The conditional is used to express condi- tioned action, i. I should go HI had time ; I should like to see him sc. I II Ill hablar, to speak. Le preguntaron si el monarca descubriria la conspiraci6n que desde hacia un mes tramaban contra el, y los castigaria, 6 si todo les resultaria a medida de sus deseos. J Quien no castigaria accion tan mala? El astrologo veia, pues, que en ambos cases, afifmando 6 negando lo que le preguntaban, lo pasaria mal. Por con- siguiente, les dijo que no tenia bastante ciencia para pre- decir si sucederia 6 no lo que le habian preguntado.
Entonces los conspiradores, enfadados de la evasiva, le delataron al rey como un embustero. Es muy sencillo, replicaron los cortesanos conspiradores. Efectivamente, el rey llam6 al astrologo y le dijo: Tramaba una conspiracion contra el para arrojarle del reino, y pregunto un dia a un astrologo como le resultaria esta intentona, creyendo que le responderia a medida de sus deseos. Por consiguiente, este le dijo que le responderia despues de dos horas.
Entonces se present6 ante el rey y le dijo que si queria disfrazarse de astrologo y responder a las preguntas de los conspiradores, le seria muy sencillo engaflarlos, y de este modo caerian en el lazo, le descubri- rian su crimen, y por consiguiente los castigaria. Lo pasa- rian, pues, muy mal ; serian arrojados del reino 6 moririan. Y yo, dijo el astrologo, le delatare a usted como un cons- pirador. Es muy sencillo, replico el astrologo. Entonces se pre- sentaron ambos ante el rey, y el astrologo dijo: Tramaba- mos una conspiracion contra Vuestra Majestad, pero como yo comprendi que Vuestra Majestad seria tan listo que no caeria en el lazo, delate d los conspiradores.
Efectivamente ; averiguo que uno era conspirador y el otro no. Por consiguiente, arrojo del reino al que habia querido su muerte, pero comprendiendo por que le engafio el astrologo, le Uamo y le dijo que desde aquel mismo dia seria astrologo del rey y viviria con el en la corte. I should call him. We should call her. They would call them. I should deceive him. You would deceive them. Would you deceive them? Would you not deceive them? He would answer her. She would answer him. We would not offend him. You would frighten him. He would frighten me.
They would frighten us. We should frighten thee. Then the conspirator said that he would denounce him to the king as an impostor, and that he would prove his crime, because the king, who was very clever, would submit him to an ordeal, would ask him something, and would order him to answer. As the monarch would not fall into the trap, nor deceive himself like the credulous, he would punish him, would throw him into prison, or perhaps would order him to be thrown from the window.
Consequently the astrologer would get into a very ill plight: The astrolo- ger answered that that which the conspirator was predict- ing would not happen, but that he would live and die in the court of his king, who would prefer him to all his cour- tiers. Thus it turned out in fact. I Por que le delataron los cortesanos? The relative pronouns are: French dont — refers to persons or things.
Cuyo is a relative adjective. This is occasionally violated. They are really demonstrative relative compounds. The interrogative pronouns are: El comerciante, que era ya muy vie jo y que ganaba mu- cho dinero, encargo al obrero, que era muy pobre, el arreglo del tejado de su casa el cual se encontraba efectivamente en muy mal estado por cuyo trabajo prometio pagarle muy buen dinero. Entonces el hijo, heredero de los bienes del rico comer- ciante, le armo un pleito al obrero, quien comparecio muy asustado ante el juez, el cual le pregunto cuales eran su nombre y edad ; de que manera ganaba su vida ; de qui6n era esa casa en cuyo tejado trabajaba ; quien era el hombre a quien mat6 ; lo que el estaba haciendo en aquel tejado cuando se cay6 ; quien le habia encargado componer el tal tejado, y cien cosas mas, despuSs de lo cual sentencio asi: Ojo por ojo y diente por diente es la ley.
Por con- siguiente condeno al hijo del que perecio 4 subir al mismo tejado del cual cayo el obrero, d quien debe matar d su vez del mismo modo que aquel mato al padre cuya muerte llora. Apenas acabo de hablar, cuando el hijo, un poco asusta- do k su vez de lo que decia el juez, retir6 su demanda. Su hijo no vivia en la casa de su padre, sine que trabajaba como obrero para ganarse la vida. Un dia le pregunto su padre si queria componer el teja- do de su casa.
Lo que el hijo queria era trabajar ; por eonsiguiente se encargo de hacer lo que le pedia su padre, y, subiendo al tejado, empezo al instante d componerlo. Se armo por eonsiguiente un pleito, y fue el hijo el que lo armo. Pero, dijo, tambien los hijos, segun la ley, deben vivir en la casa de sus padres. Por eonsiguiente, condeno al obrero a vivir en la casa cuyo tejado acaba de componer. Es el de eomponer mi easa euyo tejado esta is en muy mal estado. En esta misma ealle en que estamos. El que se paga por tales trabajos.
Prometo hacer muy pronto lo que usted acaba de encargarme, despues de lo cual le pedire d usted mi dinero. Traba]6 muchos dias y ya estaba aeabando el trabajo que se le habia encargado, cuando se resbalo en una teja y se eay6 del tejado matandose del golpe. El hijo y heredero del obrero, a quien el comerciante no queria pagar nada, le armo a este un pleito entonces. El hijo, pues, que es heredero de los bienes de su padre, es tambien heredero del tejado, y, por consiguiente, le condeno a vivir bajo el tejado de la easa de usted.
The workman who fell. The work- man of whom I speak. Of whom do you speak? Of which one m. Of which ones m. The workman whom I found. Whom did you find? The workmen of whom I was speaking. Of which ones f. The roof which fell. What are you doing? We do not know what you are doing. We are repairing a roof, which is not much work. The workman whose roof I used to repair. Whose is the roof? The merchant whose roof fell. Who is the man whose roof fell? He repairs the roof, after which the merchant pays him. In a city whose name we do not know.
Heath's Modern Language Series: José by Armando Palacio Valdés - Free Ebook
What did the merchant order of the workman? He gave him orders to repair a house whose roof was in bad condition. Whose was the house? The same merchant's of whom we are speaking. What did he promise to the workman? He promised to pay him whatever he should ask pidiera for the work which he was giving him orders to do. Who was injured when the workman fell? The merchant who was walking in the street, and whose son very soon brought a suit against the workman.
What did the judge ask the son? He asked him who he was, what was his age, whose son he was, and whose house it was, after which the son stopped proceedings. I Qu6 le encargo al obrero? I En que estado se encontraba el tejado? I For que subi6 el obrero al tejado? The neuter demonstratives, used only as pro- nouns, and unaccented are: The neuter demonstratives are used in referring to an idea or to a substantive not definitely indi- vidualized in the speaker's mind.
Ese and aquel are both equivalent to that. Ese refers to what is near the person addressed ; aquel refers to what is remote from him: The usual contractions result: Estaba eansado y se moria de hambre. Se paro, y entr6 en la primera fonda que encontro, la cual era una de esas fondas tan malas como comunes, que hay en este piearo mundo, y, ademas, la unica que habia por alii f uera de la ciudad. Tropezo con el fondista, le dijo que queria comer, y para divertirse miqntras tanto con 6ste, se sento y le convido a vaciar unas botellas.
Para no perder tiempo y para ocultarlos, arro]6 todos aquellos cachiyaches debajo de la mesa, despues de lo cual se marcho d la cocina a buscar lo precise para la comida. Cuando el desdichado volvio, encontro que el gracioso, mientras esperaba el almuerzo, estaba tirando precipitada- mente debajo de la mesa, uno tras otro, los platos, las fuen- tes, los vasos, las botellas y la tetera.
Nuestro pobre fondista al ver aquello se quedo ato- nito y exclamo: Yo, en verdad, crei que iba k comer debajo de la mesa. Se morian de hambre, de esa hambre que es comun a todos los que viajan a pie. Querian almorzar j buscaban una fonda. Como no habia por alii sino aquella c61ebre de " El Hara- gan," se pararon delante de ella. Esta yez no nos reuniremos en la mesa. Entrar6 yo solo ; vosotros os quedareis delante de la puerta y vereis como nos divertimos.
Entro, se sento, y le dijo al fondista que queria al- morzar. Comio todo lo que habia en la mesa, yaciando f uentes, platos, teteras, yaso tras vaso, y aun botella tras botella, y meneando cucharas, tenedores y cuchillos como un ende- moniado, despu6s de lo cual dijo al fondista que queria al- morzar otra vez. El fondista volvio de la cocina trayendo otro almuerzo, creyendo que el hombre que estaba sentado a la mesa era el mismo de antes.
Pero se quedo aun mas asustado al ver que, despues de haberse acabado todo, le dijo que queria otro almuerzo. El fondista se marcho a la cocina exclamando: Creyo que era el anterior. Este hombre endemoniado se comera todo lo que hay en la cocina. Cuando este se march6 a buscarlos, el picaro oculto en la tetera todas las cueharas. Las otras, respondio con mucha serenidad, me las comi para no perder tiempo, esperando ese plato que trae usted.
Al entrar en esta fonda, dijo uno de ellos al fondista que querian almorzar solos para poder hablar con libertad. El fondista salio para traerles de la cocina todo aquello que era precise ; volvio despues de esto, y, creyendo que no le verian, se oculto debajo de la mesa.
- The Making of a Disciple?
- ;
- Report on Human Rights Practices Country of Jordan!
- Il lungo inverno di Spitak (Italian Edition);
Era este uno de esos picaros que buscan siempre ocasion de divertirse y lucir su ingenio. El otro hermano, al menear un pie, tropez6 eon el pobre fondista, que estaba debajo de la mesa, y pregunto: Esto, dijo el primero, es el perro del fondista. Acabada la comida, tiro debajo de la mesa un gran plato de huesos y dijo: Eso para el perro. Pero al mismo tiempo salio el desdichado fondista de debajo de la mesa, muy pa- recido ya a un perro de verdad, y les dijo: This one and that one. The former and the latter. These tables and those tables. These glasses and those glasses.
The former and the latter pi. These dogs and those dogs. We were doing this. He was doing that. That is what they do. There was near that theater an inn, and in this the comedians used to come together to amuse them- selves. There were among these two brothers, A and B. The former was the most roguish man in the world, and the latter likewise was always seeking occasions for displaying his wit. These brothers stopped one day before this inn without entering it. The innkeeper, on seeing this, cried out to them: Will you not enter this house to drain some bottles — some of those so cele- brated in all this city?
I Por que entro en la f onda? The possessive adjectives regularly precede the noun, but sometimes follow it. They have the same gender and number as the nouns they modify. They are as follows: Todos se burlaban de 61, pero nunca se enfadaba. Cuando el ingles le decia: Todo lo que es mio es tambien tuyo, 61 respondia graciosamente: Pues por lo que a mi toca, todo lo que es tuyo es tambi6n mio, sin apercibirse nunca de cudn disparatadamente expresaba lo que queria decir.
El uno le daba al otro su tabaco, su ropa, su dinero, en fin todo lo suyo indif erentemente. De este irlandes y de su amigo queremos contar un lance muy diyertido.
Heath's Modern Language Series: José by Armando Palacio Valdés
El dia que nuestra flota, aliada con la francesa, salid del puerto de X, donde gano su gran yictoria sobre nuestros enemigos, los rusos, perdio el ingles una pierna en el combate. Viendo que su amigo no estaba muy lejos, le Uamo y le dijo: Acudio en seguida el irlandes a su socorro y recogio al herido, cargandosele cuidadosamente en los hombros. Pero mientras se precipitaba hacia el camarote, los alcanzo un cafionazo que se Uevo la cabeza del herido. Y, sin quitar de 61 sus espantados ojos, afladio: Estando al servicio de Su Majestad, su ayuda de camara cay6 un dia enfermo y encargo a un irland6s, amigo suyo, reemplazarle en sus deberes.
Este irlandes era el hombre mas sencillo del mundo y hacia cosas muy disparatadas. El capitan, que se habia distinguido en mas de una vic- toria sobre nuestros enemigos, los franceses, habia perdido su pierna izquierda, los dos brazos y un ojo. La vejez, aliandose a la guerra, se habia encargado de acabar con sus dientes y sus cabellos. Ahora qnitame estos brazos, dijo el capitan. Ahora lo ultimo y lo mas dif icil: Ours, yours, his, hers, theirs pi. Ours, yours, his, hers, theirs sing.
A brother of mine — of his, of yours, of hers, of theirs. My money, thy money. This money is mine, thine, his, hers, theirs. That money is yours, his, hers, theirs. This friend of mine, of thine, of his, of hers. Those friends of yours, his, hers. Whose clothing is this? This clothing is his, hers, theirs, yours, mine, ours. Our clothing — your, his, her, their clothing. Our boats — your, his, her, their boats. Our careers — your, his, her, their careers. My career, mine, your career, yours. Seeing, not far from himself, an Irishman, a comrade of his, he cried out to him: A cannon- shot has carried off my left leg in the combat with our enemies.
Some of his friends had carried him to another cabin. J C6mo principio el almirante su carrera? J Como le infundia el capitan terror al enemigo? J Era gracioso el irlandes? The superlative is formed by prefixing, in addition, the definite article to Tnds or menos. A possessive may replace the article: Ids menos pobres, the least poor. It is formed by adding isi- mo to the adjective, dropping its final vowel or diphthong if it have one: Vide Introduction, ILL f uerte, f ortlsimo, very strong, cierto, certfsimo, quite certain, f eliz, f elicfsimo, most happy, bianco, blanqnlsimo, snow-white, largo, largulsimo, extremely long.
Final -hie gives Mlisvmo: A few irregular forms occur. In comparisons of inequality than is trans- lated by que: Before numerals in aflBrmative and' fre- quently in negative sentences , and in a few other cases, than is rendered by de: Before a clause whose verb governs as its object an idea to be supplied from the first member of a comparison, than is rendered hj de lo que — Id que being the object of the following verb.
In comparisons of equality as — as are ren- dered with intervening adjectives or adverbs by tan — como: As much — as, as many — as, are with inter- vening nouns rendered by tanto — cuanto adjec- tives agreeing with the noun. Como replaces cuanto if no verb follows, and may do so even before verbs. As much — aSj as many — as, are often rendered by cuanto alone: The comparative formulas the more — the more and the less — the less are rendered thus: Cuanto mas discurria acerca de sus desgracias, tanto mds se decidia a quitarse la yida.
Tomo, efectivamente, esta resolucion desesperada, y se salio de la casa con direccion al rio. A los pocos minutes Uego d la orilla de este. Dos veces se arrojo al agua, y otras tantas, sin pregun- tarle si le convenia. Deseubrieron el cad4ver algunos obreros que per alii pasaban, y viendo eerca al molinero, le llevaron detenido y debi6 eomparecer ante el juez. El molinero, que pasaba por el hombre mas graeioso del lugar, replieo: La suerte de los mendigos, decia uno, es aun peor que la de los hombres que ganan su vida trabajando.
Estos sufren mucho menos de lo que nosotros sufrimos. Cuanto mas trabajan tanto mas ganan, mientras que nosotros siem- pre seremos los mds pobres y los menos f elices de cuantos hombres hay en el mundo. No te creia tan estupido. Tra- bajar es lo peor de todo; mejor seria ahorcarse. Nos ganaremos la vida sin mover un dedo, y yiyiremos tan f elices como dos principes. No lo creo, replied el otro. Si, hombre, si, replico el primero. Lo que debemos haeer es esto: Una yez en la.
Similar Books
De esta manera, pasando cada dia por otros lugares 7 yolyiendo d arrojarnos al agua, ganare- mos siempre premios 7 mas premios. Eso si que es graoioso, respondi6 el otro mendigo. De- bemos hacerlo en seguida. Llegan al primer lugar ; se arroja uno de los mendigps al agua ; el otro le salya, 7 el juez le da el premio. A los pocos dias 7 en un lugar yeeino, yolyieron a arro- jarse al agua, k salyarse, 7 despues a pedir el premio al juez. Desgraciadamente, habia en los dos lugares el mismo juez, el cual, yiendo comparecer los mismos mendigos a quienes habia premiado pocos dias antes, lo comprendio todo; 7, esta yez, mas inclinado k ahorcarlos que a soco- rrerlos, dijo: Debemos colgarlos ahi para secarlos.
Y mando ahorcar en seguida a los dos mendigos. The beggar is poor. The beggar is poorer than I.
The least rich of the men. The poorest of the men. A yery sad man. Hap- pier than she. Less happ7 than we. More than two men. Less than two men. More than he earns. As poor as I. As happ7 as he. As much as 70U wish. As man7 neighbors as he desires. He gains more than you believe. He gains more than he needs. He gains less than you believe. He gains as much as he needs. As much money as he needs. The more he gains, the more he needs.
The less I gained, the less I needed. As many neighbors as I desire. The poorest neigh- bors. The least poor neighbors. As poor as his neighbor. As poor as her neighbors. The poorer and the richer of the two neighbors. All were happier than he, and all possessed more than he pos- sessed. The more he reasoned in regard to his wretched life, the less he desired to live and suffer ; and as he could not earn even as much as he needed, it seemed better to him to take his life by throwing himself into the water.
One day, in fact, more desperate even than before, he set out from the house in the direction of the river nearest there. In less than one minute he arrived at the bank, and threw himself into the water ; but, being the most expert swimmer of the village, in a little less than two minutes he came to the shore again and said: The cardinal nunibers are as follows: Compounds of ciento end in os or as to agree with the noun modified. The ordinal numbers which are usually re- placed by the cardinals after dedmo are: With the exception of primerOj the cardinal numbers are alone employed in dates: The hour is expressed with the feminine definite article as follows: NUMERALS la una, one o'clock, las dos, two o'clock, dr las tres, at three o'clock, dr las cuatro y media, at half-past four, las cinco menos cuarto, a quarter of five, las seis y cuarto, a quarter after six.
Su mujer, 11 6 12 aflos mas joven que 61, era una gran- disima sinvergiienza, mds mala que el mismo Barrabas. No hacia mas que atormentarle durante las 24 horas del dia, y no consagraba al reposo ni uno solo de los 7 dias de la semana. Cuando su misero marido le decia algo, le contestaba con improperios y hasta con golpes.
La cuenta que daremos de las mil desdichas del joma- lero desde su casamiento parecera mentira; pero es la pura verdad. El quinto era cojo, el nono era mudo, y al septimo le ahorcaron porque el picaro habia robado pesos. El 22 de febrero de , heredo nuestro hombre pesos 42 centavos ; pero no bien se los pagaron los ech6 en un saco roto y los perdio todos. Mien- tras estaba enfermo, un vecino suyo, hermano de su mujer, le robo 15 polios todos los que tenia , y 4 dias despues se le inurio su unica vaca, cosa muy sensible, porque debe advertirse que estaba haciendo experiencias para acostum- brarla a no comer, y justamente se le murio cuando ya se iba acostumbrando a ello.
Para colmo de sus mil desdichas no se le muri6 su mujer. For consiguiente, el misero pecador resolvi6 qui- tarse la vida. Si ; antes morir que sufrir, se dijo, reflexio- nando sobre su tristisima suerte. Un dia, salio de casa a la una de la tarde; tomo el camino de la estaci6n ; compro un billete por 39 centavos y le admitieron en seguida en el tren de las 2 y 8.
Lleg6 a la ciudad A las 3 y A las 3 y 30 ya habia bajado a la playa, y, abriendo un paraguas, pues Uovia a cdntaros, avanzo 4 pasos entre las olas. VolverS aqui otro dia. Algunos aseguran que entro junto con ella por las puertas del paraiso de Ala. Habian vivido, el uno 84 afios y el otro Llegaron juntos d las puertas del paraiso de Aid. Como Uovia a cantaros y no tenian paraguas, querian entrar pron- to. Pero Maboma, avanzando 4 pasos, les grito: Picaros, aqui no entrareis. Tu, grandisimo sinvergiienza, le dijo al primero, desde que naciste, en , tomaste el camino del mal.
Buena cuenta me dan de ello los vecinos de tu ciu- dad que Uegan aqui, y no la ecbo en saco roto. Es verdad, Santo Prof eta, contesto. Si, gran Maboma, es la verdad, eontest6 el jornalero ; pero debo advertirle a usted que mi mujer me babia roto antes la cabeza con el 4nismo paraguas. Bien, dijo el santo prof eta. Bien, dijo el profeta.
Tambien eso lo ecbare en saco roto. J Pero qu6 mujer! Esto si que no lo echar6 en saco roto como las otras cosas, porque es muy malo. Amabilisimo Mahoma, contesto el jornalero, es menesfcer tener en cuenta como me atormentaba mi mujer. Bien, bien, dijo el prof eta ; te dejare entrar en el parai- so esta vez, porque eon los 57 aflos que Ueyabas de casado y de atormentado ya pagaste por todo.
No la dejare, contesto Mahoma. Y el misero pecador entro de un brinco en el cielo. El profeta se volvio en seguida al otro pecador y le dijo: De ti no me dan muy buena cuenta, grandisimo sinverguen- za. The present subjunctive is formed by add- ing to the verb-stem the set of endings appro- priate to the given conjugation as indicated in the italic type of the paradigms following: Uses of the Subjunctive Mood The subjunctive mood regularly occurs in subordinate clauses only.
It does not simply state an idea, but always conveys a hint of the uncertain or hypothetical nature of the idea. The subjunctive mood is therefore used after: J in order that. Sequence of Tenses The present subjunctive is used after a gov- erning verb which is present or future. Precisamente yo entre en esta carcel para ver a los presos ypara saber que delito cometio cada uno de los que estdn aqui encerrados. Seflor, no es posible que el director proclame la inocencia de un culpable. Pero si alia en el cielo se halla quien lea en el fondo de mi corazon, no creo que me condene sin piedad, y no dudo tampoco que Vuestra Majestad se digne mitigar la severidad de la sentencia que me condeno, con- mutando la pena en otra menor, puesto que comet!
Mi opi- nion es, no obstante, que es lastima que deba morir un hom- bre tan joven, aunque las leyes lo manden asi. Pero es menester que el rey mismo respete las leyes y no cambie lo que ellas ordenan. Con todo eso, me pesa de veras que sufras tan dura pena y te permitire que solicites una gracia, ya que no es posible que yo anule tu sentencia. La de que seflales tu mismo el genero de muerte con el cual deseas que se acaben tus dias.
Un mi- Uon de gracias. No es posible encontrar palabras que describan mi sincera emocion. Se me extravia la cabeza. Me volvere loco de jiibilo. Solo suplico que me quiten de aqui en seguida y que Vuestra Majestad me per- mita morir de viejo. No esperaba res- puesta tan aguda. Pues bien ; me ocu- pare en ello sin perder tiempo. Hablaremos, el director y yo, antes que me aleje de aqui, y pronto disfrutards de esta gracia, porque no es justo que un monarca, cuyas promesas son ley, prometa algo y despues rehuse hacerlo.
Tal es mi sentencia. La vida de un rey es dura. No le es permitido que viva sin hacer nada, como a muchos hombres. El rey encontro en el pasillo d un hombre joven y de muy buena apariencia, el cual se levanto y le dijo: Si asi es, solicito me permita que le acompafie donde guste y se lo describa todo.
Gracias, contesto el rey, creyendo hablar eon el director de la casa. Y no debe usted creer que yo echo este favor en saco roto. Es lastima, de yeras, que le roben a usted asi, y aun mas que le quiten su libertad. Me pesa mucho que sufra usted tan cruelmente. Y acercandose a otro loco, dijo: Este hombre si que debe ser loco de veras ; no es posible que se dude de ello yiendo su cabeza. Asegura ser el mismo Mesias, pero siendo yo el Padre Eterno, aseguro a Vuestra Majestad que este hombre no es mi hijo. Si me quedo mas tiempo en esta casa, me volvere loco yo tambien.
In certain disadvantaged social strata, it was thought that the introduction of the new regime would allow "the popular masses to achieve equality through mobilization and participation" Cruz, , p. But it was not as simple as that, and existing power relations, although altered somewhat by the Republic, remained rigidly in place. Spain might have apparently fallen asleep Monarchist and woken up Republican the next day, but that did not mean that all of society followed suit, in sync or in unison.
This shows the relationship between "political and social Conservatism" and the Church Casanova, , p. Because they fear what might happen, they ask him to talk to Paco. They attempt to mediate with the most publicly-recognized figurehead associated with the reforms to be launched.
This meeting succinctly captures the feeling that the Republic was yearning anxiously for reform. These laudable goals, though simplified to a certain extent, are clear at the time of presenting them to a cinema audience as part of a permanent vindication of the peasantry. Clearly, for this to happen, those long-standing and traditional cacique power structures would have to be demolished and the bases of privilege attacked.
Here, we are presented with a contrast between the stark and bleak reality of the bare, gray peasant household, and the living room where Paco and Valeriano have their meeting. This room is furnished with every manner of luxury and comfort and, as such, demonstrates to us the differences in living standards from one social class to another. However, "the worsening social and economic tensions that, in turn, provoked contradictory processes of modernization" Malefakis, , p.
In the movie, despite everything, Paco manages to occupy this land. Furthermore, Valeriano finds himself obliged to get out of the village because of such events. Although, in the film, it seems that they obtain reforms in what is an exaggeratedly idealized version of reality, the real historical reforms did not even address the demands of the peasantry leading up to the Civil War.
This fomented a tension between pro- and anti-revolutionary factions, more a product of propaganda and rhetoric than anything else, which resulted in fears and exaggerations that created fertile ground for military uprisings. In any case, it should be added that, at the end of the Republican period, the question of land distribution had still not been resolved Malefakis, , p.
We should not ignore that "the major contribution the editing has made to the filmic narrative structure is that it allows the audience to see parallel and simultaneous acts which happen in different places" Vanoye and Goliot-Lete, , p. The film, constructed around a far-from-accidental gaze on the past, contains significant flashbacks that always finish right at the present moment in history. This filmic mechanism, besides breaking away from the traditional chronological narrative form because certain stylistic preferences, establishes a close relationship between past and present, both of which are united by memory.
It is no coincidence that it took more than three decades to adapt the novel to cinema. Not by chance has the interest in dealing with a guilty conscience been reignited. This is not exclusive to the priesthood or the final cut of the film, which is haunted by the memory of still-un-exorcised ghosts, but also affects a certain part of society which collaborated with those groups spearheading repression. The scene continues as follows: He ends up sitting, with an air of defeat, on a wicker chair. The town has regained social peace in exchange for abandoning its conscience.
For this reason, their absence represents their disapproval of the way in which the parish and local power have proceeded. However, the metaphor is extremely telling. The populace was highly aware of the barbaric events and openly condemned them. Continuing with the film, the young altar boy heads toward the place where the church-bell rope is situated.
Belonging to quite another generation, this adolescent is not aware of the seriousness of recent events — events which have changed the future of the local area. This is because he has not lived through anything similar before, despite having learnt a song about this tragic sequence of events; this song allows us to assess how such events came to be expressed by people from many towns, such that we should never forget what happened. We appreciate this when we hear Paco singing as he rings the bell. At the end of the song, a new flashback is introduced.
He is going to be baptized in the church. In a certain sense, the song becomes the collective social memory of a town which is accustomed to remembering events in this way — events in which the town is immersed. As James Fentress and Chris Wickham explain: No group of human beings is made up, no action undertaken and no thought communicated without their involvement; this story is as much a product of social memory as a source of it Fentress and Wickham, , p.
In the film, a man tosses candies to the children, which are then picked up with great joy. The children are singing a song but stop when they enter the church. The silence of this image in the half-light of the room, punctuated only by the sound of horseshoes against the ground, reveals a quiet, withheld sadness; this, once again, whisks us off to another memory of the young Paco who, still a child, is mulling over his experience in the caves where he sees how many of his neighbors live.
The altar boy approaches him to tell him, once again: Don Valeriano crosses himself with holy water and heads for the sacristy, where the crestfallen Priest can be found. He bows before the altar and his sonorous footsteps reverberate in the ceiling of a deserted church. Away with all those bad feelings! His eyes are bloodshot. He is being consumed by pain. We anticipate a tragic story. He closes his eyes and the memories come flooding back.
Another man knocks on the door. Upon hearing him, he looks up and, brusquely observes the arrival of the last of the men who have come to pray for Paco. Enter the altar boy. Surely it was her. Crazy as anything but as mischievous as ever. The horse, free once again, begins to trot. Indeed, "the results of Civil War cut short hopes of agrarian reform and, resultantly, gave rise to a generalized feeling of resignation" Richards, , p.
This is also how Casanova quite rightly interprets things: With this forcefulness and conviction, a reality can be revealed through images. Arguing from another perspective altogether, Cervera states that, in the film: The role played by the Church is assessed as being negative. However, when underlining these facts, it is worth clarifying that the film is remiss, once again, in making clear that the Republican regime was of importance in awakening aspirations within the Spanish peasantry: It is true that "priests, Falangists and landowners instigated murders" Bernecker and Brinkamann, , p.
There are examples of priests who were involved in defending and safeguarding lives and not every Falangist committed terrible acts. He does not participate in violence by any means, but rather resigns himself to it because he has no other choice. Those responsible for the executions were those who drafted blacklists.
These names could only be given by local residents: Let us speak then about these accusers: This, in a way, sums up his old-fashioned mentality, typical of an era characterized by highly rigid social and moral hierarchies. This, coupled with his fabrications and false accusations, marks him out as a conservative and suspicious soul. In any case, their attitudes — fearful and childlike right throughout the film — establish them as distrusting and not-in-the-least-progressive characters. Although they have used religion to justify the way they go about things, we are given to understand that their actions have, above all, been driven by another factor of greater weight: Let us return to the final images of the film.
In the same drawer is the old wooden gun that, as a child, Paco so naively tried to hide from the priest. This "becomes a symbol of death along with his personal memories" Faro Fortaleza, , p. Certainly, his attitude was prescient and not-in-the-least coincidental because, after all, his only weapons were reason and the legality of Republican rule, neither of which injured or killed; on the contrary, the others, the rulers of the town and the Falangists, resorted exclusively violence to impose their will. Leaving the chalice on the altar, he begins Mass.
A wide shot reveals the three men who wanted to pay for Mass kneeling in an empty church. Nobody else has attended the ceremony. Nobody in the town feels able to attend a ceremony commemorating the tragic life of a man who, without committing any crime greater than distributing land among the very neediest, was murdered like other innocents besides him who met the very same end. The absence of the entire town is significant. This demonstrates a public condemnation of what has happened; rather than being because of fear itself, it is because they fear being confronted by their "shame" Bernecker and Brinkamann, , p.
It would not be believable if nobody attended these celebrations. We must not exclude those who, as believers, saw the substantial value of forgiveness and reconciliation in these acts; however, considering the attitude of the regime at the time, we need not conclude that this is the intention of the director in this scene. Nevertheless, the factor of crucial importance in this scene is the exposition, for the first time and in ever such an illustrative way, of "the loneliness of the Franquista victors" Faro Fortaleza, , p.
This is supported by the socio-political reality at the time: The image of an empty church is, above all else, the result of cinematographic and novelistic imagination; it is a reminder of a bitter silence and the covert social protest over contemporary events. Without doubt, it creates a cinematic effect which is useful in recovering the symbolic value of a part of history wherein Franquista repression was deemed unacceptable.
Of course, the film eventually indicates to us that those who do not forget these events are the townspeople. Reception, awards and film reviews The film was shot in the villages of and Envid and Codees, not far from Calatayud. Its budget was a hundred million pesetas and the film was funded, in part, by the Spanish Ministry of Culture and by local government in Zaragoza Rovira, According to Gubern, the movie was received unenthusiastically by critics, who considered it a film which belonged to another era Gubern, , p.
Likewise, the director, Francesc Betriu, following some criticism adducing that the film was Manichean because of the characterization of the Falangists engaged in repression, publicly stated that "there can only be a negative judgment regarding the Falangists, as it was they who attacked the Spanish people " Cenarro, , p. These reasons help explain why the Falangists are shown as the only group to lead the repression in the film since they do not figure in the novel.
Certainly, here, the importance that the imagination takes on is clearly manifest: Neither does critic Jesus Ruiz review it well. Then there is the Hoja del lunes which calls it "superficial tragedy" 29 September Jorge de Comminges, however, believes that the film lacks warmth, even if he considers it to have "very neat, formally classical" narrative Comminges, Despite all this, we have seen how the Spanish public had an appetite for historical cinema. In an interview, the director himself affirmed that, despite the cool reception from Spanish critics, foreign newspapers such as Le Monde, the Herald Tribune and Variety were more positive Llorens and Amitrano, , p.
Among its virtues is the value of the social portrait it paints. This criticism holds even if we accept that the purpose of cinema is not to attempt to capture history in images but to tell its own story. In weighing up the strengths and weaknesses of the film, one must consider that there are elements of great interest that simultaneously convey to us and bring us closer to ways of feeling and thinking present in rural Spanish society in the first third of the 20th century.
This is because the film posits the same conclusions reached by the scholar of Hispanic studies, Paul Preston: This needs to be qualified with the acceptance that some efforts — not always aimed in the right direction — gave prominence to fanatical groups; a fact that, admittedly, is not explicitly recognized in the film. The change introduced at the end, portraying the Falangists as cornerstones of the repression, is given greater weight in the film than the novel, given that the Civil War is referred to directly as a framework in which rupture could occur.
Also, the fact that agrarian problems are so simply and subtly explained leads us to conclude that it would be redundant to treat the question of social injustice as a primary cause of conflict within the range of problems that beset Spain at the time. Therefore, indirectly — through the figure of Paco — we reason that he, as a Spanish peasant, personifies the spirit of change and social justice that had been sown deep within the most disadvantaged sections of society. The Republic was the point of departure for such aspirations to take form.
However, as happens in the film Tierra de rastrojos, the Republic remains a mere ideal suppressed by war. It acquires no substantive form.
All this said, the subtlety of the message allows for the establishment of the central theme in this social drama, which is clarified in the final scene. The townspeople turn their backs on these characters. The film offers another way of telling the story: Another important feature of cinema lies not so much in the stories told, but how it tells them and gives them life and shape in its own internally-credible universe, through imagery. The reviews advise that such credibility was not fully achieved.
Ya, September 14, La Vanguardia, September 30, Hoja del lunes, September 29, La Vanguardia, September 14, Academic text for University if Seville General field: Partiendo de tales planteamientos las ciudades seleccionadas son las siguientes Figura 1: Las ciudades objeto de estudio en la sociedad del conocimiento. Establecimientos de sectores creativos e intensivos en conocimiento , Instituto de Comercio Exterior 3.
La capacidad innovadora de las empresas. Para analizar la capacidad innovadora de las empresas se han realizado encuestas en las tres ciudades objeto de estudios. Agentes socio-institucionales con presencia activa en las ciudades. Se trata en los dos casos de redes establecidas dentro del espacio regional. Entre los factores que explican tales comportamientos, hay que destacar la capacidad de respuesta de los actores locales ante los problemas y retos a los que deben hacer frente.
Ediciones Universidad de Salamanca, Milieux innovateurs en Europe. Revista Internacional de Desenvolvimiento Local, vol. Redes, territorios y gobierno. Approaches, Experiences and Perspectives, Oxford, Elsevier. Hacia un desarrollo equilibrado y sostenible del territorio de la UE. Territorialidad y buen gobierno para el desarrollo sostenible.
Valencia, Universidad de Valencia. The geography of innovation, Dordrecht, Kluwer Academic Publisher. The idea of transformation prevails symbolically over permanence, and that of rupture over continuity, even when, at times, this might create instability and an impression of insecurity. Theoretical framework and bases of the investigation. The stiff competition to which businesses and territories find themselves subordinated in a heavily globalized economic system conditions their integration within the space of flows and networks, obliging them to remain ever-vigilant in order to make the most of those opportunities which might confer advantages, and moreover, to search out solutions to whichever new problems they must confront.
The technological revolution is the force majeure behind such processes, which are closely related with economic globalization and constitute the base of the society of knowledge Drucker, ; Machlup, ; Boisier, ; UNESCO, ; Rohrbach, …. In this context, the capacity for incorporating knowledge and effecting innovations conditions the way in which businesses and territories insert into an unbalanced and highly changeable world, in which there exist counterposing creative areas capable of successfully responding to those new challenges and of assisting those other businesses left straggling behind because of their structural deficiencies which, in conjunction with their scarce interest in learning and lack of innovatory spirit, impede the reactions necessary for adapting to the logic of the society of knowledge.
It is no wonder, by consequence, that knowledge and innovation have been converted into the point of confluence for different epistemological currents and for scientific disciplines preoccupied with the relations between economic activities and territories Feldman, ; Maillat-Kebir, ; Cating-Lacour-Lung, …. Understood from an all-at-once economic and socio-institutional perspective, innovation is thereby converted into an important factor which conditions territorial development as well as economic dynamism. In this respect, the conceptual category of the intermediate city Gault, is used to refer to those which, aside from being of a size considered to be medium within corresponding urban systems, are able to act like intermediaries between big cities and rural spaces, thereby contributing to territorial equilibrium.
Such would be the cities which would deserve to belong to the category intelligent cities; these would be recognized as such for their ability to generate or incorporate the necessary knowledge to put their own resources to use in efficient and rational ways which contribute creative, responsible and committed solutions, not only for increasing the competitive capacity of their businesses, but also and above all, for improving the quality of life for the inhabiting populations.
As part of this general context, the object of this article is to create an analysis of the more or less dynamic, competitive or innovatory behaviour of three medium-sized Andalusian cities, observing the unequal capacity of local actors to respond to the new challenges they must confront, and the ways in which they position themselves and integrate in the so-called society of knowledge. As is known, Andalusia is a peripheral region, both in European and Spanish contexts, and is afflicted by a range of structural weaknesses which encumber the developmental process there; a process which demands more effort from its institutions, businesses and society to overcome the inherent difficulties of such circumstances.
As a counterpoint to the above, the process requires a territorial resource of special interest for the approach followed here: To select cities which meet the requirements of the study, diverse criteria relating to their size, the territorial context where they are located, and the functionality of the economic base to which they belong, have been considered. Using these criteria as a point of departure, the selected cities are as follows Figure 1: Object cities of interest in the study of the Society of Knowledge.
In close relation with the reflections and newly enlivened debate surrounding the so-called society of knowledge, the studies which have sought to compare the position of the cities in this context by utilizing indicators related to the formation of human capital, the presence of intensive knowledge-based activities, the innovatory efforts made by businesses, or the results of those efforts, are already diverse in range. Bearing these in mind, the most up-to-date information has been selected, although for some indicators, the only available source was census data from , once more evidencing the deficiencies of local records.
One first group of indicators is related with the resources and infrastructures relating to knowledge and innovation. Among these, of special interest is a resource quite as basic as the population with a greater preparation for effecting innovation, as well as their weight in the job market. This demonstrates that in these municipalities, the job market has, compared to other cities in the region, a higher absorption capacity for the more qualified part of the population.
Resources and infrastructures for innovation. The specialization of activities particular to the society of knowledge can be measured through the number of business establishments with connections to them. Establishments in the creative and intensive sectors of knowledge , For the analysis of the innovatory effort exerted by these businesses, it is useful to consider the number of projects which have received public financing and the investment mobilized for these projects and the help or incentives received, as well as the strategies of differentiation based on the support for good quality.
Lastly, the results of innovation can be measured from the number of registered patents and the capacity of businesses to insert into external markets. The innovatory capacity of businesses. There is already a great tradition of the analysis of business innovation in scientific literature. For quite a long time, this analysis was identified with the transmission of codified knowledge and, for this reason, it was knowledge which was easily reproducible and therefore apt for exchange and acquisition on the market; besides this, it was considered to be related with the internal factors of the firm itself Lundvall, The emphasis, then, was put on tacit knowledge which, not being codified, is transferred through interpersonal relations.
Agreeing with the aforesaid, Moulaert insists on the deeply rooted character of knowledge and on the prominence that the territory acquires with it. For the above reasons, the more or less innovatory behavior of businesses conditions the extent of integration of cities within the economy and society of knowledge. Surveys have been carried out to analyse the innovatory capacity of businesses in the three cities being studied.
The behavior of Antequera turns out to be very different because the weight of the strategies of differentiation which use brands or emblems of quality is significant. Even so, in all three cities, only scarce development of cooperation networks between businesses is observed, while the most common networks are those established with socio-institutional actors.
Socio-institutional innovation and networks of cooperation. Confronted by the traditional perspectives which attempt to explain socio-economic and territorial behavior through isolated decisions, a greater attention to collective learning and socio-institutional innovation is now advocated, because it is considered that they constitute an important base for construction processes in innovatory cities.
In this way, joined to business innovation, the relationship between other private and public socio-economic and institutional agents is gaining increasing importance; agents which act in each sphere while conditioned in greater or smaller measure by territorial contexts, inherited socio-economic structures and by the presence of those resources which make up their endogenous capital. This implies that the characterization of an innovative territory must include, along with the diverse forms of business innovation considered before, those others related with socio-institutional innovation: In this way, if the reticular and relational conception of territories reinforces the role of medium-sized cities, the socio-institutional networks of cooperation will contribute to their insertion into the Society of knowledge.
In these, physical proximity helps to facilitate the exchange of tacit knowledge and trust among the actors; although for this trust to exist, a great interest in the existence of norms and common values has arisen — that is to say, of cultural proximity. In order to analyze socio-institutional networks, it is necessary to identify the distinct types of agents that act in each one of the cities under analysis. In this sense, table 6 gathers together those which appear to be more pertinent.
Socio-institutional agents with an active presence in the cities. Incubator for businesses with a technological base -Centro de Apoyo a la Calidad y la Seguridad en la Industria Local administration: Trade Unions -Business associations: Interviews and collation of information and data However, just as interesting as observing the profusion and variety of agents implicated in the processes of economic dynamization, and where appropriate, in the promotion of innovation, is to note in what measure the projects and proceedings that might favor the insertion of the cities into the Society of Knowledge derive from the existence of networks of cooperation among socio-institutional agents.
Through the use of sociograms, figure 3 attempts to synthesize the fabric of established relations among those actors with a more active presence in the studied urban spaces. In this last instance, part of the economic and innovatory dynamism is derived from the proceedings of private entities outside the city. The three cities being studied are integrated into external networks: This has to do with the two cases of established networks within this regional space. Strategies for action and their relationship with resources. The construction of innovatory intermediate cities must be associated with the utilization and intelligent management of the resources available in them, and with the objective of being able to advance development processes in each.
In this sense, some strategies of procedure come to be of special interest: From the economic perspective, its already cited territorial centrality leads it to continue to bet on a specialization in logistics and distribution and which is transforming its traditional primary-activity-and-industry-based and first-transformation economic structure. Among the changes experienced by Antequera during recent years, the arrival of the high-velocity train AVE should be highlighted; this has entailed the construction of a new station, a long way from the urban nucleus in order to meet the dual-strategy of reducing costs and generating a new focal-point of urban and economic development.
This logic is taken up by a good number of local socio-institutional agents, who continue to bet on economic and urbanistic growth based on the creation of strong transport infrastructure, considered to be indispensable as the base for a strategy for specializing in distribution functions.
Such approaches are adopted in the following document: A fair part of the projected infrastructure is generating support as well as doubts. The first of these have to do, above all, with improvements in accessibility, as much in the city as in the territorial space that surrounds it, on the understanding that they will assist in dynamizing the economy. Special mention is due for those other strategies directed towards the promotion of knowledge. This is a project which, as well as counting on a course of sensitization within the culture of enterprise, makes an attempt to reduce student failure rates, to educate through values and to foment an interest in learning.
El sombrero de tres picos by Pedro Antonio de Alarcón
In this vein, its integration in the International Association of Educating Cities, made-up by a significant number of urban centres in thirty-six countries, is explained. Finally, the Proyecto Territorio Socialmente Responsable Socially Responsable Territorial Project , in which business and social institutions, businesses, trade unions, universities and also the regional administration are participating, is being carried to its conclusion. Its objective is to involve the local society in an economically dynamic, environmentally sustainable and socially cohesive city project.
The requirements of this agriculture and the growing push for fruit and vegetable commercialization has fostered a process of business teamwork which has formed a complex productive system created from the standpoint of developing an entrepreneurial fabric consisting in businesses of varying sizes, and which are dedicated to the treatment of garden produce, to the inputs and services in agricultural operations, to businesses which treat the produce, and to the commercialization of production.
In this manner, parallel to the development of greenhouse agriculture, the creation or installation of biotechnological industries, of providers of agricultural machinery, irrigation systems, synthetic substrates and agrochemicals, as well as of plastics for making greenhouses, has been continuing. In turn, the complexity of agricultural operations has required very specific and appropriate activities connected with the provision of IT and telematic services, agricultural consultation, analysis laboratories and tests. This last item should be viewed with relation to the creation of a certain number of centres and institutes for investigation that continue to prove most efficient for generating technology.
Agro-commercial activity and, in smaller measure, tourism, constitute an economic base which sustains a city connected with those other administrative activities characteristic of a provincial capital. One the one hand, it occurs at the expense of traditional agricultural land, and on the other, greenhouses are installed not only in zones which were previously looked-down-upon or rejected for being less productive, but even on industrial land. These structural disorders owe in good part to a lack of reflection about the urban model and the resultant lack of a city Project.
Besides this, no strategic plan has been made and, until very recently, even the diagnostic report which constitutes the base for the Local Agenda 21 was not forthcoming. In this context, civic forums are debating possible development strategies to help to rouse the city from this lethargic state, while some local agents, both public and private, are carrying out certain actions. Among those actions spearheaded by the Town Council, the endorsement of an integral regeneration project of the historic center within the Urban Initiative, partly financed using European Union funds, is essential.
The measures related to tourist development are much more concrete: Knowledge and innovation are gathering growing prominence in territorial development processes as they condition the way with which resources are taken advantage of, as well as the way in which territories are inserted into global space and into the so-called society of knowledge. In turn, this increases the amount of attention aroused by those medium-sized cities which are capable of acting as intermediaries between those greater in size and rural spheres, in this way contributing to territorial equilibrium and development.
This then, furnishes the analysis of the behavior of these medium-sized cities — an analysis undertaken by observing their capacity to innovate, the way in which they utilize their resources and their level of insertion within the society of knowledge — with special interest.
Among the factors which explain such behavior, the capacity of local actors to respond when facing-up to the problems and challenges which confront them should be highlighted. This last point is closely related with the strategies carried out by city institutions and city projects which are to be realized in each of the studied cities. Chapter 3 La Llave de la Musica Flamenca formatting problems! Sonata para piano en Do menor, Op.
Esquema fundamental de la Folia. Edited by Craig H. University of Illinois Press. Antonio y David Hurtado Torres — — mescolanza, los aires preflamencos. Todos ellos tienen ritmo ternario, que suele organizarse internamente, de forma muy frecuente, en hemiolia.
Download This eBook
Por ejemplo, los canarios, son la base evidente de los tanguillos. Los 7 tercios de este fandango de , sin duda, constituyen un rasgo arcaico. M Biblioteca Nacional, Op. Estos aires musicales no eran solamente formas danzadas, sino que el canto estaba presente en todos ellos. Fragmento de Zarabanda para guitarra Gaspar Sanz. Los Canarios Danza procedente de las Islas Canarias. Baile introducido por los que han estado en los Reinos de las Indias. Los sones negros del Flamenco. Fragmento de Zarambeque, para guitarra. I, 10 The study of Flamenco contrasts sharply with other historiographical disciplines: When on the terrain of the musicological study of Flamenco, on the other hand, it may be easier to reconstruct the past if one has sufficient historico-musical knowledge.
This is because Flamenco dates back to relatively recent times and, up to a certain point, there exist a number of historical sources that allow us to trace a fairly clear and well-documented evolutionary line. And with precise relation to this point, we should bear a decisively important thought in mind. Inarguably and above all, Flamenco is an eminently musical natural-phenomenon. Therefore, the most centrally important thing is that which leads us to a more intimate, direct and complete acquaintance with Flamenco: This is because the principal objective is the music — an of-itself highly ethereal and abstract thing — which would otherwise continue to be totally unknown, denying us any initiation in its secrets.
However, we would remain tied up in the cavern and any information about its true source or the much-cited Pureza would be withheld. We fully agree on this as, when we speak about the study of music, we refer to a study that is all-at-once analytic, historical, musical and literary; or rather, it is a musicological study in which knowledge of musical technique is only the principal tool and in which the history of music which itself includes many other disciplines needs to be thoroughly mastered. Furthermore, we are not only interested in the broad, general history of music; indeed, the musical styles of Beethoven, Chopin and Wagner bear scarce or zero relation to our objectives.
Our principal interest is, rather, the history of the music, forms and key actors from the middle ages, the Renaissance and the Mannerist and Baroque periods. Moreover, if music already seems of-itself wholly abstract to the layperson, as soon we move inside this territory, the mystery becomes utterly huge. Indeed, it remains daunting even for the many musicians who specialize in other musical fields.
Apart from the above, it is necessary for all of this musical knowledge to be governed, guided and unified by a profound, exhaustive knowledge of times prior to Flamenco per se. Also, one must master and internalize other types of musical knowledge quite apart from the essential things learnt in a broader education in music and related subjects.
This involves highly specific knowledge: In summary, if one does not possess sufficient musical knowledge — especially of old music and Flamenco — it is impossible to undertake a rigorous study about its musical origins and evolution, simply because the necessary tools and perspectives are lacking. As a result, every approximation would turn out to be reductivist and superficial. It is therefore indispensable that, before anything else, we depart from this knowledge basis to broach an upright and sensible musical study of Flamenco. This is necessary to build up a central corpus of knowledge.
Afterwards, all other contributions from the other sciences can help to complete the picture with additional details. If it were not like this, the following would happen: This could be, for example, knowledge of a piece from the 18th century, such as the Guajira — a type of Cuban folk song. The basic error would be terrible as the scholar would be omitting fundamental data: And we could travel back further centuries and still encounter this rhythm.
In this way, we would at the very latest arrive in Classical Greece, the country considered to be the birthplace of the rhythmic concept of the Hemiolia. Needless to say, it is probable that this rhythmic form was used intuitively in some place and at some moment before the Greeks. But if we travel back in time indiscriminately and without any clear criterion, there will come a moment when this remote affiliation bears no relation to Flamenco, even though we might come across similar musical materials. Equally, the much-talked-of Greek Modes, about which such enormous confusion and ignorance exist, bear no relation to the Flamenco art form.
Vuelta a Espana Stage 18 green jersey presentation.
- ;
- Face aux risques dinondation (Sciences durables) (French Edition)?
- Super Dinosaur #18!
Alejandro Valverde nabs another green jersey after Stage 18 of the Vuelta a Espana. Vuelta a Espana Stage 18 white jersey presentation. Alejandro Valverde is presented with the white jersey for combination after Stage Vuelta a Espana Stage 18 winner interview. Jelle Wallays describes what was going through his mind before, during and after his Vuelta a Espana Stage 18 win. Finish to Stage 18 of Vuelta a Espana. Jelle Wallays claims the Vuelta a Espana Stage 18 win after a close sprint to the finish.
Vuelta a Espana Stage 17 polka dot jersey. Lotto Soudal receives the polka dot King of the Mountains jersey after a hard climb in Stage 17 of the Vuelta a Espana. Vuelta a Espana Stage 17 red jersey presentation. Simon Yates receives the red jersey for overall leader after Stage 17 of the Vuelta a Espana. Vuelta a Espana Stage 17 green jersey presentation.
Alejandro Valverde receives the green points jersey after a mountainous Stage 17 at the Vuelta a Espana. Vuelta Stage 17 winner celebrates on podium. Michael Woods heads to the podium to celebrate his victory in Stage 17 of the Vuelta a Espana. Vuelta a Espana Stage 17 winner interview.
Michael Woods talks about his Vuelta a Espana Stage 17 win and how his family motivated him in the final climb. Finish to Stage 17 of Vuelta a Espana. Michael Woods claims the Stage 17 win after a difficult mountain ride in the Vuelta a Espana. Vuelta a Espana Stage 16 winner's podium. Vuelta a Espana Stage 16 red jersey presentation. Simon Yates was able to extend his overall in the Stage 16 time trial in the Vuelta a Espana. Vuelta a Espana leader finishes Stage Simon Yates extended his overall lead during Stage 16 but was more than a minute slower than stage winner Rohan Dennis. Finish to Stage 15 of Vuelta a Espana.
Thibaut Pinot battled the foggy conditions to win Stage 15 of the Vuelta a Espana. Vuelta a Espana Stage 15 green jersey presentation. Alejandro Valverde wears the green jersey following Stage 15 of the Vuelta a Espana. Vuelta a Espana Stage 15 white jersey presentation. Alejandro Valverde was presented with the white jersey following Stage 15 of the Vuelta a Espana. Vuelta a Espana Stage 15 red jersey presentation.