Relevant bibliographies by topics / Jiménez

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Jiménez'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Jiménez"

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Escobar Borrego, Francisco Javier. "Entre baladas de primavera: El asno de plata, de Juan Ramón Jiménez en su paisaje sonoro." Cuadernos de Investigación Musical, no. 8 (December 2, 2019): 115–35. http://dx.doi.org/10.18239/invesmusic.v0i8.2020.

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Entre baladas de primavera:El asno de plata, de Juan Ramón Jiménezen su paisaje sonoro Between baladas de primavera:The Silver Ass, by Juan Ramón Jiménezin its Sound Landscape Resumen El presente artículo ofrece un análisis monográfico circunscrito a la intersección de códigos entre música y literatura en Platero y yo, de Juan Ramón Jiménez. Para ello, tras su contextualización sociocultural como pórtico preliminar, se estudia detenidamente la tradición literaria y musical que da carta de naturaleza a la obra. Sobre este particular, destaca la pervivencia de El asno de oro por el leitmotiv de la metamorfosis y el simbolismo del Alma-Psique. De hecho, esta imagen simbólica se reconoce mediante la representación sonoro-visual de la mariposa, con huellas no solo en Juan Ramón Jiménez sino también en otros señeros artistas de la altura de Rubén Darío, Gerardo Diego o Manuel de Falla. Por último, cabe subrayar los visibles paralelismos y analogías, con música simbólica de fondo, entre Platero y yo y Baladas de primavera. En definitiva, se brinda, en estas páginas, un estudio, más allá de estaciones literario-musicales, de El asno de plata, de Juan Ramón Jiménez en su paisaje sonoro. Palabras clave: Música y literatura, Juan Ramón Jiménez, Platero y yo, Baladas de primavera, El Asno de oro Abstract This article offers a monographic analysis limited to the intersection of codes between music and literature in Platero y yo, by Juan Ramón Jiménez. For this, after its sociocultural contextualization as a preliminary portico, the literary and musical tradition that gives the nature of the work is carefully studied. In this regard, highlights the survival of The Golden Ass for the leitmotiv of metamorphosis and the symbolism of the Soul-Psyche. In fact, this symbolic image is recognized by the visual-sonorous representation of the butterfly, with traces not only in Juan Ramón Jiménez but also in other outstanding artists of the height of Rubén Darío, Gerardo Diego or Manuel de Falla. Finally, we must underline the visible parallels and analogies, with symbolic background music, between Platero y yo and Baladas de primavera. In short, these pages offer a study, beyond literary-musical stations, of The Silver Ass, by Juan Ramón Jiménez in his sonorous landscape. Key words: Music and Literature, Juan Ramón Jiménez, Platero y yo, Baladas de primavera, The Golden Ass
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Rodríguez Guerrero-Strachan, Santiago. "The Aristocratic Poet: Juan Ramón Jiménez’s Reading of Walt Whitman." Complutense Journal of English Studies 27 (October 4, 2019): 317–30. http://dx.doi.org/10.5209/cjes.60771.

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The essay analyses Juan Ramón Jiménez’s reading of Walt Whitman as an aristocrat. For Jiménez, aristocracy is not a term associated with nobility. Instead, it is related to the intellectual effort that a poet – or any person – makes to improve himself, while at the same time maintaining ties with the folk. Jiménez wrote on Whitman in Alerta and El Modernismo. Apuntes de un curso and mentioned him in other essays and lectures. For Jiménez who used the American poet to foreground his own poetics, Whitman stood as one of the precursors of Spanish and Spanish American modernismo. Jiménez’s preference for the folk, led him to assert that he preferred Whitman’s brief poems to his big epic poetry which was then and continues to be the readers’ favourite.
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Acereda Extremiana, Alberto. "Juan Ramón Jiménez y el verso en la poesía española: del simbolismo francés a Diario de un poeta reciencasado." Estudios Humanísticos. Filología, no. 17 (December 15, 1995): 11. http://dx.doi.org/10.18002/ehf.v0i17.4102.

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<p>El verso libre ofrece muchos problemas a la hora de determinar su definición, sus orígenes y su evolución en la poesía española moderna y contemporánea. Este artículo define y estudia la presencia del verso libre en la poesía simbolista francesa, sus conexiones con el modernismo hispánico y la posible influencia en Juan Ramón Jiménez. Algunos libros poéticos de Jiménez, especialmente el Diario de un poeta reciencasado (1917) se analizan aquí a la luz de esta definición de verso libre. Tras el análisis, la conclusión a la que se llega es que Jiménez fue el primer poeta español que empleó el verso libre con absoluta conciencia y voluntad abriendo así el camino del cultivo del verso libre en la poesía española contemporánea.</p><p>The concept of «vers libre» offers many problems for its definition, its origins and its evolution in Modern and Contemporary Spanish Poetry. This article defines and studies the presence of «vers libre» in French Symbolist Poetry, its connections to Hispanic Modernism and the possible influence on Juan Ramón Jiménez. Some of Jiménez's books of poetry, especially Diario de un poeta reciencasado (1917) are studied here in the light of this definition of «vers libre». After the analysis, the conclusion shows that Jiménez was the first Spanish poet ever to use consciously and willingly «vers libre», and to pave the way for its use in Contemporary Spanish Poetry.</p>
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Lerer, Marisa. "Luis Jiménez's Mustang." Latin American and Latinx Visual Culture 1, no. 4 (2019): 12–32. http://dx.doi.org/10.1525/lavc.2019.140003.

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Luis Jiménez's Mustang (2008), located at Denver International Airport, was intended to be a welcoming figure as Colorado residents and visitors entered and exited the gateway to the US West. However, this particular work, along with several of Jiménez's earlier public sculptures, prompted public rancor, controversy, and protest. Jiménez is one of the most well-known Chicano public sculptors; however, little scholarly research has been conducted to examine the way in which his work functions in and is received by visitors in the public realm. Applying Harriet F. Senie's methodology of conducting visitor response interviews to examine Jiménez's public sculptures aids in an understanding of why the gap between the artist's intention and the visitor's understanding is so pervasive. Mustang subverts traditional monuments and notions of equestrian statuary in its use of nontraditional materials and subject matter. Many visitors sense the intentionally critical and historical revisionist lens through which Jiménez created his work and therefore feel daunted by it culturally, aesthetically, and spatially. This complex reaction highlights what aspects of US culture are embraced in the public sphere and which elements have received conflicted reactions due to their subject, and the representation of ethnicity in public space. In addition, the site of Jiménez's work forms a crucial part of the content; therefore, the negotiation of space, in which Mustang and some of Jiménez's other sculptures are displayed, informs the debates around installing a work in the public sphere. RESUMEN Luis Jimenéz's Mustang (2008) located at Denver International Airport was intended to be a welcoming figure as Colorado residents and visitors entered and exited the gateway to the American West. However, this particular work along with several of Jiménez's earlier public sculptures, prompted public rancor, controversy, and protest. Jiménez is one of the most well-known Chicano public sculptors; however, little scholarly research has been conducted to examine the way in which his work functions in and is received by visitors in the public realm. Applying Harriet F. Senie's methodology of conducting visitor response interviews to examine Jiménez's public sculptures aids in an understanding on why the gap between the artist's intention and the visitor's understanding is so pervasive. Mustang subverts traditional monuments and notions of equestrian statuary in its use of non-traditional materials and subject matter. Many visitors sense the intentionally critical and historical revisionist lens through which Jiménez created his work and therefore feel daunted by it culturally, aesthetically, and spatially. This complex reaction highlights what aspects of U.S. culture is embraced in the public sphere and which elements have received conflicted reactions due to their subject, and the representation of ethnicity in public space. In addition, the site of Jiménez's work forms a crucial part of the content; therefore, the negotiation of space, in which Mustang and some of Jiménez's other sculptures are displayed informs the debates around installing a work in the public sphere. RESUMO Mustang (2008) de Luis Jimenéz, localizado no Denver International Airport, foi concebido como uma figura acolhedora para os residentes do Colorado e visitantes que passavam pela porta de entrada para o oeste americano. Entretanto, essa obra em particular, juntamente com várias das primeiras esculturas públicas de Jiménez, provocou rancor público, controvérsia e protestos. Jiménez é um dos escultores públicos chicanos mais conhecidos; no entanto, pouca pesquisa acadêmica foi conduzida para examinar a maneira pela qual seu trabalho funciona e é recebido pelos visitantes na esfera pública. A aplicação da metodologia de Harriet F. Senie de conduzir entrevistas com visitantes para examinar as esculturas públicas de Jiménez ajuda a entender por que a lacuna entre a intenção do artista e a compreensão do visitante é tão generalizada. Mustang subverte monumentos tradicionais e noções de estatuária equestre em seu uso de materiais e temáticas não-tradicionais. Muitos visitantes percebem a lente intencionalmente revisionista crítica e historicamente através da qual Jimenéz criou seu trabalho e, assim, se sentem intimidados culturalmente, esteticamente e espacialmente. Essa complexa reação destaca quais aspectos da cultura norte-americana são adotados na esfera pública e quais elementos receberam reações conflitantes devido a sua temática, e a representação da etnia no espaço público. Ademais, o local onde se situa a obra de Jimenéz é parte crucial de seu conteúdo; portanto, a negociação do espaço, no qual Mustang e algumas das esculturas de Jimenéz são exibidas, informa o debate em torno da instalação de uma obra na esfera pública.
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Caceres, Armando. "Leonardo Mata Jiménez." Ciencia, Tecnologí­a y Salud 4, no. 1 (2017): 3. http://dx.doi.org/10.36829/63cts.v4i1.403.

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El viernes 17 de febrero del 2017 murió en su casa de habitación en Moravia, Costa Rica, el Dr. Leonardo Mata Jiménez, eminente virólogo, investigador y maestro de varias promociones de microbiólogos guatemaltecos.
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Sánchez, Pedro A. "Manuel Quero Jiménez." Revista Española de Cardiología 56, no. 11 (2003): 1145–46. http://dx.doi.org/10.1016/s0300-8932(03)77027-4.

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Acuña Fernández, A. Ulises. "Pilar Jiménez Sierra." Anales de Química de la RSEQ 120, no. 2 (2024): 120. http://dx.doi.org/10.62534/rseq.aq.1985.

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Charles H. Rowell and Marcus Jones. "Interview with Alicia Blanco Jiménez and Petra Jiménez De Lopez." Callaloo 31, no. 1 (2008): 69–257. http://dx.doi.org/10.1353/cal.0.0017.

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Charles H. Rowell, Marcus Jones, and Ana Martinez. "Interview with Alicia Blanco Jiménez and Petra Jiménez De Lopez." Callaloo 31, no. 1 (2008): 69–75. http://dx.doi.org/10.1353/cal.0.0039.

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Alonso, Marta, Juan A. Jiménez, and María J. Cano. "Taxonomic Revision of Chionoloma (Pottiaceae, Bryophyta)." Annals of the Missouri Botanical Garden 104, no. 4 (2019): 563–632. http://dx.doi.org/10.3417/2019381.

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A worldwide taxonomic revision of the species belonging to the moss genus Chionoloma Dixon (Pottiaceae) is here presented. Our work is based on the morphological analysis of more than 2600 specimens deposited in different herbaria or collected during field trips. A total of 131 names were found and their nomenclatural types were examined, resulting in the lectotypification of 45 names. It is concluded that Chionoloma is composed of 22 species and one variety, seven of them are here newly combined (C. circinatum (Besch.) M. Alonso, M. J. Cano & J. A. Jiménez; C. cylindrotheca (Mitt.) M. Alonso, M. J. Cano & J. A. Jiménez; C. hyalinoblastum (Broth.) M. Alonso, M. J. Cano & J. A. Jiménez; C. melanostomum (Mitt.) M. Alonso, M. J. Cano & J. A. Jiménez; C. orthodontum (Müll. Hal.) M. Alonso, M. J. Cano & J. A. Jiménez; C. sarawakense (Dixon) M. Alonso, M. J. Cano & J. A. Jiménez; and C. stenocarpum (Thér) M. Alonso, M. J. Cano & J. A. Jiménez). Moreover, 42 names are newly synonymized and a total of 74 new records for various countries are reported. Keys, descriptions, illustrations, photographs, and distribution data of each species are provided.
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Dissertations / Theses on the topic "Jiménez"

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González, Navarro Moisés. "Francisco Orozco y Jiménez, el chamula." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/121917.

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Klingberg, Carlos Jiménez [Verfasser]. "Selektive Adsorption von Immunglobulinen / Carlos Jiménez Klingberg." Köln : Deutsche Zentralbibliothek für Medizin, 2010. http://d-nb.info/1000935701/34.

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Franzoni, Maria Auxiliadora [UNESP]. "Os caminhos da poesia em Juan Rámon Jiménez." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/103681.

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Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-03-17Bitstream added on 2014-06-13T19:22:29Z : No. of bitstreams: 1 franzoni_ma_dr_assis.pdf: 649296 bytes, checksum: f6fa76a9cda2589ae1acece2c2f21fa9 (MD5)
Diario de un poeta reciencasado (1917) é o livro que dá entrada à segunda época da poesia de Juan Ramón Jiménez. Ele é um elo entre as duas épocas do poeta: estabelece a unidade, a continuidade, mas também as mutações. Nada é tão importante no Diario quanto seu profundo e misterioso simbolismo. Um aspecto a que Juan Ramón Jiménez se mantém fiel desde o início de sua poesia e que se reforça é manter com a natureza e com a mulher uma ambígua relação de profunda e recíproca atração e aversão. Nesse processo o poeta acaba por colocar-se à distância, olhando e corrigindo. Ao isolar-se da natureza e da mulher, ao observar de longe, ao enquadrá-las em cenas, mantendo a atitude de um voyeur que tudo vê - mas corrige - o poeta constrói sua arte. O espaço e o tempo passam a ser mostrados em dimensões diferentes. São essas novas relações do eu poético com a natureza, com a mulher, com o espaço, com o tempo e com sua alma que fazem de Diario de un poeta reciencasado uma obra metafísica. Sob esse enfoque analisamos seus poemas nos caminhos da terra, do mar e do céu, enfatizando que esses caminhos marcam a entrada de Juan Ramón na segunda e última época de sua poesia e concorrem para a construção do que foi o signo da escola juanramoniana: a poesia em movimento.
Diario de un poeta reciencasado is the book that starts the second season of Juan Ramón Jiménez poetry. Itþs a link between two poet seasons, and establish the unity, the literary composition continuity, but also the mutations. Nothing is more important in the Diary than the deep and misterius simbolism. One aspect that Juan Ramón Jiménez maintain fidelity since the begin of his literary composition and reinforce in Diario is to maitain with the nature and with the woman one deep, reciprocal atraction and aversion ambiguous relation. In this process he puts himself faraway, looking and correcting. Isolating himself from nature and the woman, looking them from farway, framing them in scenes and with them maintain the attitude of one voyeur that see everything - but corrects - the poet build his art. The space and time becomes to be showed in a strange dimensions out of reality. This is the new relations from himself poetic with the nature, with the woman, with the space, with the time and with him soul makes the Diario de un poeta reciencasado one literary composition metaphysics. Under this view we analyse his poems in earth, sea and sky ways, emphasizing that this ways mark the Juan Ramón entrance in the second and last season os his poetry and concour for the construction that was the juanramoniana school sign: the poetry in movement.
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Franzoni, Maria Auxiliadora. "Os caminhos da poesia em Juan Rámon Jiménez /." Assis : [s.n.], 2006. http://hdl.handle.net/11449/103681.

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Orientador: Antonio Roberto Esteves
Banca: Heloisa Costa Milton
Banca: Ana Maria Domingues de Oliveira
Resumo: Diario de un poeta reciencasado (1917) é o livro que dá entrada à segunda época da poesia de Juan Ramón Jiménez. Ele é um elo entre as duas épocas do poeta: estabelece a unidade, a continuidade, mas também as mutações. Nada é tão importante no Diario quanto seu profundo e misterioso simbolismo. Um aspecto a que Juan Ramón Jiménez se mantém fiel desde o início de sua poesia e que se reforça é manter com a natureza e com a mulher uma ambígua relação de profunda e recíproca atração e aversão. Nesse processo o poeta acaba por colocar-se à distância, olhando e corrigindo. Ao isolar-se da natureza e da mulher, ao observar de longe, ao enquadrá-las em cenas, mantendo a atitude de um voyeur que tudo vê - mas corrige - o poeta constrói sua arte. O espaço e o tempo passam a ser mostrados em dimensões diferentes. São essas novas relações do eu poético com a natureza, com a mulher, com o espaço, com o tempo e com sua alma que fazem de Diario de un poeta reciencasado uma obra metafísica. Sob esse enfoque analisamos seus poemas nos caminhos da terra, do mar e do céu, enfatizando que esses caminhos marcam a entrada de Juan Ramón na segunda e última época de sua poesia e concorrem para a construção do que foi o signo da escola juanramoniana: a poesia em movimento.
Abstract: Diario de un poeta reciencasado is the book that starts the second season of Juan Ramón Jiménez poetry. Itþs a link between two poet seasons, and establish the unity, the literary composition continuity, but also the mutations. Nothing is more important in the Diary than the deep and misterius simbolism. One aspect that Juan Ramón Jiménez maintain fidelity since the begin of his literary composition and reinforce in Diario is to maitain with the nature and with the woman one deep, reciprocal atraction and aversion ambiguous relation. In this process he puts himself faraway, looking and correcting. Isolating himself from nature and the woman, looking them from farway, framing them in scenes and with them maintain the attitude of one voyeur that see everything - but corrects - the poet build his art. The space and time becomes to be showed in a strange dimensions out of reality. This is the new relations from himself poetic with the nature, with the woman, with the space, with the time and with him soul makes the Diario de un poeta reciencasado one literary composition metaphysics. Under this view we analyse his poems in earth, sea and sky ways, emphasizing that this ways mark the Juan Ramón entrance in the second and last season os his poetry and concour for the construction that was the juanramoniana school sign: the poetry in movement.
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Carvajal, Ortega Hernán Fidel. "Planificación Estratégica de la Comunidad Agrícola Jiménez y Tapia." Tesis, Universidad de Chile, 2008. http://www.repositorio.uchile.cl/handle/2250/103030.

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Lecler, Daniel. "Métamorphose et spiritualité dans Sonetos espirituales de Juan Ramón Jiménez." Phd thesis, Université Paris-Sorbonne - Paris IV, 2003. http://tel.archives-ouvertes.fr/tel-00988951.

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Cet ouvrage est consacré aux Sonetos espirituales (1917) de Juan Ramón Jiménez (Moguer 1881, Porto Rio 1958). Ce recueil, trop souvent délaissé, se révèle essentiel en ce qu'il occupe une place déterminante dans le cheminement poétique de l'écrivain. À la charnière de ses années de jeunesse et de la pleine maturité de son art, c'est la voix jiménienne qui prend corps dans ce recueil de cinquante-cinq sonnets. Le poète présentant son œuvre de façon récurrente comme "una sucesión", c'est sous le signe de la métamorphose toute-puissante et de la spiritualité, terme qualifiant la totalité de ses compositions, que nous avons choisi de placer notre étude. Dans un premier chapitre, nous nous intéressons, à travers ses écrits, à l'espace et au temps du poète, à la dynamique que crée la tension qui se fait jour entre ses désirs les plus ardents et ses peurs les plus profondes. Nous abordons ensuite les éléments (formels, rythmiques, graphiques, structurels, syntaxiques) qui, véritablement constituent le corps poétique de Sonetos espiriturales en insistant sur la signifiance de leur agencement. Enfin, nous montrons que la métamorphose est, pour le poète andalou, un véritable exercice spirituel dans le langage poétique qui contribue à faire de ce recueil un miroir de papier dans lequel, grâce à "la mémoire de l'oubli" et à la conscience, le moi vient se refléter et identifier une image de dieu.
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Jiménez, Félix, Piero Ghezzi, and José Gallardo. "Debate Jiménez - Ghezzi/Gallardo: Qué se puede hacer con el Perú." Economía, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/117273.

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Moreno, González Santiago. "El exilio interior de José Jiménez Lozano. Estudio de una propuesta narrativa singular." Doctoral thesis, Universidad de Murcia, 2008. http://hdl.handle.net/10803/10959.

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José Jiménez Lozano es un escritor singular dentro del panorama literario hispánico de las últimas décadas. Su obra es vasta y diversa y a esta observación inicial no escapa su narrativa, género en el que el escritor se muestra más prolífico. A pesar de la diversidad aparente, existe una notable unidad subyacente a toda la obra de José Jiménez Lozano. Esta unidad reposa no sólo sobre el regreso constante a unos mismos asuntos sino también sobre los planteamientos o fundamentos de los que parte su creación literaria. El escritor reflexiona sobre su obra y deja diseminado, a través de las diversas manifestaciones de su prosa de ideas, un discurso sobre la escritura que este trabajo sintetiza, valorando, asimismo, la coherencia entre esta reflexión y la praxis literaria.
José Jiménez Lozano is a unique writer in the Hispanic literary scene of these last decades. His work is vast and diverse, and this initial observation does not escape his narrative, which genre the write demonstrates more prolifically. Despite the apparent diversity, there is outstanding unity underlying Jiménez Lozano´ entire work. This unity lies not only on the constant return to the same matters, but also on the approaches or the reasons, from which his literary work begins. The writer reflects over his work ant lets his ideas expand through the diverse manifestations of his ideas on prose. It is a talk about the rhetorical writing of this work, valuing the coherent existence between reflection and literary practice
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Labán, Salguero Magaly Patricia. "Tradición y recreación en el retablo ayacuchano de la familia Jiménez (1980-2000)." Master's thesis, Universidad Nacional Mayor de San Marcos, 2016. https://hdl.handle.net/20.500.12672/5047.

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Estudia los aportes de la familia Jiménez al retablo ayacuchano y la tradición familiar formada por don Florentino Jiménez Toma y seguida por sus hijos, a partir del estudio de la tradición del retablo como forma artística ayacuchana. La investigación se justifica debido a la falta de estudios del retablo ayacuchano como objeto artístico en proceso de recreación, solo ha sido estudiado como objeto etnográfico o antropológico, no existen estudios sobre su variación estética, ni de su diseño. Estudia la tradición, la recreación, la variación de los temas, las formas y los diseños de los retablos narrativos ayacuchanos de la familia Jiménez del periodo 1980 - 2000. Identifica los aportes formales y temáticos de Florentino Jiménez Toma y sus hijos Claudio y Mabilón Jiménez Quispe. Analiza los referentes formales y estilísticos de las cajas de imaginero que migraron al retablo ayacuchano de la familia Jiménez con la finalidad de establecer el proceso creativo seguido en la realización de los retablos ayacuchanos narrativos y la importancia de la autoconciencia artística.
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Jiménez-de-la-Cuesta, Otero Diego Verfasser], and Thorsten [Akademischer Betreuer] [Mauritsen. "Historical Warming and Climate Sensitivity / Diego Jiménez-de-la-Cuesta Otero ; Betreuer: Thorsten Mauritsen." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2020. http://nbn-resolving.de/urn:nbn:de:gbv:18-105175.

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Books on the topic "Jiménez"

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Valera, Juan. Pepita Jiménez. Biblioteca Nueva, 2006.

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Valera, Juan. Pepita Jiménez. Espasa Calpe, 1986.

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Valera, Juan. Pepita Jiménez. Altea, Taurus, Alfaguara, 1991.

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Jiménez, Carlos. Carlos Jiménez. G. Gili, 2000.

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Valera, Juan. Pepita Jiménez. 2nd ed. Espasa-Calpe, 1988.

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Jiménez, Carlos. Carlos Jiménez. G. Gili, 1991.

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Valera, Juan. Pepita Jiménez. PML Ediciones, 1994.

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Valera, Juan. Pepita Jiménez. Planeta, 1987.

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1824-1905, Valera Juan, ed. Pepita Jiménez. La Spiga Languages, 2008.

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Valera, Juan. Pepita Jiménez. Cátedra, 2002.

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Book chapters on the topic "Jiménez"

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Ortega, Racso Fernández. "Núñez Jiménez, Antonio." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_2562.

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Diz Vidal, Martin. "Jiménez, Juan Ramón." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_4043-1.

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Ortega, Racso Fernández. "Núñez Jiménez, Antonio." In Encyclopedia of Global Archaeology. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_2562-1.

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Vidal, Martin Diz. "Juan Ramón Jiménez." In Kindler Kompakt: Spanische Literatur, 20. Jahrhundert. J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05523-1_3.

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Romero Velásquez, Sandra. "Jiménez Cadena, Álvaro." In The Palgrave Biographical Encyclopedia of Psychology in Latin America. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-38726-6_408-1.

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Romero Velásquez, Sandra. "Jiménez Cadena, Álvaro." In The Palgrave Biographical Encyclopedia of Psychology in Latin America. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-56781-1_408.

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Pörtl, Klaus. "Juan Valera · Pepita Jiménez." In Der spanische Roman. J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-03605-6_12.

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Felten, Uta. "Valera, Juan: Pepita Jiménez." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18198-1.

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Soufas, C. Christopher. "Valera and Pepita Jiménez." In Subject, Structure, and Imagination in the Spanish Discourse on Modernity. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137532862_10.

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Rodríguez Carillo, Pedro R. "Salazar Jiménez, José Miguel." In The Palgrave Biographical Encyclopedia of Psychology in Latin America. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-38726-6_627-1.

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Conference papers on the topic "Jiménez"

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Encarnación-Vargas, Carmen, and Cesar Guevara. "Development of an Interactive Story Applying Digital Narrative for Reading Comprehension." In Human Systems Engineering and Design (IHSED 2021) Future Trends and Applications. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe1001135.

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This research seeks in digital narratives a methodology that contributes to improve the field of reading comprehension. Storytelling adds technological tools to the educational process. These strategies allow the student to participate, interact and build their meaningful learning. Thus, four interactive stories were designed and applied, with narrations adapted to the students' social environment. Storytelling and gamification were used through tools like: Vyond, Movavi, Powtoon, VideoScribe and Filmora. The participants are students of “Juan Jiménez” PCEI school, an intensive upper basic cycle, located in the eastern region of the Republic of Ecuador. And the students have obtained excellent qualification marks with this prototype.
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Zambrano Chacon, M. D. L. A., C. M. Gotera Rivera, G. Peces-Barba Romero, et al. "Association of COPD and/or emphysema in the lung cancer screening program in Fundación Jiménez Díaz Hospital." In ERS International Congress 2022 abstracts. European Respiratory Society, 2022. http://dx.doi.org/10.1183/13993003.congress-2022.3783.

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Losada, Karla, Jorge Galindo-Díaz, and Joan Fontàs Serrat. "Reconstrucción virtual del puente fortificado de la Media Luna (Cartagena de Indias) a través de herramientas digitales." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11330.

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Virtual reconstruction of the fortified bridge of the Media Luna (Cartagena de Indias) using digital toolsOne of the most important architectural pieces of the walled complex of Cartagena de Indias in Colombia was the so-called bridge of the Media Luna, whose first phase of construction dates back to 1628. Since its construction, the Media Luna underwent several reforms and was submitted to some projects aimed at strengthening its defensive capacity conceived by military engineers at the service of the Spanish Crown, such as Juan Jiménez Donoso and Antonio de Arévalo. Despite this, a complete plan of the bridge, demolished at the end of the nineteenth century, has not been preserved, and it was never completely photographed. This paper, as a product of a research project related to the genesis of construction techniques in Cartagena de Indias, presents a digital reconstruction of the Media Luna after gathering and analyzing cartographic information still preserved in archives, photographs taken shortly before the demolition of the bridge, as well as traveler stories, descriptions and drawings done by nineteenth century chroniclers. The integral visualization of the Media Luna and its surroundings offers new value to the bridge and contributes to the integral understanding of the fortified complex of Cartagena de Indias.
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Novaes, Denise. "O profissional audiodescritor e a audiodescrição (AD) como requisito de acessibilidade a bens culturais pelas pessoas cegas." In Simpósio Internacional Trabalho, Relações de Trabalho, Educação e Identidade. Appos, 2020. http://dx.doi.org/10.47930/1980-685x.2020.1905.

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: A audiodescrição (AD) é um recurso de acessibilidade a informações visuais, principalmente voltado a pessoas cegas ou com baixa visão. Discute-se, neste trabalho, a necessidade de disponibilizar esse recurso em museus, de modo a ampliar as possibilidades de interação desse público, com vídeos e com propostas de videoinstalações, hoje muito comuns em grande parte desses espaços de memória. Foram utilizadas como referências, as propostas metodológicas para a elaboração dos roteiros de AD de Payá (2007; 2010); Jimenéz-Hurtado (2007) e Jiménez-Hurtado; Rodríguez; Seibel (2010); além de Snyder (2017). Foi proposto um roteiro de AD para dois vídeos que compõem uma videoinstalação, que integra o acervo do Museu de Artes e de Ofícios (MAO), Belo Horizonte/MG. No intuito de contribuir para as discussões sobre a metodologia de elaboração de AD, foi comprovada a necessidade de conhecimento sobre a temática dos vídeos a serem audiodescritos, feita em pesquisa paralela à formulação do roteiro em si, de forma a compreender o cenário e decidir sobre as melhores escolhas lexicais e semânticas que irão melhor expressar, em palavras, o que é percebido pela dimensão visual. Conclui-se que a AD de vídeos pode possibilitar a inclusão de pessoas cegas em espaços museais que se utilizem de vídeo e videoinstalações, ampliando a fruição estética dessas propostas interativas, garantindo o direito constitucional de acesso de todos aos bens culturais.
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Villayzan, José García. "585 A pilot study for the validation of sentinel lymph node biopsy with indocyanine green fluorescence method in early endometrial cancer at Fundación Jiménez Díaz university hospital." In ESGO SoA 2020 Conference Abstracts. BMJ Publishing Group Ltd, 2020. http://dx.doi.org/10.1136/ijgc-2020-esgo.212.

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Reports on the topic "Jiménez"

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Yáñez, Ernesto, George Gray-Molina, Ernesto Pérez de Rada, and Wilson Jiménez. Pobreza y activos en Bolivia: ¿Qué rol juega el capital social? Inter-American Development Bank, 1999. http://dx.doi.org/10.18235/0012008.

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Análisis recientes de la pobreza en Bolivia muestran que, a pesar de un ligero descenso en el porcentaje de la población que vive en condiciones de pobreza a lo largo de la última década, el número absoluto de hogares pobres continúa en ascenso (Jiménez y Yañez 1997a y b; Vos et al. 1997; Banco Mundial 1996). El bajo nivel de crecimiento de los ingresos de los hogares más pobres sugiere que los esfuerzos sostenidos por mantener niveles de crecimiento económico moderados e incrementar la eficiencia en la asignación del gasto e inversión pública no han sido suficientes para revertir las condiciones de pobreza crónica que caracterizan al país. Los enfoques analíticos que sostuvieron la aplicación de políticas de crecimiento y redes de protección en la región también se encuentran en un periodo de cuestionamiento y reformulación. Perspectivas que enfatizaban la medición de la pobreza por insuficiencia de ingresos o necesidades básicas (Lipton y van der Gaag 1993; Boltvinik 1992), se encuentran interpelados por modelos alternativos que procuran analizar patrones de causalidad entre pobreza y el acceso a mercados de activos de capital humano, capital físico (público y privado) y capital social (Birdsall y Londoño 1997a y b; Moser 1998; Collier 1998). Este estudio procura contribuir al análisis de la pobreza desde la perspectiva de recursos y activos, y describir los alcances de este enfoque aplicado al caso boliviano.
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