El Sueño de Oro is a day-by-day account of an expedition for gold in Alaska from August of 1897 to August of 1899. The "log" was created by the leader of the expedition, William Mills Coffee, then of Santa Cruz, California. The log entries create a flowing story of the El Sueño expedition from San Francisco to the Bering Sea and up the Yukon River in Alaska. The El Sueño party searched for gold by dog sled, boat and on foot during the harsh winters of Alaska, where the temperatures were recorded as low as -80 degrees. During the two years there were mutinies, deaths, marriages, amputations, shipwrecks and various accounts of the Alaskan wilderness. The book is an historical account of one man's search for gold, very well documented with photos, maps of probable gold locations and claims, and financial records of the expedition. The Master Carpenter Certificates of the two ships involved with the expedition, "Bessie K" and "El Sueño", are included.

El Sueño de Oro is a day-by-day account of an expedition for gold in Alaska from August of 1897 to August of 1899. The "log" was created by the leader of the expedition, William Mills Coffee, then of Santa Cruz, California. The log entries create a flowing story of the El Sueño expedition from San Francisco to the Bering Sea and up the Yukon River in Alaska. The El Sueño party searched for gold by dog sled, boat and on foot during the harsh winters of Alaska, where the temperatures were recorded as low as -80 degrees. During the two years there were mutinies, deaths, marriages, amputations, shipwrecks and various accounts of the Alaskan wilderness. The book is an historical account of one man's search for gold, very well documented with photos, maps of probable gold locations and claims, and financial records of the expedition. The Master Carpenter Certificates of the two ships involved with the expedition, "Bessie K" and "El Sueño", are included.

Latin American culture has given birth to numerous dramatic works, though it has often been difficult to locate information about these plays and playwrights. This volume traces the history of Latin American theater, including the Nuyorican and Chicano theaters of the United States, and surveys its history from the pre-Columbian period to the present. Sections cover individual Latin American countries. Each section features alphabetically arranged entries for playwrights, independent theaters, and cultural movements. The volume begins with an overview of the development of theater in Latin America. Each of the country sections begins with an introductory survey and concludes with copious bibliographical information. The entries for playwrights provide factual information about the dramatist's life and works and place the author within the larger context of international literature. Each entry closes with a list of works by and about the playwright. A selected, general bibliography appears at the end of the volume.

With poems selected and translated by one of the preeminent translators of our day, this bilingual collection of 112 sonnets by six Spanish-language masters of the form ranges in time from the seventeenth to the twentieth centuries and includes the works of poets from Spanish America as well as poets native to Spain. Willis Barnstone's selection of sonnets and the extensive historical and biographical background he supplies serve as a compelling survey of Spanish-language poetry that should be of interest both to lovers of poetry in general and to scholars of Spanish-language literature in particular. Following an introductory examination of the arrival of the sonnet in Spain and of that nation's poetry up to Francisco de Quevedo, Barnstone takes up his six masters in chronological turn, preceding each with an essay that not only presents the sonneteer under discussion but also continues the carefully delineated history of Spanish-language poetry. Consistently engaging and informative and never dull or pedantic, these essays stand alone as appreciations--in the finest sense of that word--of some of the greatest poets ever to write. It is, however, Barnstone's subtle, musical, clear, and concise translations that form the heart of this collection. As Barnstone himself says, "In many ways all my life has been some kind of preparation for this volume."

Historically, Los Angeles has been central to the international success of Latin American cinema and became the most important hub in the western hemisphere for the distribution of Spanish language films made for Latin American audiences. This book examines the considerable, ongoing role that Los Angeles played in the history of Spanish-language cinema.

A Concise book on Kabalah and Tarot by Samael Aun Weor first published in 1969. In its paragraphs are the whole path very well written but very concrete and very raw. There is more than enough information in order to clarify the priorities to which this study applies (illustrated with the 22 "official" Tarot Trumps of the Gnostic Movement drawn by Iglasias Janeiro). Also includes a sizable editor's Appendix with the following texts: -Sepher Yetzirah -The Twelve Keys of Basil Valentine -Viridarium Chymicum -Tarot Prediction. Libro conciso y auténtico sobre Kábala y Tarot por Samael Aun Weor primero publicado en 1969. En sus párrafos está todo el camino no precisamente muy bien escrito pero sí muy concreto y muy crudo. Más que suficiente para aclararle las prioridades al que vale para esto (está ilustrado con los 22 arcanos del Tarot "oficial" del Movimiento Gnóstico dibujado por Iglesias Janeiro). Reproducción del segunda edición de 1977.

Publisher Description

Offering a unique perspective on the very notions and practices of storytelling, history, memory, and language, Clio’s Laws collects ten essays (some new and some previously published in Spanish) by a revered voice in global history. Taking its title from the Greek muse of history, this opus considers issues related to the historian’s craft, including nationalism and identity, and draws on Tenorio-Trillo’s own lifetime of experiences as a historian with deep roots in both Mexico and the United States. By turns deeply ironic, provocative, and experimental, and covering topics both lowbrow and highbrow, the essays form a dialogue with Clio about idiosyncratic yet profound matters. Tenorio-Trillo presents his own version of an ars historica (what history is, why we write it, and how we abuse it) alongside a very personal essay on the relationship between poetry and history. Other selections include an exploration of the effects of a historian’s autobiography, a critique of history’s celebratory obsession, and a guide to reading history in an era of internet searches and too many books. A self-described exile, Tenorio-Trillo has produced a singular tour of the historical imagination and its universal traits.

When it began, modern Spanish cinema was under strict censorship, forced to conform to the ideological demands of the Nationalist regime. In 1950, the New Spanish Cinema was born as a protest over General Francisco Franco's policies: a new series of directors and films began to move away from the conformist line to offer a bold brand of Spanish realism. In the 1950s and early 1960s, filmmakers such as Juan Antonio Bardem, Luis García Berlanga, and Luis Buñuel expressed a liberal image of Spain to the world in such films as Muerte de un ciclista (Death of a Cyclist), Bienvenido Señor Marshall (Welcome Mr. Marshall), and Viridiana. The emergence of new directors continued into the sixties and seventies with Carlos Saura, José Luis Borau, Víctor Erice, and others. After Franco's death in 1975, censorship was abolished and films openly explored such formerly taboo subjects as sexuality, drugs, the church, the army, and the Civil War. The Spanish cinema was no longer escapist and entertaining but, at long last, mirrored the society it depicted. While established directors like Saura, Bardem, and Berlanga continued to produce distinguished work, the "new wave" of Spanish cinema included brilliant films by the likes of Montxo Armendáriz (Tasio), Fernando Trueba (First Work), Imanol Uribe (The Death of Mikel), and Pedro Almodóvar (Women on the Verge of a Nervous Breakdown). In the last couple of decades, exciting works by established filmmakers and newcomers alike continue to be produced, including Alejandro Amenábar's Thesis, José Luis Garcí's The Grandfather, and Almodóvar's Talk to Her and Volver. In Great Spanish Films Since 1950, Ronald Schwartz presents a compendium of outstanding Spanish films from the pre-Francoist era through the Spanish New Wave of the 80's and 90's and into the present day. Schwartz provides background, plot, and commentaries of key films from six decades of Spanish cinema. In addition to identifying

Traces the tradition of Spanish women's writing from the end of the Romantic period until the present day. Professor Davies places the major authors within the changing political, cultural and economic context of women's lives over the past century-and-a-half -- with particular attention to women's accounts of female subjectivity in relation to the Spanish nation-state, government politics, and the women's liberation movement.