Hector Fernandez Cuba junio 1965 es un joven estudioso de las culturas antiguas y fruto de abundantes compilaciones historicas es su novela, " El Guerrero Uteh en el Reino de Ramses II" este libro narra las aventuras del joven Uteh descendiente de una estirpe guerrera que arde en deseos de entrar en combate bajo las ordenes del Faraon Ramses II contra su mas potente enemigo el imperio Hitita {actual Armenia) y que culmina con lo que hoy se conoce como el primer tratado de paz entre ambos imperios, escrita en lenguaje coloquial y directo sin rebuscamientos barrocos el texto de fernandez incerta inmediatamente al lector en un mundo fascinante y exotico, literatura que tiene un largo expediente contemporaneo recordemos Mika Waltari con "Sinuhue el Egipcio" esta novela se agrega con su precensia singular al monto de total de la literatura cubana escrita en las ultimas dos decadas .

How do children construct, negotiate and organize space? The study of social space in any human group is fraught with limitations, and to these we must add the further limits involved in the study of childhood. Here specialists from archaeology, history, literature, architecture, didactics, museology and anthropology build a body of theoretical and methodological approaches about how space is articulated and organized around children and how this disposition affects the creation and maintenance of social identities. Children are considered as the main actors in historic dynamics of social change, from prehistory to the present day. Notions on space, childhood and the construction of both the individual and the group identity of children are considered as a prelude to papers that focus on analyzing and identifying the spaces which contribute to the construction of children’s identity during their lives: the places they live, learn, socialize and play. A final section deals with these same aspects, but focuses on funerary contexts, in which children may lose their capacity to influence events, as it is adults who establish burial strategies and practices. In each case authors ask questions such as: how do adults construct spaces for children? How do children manage their own spaces? How do people (adults and children) build (invisible and/or physical) boundaries and spaces?

Pamela Gillilan was born in London in 1918, married in 1948 and moved to Cornwall in 1951. When she sat down to write her poem Come Away after the death of her husband David, she had written no poems for a quarter of a century. Then came a sequence of incredibly moving elegies. Other poems followed, and two years after starting to write again, she won the Cheltenham Festival poetry competition. Her first collection That Winter (Bloodaxe, 1986) was shortlisted for the Commonwealth Poetry Prize.

The turbulent years of the 1930s were of profound importance in the life of Spanish film director Luis Buñuel (1900–1983). He joined the Surrealist movement in 1929 but by 1932 had renounced it and embraced Communism. During the Spanish Civil War (1936–39), he played an integral role in disseminating film propaganda in Paris for the Spanish Republican cause. Luis Buñuel: The Red Years, 1929–1939 investigates Buñuel’s commitment to making the politicized documentary Land without Bread (1933) and his key role as an executive producer at Filmófono in Madrid, where he was responsible in 1935–36 for making four commercial features that prefigure his work in Mexico after 1946. As for the republics of France and Spain between which Buñuel shuttled during the 1930s, these became equally embattled as left and right totalitarianisms fought to wrest political power away from a debilitated capitalism. Where it exists, the literature on this crucial decade of the film director’s life is scant and relies on Buñuel’s own self-interested accounts of that complex period. Román Gubern and Paul Hammond have undertaken extensive archival research in Europe and the United States and evaluated Buñuel’s accounts and those of historians and film writers to achieve a portrait of Buñuel’s “Red Years” that abounds in new information.

A must-have vocabulary builder for test takers and lifelong learners For the more than 3 million SAT and GRE test takers every year, as well as the millions of non-native English speakers who want to enhance their English vocabulary, Websters New World Essential Vocabulary will be an invaluable resource.

This book is number two in a series for Primates in Fragments. In this volume, ten years after the first http://www.springer.com/social+sciences/anthropology+%26+archaeology/book/978-0-306-47696-9, we continue to address issues regarding primates within a fractured landscape. There are seven sections based on specific categories of primates in fragments. In the Introductory section, authors discuss the issues surrounding primates in remnant habitats as well as encourage discussion about what we mean by fragmentation on a landscape scale. In the Long-Term and Regional Studies section, authors present information on changes that have occurred during longer studies as well as changes that have occurred over regions. In the Landscape, Metapopulations and the Matrix section, authors cover topics from dry to moist forests, and from metapopulations to single species use of multiple fragments locations. In Feeding and Behavioral Ecology, authors take a closer look at the flexibility and responsiveness of primates in fragments in terms of their food choices, resource use, and behavioral changes. In Endemic, Endangered, and Nocturnal Primates authors uncover details involving critical primates living in major city centers to the heights of the Himalayas. In Genetics, Disease and Parasites authors cover topics including population viability, disease and parasite transmission between primates in fragments and humans. Finally, in the Conservation and Ecology: Threats and Management section, we synthesize information in this volume and make recommendations for the future of work in this field and the survivability of primates in fragments.

This volume was created initially from a symposium of the same name presented at the International Primatological Society's XVIII Congress in Adelaide. South Australia. 6-12 January 2000. Many of the authors who have contributed to this text could not attend the symposium. so this has become another vehicle for the rapidly growing discipline of Fragmentation Science among primatologists. Fragmentation has quickly become a field separate from general ecology. which underscores the severity of the situation since we as a planet are rapidly losing habitat of all types to human disturbance. Getting ecologists. particularly primatologists. to admit that they study in fragments is not easy. In the field of primatology. one studies many things. but rarely do those things (genetics. behavior. population dynamics) get called out as studies in fragmentation. For some reason "fragmentation primatologists" fear that our work is somehow "not as good" as those who study in continuous habitat. We worry that perhaps our subjects are not demonstrating as robust behaviors as they "should" given fragmented or disturbed habitat conditions. I had a colleague openly state that she did not work in fragmented forests. that she merely studied behavior when it was clear that her study sites. everyone of them. was isolated habitat. Our desire to be just another link in the data chain for wild primates is so strong that it makes us deny what kinds of habitats we are working in. However.

Marco Armiero is Senior Researcher at the Italian National Research Council and Marie Curie Fellow at the Institute of Environmental Sciences and Technologies, Universitat Aut(noma de Barcelona. He has published extensively on-Italian environmental history and edited Views from the South: Environmental Stories from the Mediterranean World. --

Explores the complex nature of capuchins both in the wild and in captivity.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.