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Journal articles on the topic 'Latin plays'
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1
Sider, Robert D., and Dick Burnell. "Vesuvius and Other Latin Plays." Classical World 86, no. 2 (1992): 153. http://dx.doi.org/10.2307/4351273.
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Wood, Julia K. "Two Latin Play Songs." Royal Musical Association Research Chronicle 21 (1988): 45–52. http://dx.doi.org/10.1080/14723808.1988.10540927.
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Musical settings of lyrics from Latin plays written by Englishmen during the Caroline period are extremely rare. Only two such songs survive: ‘Dulcis somne’ from William Johnson's university play Valetudinarium, and ‘Astrorum iubar’ from Joseph Simons's school play Zeno sive Ambitio Infelix. Unusually, both songs are known only from copies bound into the play-texts themselves rather than from exclusively musical sources. This article sets out to evaluate both the songs themselves and their dramatic functions.
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Graham-Jones, Jean. "Latin American(ist) Theatre History: Bridging the Divides." Theatre Survey 47, no. 2 (September 12, 2006): 209–15. http://dx.doi.org/10.1017/s0040557406000172.
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In October 2004, I edited Theatre Journal's special issue on Latin American theatre. In addition to five essays on subjects ranging from sixteenth-century Amerindian performance to a twenty-first-century Mexican adaptation of an Irish play, that issue included a forum on the state of Latin American theatre and performance studies in the United States today. Even though the thirteen respondents resided, independently or as affiliates, in different disciplinary homes (theatre, performance, languages, and literature) and took multiple points of departure, a common thread ran throughout their comments: the need for the U.S. academy to study and teach the diversity that is known as Latin America.1 Tamara Underiner succinctly notes that “Latin America has never answered easily as an object of inquiry for theatre studies.”2 Indeed, studying Latin American theatre and performance poses very specific challenges: the region encompasses some twenty countries whose national borders obscure larger geographical, cultural, religious, political, and socioeconomic networks; a multiplicity of languages—European, dialectal, and indigenous to the hemisphere—are still spoken, written, and performed; and numerous intersecting histories extend back far beyond the five hundred years since the Europeans arrived and precipitated what today we euphemistically refer to as “contact.” Latin America does not terminate at the U.S.–Mexican border; thus although I'm cognizant of the attendant complications when including the U.S. latino/a communities in a discussion of Latin American theatre, the cultural network is such that I consider any arbitrary separation counter to the purposes of this reflection. Otherwise, how can we take into account the larger networks navigated by such U.S.-based playwrights as Guillermo Reyes (born in Chile but raised in the United States and the author of plays about Chilean history as well as specifically U.S. identities) or Ariel Dorfman (born in Argentina, raised in New York City and Santiago, Chile, now a professor at Duke, and author of English-language plays whose subject matter is frequently authoritarian Latin America)?
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Huerta, Jorge A. "Teaching and Producing Latina/o and Latin American Plays in US Colleges and Universities." Theatre Journal 56, no. 3 (2004): 472–74. http://dx.doi.org/10.1353/tj.2004.0102.
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Hernández, Paola. "The Art of Production: Staging Latin(o) American Plays." Latin American Theatre Review 50, no. 1 (2016): 113–31. http://dx.doi.org/10.1353/ltr.2016.0063.
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Newman, Barbara. "Peter Dronke, ed. and trans. Nine Medieval Latin Plays." Journal of Medieval Latin 07 (January 1997): 258–60. http://dx.doi.org/10.1484/j.jml.2.304440.
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McDermott, Ryan. "John Henry Newman and the Oratory School Latin Plays." Newman Studies Journal 9, no. 2 (2012): 6–12. http://dx.doi.org/10.1353/nsj.2012.0029.
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McDermott, Ryan. "John Henry Newman and the Oratory School Latin Plays." Newman Studies Journal 9, no. 2 (2012): 6–12. http://dx.doi.org/10.5840/nsj20129218.
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Szkwarek, Magdalena. "W co grają bohaterowie literatury latynoamerykańskiej?" Literatura i Kultura Popularna 23 (May 31, 2018): 187–97. http://dx.doi.org/10.19195/0867-7441.23.9.13.
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What games do the characters in Latin American literature play?The “open text” concept allows us to look at the literary work through the prism of the game which an author plays or could potentially play with a recipient. However, in my article I would like to show what games literally! play the fictional characters created by authors from Latin America, namely: board games, games involving physical stimulation, group games, video games, etc. Regardless of the origin and social status, the characters in Latin American literature enjoy playing games, as we shall see by analyzing selected texts.
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JACKSON, MACD P. "LATIN FORMULAE FOR ACT ENDINGS IN EARLY MODERN ENGLISH PLAYS." Notes and Queries 46, no. 2 (June 1, 1999): 262–65. http://dx.doi.org/10.1093/nq/46-2-262.
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JACKSON, MACD P. "LATIN FORMULAE FOR ACT ENDINGS IN EARLY MODERN ENGLISH PLAYS." Notes and Queries 46, no. 2 (1999): 262–65. http://dx.doi.org/10.1093/nq/46.2.262.
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Edwards, Gwynne. "Theatre Workshop's Translations of Three Spanish Plays." New Theatre Quarterly 25, no. 1 (February 2009): 52–62. http://dx.doi.org/10.1017/s0266464x09000050.
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In 1936 Joan Littlewood staged Lope de Vega's seventeenth-century play, Fuente Ovejuna (The Sheep Well); in 1945 Lorca's The Love of Don Perlimplín for Belisa in His Garden; and in 1958 Fernando de Rojas's sixteenth-century La Celestina. There were also plans to produce Lorca's Blood Wedding in 1948. The English versions of Fuente Ovejuna, Don Perlimplín, and Blood Wedding have been preserved in the Theatre Workshop archive at Littlewood's former base, the Theatre Royal, Stratford East, and in the following article Gwynne Edwards compares these translations with the original Spanish plays, considers the changes which were introduced in the process of adaptation, and assesses the merits of each. Gwynne Edwards is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca, as well as translations of seventeenth-century Spanish and modern Latin American plays, have been published by Methuen, and many have been given professional productions. He has recently completed the libretto of an opera on the last days of Dylan Thomas.
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Lowe, J. C. B. "Aspects of Plautus' Originality in the Asinaria." Classical Quarterly 42, no. 1 (May 1992): 152–75. http://dx.doi.org/10.1017/s000983880004266x.
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That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly by German scholars, under the stimulus of Romantic criticism which attached paramount importance to originality in art. Since then the question has been constantly debated, often with acrimony, and to this day very different answers to it continue to be given. Yet the question is obviously important, both for those who would measure the artistic achievement of the Latin dramatists and for those who would use the plays to document aspects of Greek or Roman life. It is not disputed that Plautus' plays contain many Roman allusions and Latin puns which cannot have been derived from any Greek model and must be attributed to the Roman adapter. What is disputed is whether this overt Romanization is merely a superficial veneer overlaid on fundamentally Greek structures or whether Plautus made more radical changes to the structure as well as the spirit of his models.
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Raventós, Jordi. "MACARRÒNIC SINGULAR: EL LLATÍ EN AMOR, FIRMESA I PORFIA DE FRANCESC FONTANELLA." Catalan Review 17, no. 2 (January 1, 2003): 141–50. http://dx.doi.org/10.3828/catr.17.2.7.
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A relevant virtue of Francesc Fontanella’s Tragicomèdia d’amor, firmesa i porfia, one of the more important Catalan baroque dramatic plays, is the combination of serious tone with amusement and irony. The latter characteristics are quite obvious in the comic characters of the play, especially in Cassòlio, who is stigmatized as being a “macarrònic singular” because of the level of pedantry he shows by using Latin words throughout. Nevertheless, a good number of the Latin expressions that the author has this character voice come from Virgil’s Aeneid, books III, IV, and V. This fact corroborates the knowledge that Fontanella had about the Mantuan poet, as it exalts the comical side of the play before the educated audience of its time.
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Warnicke, Retha M. "More'sRichard IIIand the mystery plays." Historical Journal 35, no. 4 (December 1992): 761–78. http://dx.doi.org/10.1017/s0018246x00026157.
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AbstractAn analysis of Thomas Mare's English version ofThe history of King Richard IIIindicates that the popular mystery cycles influenced his composition. Associated with the celebrations of Corpus Christi Day, the cycles present a series of biblical plays, beginning with the Creation and ending with the Last Judgment. The important themes of tyranny and sacrifice, which this drama explores, also loom large inRichard III. The theme of tyranny is loosely related in the cycles through Lucifer's functioning as the prototype of all earthly tyrants, including More'sRichard III. Evidence of the sacrifice, which is at the heart of the mass, can also be found in many biblical scenes. More's reference to Richard's adolescent nephews as ‘innocent babes’ links them to the infants Herod earlier sacrified to his ambitions. Indeed, inRichard III, More does make an intriguing reference to a cobbler performing the role of a ‘sowdayne’ in a play. The suggestion that this drama influenced More's writing is consistent with the speculation that he composed the English version first and then, with the classics in mind, wrote out a separate Latin text, for the two versions have significant differences in imagery, word choice and structure.
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Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (March 2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.
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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's and Buchanan's plays reveal the potential for Greek tragedy to shape early modern drama, but also for early modern drama to shape how Greek tragedy itself was read and received in early modern England.
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UGGLA, FREDRIK. "The Ombudsman in Latin America." Journal of Latin American Studies 36, no. 3 (August 2004): 423–50. http://dx.doi.org/10.1017/s0022216x04007746.
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During the last 20 years ombudsmen have been established in most Latin American countries. This article provides an overview of the how these institutions have evolved in six countries, particularly with regard to their political independence and strength. In spite of the potentially important role that such institutions may have in promoting public accountability, respect for human rights and the rule of law in new democracies, some ombudsmen have been more successful than others in these tasks. This article reflects on possible factors accounting for the relative effectiveness of the ombudsman, and discusses the role that this institution plays in contemporary Latin America.
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Lowe, N. J. "IV From Greece to Rome." New Surveys in the Classics 37 (2007): 81–96. http://dx.doi.org/10.1017/s0017383508000466.
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The origins of Roman comedy are, in one sense, clear-cut: at the Ludi Romani or Roman Games of September 240, a Romanized Tarentine Greek known as Lucius Livius Andronicus, who at some point also translated the Odyssey into Latin, produced the first Latin translations of Greek plays on a Roman stage. This firm date, for which we have Cicero's friend Atticus to thank, marks the beginning of the establishment of a practice of translating classic Greek plays that would continue in both comedy and tragedy for at least a further century.
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Enriquez, Sophia M. "“Penned Against the Wall”." Journal of Popular Music Studies 32, no. 2 (June 1, 2020): 63–76. http://dx.doi.org/10.1525/jpms.2020.32.2.63.
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Although the Appalachian region has long been associated with white racial identity, Latinx people remain the region's largest and fastest-growing minority. What perspectives and experiences are revealed when such narratives of whiteness are challenged by the visibility of Latinx migrants? What does music tell us about ongoing discourses of migration and border-crossings? This essay analyzes Latinx immigration narratives in Appalachian music and offers the possibility of a Latinx-Appalachian musical and cultural resonances. I take up the music of artists who claim hybrid Latinx-Appalachian cultural and musical identities. Namely, this essay focuses on Che Apalache—a four-piece band based in Buenos Aires that plays “Latingrass”—and the Lua Project—a five-piece band based in Charlottesville, Virginia, that plays “Mexilachian” music. Using field recordings and ethnographic interviews with both groups, this essay analyzes references to U.S.-Mexico border politics, acts of border crossing, and Latin American-Appalachian geographic similarities. I engage U.S.-based Latinx studies and Appalachian studies to establish relationships of Appalachian and Latinx cultures and incorporate analyses of both Spanish and English lyrics. Ultimately, this essay suggests that listening for Latinx migration narratives in Appalachian music challenges assumptions of belonging in the shifting U.S. cultural landscape.
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Black, Deborah L. "Aristotle’s ‘Peri hermeneias’ in Medieval Latin and Arabic Philosophy: Logic and the Linguistic Arts." Canadian Journal of Philosophy Supplementary Volume 17 (1991): 25–83. http://dx.doi.org/10.1080/00455091.1991.10717262.
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In many fields within the history of medieval philosophy, the comparison of the Latin and Arabic Aristotelian commentary traditions must be concerned in large measure with the influence of Arabic authors, especially Avicenna and Averroes, upon their Latin successors. In the case of the commentary tradition on the Peri hermeneias, however, the question of influence plays little or no part in such comparative considerations. Yet the absence of a direct influence of Arabic philosophers upon their Latin counterparts does have its own peculiar advantages, since it provides an opportunity to explore the effects upon Aristotelian exegesis of the different linguistic backgrounds of Arabic and Latin authors.
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Bowden, Betsy. "Latin Pedagogical Plays and the Rape Scene in The Two Gentlemen of Verona." English Language Notes 41, no. 2 (December 1, 2003): 18–32. http://dx.doi.org/10.1215/00138282-41.2.18.
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Escobar, Samuel. "Missions and Renewal in Latin-American Catholicism." Missiology: An International Review 15, no. 2 (April 1987): 33–46. http://dx.doi.org/10.1177/009182968701500203.
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Not enough attention has been paid to the impact of Catholic North American and European missionary work on the contemporary state of Christianity in Latin America. Another important aspect of recent missionary history is the effect of the Protestant missionary presence in Latin America on the Catholic Church there. This article makes an initial exploration into these processes, examining especially how Latin-American Catholicism is experiencing a change in three areas: a self-critical redefinition of the meaning of being a Christian, a fresh understanding of the Christian message in which the Bible plays a vital role, and a change of pastoral methodologies more relevant to the situation of the continent.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 64, no. 2 (October 2017): 188–93. http://dx.doi.org/10.1017/s0017383517000092.
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I still remember the thrill of reading for the first time, as an undergraduate, Frederick Ahl's seminal articles ‘The Art of Safe Criticism’ and the ‘Horse and the Rider’, and the ensuing sense that the doors of perception were opening to reveal for me the (alarming) secrets of Latin poetry. The collectionWordplay and Powerplay in Latin Poetryis a tribute to Ahl, and all twenty-two articles take his scholarship as their inspiration. Fittingly, this book is often playful and great fun to read, and contains some beautiful writing from its contributors, but also reflects the darker side of Latin literature's entanglement with violence and oppression. For the latter, see especially Joy Connolly's sobering discussion of ‘A Theory of Violence’ in Lucan, which draws on Achille Mbembe's theory of the reiterative violence of everyday life that sustains postcolonial rule in Africa (273–97), which resonates bleakly beyond Classical scholarship to the present day. Elsewhere there is much emphasis (ha!) on the practice and effects of veiled speech, ambiguity, and hidden meanings. Pleasingly, Michael Fontaine identifies what he calls ‘Freudian Bullseyes’ in Virgil: a ‘correct word that hits the mark’ (141) that also reveals – simply and directly – the unspoken guilty preoccupations of the speaker: Dido's lust for Aeneas, Aeneas’ grief-stricken sense of responsibility for Pallas’ death. A citation from F. Scott Fitzgerald'sTender is the Nightprovides the chilling final line of Emily Gowers’ delicious article about what ripples out beyond the coincidence of sound of Dido/bubo. The volume explores subversive responses to power (for example, the articles of Erica Bexley and David Konstan), as well as the risk of powerful retaliation (Rhiannon Ash considers the political consequences of poetry as represented by Tacitus). There are also broader methodological reflections on interpretation, from musings on the reader's pleasure at decoding the hidden messages of wordplay such as puns, anagrams, and acrostics (as Fitch puts it, ‘the pleasure of wit, combined with the pleasure of active involvement’ [327]) to exploration of the anxiety of a reader who worries that they may be over-interpreting a text. Contributions variously address the ‘paranoia’ of literary criticism and the drive to try to ground meaning in the text and prove authorial intention: while John Fitch asks if the wordplay ‘really is there’ in the etymological names used by Seneca in his plays (314), Alex Dressler's article (37–68) helps frame the various modes of interpretation that we find in subsequent articles, by putting interpretation itself under scrutiny. His intriguing analysis introduces the helpful motif of espionage (interweaving Syme's possible post-war role in intelligence with Augustan conspiracy and conspiracy theories) and concludes that – like double agents – ‘secret meanings’ need a handler (53) and we readers need to take responsibility for our own partisan readings.
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Wisniewski, Eliseu, and Antonio José de Almeida. "Ministérios eclesiais: perspectiva das conferências gerais do episcopado latino-americano e caribenho." Revista Eclesiástica Brasileira 79, no. 313 (September 20, 2019): 369. http://dx.doi.org/10.29386/reb.v79i313.1879.
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A Igreja desempenha sua missão de evangelizar através da acolhida da vocação ministerial suscitada pelo Espírito Santo. Esta acolhida se expressa em inúmeros serviços voltados para o atendimento de aspectos concretos da vida das comunidades eclesiais. Neste artigo, o Autor tendo presente o Documento Final das Conferências Gerais do Episcopado Latino-americano e Caribenho pretende entender como cada uma delas tratou o tema dos ministérios eclesiais, indicando o percurso feito e assinalando o que considera como conquistas, diferenças e avanços sobre um dos temas mais fundamentais e urgentes para a Igreja. Abstract: The church plays its role to evangelize through the welcome of the ministerial vocation raised by the Holy Spirit. This welcome is expressed in several activities for the care of specific aspects of life of the ecclesial communities. In this article, the author, referring to the Final Document of the General Conference of the Latin American and Caribbean Bishops, intends to understand how each one treated the theme of ecclesial ministries, indicating the way and showing what he considers as achievements, differences and advances on one of the most fundamental and urgent role for the ChurchKeywords: Latin American Episcopate; General Conferences; Latin American Church; Ordained ministries; Non-ordained ministries.
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Swettenham, Neal. "The Actor's Problem: Performing the Plays of Richard Foreman." New Theatre Quarterly 24, no. 1 (January 30, 2008): 65–74. http://dx.doi.org/10.1017/s0266464x08000067.
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The plays of the American avant-garde writer and director Richard Foreman present actors with a significant problem: their characters exist in a constant state of flux, detached from the usual narrative moorings, with the result that conventional acting methodologies do not apply. Drawing on interviews with Foreman himself, with the actors who worked with him on his New York production of King Cowboy Rufus Rules the Universe (2004), and on the rehearsal process of a student group preparing for the UK premiere of Pearls for Pigs (1993), Neal Swettenham investigates in this essay the precise challenges posed by these unusual texts. He argues that Foreman wants to provoke in his actors a sense of being permanently ‘off-balance’, requiring each of the performers in King Cowboy Rufus to develop their own way of navigating the play's contradictory demands. Similarly, the UK actors discovered that the unconventional dialogue, stripped of all contextual clues, must still be delivered with intention and rigour. Certain very specific European films cited by Foreman provide possible pointers to an acting style appropriate to the plays but, in the final analysis, the actor's problem remains. Neal Swettenham lectures in drama at Loughborough University. His ‘Irish Rioters, Latin American Dictators, and Desperate Optimists' Play-boy’ appeared in NTQ83 (August 2005).
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Kolodnytska, O. D., H. B. Palasiuk, and I. I. Vorona. "LATIN PHRASEOLOGICAL FUND AS A SOURCE OF DEVELOPING FUTURE PHYSICIANS’ LEXICAL COMPETENCE." Медична освіта, no. 1 (April 1, 2020): 41–44. http://dx.doi.org/10.11603/me.2414-5998.2020.1.10991.
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The article reviews Latin proverbs and sayings, short quotes, statements of historical figures as a means of aphorism; it summarizes the importance of learning Latin aphorisms, quotes, proverbs and sayings and their corresponding equivalents in English and Ukrainian by medical students on Latin classes.
According to historical conditions, Latin has lost its communicative function, but it has gained great historical and educational significance and has become an inexhaustible source of universal human culture and a link between antiquity and modernity. Learning Latin helps the deeper acquisition of knowledge from many specialties, and plays an important role in the artistic and aesthetic education of future physicians.
Phraseological funds of many modern languages have been replenished by Latin and Greek aphorisms borrowed by new languages mainly through Latin. The Latin phraseological fund contains numerous proverbs and sayings borrowed by world’s languages in the translated form.
Many Latin words were borrowed by Ukrainian, and it is not only the international terminological vocabulary used by scholars in various branches of knowledge but also everyday words (forum – форум (forum), colleague – колега (collega), professor – професор (professor), etc.).
Latin is a basis of all medical terminology facilitating professional communication between languages. The study of Latin obviously helps future physicians to better understand and learn the medical terminology of Greek-Latin origin. Learning Latin not only introduces folk wisdom (learning of aphorisms, proverbs, and sayings), but also lays the foundations of scientific knowledge, promotes the formation of a professional language, which allows to carry out communicative tasks of medical staff.
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Grimm-Stadelmann, Isabel. "Οἱ ἰατροὶ λέγουσι … – Erläuterungen zur anatomischen Terminologie in Περὶ τῆς τοῦ ἀνθρώπου κατασκευῆς." Byzantinische Zeitschrift 112, no. 3 (August 1, 2019): 843–60. http://dx.doi.org/10.1515/bz-2019-0034.
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Abstract The anatomical and physiological treatise Περὶ τῆς τοῦ ἀνθρώπου ἀνθρώπου κατασκευῆς is characterized by a peculiarity of medical terminology which is largely unknown from comparable texts: on the one hand, anatomical terms are put into relation with corresponding terms from poetic language, on the other hand they are precisely defined by descriptions of objects of everyday use. The considerable discrepancy between the Greek original and its Latin translation is of particular interest against the background of the renaissance of Περὶ τῆς τοῦ ἀνθρώπου κατασκευῆς in the 16th century AD. The multiple versions of the Latin translation show that medical terminology in Latin language was still in an ongoing process of development, for which reason many Greek anatomical terms were inserted untranslated into the Latin text due to a lack of an adequate Latin equivalents. For this reason Περὶ τῆς τοῦ τοῦ ἀνθρώπου κατασκευῆς plays a central role in the development of anatomical terminology, but also in its becoming more and more specific and precise.
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Abbas, Kalbe. "Rolf J. Langhammer and Lúcio Vinhas de Souza (eds). Monetary Policy and Macroeconomic Stabilization in Latin America. Heidelberg: Springer-Verlag. 2005. ix+254 pages. Hardback. Price not given." Pakistan Development Review 44, no. 2 (June 1, 2005): 219–22. http://dx.doi.org/10.30541/v44i2pp.219-222.
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Monetary Policy plays a crucial role in macroeconomic stabilisation of a country. Latin American countries have faced successive waves of economic instability causing hyper-inflation and currency and financial crises leading to losses in output. This book is a collection of papers presented at the conference on “Monetary Policy and Macroeconomic Stabilization in Latin America”, held at the Kiel Institute for World Economics (IFW), in Kiel, Germany, on September 11-12, 2003. Well-known speakers from major multilateral policy institutions and the monetary authorities of Latin American economies participated in this conference. Graphs and tables throughout the book make for easy understanding of the main findings, as the book focuses on the recent experience of Latin American economies with designing, announcing, and implementing monetary policies with different internal and external anchors. It deals with the exposure of real exogenous shocks, high dollarisation, regulated and segmented labour market, inappropriate policies and monetary institutions, and unrest from deep financial and currency crises. The book draws lessons from European monetary integration for Latin America, and examines the role of financial integration to help reduce the systematic shocks in Latin America.
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Sherzer, Joel. "On puns, comebacks, verbal dueling, and play languages: Speech play in Balinese verbal life." Language in Society 22, no. 2 (June 1993): 217–33. http://dx.doi.org/10.1017/s0047404500017115.
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ABSTRACTIn Bali, speech play is a cultural focus. Several of the many forms of Balinese speech play are investigated – puns, comebacks and verbal dueling, and pig-latin type play languages. These are examined in the context of everyday, informal speech and conversation, verbal routines and events such as storytelling and bargaining, and the artistic and ritual performances for which Bali is famous, such as shadow puppet plays and dance dramas. Attention is paid to the role of multilingualism in Balinese speech play, especially the intersection of the various languages and language levels in constant use in Bali. The significance of speech play in Balinese culture and society is explored. (Ethnography of speaking, speech play, humor, Bali, Indonesia)
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Fulton, Robin. "‘Tak him awa again’: Notes on Robert Garioch's Scots Versions of George Buchanan's Latin Plays." Translation and Literature 11, no. 2 (September 2002): 195–205. http://dx.doi.org/10.3366/tal.2002.11.2.195.
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KREUDER, FRIEDEMANN. "Flagellation of the Son of God and Divine Flagellation: Flagellator Ceremonies and Flagellation Scenes in the Medieval Passion Play." Theatre Research International 33, no. 2 (July 2008): 176–90. http://dx.doi.org/10.1017/s0307883308003672.
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Medieval Passion Plays appear to be no less violent than the flagellation and crucifixion scenes in Mel Gibson's film The Passion of the Christ. They were performed with what to today's eyes appears to be, in the context of its presentation in a religious play, chillingly intense and explicit violence. This suspicion is supported by surviving descriptions of performances of medieval Passion Plays in London and Metz, in each of which the actor playing Jesus in the crucifixion scene was fatally injured by the thrust of Longinus' spear or nearly died of heart failure. The expansion of what in the Bible amounts to only brief description, and its formulation in terms of drama, suggest deliberate use of the torture scenario in different Passion Plays. However, a question arises concerning the way in which the scenes of violence were able to find a place in religious plays used by ecclesiastical and municipal sponsors to propagate and affirm the dominant Christian view of the world. According to a common school of thought, the plays realistically represented, through gestural and dramatic elaboration, what the liturgy celebrated in a symbolic ceremony. In this way the plays visually communicated religious instruction to onlookers who did not know any Latin. But how can the torture scenes – on which many Passion Plays linger so long – be reconciled with the purpose of depicting the story of salvation?
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Versényi, Adam. "Ritual Meets the Postmodern: Contemporary Mexican Theatre." New Theatre Quarterly 8, no. 31 (August 1992): 221–25. http://dx.doi.org/10.1017/s0266464x00006849.
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Adam Versényi here considers responses to the call for a new kind of Latin American theatre, combining anthropological awareness of the area's history and culture with the technical abilities and thematic sophistication of western theatre, through an analysis of two plays which suggests both the benefits and pitfalls of such an approach. These are Nahui Ollin, a shadow-puppet play dramatizing episodes from Nahuatl cosmogeny, and Los enemigos, a contemporary adaptation of the unique Mayan script, the Rabinal Achí. Adam Versényi has written widely on the theatre of Latin America, including a study of recent developments in liberation theology and liberation theatre, and for NTQ two articles on earlier periods – in NTQ16 (1988), on the theatricality of pre-Columbian performance rituals, and in NTQ19 (1989) on the adaptation of Aztec rituals by the mendicant friars who came in the wake of Cortés – this piece being selected as the ‘Younger Scholar's Prizewinning Article’ of the year by the American Society for Theatre Research.
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Katz, Claudio. "Dualities of Latin America." Latin American Perspectives 42, no. 4 (March 10, 2015): 10–42. http://dx.doi.org/10.1177/0094582x15574714.
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Determining whether the current situation of Latin America is better described as “post-neoliberalism” or as “commodities consensus” requires an analysis of recent changes in the region. Capitalism has expanded in agriculture and mining, accentuating the preeminence of basic exports. Traditional industry is declining, and remittances and tourism have increased in importance. Local capitalists associated with foreign corporations have replaced the national bourgeoisie, while the exodus of peasants consolidates labor precariousness, poverty, and inequality. At the same time, the United States is deploying troops to reorganize its domination. The South American rebellions have limited neoliberal aggression and achieved unusual victories in other parts of the world. The concept of post-neoliberalism emphasizes the region’s political turn toward autonomy but overlooks the persistence of the economic model generated during the previous phase. The opposing concept, commodities consensus, highlights the extractivism prevailing throughout the region but plays down the extreme divergences among right-wing, center-left, and radical governments in all other areas. Both concepts contain part of the truth, but neither fully explains the regional scenario. Para determinar si la situación actual de Latinoamérica es mejor descrita como “post-neoliberalismo” o como un “consenso de los commodities” hay que hacer un análisis de los cambios recientes en la región. El capitalismo se ha expandido en la agricultura y la minería, acrecentando la preeminencia de las exportaciones básicas. La industria tradicional ha disminuido, y la importancia del turismo y las remesas ha aumentado. Los capitalistas locales asociados con empresas extranjeras han reemplazado a la burguesía nacional, mientras que el éxodo de los campesinos ha consolidado la precariedad laboral, la pobreza y la desigualdad. Al mismo tiempo, Estados Unidos despliega tropas para reorganizar su dominio. Las rebeliones en América del Sur han puesto barreras a la agresión neoliberal y logrado victorias inusuales en otras partes del mundo. El concepto del post-neoliberalismo destaca el giro político de la región hacia la autonomía pero con una tendencia a la persistencia del modelo económico generado durante la fase anterior. El otro concepto, el consenso de las commodities, destaca el extractivismo que prevalece en toda la región pero minoriza las divergencias entre los gobiernos de derecha, centro-izquierda y radicales en todas las demás áreas. Ambos conceptos son parcialmente ciertos, pero no explican totalmente el escenario regional.
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Swettenham, Neal. "Irish Rioters, Latin American Dictators, and Desperate Optimists' Play-boy." New Theatre Quarterly 21, no. 3 (July 18, 2005): 241–54. http://dx.doi.org/10.1017/s0266464x0500014x.
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The narrative process is inherently selective and consequently open to distortion and falsification. J. M. Synge humorously illustrated this in The Playboy of the Western World, in which his central character, Christy Mahon, reinvents himself through the telling and retelling of his own story. Play-boy, a much more recent performance work created by Desperate Optimists, takes as its opening gambit the riots that accompanied the first performances of this controversial Irish classic and adds a bewildering variety of other narrative materials to the mix—providing, as it does so, a tongue-in-cheek commentary on this story about stories. A detailed account of the show in performance and the manner in which the company construct their own tall tales initiates an investigation into how fact becomes fiction in the creation of new narrative accounts, narrative being considered as a participatory event that is both a psychological imperative and a ludic pleasure. Neal Swettenham lectures in drama at Loughborough University. His research into the role and status of narrative in contemporary theatre has led him to fresh examinations of both traditional story-based drama and avant-garde performance work. In particular, he has written about the plays of American dramatist Richard Foreman and is currently exploring the challenges presented to both actor and director by these texts.
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Makarova, Veronika A. "Self-praise and Positive Self-assessment in Chekhov’s Plays." Two centuries of the Russian classics 3, no. 2 (2021): 202–29. http://dx.doi.org/10.22455/2686-7494-2021-3-2-202-229.
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This paper applies Speech Act Theory towards an investigation of the use and role of self-praise/positive self-assessment in the texts of three Chekhov’s plays: The Seagull, Three Sisters and The Cherry Orchard. The findings conducted with manual coding of texts for the speech acts of self-praise/positive self-assessment suggest that Chekhov employed self-praise for a number of textual and character-building functions. In particular, self-praise functions as a literary device to identify less likable characters as well as to provide a chance for more likable characters to stand up for themselves against injustice and provocation. The self-praise/positive self-assessment comes in mitigated and aggravated forms. Mitigation is mostly achieved through grammatical or phrasal means, as well as semantically through self-criticism, whereby the only form of aggravation observed in the data was other-criticism/other-derogation. Specific forms of a positive self-assessment likely unique to Chekhov’s plays are ‘linguistic brags’, i.e., contextually unjustifiable switches to French and Latin as well as ‘generational’ positive self-representation in Three Sisters. The results suggest that investigations of speeh acts in dramas could be productive for literary theory, as they shed more light on the characters development as well as the genre mastery of the playwright.
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Harrison, S. J. "MENANDER'S THAIS AND CATULLUS' LESBIA." Classical Quarterly 65, no. 2 (June 17, 2015): 887–88. http://dx.doi.org/10.1017/s0009838815000026.
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Menander's lost comedy Thais with its famous protagonist, the hetaira lover of Ptolemy I Soter and perhaps Alexander himself, was plainly well known at Rome, and is alluded to several times in Latin poetry of the Augustan and later periods, as Ariana Traill has shown. My purpose here is to argue that the literary characterisation of Thais in Menander's play underlies certain aspects of Lesbia as presented in the poetry of Catullus; that Catullus' poetry uses the plays of Menander has been demonstrated by Richard Thomas, arguing that Catullus 8 shows clear traces of Demea's monologue in the Samia (325–56).
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Myers, K. Sara. "The Poet and the Procuress: TheLenain Latin Love Elegy." Journal of Roman Studies 86 (November 1996): 1–21. http://dx.doi.org/10.2307/300420.
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This paper investigates the figure of thelenain the elegies of Tibullus (I.5; II.6), Propertius (IV.5), and Ovid (AmoresI.8). While each poet treats the character of thelenain importantly different ways, each has in common a deep interest in contrasting his own position as both lover and poet with the activities of thelena, a bawd or procuress. All three poets curse thelena, denouncing primarily her malevolent magical powers, hercarmina, which are directed against them and theircarmina. Thelenanot only preaches an erotic code which in its emphasis on remuneration and the denigration of poetry directly opposes that of the poet-lover, she also usurps his role as instructor and constructor of the elegiacpuella. It is the elegiac poet's prerogative to describe and construct the elegiac mistress. By usurping his role aspraeceptor, thelenathreatens the poet with both sexual and literary impotence. It is precisely because thelenachallenges the male poet-lover's control over these terms that she is such a potent enemy; the woman with a pen, as Pollack writes inThe Poetics of Sexual Myth, ‘threatens to undermine a system of signification that defines her both as vulnerable and as victim’. If the elegiac mistress can be said to play a more masterful role asdominain Roman love poetry than in conventional Roman ideology, it must nevertheless be qualified with the reminder that she only plays a role constructed for her by elegy's first-person narrator who demands complete control over the discourse of their relationship, of the rules of the amatory game.
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Edwards, Gwynne. "Theatre Workshop and the Spanish Drama." New Theatre Quarterly 23, no. 4 (November 2007): 304–16. http://dx.doi.org/10.1017/s0266464x0700022x.
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In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practitioners, sought to integrate the elements of speech, stage design, movement, music, and lighting into a harmonious whole. Indeed, even though Lorca and Littlewood worked independently of each other, their ideas on the nature and function of theatre were very similar, while Lorca's touring company, La Barraca, employed methods very close to those of Theatre Union and Theatre Workshop. Gwynne Edwards was until recently Professor of Spanish at the University of Wales, Aberystwyth, and is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca have been published by Methuen Drama, as well as translations of seventeenth-century Spanish and modern Latin American plays. Many of these have also had professional productions.
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Tung, Le Thanh, Pham Nang Thang, and Lam Tu Uyen. "Does Economic Integration Affect Inequality in Developing Countries? Evidence from a Global Sample." European Journal of Sustainable Development 9, no. 2 (June 1, 2020): 579–88. http://dx.doi.org/10.14207/ejsd.2020.v9n2p579.
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Economic integration plays an important role in promoting economic growth. However, it can also increase inequality, although the relationship between economic integration and inequality is still unclear. Our paper aims to study the impact of economic integration on income inequality with a global sample regarding 59 developing countries collected from 1996-2016. Besides, we divide the overall sample into three smaller examples including developing countries in Asia, Africa, and Latin-America. Unlike previous studies, our research results confirm that economic integration has a multidimensional impact on inequality in countries. In detail, trade openness can help to reduce inequality, however, foreign direct investment increases inequality during the study period. The Kuznets' inverted-U curve among income and inequality is confirmed in the cases including the overall sample, Asia and Africa, excluding for the Latin-America. Finally, technology development and remittances are found to play a negative impact on inequality, while inflation leads to an increase in inequality level in developing countries. Keywords: economic integration, inequality, trade openness, FDI, Kuznets, developing country
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Classen, Albrecht. "The York Corpus Christi Play: Selected Pageants, ed. Christina M. Fitzgerald. Broadview Anthology of Medieval Drama. Peterborough, Ont.: Broadview, 2018, pp. 405, 11 b/w ill." Mediaevistik 31, no. 1 (January 1, 2018): 489–90. http://dx.doi.org/10.3726/med012018_489.
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We can only be thankful for any efforts to make major or minor medieval texts available to our students today because the knowledge of medieval Latin or vernacular languages is disappearing at an alarming rate. Christina M. Fitzgerald here presents in a very reader-friendly version a selection of pageants in The York Corpus Christi Play from the late fourteenth century (earliest, 1376), consisting of 47 plays in total, 27 of which are reproduced here, and couples those with a selection of contemporary texts to illustrate better the global interest in religious topics for public performance at that time. This is a most important literary document mirroring popular culture during the late Middle Ages, and so we cannot overestimate the <?page nr="490"?>pedagogical value of this new text selection. After all, The York Corpus Christi Play consists of over 300 speaking parts and more than 14,000 lines, which required a large involvement of the urban population to carry out the performance, very similar to the continental religious plays during the entire late Middle Ages and beyond.
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Hong, Ying, Dan Ni, and Li Zhu. "Typeface Innovation and Information Communication of Latin Alphabet from Handwriting to Printing." Advanced Materials Research 174 (December 2010): 541–44. http://dx.doi.org/10.4028/www.scientific.net/amr.174.541.
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Characters play important function in social development. It is not only the carrier of language, but also the basis of informationized society. For Latin alphabet, there are primitive character period, classical character period and alphabetical character period from the primitive characters to alphabetical characters. Every formal change of the character accelerated the speed of information transmission while keeping their historical traces. The writing tools and carriers of different times, as a kind of media, direct the transmission of information and directly influence the typeface of characters and communication of information. The invention of Gutenberg brings major technological innovation, printing oil and paper became new carriers of characters, which were widely promoted worldwide and various Latin alphabetical characters came into being gradually. Font disk share the same form and their reoccurrence greatly promoted the level of identification and the normalization of printing characters came into being. As a result, the readability and legibility of printing characters is superior to that of handwritten characters. So that information can be more clear and accurate delivery and better realization of its functional significance. Printing characters plays more and more important roles as carriers of information with the development of information society and their role in conveying information would arouse more concern and deeper research.
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Uden, James. "Embracing the Young Man in Love: Catullus 75 and the ComicAdulescens." Antichthon 40 (2006): 19–34. http://dx.doi.org/10.1017/s0066477400001635.
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In the prologue of Terence'sEunuchus, written, according to the didascalia, in 161 BC, the author of the play defends himself against the charge of literary theft. He denies completely any knowledge on his part that the Greek plays he had combined to produce his own play had already been translated into Latin. In the alternative, he argues against the charge of comic theft by way of the very nature of stock characters. ‘If’, argues Terence, ‘a man isn't allowed to make use of the same characters [personae] as other writers, how, all the more, is he allowed to write of the running slave, to make his matrons good and his prostitutes wicked, his hanger-on greedy, his soldier arrogant; how is he allowed to have a child substituted, an old man deceived through his slave, to love, to hate, to be suspicious?’ This last line —amare odisse suspicari— aims to evoke the characteristic attitude of the comicadulescens, whose emotional vacillation is presented as just another stock aspect of the genre, a literary inheritance as clich6d as any of the comedy's archetypal stock characters. ‘Nothing is said nowadays which hasn't been said before’, concludes Terence. Mid second century BC, and the Latin literary lover is already afflicted by textual, as much as emotional, exhaustion.
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Street, James H. "Development Planning and the Public Enterprise: The Case of Pemex." Journal of Interamerican Studies and World Affairs 27, no. 4 (1985): 141–54. http://dx.doi.org/10.2307/165574.
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Public enterprise plays a key role in the economic development process in Latin America, both because of the region's cultural heritage, which has led people to look to central authority for leadership in promoting economic growth, and because of the accelerated pace of recent cataclysmic events to which only governments have had the power to respond.Currently, Latin America is undergoing its worst economic setback in half a century, in which eight newly-elected democratic governments are struggling to regain control over their destinies. These governments face unprecedented planning and administrative problems as they move from the crisis-management phase of economic austerity programs to one of resumed growth. A central concern of these governments is, and will continue to be, the successful operations of major parastatal enterprises.
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John, Valquiria Michela, Felipe Da Costa, Guilherme Felipe Busnardo, Pricilla Tiane Vargas, Robson Souza Dos Santos, and Thiago Amorim Caminada. "Narrativas do tempo presente no jornalismo de revista: um olhar sobre a cobertura da América Latina em 45 anos da Revista Veja." Revista Observatório 2, no. 2 (May 30, 2016): 192. http://dx.doi.org/10.20873/uft.2447-4266.2016v2especial1p192.
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Veja é a revista de maior circulação no Brasil e uma das quatro de maior circulação no mundo, portanto, desempenha um importante papel na construção de representações quanto aos assuntos e temáticas que aborda. Em setembro de 2013, a revista completou 45 anos, marco histórico para o jornalismo brasileiro. Ao longo dessas mais de quatro décadas, Veja ajudou a construir não só Brasil, mas também a construir e difundir memórias sobre outros povos, outras nações, outras culturas. Entre esses vários “outros” estão os países da América Latina que, não raro, foram destaque de capa na revista ao longo desse período. Ao abordar temáticas ligadas aos países da América Latina, a revista contribui para o reforço a certas memórias, a representações referentes a esses países. A pesquisa teve como objetivo analisar a construção das representações sobre a América Latina realizadas por Veja ao longo de seus 45 anos de história. Como procedimento metodológico, foi utilizada a Análise de Conteúdo. Palavras-chave: América Latina; Memória; Representação; Revista Veja.AbstractVeja is the largest circulated magazine in Brazil and one of the four largest in the World, therefore it plays an important role in the construction of the representation of the topics and thematic it approaches. In September 2013, the magazine turned 45, a landmark for Brazilian journalism. Along these more than four decades, Veja helped build not only Brazil, but also to build and spread memories about other people, nations and cultures. Among these various "others", many countries in Latin America frequently got prominent cover space over that period. In addressing thematic connected to Latin American countries, the magazine contributes to the enhancement of certain memories and representations regarding such countries. The research aimed to analyze the construction of representations about Latin America performed by Veja throughout its 45 years of history. Content analysis was used as methodological procedure. Key words: América Latina; Memory; Representation; Revista Veja.Resumem:Veja es la mayor revista de circulación en Brasil y una de las cuatro de mayor circulación en el mundo, por lo tanto, desempeña un papel importante en la construcción de representaciones sobre los temas que aborda. En septiembre de 2013, la revista ha completado 45 años, un gran acontecimiento para el periodismo brasileño. Durante estos más de cuatro décadas, Veja ayudó a construir no sólo el Brasil, sino también los recuerdos de otras naciones, otras culturas. Entre estos diversos "otros" son los países latinoamericanos que en varias ocasiones han aparecido en la revista durante ese período. Al abordar las cuestiones relacionadas con los países del América Latina, la revista ayuda a fortalecer ciertos recuerdos, representaciones de estos países. La investigación tuvo como objetivo analizar la construcción de representaciones de América Latina llevada a cabo por la revista durante sus 45 años de historia. Como procedimiento metodológico, se utilizó el análisis de contenido.
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Asfaha, Yonas Mesfun, Jeanne Kurvers, and Sjaak Kroon. "Negen Talen En Drie Schriften." Toegepaste Taalwetenschap in Artikelen 75 (January 1, 2006): 89–102. http://dx.doi.org/10.1075/ttwia.75.09asf.
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In view of its sociolinguistic situation and its mother tongue language policy Eritrea qualifies as an excellent site for comparatively investigating the acquisition and use of literacy in nine different languages (Tigrinya, Tigre, Afar, Saho, Bidhaawyeet, Kunama, Nara, Bilen and Rashaida) using three different scripts (syllabic Geez, alphabetic Latin and consonantal-alphabetic Arabic) within one and the same cultural and educational context. This contribution presents first results of a literacy survey with 670 Eritreans (which is part of a larger NWO-WOTRO research project). It goes into the respondents' level of literacy, their use of reading and writing in a number of societal domains, their use of the different scripts, and their preferences for the different scripts. A main outcome of the survey is that both, religion and ethnolinguistic group membership, play an important role in the use and positive evaluation of specific scripts. The majority of respondents report a preference for either Geez or Arabic, the scripts of the holy books of the Coptic Orthodox Church and Islam respectively, whereas the Latin alphabet, notwithstanding the official support it gets and the fact that it is used for six out of nine Eritrean languages, hardly plays a societal role.
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Wenhong, Xu. "Policy Coordination between China and Latin American Countries under the Framework of the Belt and Road Initiative." Outlines of global transformations: politics, economics, law 12, no. 3 (November 24, 2019): 129–50. http://dx.doi.org/10.23932/2542-0240-2019-12-3-129-150.
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Latin American countries were not a part of the earlier draft of the route map of China’s Belt and Road initiative. Through efforts of both sides, starting from the Belt and Road Forum for International Cooperation in May 2017, Latin America has become an indispensable and important participant of the ‘Belt and Road’ initiative. In view of the differences in history and objective circumstances between China and Latin America in terms of histories, cultures, current economic states and development needs etc., policy coordination plays a fundamental role in the China-Latin America cooperation under the framework of the Belt and Road initiative. This article explores the four aspects of policy coordination in the BRI context, namely historical background, philosophy, principle and objective. The article notes that the weight of the US, EU and Japan in the global economy is decreasing, and the number of contradictions in the national economies of these countries, on the contrary, is growing. At the same time, the aggregate economic weight of developing countries is increasing. This new paradigm of development of the world economy gives a chance to developing countries, namely China and Latin America, to deepen economic cooperation. China has already become the second largest trading partner and the third largest source of investment for Latin American countries. China also proposes a solution based on its own Chinese experience, which will allow countries from Latin America to further accelerate their economic growth through infrastructure cooperation within the framework of the Belt and Road Initiative. The basic principles of such cooperation are win-win cooperation, shared growth through discussion and collaboration and the essence of policy coordination, etc. It is believed that, on the premise of a high degree of consensus achieved through policy coordination, both China and Latin America will achieve sustainable and efficient cooperation and development under the framework of the Belt and Road initiative.
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Rodríguez-Noriega Guillén, Lucía, and Javier Uría. "Ibycus and Diomedes." Mnemosyne 70, no. 3 (May 10, 2017): 450–75. http://dx.doi.org/10.1163/1568525x-12342113.
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The fourth-century Latin grammarian Diomedes reports the otherwise unparalleled doctrine that the Latin onomastic system is derived from that of the Greeks. To sustain this view, he mentions the various names of some Greek heroes, some of which seem to be drawn from the lyric poet Ibycus of Rhegium. This poet is also mentioned when the grammarian needs to provide examples of some rare patronymics. These two references to Ibycus in Diomedes are extensively dealt with in this paper, in which we try to disentangle the arguments and intentions behind this strange doctrine, as well as the role Ibycus plays in it. The alleged possibility that Ibycus is not the archaic poet, but rather a later grammarian, is discussed and rejected. Possible sources for the doctrine are proposed.
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Pearlman, E. "Staging Romeo and Juliet: Evidence from Brooke's Romeus." Theatre Survey 34, no. 1 (May 1993): 22–32. http://dx.doi.org/10.1017/s004055740000973x.
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In his first plays, Shakespeare exercised great freedom in devising his plots. The First Part of King Henry VI, it has been said, “darts about the period in a bewildering way.” It is “not so much a Chronicle play as a fantasia on historical themes.” Its two episodic sequels are equally or perhaps even more loosely plotted, while Richard III picks and chooses among events that took place in the decade and a half before 1485 and also seems to incorporate matter from earlier plays (Latin as well as English). In the The Comedy of Errors, Shakespeare began with a groundwork drawn from Plautus's Menæchmi but added the twin Dromios as well as some material from the Amphitruo. The Two Gentlemen of Verona integrates plot elements from a number of sources, including Montemayor's Diana, the well-circulated story of Titus and Giseppus, and the myth of Robin Hood. In making The Taming of the Shrew, Shakespeare combined elements from the oral tradition (the drunken peasant, the taming) with a literary subplot drawn from George Gascoigne's Supposes.
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Piccinini, Ranieli. "Casa Daros Library: a nascent Latin American contemporary art library in Brazil." Art Libraries Journal 39, no. 4 (2014): 21–26. http://dx.doi.org/10.1017/s0307472200018514.
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In 2006, Daros Latinamerica – one of the most comprehensive collections dedicated to Latin American contemporary art in the world – acquired a building, designed by the architect Francisco Joaquim Bethencourt da Silva (1831-1912) and listed as official historical heritage of the city of Rio de Janeiro. After seven years of refurbishment, Casa Daros and its library opened its doors on 23 March 2013. The library has maintained and improved its collection about contemporary Latin American art – considered unique in the region – ever since, with a view to motivating and increasing the amount of research on the subject in Brazil. At the same time, the library team plays an important role in the preparation of the programming planned in the cultural centre – considered a platform for art, education, and communication – and also during the events at Casa Daros, providing support for the researchers’ needs.
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Berrios, Ruben, and Cole Blasier. "Peru and the Soviet Union (1969–1989): Distant Partners." Journal of Latin American Studies 23, no. 2 (May 1991): 365–84. http://dx.doi.org/10.1017/s0022216x00014036.
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For twenty years the Soviet Union has had closer relations with Peru than with any other Latin American country apart from Cuba or Nicaragua. In fact, Peru was the first post-Cuban revolution centre of Soviet operations in South America, and perhaps still plays that role today. Now that the Cold War is over the balance sheet of Soviet relations with Peru can be evaluated with more detachment than ever.