Suchergebnisse

Conocida como "Mago", fue una artista fronteriza que nació en febrero de 1929 en la vecina ciudad de El Paso, Texas, aunque fue registrada como mexicana por su abuelo.

Este artículo describe el contexto y el origen de una serie de guiones escritos en México, en los años cincuenta, por la intelectual y política de la Segunda Republica española, Margarita Nelken. Cuatro guiones largos y seis pequeños que no llegaron nunca a ser filmados, nos llevan a analizar la aptitud, el conocimiento del tema y las razones que llevaron a Margarita Nelken a escribirlos. La estructura de sus escritos refleja un conocimiento de la teoría de Einsestein sobre el guión cinematográfico. This paper describes the context and origin of a series of film scripts written in Mexico in the 50s by Margarita Nelken who was an intellectual and politician of Spain's second republic. Four long scripts and six miniscripts that never became motion pictures, are analyzed as to determine the aptitude, the knowledge on the subject, and the reasons that lead Margarita Nelken to write them. The structure of her writings conforms to the theory of Einsestein about film scripts.

In the article the image of the governess Sharlotta Ivanovna, a character from Vishneviy Sad (The Cherry Orchard), is analyzed. The motives of the play realized in the text are key to understanding the character. The story of creation and the stage fate of Sharlotta Ivanovna are also considered in the article.

Summary after the Spanish Civil War, Margarita Nelken MEP (1893-1968), was judged by the Court for the Repression of Massonry and Communism. He was charged with the crimes of masonry and communism and prosecuted in absentia. Their relationship with the institution Free of Education and their participation in the League of Human Rights were pointed out as indications of massonry. The main physical evidence of the summary was a letter of recommendation from the loyalty logia of Barcelona, dated 1924, which in fact corresponded to the cupletist Stella Margarita. Despite the lack of evidence, it was held in the judgment that Margarita Nelken had entered the masonry, to which it had provided substantial protection. ; Resumen Tras la Guerra Civil española, la diputada Margarita Nelken (1893-1968) fue juzgada por el Tribunal para la Represión de la Masonería y el Comunismo. Fue acusada de los delitos de masonería y comunismo y procesada en rebeldía. Se señalaron como indicios de masonería su relación con la Institución Libre de Enseñanza y su participación en la Liga de los Derechos del Hombre. La principal prueba física del sumario era una carta de recomendación de la logia Lealtad, de Barcelona, fechada en 1924, que en realidad correspondía a la cupletista Stella Margarita. Pese a la falta de pruebas, se consideró en la sentencia que Margarita Nelken había ingresado en la masonería, a la que había dispensado "protección importante".

One of the most intriguing aspects of Mikhail Bulgakov's Master i Margarita is the complex and deeply significant system of parallels the author has set up between the Moscow and Jerusalem stories. These parallels have produced, in much scholarly analysis of the novel, a strong tendency toward what Andrew Barratt has called a "monistic" approach: An interpretation of the work as a double novel, or two variations of the same "master story," acted out in different times and places by characters with clear, specific correlations—Woland-Pilate (or Latunskii-Pilate), the Master-Ieshua, Bezdomnyi-Matvei, and so forth. Although this approach has an obvious appeal, it also has several serious weaknesses. Not least among these is its failure to encompass the character of Margarita—that is, to identify a parallel to her in the Jerusalem story. In the following I will address this weakness by suggesting that Margarita's parallel character is Afranius, the chief of Pilate's secret service.

To Gleb Uspenskii's contemporaries, his preference for short forms like sketches, notes, and fragments masked an artistic fl aw – his inability to produce a novel. The paper reconsiders Uspenskii's generic choices as a deliberate critique of the novel form. This critique refl ected Uspenskii's anxiety about the signifi cance of individual personality and experience overvalued by the novel. Uspenskii's aspiration to transcend the novel's preoccupation with an individual human fate in order to lay bare the conditions shaping the shared destiny of all led him to exchange the novel's "microscopic" optics for a broader, panoramic lens. Such change in perspective dictated several other elements of his poetics: from rejecting the novel's aesthetics of small detail to reconfi guring the traditional character structure.

The article is a comprehensive study of the composition of the court of the Grand Duchess of Lithuania Elena Ivanovna, daughter of the Grand Duke of Moscow Ivan III and Sophia Paleologina. The author comes to the conclusion that initially Ivan III tried to surround his daughter with Moscow noblemen and Russian servants in a foreign land However, by September 1495, almost the entire retinue of Elena was sent to Moscow on the orders of Alexander Kazimirovich, her husband. The court of the Grand Duchess was re-formed on the model of the court of the Grand Duchess of Lithuania and the Queens of Poland. All key positions in it (court-master, chancellor, сook, carver) were occupied by Lithuanian Catholic noblemen. The female court of Elena Ivanovna was headed by the court-master who supervised ladies-in-waiting (all of them were of Lithuanian origin and, probably, Catholics, with the exception of one lady of the Orthodox faith who came with the princess from Moscow). Only by 1511, the Orthodox princess became the court-master. Few Orthodox service people who arrived in Lithuania from Russia held administrative positions in the princess's domain. In 1509, after the rebellion of Prince M. L. Glinskii and his departure to Moscow, a number of key figures (I. S. Sapega, M. Iundilovich) left the court of the Grand Duchess. The remaining courtiers (Mitia Ivanovich, Kgetovt Kalinikovich, and others), although formally in her service, in fact followed the instructions of the Lithuanian lords and were loyal to king Sigismund the Old.