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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.

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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]

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]

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]

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]

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]

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]

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]

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]

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]

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The Spanish Association of Administrative Law Professors (AEPDA) will organize the XIX AEPDA Congress at the University of Lleida on January 31st and February 1st, 2025. The theme of the congress will be "Water Law in Spain: Forty Years Later". Communications and posters are invited to be submitted for the congress, with a deadline of December 10th, 2024. The call for communications and posters, as well as the provisional program of the congress, are attached. [Extracted from the article]

Antecedentes: la producción de papel está soportada principalmente en la madera debido a su alto contenido de celulosa. Sin embargo, actualmente se buscan fuentes alternativas que desestimulen el uso de este recurso favoreciendo la protección de los recursos naturales. La producción de cacao es una actividad económica importante en Colombia, sin embargo, genera grandes cantidades de residuos orgánicos. La cascarilla de cacao es uno de los residuos más significativos de la industria del cacao y representa alrededor del 12 % del peso total de la semilla. Objetivo: evaluar las propiedades fisicoquímicas del papel obtenido a partir de la cascarilla de cacao de la variedad TCS 01. Métodos: se identificó y cuantificó la composición de celulosa, hemicelulosa y lignina de la cascarilla de cacao. Se realizó un diseño experimental para analizar las condiciones de extracción y elaboración del papel obtenido de la celulosa de la cascarilla y se evaluaron seis parámetros de calidad basado en la norma NTC 5342 (muestreo para determinar la calidad de papel y cartón): adsorción, tensión, escritura, color, textura y apariencia. Resultados: se obtuvo un porcentaje de celulosa, hemicelulosa y lignina de 12,5, 21,5 y 15,6 % en peso respectivamente. A partir del diseño experimental para la elaboración del papel, se observó que a una temperatura de 80°C y durante 8 horas se obtuvo el mejor tratamiento, mostrando las mejores características de calidad y cumpliendo lo requerido por la NTC 5342. Se observó que la masa límite de celulosa fue de 4,21 g de muestra húmeda la cual tuvo una absorción de 3,5 ml de agua. Los ensayos de tensión mostraron resultados de 8,2 N en las muestras de papel. Conclusiones: aunque el material obtenido no cumple a cabalidad con las características necesarias para catalogarse como papel, este material puede ser utilizado en la producción de envases y embalajes donde se requiere resistencia mecánica moderada o en la producción del material llamado “cartón paja”. Además, su alta adsorción medida en la prueba realizada indica que este material podría ser utilizado como absorbente en las industrias alimentaria o de construcción. [ABSTRACT FROM AUTHOR]

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Universities are a formative scenario that transforms reality and their actions must go beyond commitment and citizen solidarity. The objective of this review article is to present a study on the conceptualization, definition and education in values, and an analysis of the theoretical-methodological referents of University Social Responsibility. Systematic literature review and bibliometric analyses were carried out in the programs VOSviewer version 1.6.19 and Connected Papers. The results show that strengthening the sense of identity and belonging of the competent professional committed to academic, economic, social and environmental actions, with respect to the place where he/she studies, lives and works, is fundamental to achieve transformations in order to improve the quality of citizenship education. In conclusion, it is necessary to continue stimulating the apprehension of the value of university social responsibility in higher education institutions. [ABSTRACT FROM AUTHOR]

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