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The transition to the use of paper in public elementary schools in Mexico was not easy. At the end of the nineteenth century, the use of slates had been questioned due to the health risk they represented since students often erased their writing with saliva and the material with which the slates were made did not always meet the necessary specifications. On the other hand, paper, from a hygienic, pedagogical and aesthetic point of view, was considered a superior material compared to the hardness of the slate, the shine of the surface and the lack of precision obtained in the tracing of the letters. Derived from this approach, the possibility of changing materials in official schools was seriously envisioned. However, the paper represented a very high cost. Only two paper mills could supply the schools and it was necessary to lower the price, and guarantee the supply by enhancing the distribution system. This article analyses the beginning of the conversion process of a technology for learning to write such as the slate for paper. I analyse the expense that it meant for the authorities and families, how the change was the result of a multiplicity of social, cultural, economic and political relations that intersected to give a new configuration of time, noise and established values in the classroom.

Copyright of Investigación Bibliotecológica is the property of UNAM, Centro Universitario de Investigaciones Bibliotecologicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During the first decades of the 20th century, the supply of paper for the printing industries in Mexico became a problematic issue. Production difficulties, price increases and poor distribution during the monopoly of the San Rafael factory started a deep debate on the modernization and interference of the State in the paper industry. This article analyzes the transition between the private monopoly and the creation of the public company, Productora e Importadora de Papel Sociedad Anónima (PIPSA) in 1935, during the government of Lázaro Cárdenas (1934-1940). Through parliamentary debates, press articles and ministerial reports, the questioning of the monopoly as a public policy, the birth of PIPSA and the results in its first years of operation will be explained. [ABSTRACT FROM AUTHOR]

Copyright of Revista Horizonte Médico is the property of Universidad de San Martin de Porres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La transición hacia el uso del papel para la enseñanza de la escritura en las escuelas elementales públicas en México no fue sencilla. Al finalizar el siglo XIX, se había cuestionado el uso de las pizarras por el riesgo que representaban para la salud, pues muchas veces los estudiantes borraban sus escritos con saliva y el material con el que estaban fabricadas no siempre guardaba las especificaciones necesarias, además el ruido al escribir era insoportable. En cambio, el papel, desde el punto de vista higiénico, pedagógico y estético, fue considerado un material superior frente a la dureza de la pizarra, el brillo de la superficie y la poca precisión que se obtenía en el trazo de las letras. Derivado de este planteamiento, se vislumbró seriamente la posibilidad de la adopción de papel en las escuelas oficiales. Sin embargo, este material era escaso y muy caro. Hacia el cambio de siglo, sólo dos fábricas de papel podían surtir a las escuelas y era necesario que abarataran el precio, que el sistema de distribución garantizara el abastecimiento y que el suministro fuera continuo. Este artículo analiza el inicio del proceso de reconversión de una tecnología para la enseñanza como era la pizarra por el papel. Analizo el gasto que significó y cómo esta modificación fue resultado de una multiplicidad de relaciones sociales, culturales, económicas y políticas que se entrecruzaron para dar una nueva configuración del tiempo, el ruido y los valores establecidos en el salón de clases. The transition to the use of paper in public elementary schools in Mexico was not easy. At the end of the nineteenth century, the use of slates had been questioned due to the health risk they represented since students often erased their writing with saliva and the material with which the slates were made did not always meet the necessary specifications. On the other hand, paper, from a hygienic, pedagogical and aesthetic point of view, was considered a superior material compared to the hardness of the slate, the shine of the surface and the lack of precision obtained in the tracing of the letters. Derived from this approach, the possibility of changing materials in official schools was seriously envisioned. However, the paper represented a very high cost. Only two paper mills could supply the schools and it was necessary to lower the price, and guarantee the supply by enhancing the distribution system. This article analyses the beginning of the conversion process of a technology for learning to write such as the slate for paper. I analyse the expense that it meant for the authorities and families, how the change was the result of a multiplicity of social, cultural, economic and political relations that intersected to give a new configuration of time, noise and established values in the classroom. [ABSTRACT FROM AUTHOR]

Sir Walter Scott is regarded as the father of the historical novel, and many of his novels were translated into Spanish during the nineteenth and twentieth centuries, with adaptations for young readers particularly standing out in the later period. This paper focuses on the reception of this Protestant novelist by nineteenth-century government censorship, especially during the absolute monarchy of Ferdinand VII, and by the Franco regime (1939–1975). To this end, after providing an overview of the functioning of the censorship system and its legislation in the periods under consideration, the effects of this control mechanism on Scott's works are discussed and some specific, significant cases analysed. In this sense, while some target texts were denied printing permission or granted authorization with cuts, in other cases translators/ publishers self-censored their versions and rewrote harmless and acceptable texts, especially in moral and religious terms. [ABSTRACT FROM AUTHOR]

In this paper, I analyse the unpublished correspondence between Camilo José Cela and Cesáreo Rodríguez-Aguilera, consisting of 390 documents written between 1957 and 1998. This collection has been housed at the General Archive of the University of Jaén (Cesáreo Rodríguez-Aguilera Foundation) since 2002, and it includes letters from other recipients. This correspondence is not only of biographical interest but is also significant for the literary creation history of both correspondents. It contributes to the study of Spanish intellectual life during the second half of the twentieth century, especially the context woven around the magazine Papeles de Son Armadans. Surrounding the publication, beyond its challenges with censorship, a network of collaborations and various editorial projects (on Pablo Picasso, Salvador Dalí, or Rafael Zabaleta, among others) is established, as is evidenced in this correspondence. [ABSTRACT FROM AUTHOR]

Copyright of Revista Electrónica Interuniversitaria De Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The success of recent Spanish horror cinema must be understood in the context of a genre with a long tradition and popular acceptance. The films studied in this article, La abuela (Paco Plaza, 2021) and Malasaña 32 (Albert Pintó, 2020), are among the most remarkable of this new wave, and include recognizable features for horror film scholars. Specifically, both present queer characters and, through a terrifying representation of otherness, exploit the mechanisms of homophobia. This article places these films in the tradition of Spanish queer horror cinema and analyses the particularities of these new contributions. It focuses on how the representation of the queer, non-reproductive and non-normative body serves as the basis for the creation of a new horror. At the same time, it analyses how these films incorporate other contemporary anxieties, especially those caused by gentrification in large cities. [ABSTRACT FROM AUTHOR]

More than any other Spanish poet of the twentieth century, Rafael Alberti (1902–1999) embodies what Octavio Paz termed the 'tradition of rupture' to characterize lyrical poetry of his century. Alberti's distinctive pilgrimage through styles will lead to political commitment, from a civic perspective, envisaging himself as a vanguard poet. He will traverse from one style to another and from one tradition to another, becoming a devourer oaf aesthetic forms, and making this nomadism his own avant-garde conception of his work. All the changes, genres and hybridization of his early period are condensed in Sobre los ángeles (1929), in order to ultimately assume that dialectical view of avant-garde as commitment into commitment as avant-garde, a vital literary solution that will accompany him thereafter in his continuous evolutions, and which he will continue to follow stylistically throughout the protean, extensive and intense trajectory of his career. [ABSTRACT FROM AUTHOR]

This article argues that Miguel de Cervantes held a classical concept of historiography based, primarily, on the study of political events of the most recent past. In line with that concept, this essay analyses and interprets the novel Don Quijote de la Mancha as a parody of some early modern historiographical practices, especially those focused on studying the ancient past, that were in sharp contrast to Cervantes' ideal. Moreover, it analyses the lives of writers at the Spanish royal court and highlights some similarities between Cervantes and other writers and historians such as Luis Cabrera de Córdoba and Pedro Mantuano, who shared with Cervantes notions on how to write history, strategies to connect with the Duke of Lerma's influential network, and criticism against enemies like Juan de Mariana. [ABSTRACT FROM AUTHOR]

Of all the public tributes dedicated to Antonio Machado in Spain during the Franco dictatorship, 'Paseos con Antonio Machado' (Baeza, Jaén, 1966) is perhaps the one which has elicited more literature, mostly of a memorialistic kind, due to the special circumstances in which it took place. Most accounts of the event speak of a frustrated homage, since the Francoist authorities banned it at the last minute. In this article, drawing from the information provided by more than a hundred new documents found in the Caballero Bonald Foundation, special attention is paid to one of the aspects of the tribute that has barely been dealt with in the existing bibliography on the subject: its international projection. Through the use of epistolary, archival and journalistic sources, the international repercussion of 'Paseos con Antonio Machado' is examined and a reconsideration is made of the success or failure of the tribute in light of the objectives pursued by a cultural event that should be framed within the context of the anti-Francoist struggle. [ABSTRACT FROM AUTHOR]

The main editors of Clarín's La Regenta (Sobejano, Oleza, and Martínez Cachero) declared that they could not identify a literary reference in Chapter 2 of the novel. In this paper, I identify said reference and offer a hypothesis of its significance in understanding one of the novel's main characters, the Magistral Fermín de Pas. [ABSTRACT FROM AUTHOR]

Amyloidosis is a heterogeneous, hereditary or acquired disease characterized by the abnormal deposition of fibrillar proteins in various tissues. The disease can be either localized or systemic, leading to significant variability in its clinical presentation and often causing diagnostic delays. For this reason, early identification of signs and symptoms is essential to improve prognosis. The first Mexican position paper on cardiac amyloidosis aims to summarize the main features of the disease and its subtypes, identifying warning signs that increase clinical suspicion. Additionally, it provides a diagnostic algorithm incorporating the imaging and laboratory studies available in our country, to streamline decision-making and facilitate a fast, practical, and up-to-date diagnosis based on evidence-based recommendations. Once the diagnosis is confirmed, the various therapeutic challenges of this disease, both pharmacological and non-pharmacological, are discussed, as patients do not respond to conventional heart failure treatments. Therefore, treatment must be individualized for each patient, considering the presence of other comorbidities. Finally, the key prognostic factors are outlined to guide appropriate treatment, including results from genetic counseling. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyse the habits of researchers and librarians when promoting their work through repositories and academic social networks in the fields of Information, Documentation and Communication. Repositories are also used for preservation and early publication (preprints) of journal articles. Methodology: A bibliographic review, an online survey, interviews with experts, and an analysis of the evolution of some repositories have been carried out. Results: Thematic repositories, which were widely used 20 years ago, are now facing competition from institutional repositories (IR) and academic social networks such as ResearchGate, Academia.edu and others. A continued decrease in the number of deposits in the e-LIS (Eprints in Library and Information Science) and MPRA (Munich Personal RePEc Archive) repositories has been observed in recent years, which seems to be due to the fact that many universities have published mandates that force professors to archive their work in their IR. Another important cause of the decrease in deposits is the greater availability of open access journals in recent years, which has made it less necessary to archive articles in repositories. Academic social networks, on the other hand, are perceived as more dynamic, allowing interaction with other authors, and not requiring the introduction of so much metadata to upload documents. [ABSTRACT FROM AUTHOR]

Copyright of Estudos Ibero-Americanos is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Critics have abundantly pointed out that the Sátira de infelice e felice vida de don Pedro de Portugal makes abundant use of Alonso Fernández de Madrigal's Diez questiones vulgares , which are in turn an extract from his monumental Comento a Eusebio. The present work deals with the detailed comparison of these three texts from the mid-fifteenth century; the result of this observation shows that don Pedro is following, with notorious fidelity, the text of the Questiones , in a closeness that he never maintains with the Comento , and therefore the former is necessarily his source. However, in these same glosses the constable presents information that is absent in the former and clearly comes from the latter. We propose as a hypothesis the existence of an intermediate text by Madrigal between the two texts we are working on, now lost, which served as a source for the Condestable. [ABSTRACT FROM AUTHOR]

On 26 October 1776, Pedro Rodríguez de Campomanes presented to the Real Sociedad Económica Matritense de Amigos del País (RSEMAP) the Memoria sobre el reconocimiento y coordinación de las memorias que se van a publicar en cumplimiento de nuestros estatutos , a little-known text that established the method of reviewing the society's reports prior to their publication. Here we analyse the protocol of the process and the review criteria proposed by Campomanes to the RSEMAP, and, considering that his report is contemporaneous with the implementation in 1769 of the new process of governmental censorship, it is studied in its context and in that of the theoretical texts generated in the wake of the failed Mesa Censoria of 1770. [ABSTRACT FROM AUTHOR]

Copyright of Estudos Ibero-Americanos is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia Constitucional is the property of Revista Historia Constitucional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Indias is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Historia Contemporanea is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article we study the particularities of editorial practice in contexts of confinement in Argentina through the systematization and analysis of five publications, already published or in the process of being published, which were formulated within the framework of pedagogical-political practices carried on by the Prisons Extension Program of the Philosophy and Literature Faculty of the University of Buenos Aires. These five cases will be addressed in order to observe what meanings guide the editorial processes through the marks imprinted on them by the specificity of the writing that summons them and the territory to which they belong. Publishing in the context of a pedagogical project developed by the university configures collective territories where writing and publications can display and carry plural voices, which are strengthened in that plurality forged in the heat of individual and collective subjectivation processes made possible by education and writing. Editorial practice is inseparably intertwined with actions aimed at defending rights, narrating lived experiences and building a collective history which are part of the desires and expectations regarding publication. [ABSTRACT FROM AUTHOR]

This essay studies the cultural consequences that the spread of paper money had in late nineteenth-century Brazil. First, I examine how these tensions are called into question through the analysis of a political scandal that took place in Rio de Janeiro, in 1900, concerning a two thousand reales banknote. Second, I offer a close reading of Machado de Assis' "Anedota pecuniária", a short-story included in Histórias sem data (1884). My goal is to interrogate the relation between paper money and the economy of credit work, and the narrative devices of literary fiction. [ABSTRACT FROM AUTHOR]

This study assumes that Franco's censorship was not limited to modifying or silencing those novels that did not adapt to ideological standards, but that it appropriated them to form a new literary system. Following previous studies, the aim is to establish under what form Céline's Voyage au bout de la nuit (1939) arrived in 1973. The distinguished and highly controversial author, who continues today to stir French literary memory, was banned in Spain until 1968 when his first novel appeared. The text under study, as corrosive as it is subversive to the official values in force, had to wait 40 years before it crossed the control established by the regime. A meticulous textual analysis and the study of the files of the General Archive of the Administration allows us to unravel the reasons why this novel evaded Franco's censorship. [ABSTRACT FROM AUTHOR]

In Quevedo's so-called musa décima , the poetry not published in the posthumous editions of 1648 and 1670, there are poems with a limited textual history, reduced to one or two testimonies. This article looks at some of them copied only in two manuscripts from Santander and Palma de Mallorca (M-139 and MA22-3-06, respectively). In particular, it examines the variants of some anti-Gongorina satire, two epigrams in imitation of Martial and two poems against a prostitute and an old witch. The study detects errors and proposes possible amendments to the text of the modern editions. [ABSTRACT FROM AUTHOR]

Copyright of Paradigma is the property of Universidad Pedagogica Experimental Libertador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Montes is the property of Colegio y Asociación de Ingenieros de Montes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper the characterization of the work of art as a map of intensity, as proposed by Gilles Deleuze in his essay What the children say (gathered in Critique et clinique), will be analyzed. Art’s cartographic aspect is linked to the concept of deterritorialization and the Body without Organs that the philosopher, along with Félix Guattarí, develops in Thousand Plateaus. Thus, the art-cartography represents the becoming-world of the subject that transits the Body-without-organs and the intensive differences that populate the desert of multiplicity. Each way travelled is descripted by an artistic map where the haecceities and the thresholds of flows that pierce through the disorganized bodies are portrayed. The map of intensity would be the cartographic representation of the haul travelled by a subject immersed in a hodologic space, being every line of the map a journey within an intensive space [ABSTRACT FROM AUTHOR]

Copyright of Research in Education & Learning Innovation Archives (REALIA) is the property of Research in Education & Learning Innovation Archives (REALIA) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work examines the poetry collection Junín (1930) by the Peruvian author Enrique Bustamante y Ballivián (1883–1937). While a part of the Latin American avant-garde expresses a fascination with the rise of new machines in the metropolis, this article demonstrates that Bustamante y Ballivián responds to this trend by representing machinery of a different kind – extractivist machinery – in a different type of space: the Andes. The author also engages with the indigenista avant-garde poetic proposals of his Peruvian contemporaries. Unlike them, the poet does not aim to give voice to the indigenous subject, nor does he idealize or solely link it to nature. Instead, he portrays it as 'coupled' to the mineral extraction machinery. Additionally, the poet depicts this machinery as invasive, contaminating and destructive to the landscape and its inhabitants. This work argues that Junín emerges as the first poetic representation of the ecological impacts caused by large-scale mining exploitation in the Andes. [ABSTRACT FROM AUTHOR]

During the dictatorship of Francisco Franco (1939–1975) Catalan literature suffered a terrible blow, mainly in the censorship of books published in Catalan. In this period of cultural repression, the objectives and characteristics of the mission of translating foreign poetry in the Catalan-speaking regions were determined by special socio-historical circumstances. This article presents a panoramic investigation into the dissemination of Chinese poetry in Catalan culture during the Franco dictatorship. The various aspects of the investigation and the period in which it was carried out have been studied: the publications, translation and editing, the motives of Catalan translators in carrying out their work and the influence of socio-historical elements on the dissemination of the translated poetry. [ABSTRACT FROM AUTHOR]

This work analyses the struggles with Franco's censorship that José María Castellet had to face when he embarked on three anthology projects that were decisive in the history of post-war Spanish poetry. The particular severity with which Nueve novísimos poetas españoles (1970) was received invites us to focus on this anthology, which, with qualities that should have made it more resistant, fell foul of censorship in a way that its anthological predecessors did not. On the one hand, reflection on this paradox leads us to venture hypotheses about the dynamics of the repressive body's actions. On the other hand, a thorough analysis of the censorship dossier of Nueve novísimos allows us to draw some interesting conclusions. It is true, for example, that the elliptical diction introduced by the novísimo poets protected the anthology from a much wider purge. However, the censorship actually practised, which polished the more obvious aspects of its insurgent vocation, was enough to alter the historical reception and, by extension, the historiographical significance of a book that was stubbornly denied its subversive substance. The discovery of an unpublished composition by José María Álvarez is certainly not the least of the surprises of the archival side of this research. [ABSTRACT FROM AUTHOR]

Titian's work has from the sixteenth century to the present day motivated an important series of literary allusions and ekphrastic or culturalist exercises. This study addresses, in a way that is unprecedented, a critical analysis of the presence of Titian and his work in Spanish Renaissance and Baroque poetry. A considerable number of great authors (from Gutierre de Cetina to Lope de Vega and Quevedo) show Titian's influence on their works over a wide range of literary themes and techniques. Within the field of study of the ancient relationships between painting and poetry, the texts selected in this work are important because they represent a first lyrical interpretation of the brilliant Venetian painter in Spanish literature, a precedent for the rich and heterogeneous contemporary poetics. [ABSTRACT FROM AUTHOR]

In 1753 the Arte de la lengva metropolitana del reyno cakchiquel o gvatemalico by José Ildefonso Flores, was published. This was the most complete, detailed and rigorous grammar of the colonial era that describes the language of the Cakchiquel. For this, and like other grammatical texts from the New World, the model of Antonio de Nebrija's Introductiones latinae (c. 1488) is used, which causes many problems for Flores since there are many differences between the two languages. Despite the importance of this grammar and its interest for Missionary Linguistics, it has been the subject of only brief and partial studies and investigations, which is why an exclusively linguistic work is necessary that describes and analyses its content in detail. This work describes and analyses the structure and content of the Arte de la lengva metropolitana del reyno cakchiquel o gvatemalico , the context in which it was composed and the sources that inspired it. [ABSTRACT FROM AUTHOR]

In the eighteenth century, during the context of imperial rivalries, the circulation of information became a crucial element for success in warfare and politics. This article argues that the adaptability of postal communication systems played an essential role in military and political decision-making in a Caribbean space characterized by its dynamism and connectivity. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)