1348), daughter of Alfonso IV of Portugal. She died the following year of the Black Death.

In 1349 he married Eleanor of Sicily (1325-1375), daughter of Pedro II of Sicily. Offspring:

Juan I (1350-1396), Martin I (1356-1410) and Leonor (1358-1382), married to Juan I of Castile. Leonor was the mother of Fernando I of Aragon.

In 1377 he married Sibila de Fortiá, daughter of the Empordà nobleman Berenguer de Fortiá. Offspring:

Isabel (1380–1424), who married Jaime II of Urgel, future suitor for the aragonese crown.

During his reign the Aragonese expansionism in the Mediterranean continued, focused on southern Italy and Greece.

Although he was ally of Alfonso XI, Pedro IV had a great rivalry with his son Pedro I of Castile and fought against him in some conflicts, like the War of the two Pedros (1356-1369) and the first Castilian Civil War (1351-1369), in which Pedro I was supported by Pedro I of Portugal (one of his bastard sons, Juan I of Portugal, was the founder and first king of the Avis dinasty) and Muhammad V of Granada, and Pedro IV supported the bastard children of Alfonso XI with his lover Leonor de Guzmán (Pedro de Aguilar, Sancho Alfonso, Fadrique Alfonso, Enrique II of Castile, Fernando Alfonso, Tello, Juan Alfonso, Juana Alfonso, Sancho and Pedro Alfonso), who started several revolts against Pedro I of Castile. The wars ended when Enrique killed Pedro I, and he became the first king of Castile of the Trastamara dinasty.

Sibila de Fortiá

Sibila de Fortiá (Fortiá, Girona, Catalonia, 1350 - Barcelona, Catalonia, 1406), queen consort of the Crown of Aragon (1377-1387). She was the daughter of Berenguer de Fortiá and his wife Francesca de Vilamarí. In 1371 she married for the first time Artal de Foces, an Aragonese nobleman, whom she widowed in 1374, and then she the lover of Pedro IV and had a daughter with him, Isabel.Pedro and Sibila married in 1377. After the wedding, Pedro surrounded himself with Empordà nobles as well as Sibila's relatives.

Pedro IV was very ill at the end of the year 1386, and Sibila, fearful of the wrath of the future King Juan, fled to the castle of San Martín de Sarroca (Barcelona), which belonged to her brother Bernat de Fortiá. There she was imprisoned by Juan I, who treated her harshly, accusing her of abandoning the king on his deathbed and of several robberies in the palace. She was confined in the castle of Moncada (Barcelona) until she renounced his property granted by the king. Finally, Sibila retired to the convent of San Francisco in Barcelona, ​​where she died in 1406.

Juan I

Juan I of Aragon, called the Hunter or the Lover of All Kindness (Perpignan, Occitania, France, 1350 - Torroella de Montgrí, Girona, Catalonia, 1396), King of Aragon, Valencia, Mallorca, Sardinia and Corsica, and Count of Barcelona, ​​Roussillon and Cerdanya ( 1387-1396). Son of Pedro IV and Leonor of Sicily.

His first marriage was with Marta de Armagnac (1347-1378), daughter of Count Juan I de Armagnac. With whom he had: Jaime (1374), Juana, (1375-1407) who married Mateo, Count of Foix. After the death of her father, she claimed the throne with her husband, but they were defeated; Juan (1376), Alfonso (1377) and Leonor (1378).

Widowed, Juan married Violante de Bar (1365-1431), daughter of Robert I, Duke of Bar. Offspring:

Jaime Duke of Girona (1382-1388), Yolanda, who married Louis II of Anjou, titular king of Naples. Their son, Luis III, claimed the throne after the death of Martín I, in the engagement of Caspe; Fernando Duke of Girona (1389), Antonia (1391-1392), Juan Duke of Girona (1392-1396), Eleanor (1393), Pedro Duke of Girona (1394) and Juan (1396)

Martin I

Martin I of Aragon, also called the Human or the Old (Girona, July 29, 1356-Barcelona, ​​May 31, 1410), was king of Aragon, of Valencia, of Majorca, of Sardinia and count of Barcelona (1396-1420) and king of Sicily (1409-1410). Second son of Pedro IV of Aragon and his third wife Leonor of Sicily.

Martín was called "the Human" because of his great passion for the Humanities and books. The library of Martín I is the first that could be considered from Renaissance, if at that time in the history of the Iberian peninsula the term can already be used.

Martin married in 1372 with Maria de Luna, daughter of Lope, the first count of Luna, in 1374. From this union they were born:

Jaime (1378), Juan (1380) and Margarita (1388) and Martin I of Sicily "the Younger" (1376-1409), first husband of Blanca I of Navarra.

When Martin the Younger died, Martin married Margarita de Frades, although they left no issue.

His entire reign was marked by the Western Schism that divided Christianity since 1378. He was a supporter of the popes of Avignon (where he went the year of his coronation to swear allegiance to Benedict XIII "the Pope Luna", Pedro Martínez de Luna y Pérez de Gotor, with whom it seems that he came to establish a friendly relationship ), from whom he obtained support in his claims over the kingdom of Sicily against the Anjou, supporters of the popes of Rome. In 1400, he would marry his niece Yolanda to Louis II of Anjou in order to defuse tensions. He met in Avignon with the antipope Benedict XIII, Aragonese and a relative of the queen, with the intention of reaching a solution to the schism and, later, in 1403 he intervened militarily against the siege that Benedict suffered in his papal seat, rescuing him and welcoming him in Peñíscola .

House of Trastamara (the Aragonese branch)

Fernando I

Ferdinand I of Aragon (Medina del Campo, Valladolid, Castile and Leon, November 27, 1380-Igualada, April 2, 1416), also called Fernando de Trastámara and Fernando de Antequera, the Just and the Honest, was an infant of Castile, king of Aragon, Valencia, Mallorca, Sardinia, Count of Barcelona (1412-1416), and regent of Castile (1406-1415), during the minority of Juan II of Castile. Son of Juan I of Castile and Leonor of Aragon.

He was the first Aragonese monarch of the Castilian dynasty of the Trastámara, although he was of Aragonese origin on his mother's side.

He married Leonor de Alburquerque

Alfonso the Magnanimous (Medina del Campo, 1394-1458), king of Aragon, with the name of Alfonso V, and of Naples and Sicily, with the name of Alfonso I.

María de Aragón (Medina del Campo, 1396-1445), first wife of Juan II of Castile and mother of Enrique V of Castile

Juan II (Medina del Campo, 1397-1479), King of Aragon and King consort of Navarre.

Enrique (1400-Calatayud, 1445), II Duke of Villena, III Count of Alburquerque, Count of Ampurias, Grand Master of the Order of Santiago.

Leonor (1402-1445), who married Eduardo I of Portugal. Mother of Alfonso V of Portugal, Juana of Portugal (Enrique IV's second wife) and Leonor of Portugal, who married Frederick III of Habsburg (they were parents of emperor Maximilian I of Austria)

Pedro (1406-1438), IV Count of Alburquerque, Duke of Noto.

Sancho (1400-1416)

Alfonso V

Alfonso V of Aragon (Medina del Campo, 1396 – Naples, June 27, 1458), also called the Wise or the Magnanimous, king of Aragon, of Valencia, of Majorca, of Sicily, of Sardinia and Count of Barcelona (1426-1458); and King of Naples (1446-1458).

Alfonso V can be considered as a genuine prince of the Renaissance, since he developed an important cultural and literary patronage that earned him the nickname of the Wise and that would make Naples the main focus of the entry of Renaissance humanism in the sphere of the Crown of Aragon.

From his relationship with his lover Giraldona de Carlino, a napolitan noblewoman, he had three children:

Fernando (1423-1494), his successor in the kingdom of Naples under the name Fernando I.

Maria (1425-1449), married to Lionel, Marquis of Este and Duke of Ferrara.

Leonor, or Diana Eleonora (?-1450), married the nobleman Marino Marzano, Prince of Rossano.

Maria of Castile

María of Castile (Segovia, Castile and Leon, November 14, 1401-Valencia, October 4, 1458). Infanta of Castile, Princess of Asturias (1402-1405) and Queen of Aragon (1416-1458) for her marriage to Alfonso the Magnanimous. First daughter of Enrique III "the Mourner" and Catherine of Lancaster. Sister of Juan II of Castile, untie of Enrique IV and Isabel I.

The marriage between María and Alfonso is celebrated in the Cathedral of Valencia on October 12, 1415. The ceremony was officiated by the antipope Benedict XIII, who also granted the matrimonial dispensation for the wedding.

In 1420, when the king left for Naples for the first time, he left the government of his kingdoms in the hands of Maria as lieutenant general. The absence of the Magnanimous would last three years, during which María had to face the rapid deterioration of the economic situation in Catalonia, the territorial struggle with the Castilian Crown, as well as the conflicts of a social nature that shook her in different kingdoms. On his return to Aragon in 1423, Alfonso V began the war with Castile, along with his brother King Juan of Navarra. But her financial resources were exhausted and in 1429 Queen María had to act as a mediator between her husband and her brother, King Juan II of Castile, to put an end to the dispute. However, Alfonso's situation did not improve, due to the recession suffered by the Catalan economy and the social conflicts caused by it. The Courts of Barcelona in 1431 demanded from the king a series of measures to correct the enormous deficit of the Catalan treasury and trade. But Alfonso, fed up with these matters, returned to Italy and gave full powers to the queen as ruler of Aragon; he left the Iberian Peninsula forever on May 29, 1432. This marked Alfonso V's final break with the Crown of Aragon, which, however, he never renounced.

+ Bonus track (although he doesn't appear in this series)

Juan II

Juan II of Aragon and Navarra, the Great, or the Faithless according to the Catalan rebels who rose up against him (Medina del Campo, June 29, 1398-Barcelona, ​​January 20, 1479) was Duke of Peñafiel, King of Navarre (1425-1479), King of Sicily (1458-1468) and King of Aragon, Mallorca, Valencia, Sardinia (1458-1479) and Count of Barcelona, ​​son of Ferdinand I of Aragon and Leonor de Albuquerque.

From his first marriage to Blanca I of Navarra (daughter of Leonor of Castile and Carlos III of Navarra):

Carlos (1421-1461), Prince of Viana and Girona, Duke of Gandia and Montblanch, titular King of Navarra as Carlos IV (1441–1461), married Agnes of Cleves. He wrote the 'Chronicles of the Monarchs of Navarra', about the history of his antecessors, from Eneko Arizta in the 8th century up to the 15th century.

Juan (1423-1425)

Blanca of Navarra (1424-1464), first wife of Enrique IV of Castile

Leonor (1425-1479), married to Gastón IV de Foix, Queen of Navarre under the name of Leonor I.

From his second marriage to Juana Enríquez:

Leonor of Aragon (1448)

Fernando II (1452-1516), king iure uxoris of Castile (1474-1504) and then regent between 1507 and 1516, under the name of Fernando V due to his marriage to Isabel I, king of Sicily (as Fernando II, 1468-1516), Aragon and Sardinia (as Fernando II, 1479-1516), Naples (as Fernando III, 1504-1516), and from Navarra (as Fernando I, 1512-1516)

Juana (1455-1517), second wife of Fernando I of Naples. Her daughter Juana married Fernando II of Naples (Fernando I of Naples' grandson)

During his youth, Juan fought in the Castilian-Aragonese war (1429-30) and the Castilian Civil War (1437-1445) in the Aragonese team against Juan II of Castile, his son Enrique and the Constable Álvaro de Luna (favourite of Juan II), due to the Aragonese political influences in Castile and the full control that Álvaro de Luna had over Juan II of Castile that allowed him to become very powerful, so some members of the Castilian nobility wanted to remove Álvaro out of Juan II side because of that, and the Aragonese reacted to the anti-aragonese convictons of Álvaro.

Álvaro de Luna arranged a new marriage between Juan II of Castile and Isabel of Portugal (mother of Isabel I) in 1447. The constable intended with this dynastic alliance to strengthen the political ties that united Castile and Portugal against the common enemy: the Catalan-Aragonese Crown, but from 1449, Isabella of Portugal indirectly supported the maneuvers of the Great League of Nobles (allies of the Aragonese) formed against the constable. But it would not be until 1453 when Juan II of Castile, possibly tired of the continuous pressure from the aristocracy, left Álvaro on his own. It has often been said that it was the queen herself who demanded that her husband signed the prison order against Álvaro, through Juan Pacheco, Marquis of Villena.

By 1441 Blanca I de Navarra died and Juan II married the daughter of Fadrique Enríquez (one of his Castilian allies, the admiral of Castile), Juana Enríquez y Fernández de Córdoba.

After the death of Blanca I, a dispute between Juan II and Carlos de Viana about the sucession for the Navarrese throne. Juan was king Iure uxoris of Navarre and wanted to be keep his position as king, but Carlos and his supporters claimed that the prince was the rightful king as firstborn son of the queen and in 1451 the Navarrese civil war started.

In the following years the tension between Juan and Carlos increased with the birth of Fernando, who was pushed by his mother Juana to be the heir of Aragon and Navarra, which Juan later accepted. This change in the sucession was not accepted in Catalonia, that supported Carlos de Viana birthrights, and they started a rebellion against Juan II.

Other supporter of Carlos was Enrique IV, who offered his sister Isabel to Carlos in marriage as a sign of their alliance, but the wedding never happened.

Carlos died in 1461, although the war didn't ended because the Catalan nobility proposed other suitors for the Crown of Aragon and the Principality of Catalonia, like Enrique IV, Pedro of Portugal (grandson of Jaime II of Urgell) and Renato de Anjou during the Catalan civil war, that ended in 1472.

It's interesting that the interesting that the current situation of the Estanyol family at the end of Los Herederos de la tierra is that there are two brothers from different mothers, and whose father have benefited one of them over the other, so it may lead to tensions from the part that was not benefited, Arnau Jr is the main heir in Bernat's will, so maybe in the future Marta Destorrent will try to pit her son Baltasar against his elder brother to take Arnau Jr's place. By period of time I find very likely that this happens during the reigns Maria of Castile and Juan II, and the situation of the Estanyol succession could parallel the Carlos de Viana-Fernando II problem, although in this case the younger son was the benefited one and the one who inherited his father's kingdoms and maybe the Estanyols are part of the Catalan nobility that defended Carlos' birthrights, although some other Catalan nobles supported Juan II & Fernando alongside of peasants and smallfolk, during the First Remensa War during the Catalan civil war.

The Remensa War consisted in revolts organised by peasants who wanted to end the servitude to which their feudal lords had subjected them, so I think that probably the Estanyol-Llor family would support the peasants because of their backgrounds.

#la catedral del mar #los herederos de la tierra #the cathedral of the sea #heirs to the land #history #crown of aragon #aragonese monarchs #pedro iv de aragón #juan i de aragón #martín i de aragón #sibila de fortiá #fernando i de aragón #alfonso v de aragón #maria de castilla #juan ii de aragón #gifs #period dramas #house of aragon #house of trastamara #house of barcelona #long post

[edicionesneutrinos]

LOS AÑOS AIRA

Alberto Giordano

Ensayo Literario Argentino. Año 2022

ISBN 978-987-4430-26-7

Obra en tapa: Juan Hernández

Dosificado en entradas de diario, este ensayo autobiográfico de Alberto Giordano atraviesa más de tres décadas de amistad e intercambios literarios. Un encuentro inicial con el programa ético de César Aira a través de una entrevista de 1982, en la que declama: “Jamás utilizaría a la literatura para pasar por una buena persona”, un viaje a Buenos Aires con la misión —encomendada por dos jóvenes profesoras— de invitarlo a dar una conferencia sobre Arlt en Rosario, un viaje compartido a Lima, nacimientos, publicaciones, enfermedades, reconocimientos, la formación de bibliotecas personales, más visitas a Rosario, encuentros en bares, cartas y correos electrónicos.

Alrededor de Aira, Giordano esgrime una improvisación (que es, por definición, puro presente) movilizada por circunstancias cotidianas. A su tracción acuden anécdotas y documentos, de los que se sirve para edificar su mito personal: el de 1992 como “el año en el que ocurrió todo”.

Alberto Giordano nació en Rufino, en 1959, y vive en Rosario desde 1971. Es profesor y ensayista. Entre sus libros de ensayos se encuentran: El giro autobiográfico (Beatriz Viterbo, 2020), El pensamiento de la crítica (B V, 2015), La contraseña de los solitarios. Diarios de escritores (B V, 2013), Una posibilidad de vida. Escrituras íntimas (B V, 2006), Modos del ensayo. De Borges a Piglia (B V, 2005) y Manuel Puig. La conversación infinita (B V, 2001). Publicó además Volver a donde nunca estuve. Algo sobre mi padre (Bulk, 2020) y tres volúmenes con sus diarios, originados en posteos de Facebook: El tiempo de la convalecencia (Ivan Rosado, 2017), El tiempo de la improvisación (I R, 2019) y Tiempo de más (I R, 2020).

#ensayo literario #ensayo argentino #alberto giordano #césar aira #aira #neutrinos #edicionesneutrinos #rosario

[hawaii5ho]

MONTBLANC from Mauro Chiarello on Vimeo.

CLIENT – Montblanc AGENCY - W+K Amsterdam CREATIVE DIRECTOR - Elena Knox CREATIVE DIRECTOR - Joe Burrin COPYWRITER - Richard Gorodecky COPYWRITER - Allan Stevenson ART DIRECTOR - Jack Welles PRODUCER - Khalid el Khouani GROUP ACCOUNT DIRECTOR - Franky Wardell ACCOUNT DIRECTOR - Amandine Decourcelle ACCOUNT MANAGER - Wenwen Zhao BUSINESS AFFAIRS MANAGER - Sametta Gbilia PROD COMPANY - ANORAK Film DIRECTOR – Ian Pons Jewell DOP - Mauro Chiarello EP - Christiane Dressler EP - Christoph Petzenhauser PRODUCER - Björn Krüger-Levy PRODUCTION COORDINATOR - Chiara Walde 1st AD - Tirso Diaz-Jares VFX - Black Kite Studios VFX PRODUCER - Amy Richardson VFX SUPERVISOR - Adam Crocker VFX ON SET SUPERVISOR - Denis Reva SOUND - String and Tins SOUND DESIGN AND MIX - Lawrence Kendrick ADDITIONAL SOUND DESIGN - Mike Bamford FOLEY - The Foley Barn AUDIO PRODUCER - Eimear Ni Ghuaire EDITOR - Tobias Suhm COLOURIST - Tom Mangham

SERVICE PRODUCTION SERVICE PRODUCTION - 24/7 24/7 EP - Gordon Mackinnon 24/7 PRODUCER - Mariana Mota PRODUCTION MANAGER - Marc Gallén Solsona PRODUCTION COORDINATOR - Mar Llompart TALENT COORDINATOR - Eva Cid COVID COORDINATOR - Cristina Tenor PA - Isabel Camacho TRAINEE - Yi Zhang PRODUCTION AMBASSADOR - Jordi Mollà UNIT MANAGER - Francesc Puig PRODUCTION DESIGNER - Pablo Tregebov Poza ART DIRECTOR - Mar Tubau COSTUME - Núria Durá HAIR & MAKE UP - Txell Fernandez

CM CREW MANAGER CM - Jared Greenwald STYLING CM - Anders Sølvsten Thomsen STYLING ASSISTANT CM - Brian ConwayGroomer CM GROOMER CM - Gareth Bromell AGENT STYLING CM - Elise Miccolis

LOCATION DEPT. LOCATION MANAGER – David Bello LOCATION ASSISTANT - Dani Galvan

AD ́S 1st AD – Tirso Diaz-Jares 2nd AD – Monica Sanchez 3rd AD – Oriol Rovira SCRIPT SUPERVISOR - Cecilia Moliné

CAMERA 1st AC - Alicia Galiña Seijo 2nd AC - Raul Mulas VIDEO ASSISTANT – Carles Alonso DIT – Esteban Wiaggio STEDICAM – Nicolas Lasarte STEDICAM ASSISTANT – Gulcin Bekar PHANTOM – Antonio Urquijo BOLT OPERATOR – Angelo Freda BOLT ASSISTANT – lluis Giordana BOLT ASSISTANT – Dani Ballester BTS - Adrián Torres

LIGHTING GAFFER - Carlos Meliville BEST BOY - Juan Francisco Roman BEST BOY - Paco Roman Melguizo ELECTRICIANS : Juan Francisco Flores Garcia Celso Barandarian Ferran Grau Vega Javier Carrion Lopez Ivan Flores Monroy Ana Portla Alex Postius ELECTRICIAN + GENNY OP - Antonio Martinez Marti

GRIP KEY GRIP - David Arrés GRIP - Rodrigo Álvarez SOUND SOUND - Quique Lopez BOOM OPERATOR - Marcel Vilar BOOM OPERATOR - Edu Ramada

ART PRODUCTION DESIGNER - Pablo Tregebov Poza ART DIRECTOR - Mar Tubau PROPS MASTER – Ana Romero PROPS BUYER - Miriam Serrano PROPS BUYER - Julian Santiesteban STAND BY PROPS – Santiago Mario STAND BY PROPS – Arnau Gassó STAND BY PROPS – Roberto Pozuelo ART ASSISTANT – Marta Gomez ART ASSISTANT - Juan Carlos Sabaté ART ASSISTANT – Santigao Balmaceda PRODUCT HANDLER - Pau Arregui

WARDROBE STYLIST – Núria Durà WARDROBE ASSISTANTS: Manuel Jesús Jose Carayol Patricia Rodríguez Inés Iribarne Salari Andrea Garcia Chiara Legitimo SEAMSTRESS - Rosa Perez

HAIR & MAKE-UP MAKE UP & HAIR STYLIST - Txell Fernandez MAKE UP & HAIR STYLIST ASSISTANT - Leire Loperena MAKE UP & HAIR STYLIST ASSISTANT - Alba Pesas

ANIMALS ANIMAL HANDLER – Gabi

SFX SFX TECHNICIAN - Juan Carlos Davila SFX TECHNICIAN - Roger Salvany

SECURITY VIP SECURITY - Dídac Rodríguez VIP SECURITY - Juan Herredia

NURSE NURSE ON SET 1 - Jacobo Solís NURSE ON SET 2 - Alejando

CAST Allegra Ceruti – YOUNG PROFESSIONALS Koko Ishizuka - YOUNG PROFESSIONALS Wenjun Gao - YOUNG PROFESSIONALS Rafael Barata - MAN WITH BUSINESS BAG Vincent Wu - HOTEL LOBBY Jiaying Li - HOTEL LOBBY Xavier Verdes - TEAR MAN Lluis V. - ACTOR THEATER Meseret Martinez - GIRL READING BOOK Arnaud Prechac - MAN Limber A. V. - ACTOR THEATER Motokazu Kawamura - STREET PAIR Gary Thoulouis - STREET PAIR Blanca Valletbó - STRIKING WOMAN Aimar Vega - ACTOR THEATER Lluis Gerard Valeta - ACTOR THEATER Limber A. Vivas - ACTOR THEATER José Luis Matienzo - ACTOR THEATER Cio Vives - DIRECTOR THEATER Katrin V - ACTRESS THEATER

STAND-INS Raul Gomez - STAND IN Pol Brugarolas - FITTING DOUBLE

[cleoenfaserum]

EL BESO DE LA MUJER ARAÑA

El libro ha tomado todas las formas audio y / o visuales traspasando fronteras e idiomas. Juzgue por ti mismo. Varias cosas me han saltado a la vista a este viaje a la imaginación, el papel interpretado por William Hurt, inaudito desde mi punto de vista, a mis ojos fue lanzado al estrellato, pero mas allá de todo ello, lo que me saco de quicio, fue la gozada del musical. No obstante, el bon-bazo (bombazo) de la Brasileña Sonia Braga interpretando, así como Raul Julia, hace de la película espectácul-ar. (Espectáculo + ar =Espectacular)

El beso de la mujer araña (en inglés: Kiss of the Spider Woman; en portugués: O Beijo da Mulher Aranha) es una película brasileña-estadounidense independiente dramática de 1985 dirigida por el cineasta brasileño de origen argentino Héctor Babenco, y adaptada por Leonard Schrader de la novela homónima del escritor argentino Manuel Puig (que había escrito también una adaptación al teatro). La película contó con William Hurt, Raúl Juliá y Sonia Braga como actores principales.

La pelicula se basa principalmente en dos personas presas dentro de una celda de una penitenciaría de Brasil; uno que se denomina a sí mismo «marica» (faggot en el guion original) apolítico, que se percibe como mujer, y un preso político de izquierda heterosexual y homófobo.

La película se estrenó en los Estados Unidos el 26 de julio de 19853​. Recibió elogios generalizados de la crítica; Hurt ganó el Premio Oscar y el Premio BAFTA al Mejor Actor, y la película recibió otras tres nominaciones al Oscar, incluida la de Mejor Película (obtuvo el galardón Out of Africa).

Que carajo, véala por ti mismo...

966-1 https://youtu.be/gfXRz3NYn5U

La película se estrenó en los Estados Unidos el 26 de julio de 19853​. Recibió elogios generalizados de la crítica; Hurt ganó el Premio Oscar y el Premio BAFTA al Mejor Actor, y la película recibió otras tres nominaciones al Oscar, incluida la de Mejor Película (obtuvo el galardón Out of Africa). El beso de la mujer araña (película) - Wikipedia

966-2 https://ok.ru/video/5358587677208

966-3 https://youtu.be/cgsz8qeOwrQ

Basándose en esta novela, John Kander y Fred Ebb (autores de los musicales "Cabaret" y "Chicago", entre otros, así como de la famosa canción "New York, New York" para la película homónima de Martin Scorsese) compusieron un musical del mismo nombre (Kiss of the Spider Woman)​ Entreando en 1993, significó el regreso a los escenarios de la actriz Chita Rivera, apartada de la escena tras un grave accidente de tráfico. El musical ha sido representado en todo el mundo obteniendo el Premio Tony en 1993. ​El mismo director del montaje en Broadway, Harold Prince, dirigió la puesta en Argentina, protagonizada por Valeria Lynch, Juan Dartés y Aníbal Silveyra.

El compositor alemán Hans Werner Henze tuvo la intención de componer una ópera sobre el tema.

966-4 enlace: https://youtu.be/j-_fStqpggc

El beso de la mujer araña (novela) - Wikipedia El autor:

Manuel Puig, en una fotografía de 1969.

El beso de la mujer araña es una novela del escritor argentino Manuel Puig, publicada en 1976 por la editorial Seix Barral de Barcelona. Ese mismo año la editora de Gallimard, Ugné Karvelis, había rechazado su publicación en Francia, en desacuerdo con la lectura política que proponía la novela respecto al personaje de Valentín, el joven revolucionario. El libro relata el encuentro de dos personas presas que conviven en la misma celda, una es un preso político, Valentín, y la otra una disidente sexual definida como «loca» y autopercibida como mujer (registrada por el Estado como hombre), Molina. A lo largo de las semanas que pasan confinados en la celda, Molina cuenta películas a Valentín, que las interpreta desde su propia perspectiva. Además, conversan sobre sus vidas afectivas y sus idearios, claramente contrapuestos. La obra fue incluida en la lista de las 100 mejores novelas en español del siglo XX del periódico español El Mundo.

Algunos estudios sugieren que el argumento pudo partir de algunos episodios de la vida del periodista mexicano

Luis González de Alba detenido el 2 de octubre de 1968 durante La masacre de Tlatelolco 

 Luis González de Alba, preso político por el movimiento estudiantil de 1968, que publica en 1971 la novela Los días y los años. Por otro lado, la edición crítica publicada en la colección Archivos en 2002, coordinada por José Amícola y Jorge Panesi, recupera los manuscritos y notas que Puig tomó durante la preparación de la novela, en 1973, cuando se entrevistó con varios presos políticos en Argentina. En estas notas no se registra ninguna mención a González de Alba.

#Youtube

[danimal]

Hyundai | Brand Vision from Trizz Studio on Vimeo.

HYUNDAI A visual symphony of texture, nature, movement, rhythm, vibration and light – all designed to synthesise the core DNA of Hyundai. To reach our final treatment we defined the brand’s highest values as Design, Performance and Eco – and set these concepts in motion in a dance of perfect tension between the manufactured and the natural. We created these landscapes of liquid energy to move autonomously - driven by unseen, powerful natural forces. Our vision was to symbolise with movement the sensibility, care, and modernity of Hyundai.

Hyundai Brand Credits

Innocean Worldwide ( Lead Agency )

-Creative Director: Lewis Hunt -Executive Producer: Morten Frantz -Account Director: Petra Erbova

Trizz

-Film Concept Development: Oriol Puig and Lewis Hunt -Director: Oriol Puig -Executive Producer: Chris Vulpi -Producer: Oriol Vives -Art Direction: Oriol Puig, Alex Martín, Evaldas Cesnavicius -Additional Art Direction and Research: Laura Ibañez -Modeling/Liquid Simulation/Lighting/Rendering: Alex Martín -Modeling, Lighting, and Animation ( Threads scene ): Evaldas Cesnavicius -Modeling and Lighting ( Dancer scene ): Oriol Mayolas -Compositing: Oriol Puig and Roberto García -Smoke Online: Ricardo Perez -Motion Capture: Oriol Mayolas -Storyboard: Javier Vaquero -Editing: Carlos Carrasco/Oriol Vives/Oriol Puig -3d scanning and modeling support: Juan León / Ariadna Ollé

Trizz - Live Action

-Live action Trizz team: Oriol Puig, Laura Ibañez, Oriol Vives -Set Design: Albert García Vila -Set construction/inventions: Albert García Vila, Laura Ibañez, and Anna Caterina Melo -Head of Production: Dani Molina -Director of Photography: Rafa Lluch -Shooting Production Assistant: Tomas Minguella -Motion Capture Dancers: Jana Errando, Victor Fernandez -Effects: Nasa FX

-Music composer: Daniel Lea ( Golden hum ) -Sound Mixing: Abbey Road

// take a look at the making of : vimeo.com/167237505 \\

[12endigital]

El PPCV denuncia que este verano "se bate el triste récord del mayor cierre de camas hospitalarias en la Comunitat Valenciana"

El responsable de Sanidad del PPCV, José Juan Zaplana, ha señalado que este verano “se bate el triste récord del mayor cierre de camas hospitalarias en la Comunitat Valenciana”. El diputado popular ha afirmado que “con una previsión inicial de cierre de casi 2.100 camas, que pueden acabar siendo más, con plantas hospitalarias enteras cerradas, habrá muchas situaciones límite este verano…

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#atención primaria #Centros de Salud #José Juan Zaplana #médicos #PPCV #sanidad #Ximo Puig

[elaine-white-author]

#SocialSunday: Take A Chance on Manuel Puig

On Take A Chance posts, I’ll be showcasing authors I love to read, but who I don’t have contact with, for things such as interviews and teasers. I will be sharing their bio, some of the works I loved best, and a showcase of up to 5 books, if they have a larger back catalogue, as well as their social media links. ~ Manuel Puig Manuel Puig (born Juan Manuel Puig Delledonne) was an Argentinian…

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#author #books #inspiration #interview #list #questions #writing