tag:blogger.com,1999:blog-69102706655090981122024-03-28T20:28:16.395-07:00fjbarrera - una mente fragmentada aplicada a la Cultura (Ciencia, Arte, Industria).FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-6910270665509098112.post-15512782701372242842024-03-14T14:16:00.000-07:002024-03-14T14:16:42.657-07:00<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgoeJKWR9C0J8aFhCn4cpZ4zXAB4YNp9EdvbMGFbl4gV9MFI027O4AER7zocRur8iCdCU7kGHhus1in6jewOflah8yytHjnndXzyglLV4lqRwNueddf2CB8JsbcljbtQTsQlZAiviYVpRYjDbm8aQxMgCCTrw0cY_bAxzM36EM_NxcE5Z5gx-rm79mM6qm/s652/achmed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="616" data-original-width="652" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgoeJKWR9C0J8aFhCn4cpZ4zXAB4YNp9EdvbMGFbl4gV9MFI027O4AER7zocRur8iCdCU7kGHhus1in6jewOflah8yytHjnndXzyglLV4lqRwNueddf2CB8JsbcljbtQTsQlZAiviYVpRYjDbm8aQxMgCCTrw0cY_bAxzM36EM_NxcE5Z5gx-rm79mM6qm/s16000/achmed.jpg" /></a></div><br /><p></p>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-80168621626770854922024-03-06T03:46:00.000-08:002024-03-06T10:58:13.315-08:00<h3 class="post-title entry-title" itemprop="name">(...)</h3>
<br />
A aquel que pretende coger la pluma por primera vez y convertirse en
poeta en una semana mi libro no le sirve para nada. Mi libro es para
aquel que, por encima de los múltiples obstáculos, quiere convertirse en
poeta. Y un poeta es una persona consciente de que la poesía es uno de
los desafíos más difíciles que existen, y a pesar de ello quiere conocer
y transmitir a otros esos procedimientos que muchas veces transcurren
por caminos misteriosos.<br />
<br />
Estas son las conclusiones:<br />
<br />
1. Poesía es industria. De las más difíciles y complicadas, pero, a pesar de todo eso, es una industria.<br />
<br />
2. Aprender el oficio de poeta no es aprenderse el modo de hacer un
cierto tipo de obras poéticas. Es explorar los medios utilizados para
cualquier trabajo poético y estudiar sus prácticas lo que ayudará a
crear otras nuevas.<br />
<br />
3. Originalidad. La novedad del material y de los procesos es obligatoria en cada obra poética.<br />
<br />
4. El poeta debe trabajar a diario para mejorar sus recursos y sobre todo para ir acumulando sus reservas poéticas.<br />
<br />
5. Tener un buen cuaderno de notas y saber usarlo es mucho más
importante que saber escribir sin errores en base a la vieja y caduca
métrica poética.<br />
<br />
6. No es necesario comenzar produciendo poesía en serie para obtener un
único y brillante verso. Hay que dar la espalda a una futilidad poética
tan poco racional. Solo se debe coger la pluma cuando no existe otro
medio de expresión que no sea el verso. Solo debemos lanzarnos al
trabajo poético en el momento en el que sentimos con nitidez el susurro
de una obligación social.<br />
<br />
7. Para comprender correctamente la obligación social el poeta debe
situarse en el centro de las cosas y de los acontecimientos. Conocer la
teoría económica, estar al tanto de la vida real, interesarse por la
historia y la ciencia, es para el poeta una parte esencial de su trabajo
y un aspecto mucho más importante que los manualitos escolásticos de
profesores idealistas que idolatran a las antiguallas.<br />
<br />
8. Para conseguir una mejor y más eficaz interpretación de la obligación
social es necesario colocarse a la vanguardia de la clase social a la
que pertenece el poeta, y luchar en todos los frentes en los que esté
inmersa esa clase. Es necesario romper en mil pedazos el tópico de que
el arte es apolítico. Esa vieja leyenda aparece ahora bajo la
verborreica apariencia de los grandes cuadros épicos -primero épicos,
después objetivos y al final no toman partido-, con un estilo grandioso
-primero grandioso, después elevado y al final divino-.<br />
<br />
9. Los juicios al azar y la individualista, carente de principios y
caprichosa subjetividad del gusto, solamente pueden ser eliminados si
consideramos al arte como un oficio. Solo considerando la poesía de esta
manera lograremos situarla en el mismo plano que otros géneros
literarios. Poemas junto a crónicas de los rabcors. Esto nos dará la
posibilidad de abordar el problema de la valoración de la calidad de la
obra poética, problema a cuya urgente solución nada aportan los
tradicionales análisis místicos del fenómeno poético.<br />
<br />
10. No podemos considerar el proceso de producción de un poema, lo que
se llama el trabajo técnico, como un valor en sí mismo. Sin embargo, es
este trabajo el que hace el poema conveniente para su uso. La diferencia
entre las maneras de trabajar un poema es la que diferencia un poeta de
otro poeta. Sólo el conocimiento, el perfeccionamiento, la acumulación y
la diversidad en los procedimientos poéticos convierten a alguien en un
escritor profesional.<br />
<br />
11. El ambiente poético cotidiano influye tanto en la creación de una obra auténtica como los demás factores. La palabra <i>bohemia</i>
se ha convertido en la designación común de todo lo cotidiano que rodea
al artista pequeño-burgués. Se ha luchado mucho contra esa palabra,
pero desgraciadamente sólo contra la palabra. En realidad seguimos
respirando esa atmósfera enrarecida por los viejos arribismos literarios
individualistas, por los intereses de capillitas gruñones y mezquinos,
por las zancadillas mutuas y por la poetización de los conceptos,
sustituyendo, por ejemplo, "borrachera" por "dulce embriaguez". Incluso
es necesario que la imagen del poeta y las conversaciones domésticas con
su mujer sean diferentes, definidas por su propia producción poética.<br />
<br />
12. Nosotros, los <i>Lefs</i>, nunca hemos pretendido ser los únicos
poseedores de los secretos de la creación poética. Pero somos los únicos
que queremos descubrir esos secretos, los únicos que no queremos una
veneración artístico-religiosa para, una vez conseguida, especular con
ella como puros comerciantes.<br />
<br />
(...)<br />
<br />
Vladimir Maiakovski, 1926.<br />
<br />
Extraído de<i> "Cómo hacer versos"</i>. Vladimir Maiakovski. Traducción de Ismael Filgueira Bunes. mono azul editora. Colección Vuelapluma. 2009.
FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-19174315814816025332024-02-29T07:41:00.000-08:002024-02-29T07:41:59.273-08:00<p><span style="background-color: #fffffe; font-family: Arial;">The mystery of Merlin’s Charm of Making is, alas, no longer a mystery. Although Merlin and Morgana both pronounce things differently from each other, and even Merlin has two sounds which to me sound like phonemes but which must be allophonic, I get the following from the Charm of Making in John Boorman’s film </span><b style="font-family: Arial;">Excalibur</b><span style="background-color: #fffffe; font-family: Arial;">:</span></p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">/a'na:l naθ'rax, u:rθ va:s be'θud, dox'je:l 'djenve:/</p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">It’s certainly not Welsh. It looks very much like an attempt at Old Irish. (One wonders where Boorman got it.) Following is the best I can do at reconstructing reasonable Old Irish from it. It is probably a defective reconstruction. I have normalized to Modern Irish orthography to indicate lenition.</p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">In Old Irish<br /><i>Anál nathrach, orth’ bháis’s bethad, do chél dénmha</i></p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">In Modern Irish:<br /><i>Anáil nathrach, ortha bháis is beatha, do chéal déanaimh</i></p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">In English:<br />Serpent's breath, charm of death and life, thy omen of making.</p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">anál nathrach = breath of serpent<br />orth’ bháis ’s bethad = spell of death and of life<br />do chél dénmha = thy omen of making</p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;"><b>anál</b> <i>fem. -<b>á</b> stem</i> ‘breath, breathing’<br /><b>nathair</b> fem. -k stem ‘snake, serpent’ g. sg. <b>nathrach</b><br /><b>ortha</b> fem. -n stem ‘prayer; incantation, spell’, from Latin <b>oratio</b><br /><b>bás</b> masc. -o stem ‘death’ g. sg. <b>báis</b><br /><b>ocus</b> conj. ‘and’ here shortened to <b>'s</b><br /><b>betha</b> masc. -t stem ‘life’ g.sg. <b>bethad</b><br /><b>do</b> prn. ‘thy’ Usually unstressed<br /><b>cél</b> masc. -u stem ‘omen, augury, portent’<br /><b>dénumh</b> masc. -m stem ‘making, doing’ g.sg. <b>dénmha</b></p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">Modern Irish would have the -<b>is</b> in <b>bháis</b> as a /sh/ sound, but it might not have been so palatalized in the Old Irish period; and the nonpalatal <b>’s</b> of ‘and’ ought to reinforce that. The third part of the charm could also be <b>dochél dénmha</b> ‘an evil omen of making’, but that suits the sense badly. The word <b>do</b> ‘thy’ is usually unstressed in speech but what can you do...</p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">Note that Merlin says <b>dénmhe</b>, which ought to be <b>dénmha</b>; perhaps there is some sort of ‘incantation register’ in which a final vowel can be altered in this way.... In any case, I am less than happy with the third part of this. I'd like to have seen an imperative or hortative, but verb-first syntax precludes even <b>dénae</b>, the imperative of <b>do-gní</b> (from which the verbal noun <b>dénumh</b> is formed), which anyway doesn’t have the nominal formative -<b>mh</b>.</p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">I would be interested in hearing from specialists in Old Irish as to their opinions of this. There are other possibilities for the retro-translation, and indeed the use of a Latin loanword, given the context, is problematic.</p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;"><br /></p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;">Fuente: https://www.evertype.com/misc/charm.html</p><p style="background-color: #fffffe; font-family: Baskeverville, Baskerville, serif;"><br /></p>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-68035570816580901282024-02-21T02:48:00.000-08:002024-02-21T02:49:37.729-08:00<p><span style="background-color: black; color: white; font-family: Sinclair ZX Spectrum ES; font-size: small;">Tape
loader <br /></span></p>
<p style="margin-bottom: 0cm;"><span style="font-family: Sinclair ZX Spectrum ES; font-size: small;">Insert
tape and press PLAY</span></p>
<p style="font-weight: normal; margin-bottom: 0cm;"><span style="font-family: Sinclair ZX Spectrum ES; font-size: small;"><span>To
cancel – press BREAK twice</span></span></p><h2 style="font-weight: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: Sinclair ZX Spectrum ES; font-size: small;"><span><b> :</b></span></span></h2>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-81730003737316260262024-02-21T02:47:00.001-08:002024-02-21T02:49:53.113-08:00<p> <img border="0" data-original-height="588" data-original-width="518" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn1W_bXjsLz235KXTX7LMMtYhVUlXdmPMO3Wql3vwMMclctXR5FzaE37J6bFIGkJmQ_Ggefl3EGnXjEUcXiRn0FL-aP_r3CKgk3UOseAm4Vsls-7XpJcbM1Dmg4QAD8rrhN8_SJqMndO4NzKyVNpusZH89xHWUFPrJO3TzZtIPZwGd8V7iEM-88tldusbi/w176-h200/malevich%20ama%20TRACATA.jpg" width="176" /></p><header class="f" title="Definición de experimental"><article id="Lgx0cfV"><header class="f" title="Definición de innovación"><b><span style="font-size: medium;"> </span></b></header><header class="f" title="Definición de innovación"><b><span style="font-size: medium;">innovación</span></b></header> <a class="sp_sin-ant" href="https://dle.rae.es/innovaci%C3%B3n?m=form#sinonimosLgx0cfV" title="Sinónimos y antónimos de innovación"></a>
<p class="n2">Del <abbr title="latín">lat.</abbr> <em>innovatio, -ōnis.</em></p>
<p class="j" id="9MU5Zu2"><span class="n_acep">1. </span><abbr class="d" title="nombre femenino">f.</abbr> <span data-id="0KZwLbE">Acción</span> <span data-id="c8HoARq|c8HrfrV|c8IFPyp">y</span> <span data-id="EOoHYxJ">efecto</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="LgzBfa6">innovar</span>.</p><div class="sin-header sin-inline"><table class="sinonimos"><tbody><tr><td><abbr class="sin-header-inline d" title="Sinónimos o afines">Sin.:</abbr></td><td><span><span class="sin" data-id="6vurcOd">cambio</span></span>, <span><span class="sin" data-id="OniqDn5">mejora</span></span>, <span><span class="sin" data-id="Qf48Xbb">novedad</span></span>, <span><span class="sin" data-id="RDGMn2W">originalidad</span></span>, <span><span class="sin" data-id="M2d9ZYo">invención</span></span>, <span><span class="sin" data-id="SaODq55">perfeccionamiento</span></span>.</td></tr></tbody></table></div><p></p>
<p class="j" id="9MU7rF2"><span class="n_acep">2. </span><abbr class="g" title="nombre femenino">f.</abbr> <span data-id="BCxYDWR">Creación</span> <span data-id="QlqTEX0|Qlr66uc|Qltkqeu">o</span> <span data-id="PUZF5XS">modificación</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="b6hEWeB|b6iKApr">un</span> <span data-id="UH9P99t">producto</span>, <span data-id="c8HoARq|c8HrfrV|c8IFPyp">y</span> <span data-id="YUFeT07">su</span> <span data-id="M04jnTO">introducción</span> <span data-id="EuPaWdO">en</span> <span data-id="b6hEWeB|b6iKApr">un</span> <span data-id="OyRtG0r|Oz3Efbe">mercado</span>.</p><div class="sin-header sin-inline"><table class="sinonimos"><tbody><tr><td><abbr class="sin-header-inline d" title="Sinónimos o afines">Sin.:</abbr></td><td><span><span class="sin" data-id="6vurcOd">cambio</span></span>, <span><span class="sin" data-id="OniqDn5">mejora</span></span>, <span><span class="sin" data-id="Qf48Xbb">novedad</span></span>, <span><span class="sin" data-id="RDGMn2W">originalidad</span></span>, <span><span class="sin" data-id="M2d9ZYo">invención</span></span>, <span><span class="sin" data-id="SaODq55">perfeccionamiento</span></span>.</td></tr></tbody></table></div><p></p>
</article>
<div class="div-sin-ant"><a id="sinonimosLgx0cfV" name="sinonimosLgx0cfV"></a><span class="sin-header-inline">Sinónimos o afines de</span> <b>innovación</b><ul class="sin-after" style="list-style-type: square; margin-top: 10px;"><li><span><span class="sin" data-id="6vurcOd">cambio</span></span>, <span><span class="sin" data-id="OniqDn5">mejora</span></span>, <span><span class="sin" data-id="Qf48Xbb">novedad</span></span>, <span><span class="sin" data-id="RDGMn2W">originalidad</span></span>, <span><span class="sin" data-id="M2d9ZYo">invención</span></span>, <span><span class="sin" data-id="SaODq55">perfeccionamiento</span></span>. <br /></li></ul></div>- - - <br /></header><header class="f" title="Definición de experimental"> </header><header class="f" title="Definición de experimental"><b><span style="font-size: medium;">experimental</span></b></header> <a class="sp_sin-ant" href="https://dle.rae.es/experimental#sinonimosHIllLh5" title="Sinónimos y antónimos de experimental"></a>
<p class="j" id="7WAwHHe"><span class="n_acep">1. </span><abbr class="d" title="adjetivo">adj.</abbr> <span data-id="IbyHAnl">Fundado</span> <span data-id="EuPaWdO">en</span> <span data-id="ESraxkH|MiZ5vEt|NWnohQu">la</span> <span data-id="HIeIZIn">experiencia</span>, <span data-id="QlqTEX0|Qlr66uc|Qltkqeu">o</span> <span data-id="UkbUarn">que</span> <span data-id="XNTSeAe|XNVjCmd">se</span> <span data-id="WsvRvUO">sabe</span> <span data-id="c8HoARq|c8HrfrV|c8IFPyp">y</span> <span data-id="1cNAr5i">alcanza</span> <span data-id="TgJ7yhD">por</span> <span data-id="ESsilCu">ella</span>. <span class="h"><span data-id="Hzx5KSB">Física</span>, <span data-id="AMrJ4zs">conocimiento</span> <span data-id="HIllLh5">experimental</span>.</span></p><div class="sin-header sin-inline"><table class="sinonimos"><tbody><tr><td><i><abbr class="sin-header-inline d" title="Sinónimos o afines">Sin.:</abbr></i></td><td><i><span><span class="sin" data-id="EqzY2CM">empírico</span></span>, <span><span class="sin" data-id="TtEMsxJ">práctico</span></span>, <span><span class="sin" data-id="UE1NiB1">probado</span></span>.</i></td></tr></tbody></table></div><p></p>
<p class="j" id="7WBHuzG"><span class="n_acep">2. </span><abbr class="g" title="adjetivo">adj.</abbr> <span data-id="UkbUarn">Que</span> <span data-id="XhmNpPs">sirve</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="HIutMRm|HIwnywu">experimento</span>, <span data-id="A5cH5M4">con</span> <span data-id="baOo6Gz|bhgAqSI|bvx0J4S|bw2em88">vistas</span> <span data-id="002rZ9U|003Ov93">a</span> <span data-id="TnPFvOp">posibles</span> <span data-id="SaODq55">perfeccionamientos</span>, <span data-id="3CdjxNg">aplicaciones</span> <span data-id="c8HoARq|c8HrfrV|c8IFPyp">y</span> <span data-id="DkYpJmy">difusión</span>.</p>
<p class="j" id="MsZaEg4"><span class="n_acep">3. </span><abbr class="g" title="adjetivo">adj.</abbr> <span data-id="UkbUarn">Que</span> <span data-id="ZSeLVNz">tiende</span> <span data-id="002rZ9U|003Ov93">a</span> <span data-id="ESraxkH|MiZ5vEt|NWnohQu">la</span> <span data-id="6LfAkZb">búsqueda</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="QhsYsNr">nuevas</span> <span data-id="IEvo12v|IFIVvz0">formas</span> <span data-id="GrPCrf2">estéticas</span> <span data-id="c8HoARq|c8HrfrV|c8IFPyp">y</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="ZIkyMDs">técnicas</span> <span data-id="HL63TXL">expresivas</span> <span data-id="VxpCnZW">renovadoras</span>. <span class="h"><span data-id="Q9MHl5m">Música</span> <span data-id="HIllLh5">experimental</span>.</span> <abbr class="d" title="Aplicado a persona">Apl. a pers.,</abbr> <abbr class="d" title="usado también como sustantivo">u. t. c. s.</abbr></p><header class="f" title="Definición de cultura">- - - <br /></header><header class="f" title="Definición de cultura"> </header><header class="f" title="Definición de cultura"><b><span style="font-size: medium;">cultura</span></b></header><a class="referencia_otras" href="https://dle.rae.es/cultura?m=form#otras" title="Otras entradas que contienen la forma la forma «cultura»"><div class="sp_mas-entradas"></div></a> <a class="sp_sin-ant" href="https://dle.rae.es/cultura?m=form#sinonimosBetrEjX" title="Sinónimos y antónimos de cultura"></a>
<p class="n2">Del <abbr title="latín">lat.</abbr> <em>cultūra.</em></p>
<p class="j" id="4smw3mO"><span class="n_acep">1. </span><abbr class="d" title="nombre femenino">f. </abbr>cultivo</p><div class="sin-header sin-inline"><table class="sinonimos"><tbody><tr><td><b><abbr class="sin-header-inline d" title="Sinónimo o afín">Sin.:</abbr></b></td><td><b><span><span class="sin" data-id="Bep4tnp">cultivo</span></span>.</b></td></tr></tbody></table></div><p></p>
<p class="j" id="4snNY63"><span class="n_acep">2. </span><abbr class="g" title="nombre femenino">f.</abbr> <span data-id="AKlK8pC|AL1T6js">Conjunto</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="AMrJ4zs">conocimientos</span> <span data-id="UkbUarn">que</span> <span data-id="SfueKr8">permite</span> <span data-id="002rZ9U|003Ov93">a</span> <span data-id="1oMNWvM">alguien</span> <span data-id="CTvYRBI">desarrollar</span> <span data-id="YUFeT07">su</span> <span data-id="MbWK64n">juicio</span> <span data-id="BKJHGzW">crítico</span>.</p><div class="sin-header sin-inline"><table class="sinonimos"><tbody><tr><td><i><abbr class="sin-header-inline d" title="Sinónimos o afines">Sin.:</abbr></i></td><td><i><span><span class="sin" data-id="EO5CDdh">educación</span></span>, <span><span class="sin" data-id="G4Fwwgj">erudición</span></span>, <span><span class="sin" data-id="WtBahTM">sabiduría</span></span>, <span><span class="sin" data-id="Lntig8K">instrucción</span></span>, <span><span class="sin" data-id="KzZWv7R">ilustración</span></span>, <span><span class="sin" data-id="IF1I1Br">formación</span></span>.</i></td></tr><tr><td><i><abbr class="sin-header-inline d" title="Antónimos u opuestos">Ant.:</abbr></i></td><td><i><span><span class="sin" data-id="LKsLHio">incultura</span></span>, <span><span class="sin" data-id="KwB5inc">ignorancia</span></span>, <span><span class="sin" data-id="2r2QxRF">anticultura</span></span>.</i></td></tr></tbody></table></div><p></p>
<p class="j" id="4sow2Sv"><span class="n_acep">3. </span><abbr class="g" title="nombre femenino">f.</abbr> <span data-id="AKlK8pC|AL1T6js">Conjunto</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="PUzkYPH">modos</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="blw7uSa">vida</span> <span data-id="c8HoARq|c8HrfrV|c8IFPyp">y</span> <span data-id="B7i0GYL|B7jhx3A">costumbres</span>, <span data-id="AMrJ4zs">conocimientos</span> <span data-id="c8HoARq|c8HrfrV|c8IFPyp">y</span> <span data-id="JOZbISc|JOxCcBX|JOxOtbx">grado</span> <span data-id="BtDkacL|BtFYznp">de</span> <span data-id="CTvYRBI|CTzcOCM">desarrollo</span> <span data-id="3s2OFRp">artístico</span>, <span data-id="9BJUTwM">científico</span>, <span data-id="LRx79Kj">industrial</span>, <span data-id="EuPaWdO">en</span> <span data-id="b67JJSq|b6hEWeB|b6iKApr">una</span> <span data-id="FynLMTb">época</span>, <span data-id="JaoUQPQ">grupo</span> <span data-id="YBny63i">social</span>, <abbr class="d" title="etcétera">etc.</abbr></p><div class="sin-header sin-inline"><table class="sinonimos"><tbody><tr><td><i><abbr class="sin-header-inline d" title="Sinónimo o afín">Sin.:</abbr></i></td><td><i><span><span class="sin" data-id="9NsGVES">civilización</span></span>.</i></td></tr></tbody></table></div><p></p>
<p class="j" id="4snKKV2"><span class="n_acep">4. </span><abbr class="g" title="nombre femenino">f.</abbr> <abbr class="d" title="desusado">desus.</abbr> <span data-id="Bepr8Oh">Culto</span> <span data-id="VqNckNi">religioso</span>.</p><h2 style="text-align: left;"><br /><span style="background-color: black; color: white; font-size: large;"><br /><br /></span></h2>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-29555345165996320252024-02-21T02:47:00.000-08:002024-02-21T02:47:32.237-08:00<p> De<b> 'El dilema de los innovadores'</b>, Clayton M. Christensen.</p><p><i>La tecnología punta debe ser encuadrada como un desafío de márketing, no tecnológico. </i></p><p><i>Debido a que las tecnologías punta raramente tienen sentido para los mercados principales, durante los años en que la inversión financiera en ella es lo más importante, la sabiduría gerencial convencional presente en las formas establecidas constituye una barrera que los emprendedores de las tecnologías punta y sus inversores no encuentran. </i></p>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-19767747494208538212023-08-12T03:59:00.002-07:002024-02-25T01:22:58.141-08:00<p> </p><pre> THE SPANISH SERIES
SCULPTURE IN SPAIN
THE SPANISH SERIES
_EDITED BY ALBERT F. CALVERT_
TOLEDO
MADRID
SEVILLE
MURILLO
CORDOVA
EL GRECO
VELAZQUEZ
THE PRADO
THE ESCORIAL
SCULPTURE IN SPAIN
VALENCIA AND MURCIA
ROYAL PALACES OF SPAIN
SPANISH ARMS AND ARMOUR
LEON, BURGOS AND SALAMANCA
CATALONIA AND BALEARIC ISLANDS
VALLADOLID, OVIEDO, SEGOVIA,
ZAMORA, AVILA AND ZARAGOZA
SCULPTURE
IN SPAIN
:: BY ALBERT F. CALVERT ::
:: WITH 162 ILLUSTRATIONS ::
LONDON: JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY. MCMXII
Printed by BALLANTYNE, HANSON & CO.
At the Ballantyne Press, Edinburgh</pre>
<pre> </pre>
<pre>[sigue <a href="https://www.gutenberg.org/files/60898/60898-0.txt" target="_blank">aquí</a>] </pre>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-58726907564377270392023-08-12T03:53:00.001-07:002024-02-25T01:23:01.291-08:00<p> <span style="font-size: large;"><b>RAKUSHISHA</b></span><br />
<br />
1. Rakushisha is the cottage of the Genroku poet Mukai Kyorai. Kyorai
was one of the ten disciples of the famous haiku poet Matsuo Basho.
Basho once referred to Kyorai in this way: "In Kyoto there is Kyorai,
who is in charge of haikai in Western Japan". Kyorai was the most
important poet to continue Basho's authentic style after the master
died.<br />
<br />
2. Rakushisha is shown in Shui Miyako Meisho Zue (Map of Famous Places
in Kyoto), "at the foot of Ogurayama and behund Hinoyashiro in
Yamamoto-cho". The Hinoyahiro is now the tomb of Uchiko Naishin'no, the
sixth daughter of Emperor Saga.<br />
<br />
3. In the garden we have a poem sotne which was made Inoue Juko, a
relative of Kyorai and a disciple of a haiku poet named Chomu, in the
autumn of 1772 with this poem:<br />
Kakinushi ya master of persimmons<br />
kozue wa chikaki treetrops are close to<br />
Arashiyama Stormy Mountain<br />
As the story goes, Kyorai had about forty persimmon trees in the garden
of his hut in Saga. One autumn when they were heavy with fruit, he had
arranged to sell the persimmons. But the night before they were to be
picked a great storm arose. The next morning not a single persimmon was
left on the trees. Kyorai was enlightened by this experience, and from
then on called the hut "Rakushisha" (the cottage of the fallen
persimmons).<br />
<br />
4. Kyorai's master Basho visited Rakushisha three times; in 1689. 1691,
and 1694. When he visited here the second time, he stayed from April 18
to May 5. The diary he kept then is called "Saga Nikki" and was
published in the third year of Horeki (1573). His last visit to
Rakushisha was about four months before he died.<br />
<br />
5. In the western corner of the garden there is a poem stone with the poem:<br />
samidare ya summer rains<br />
shikishi hegitaru trace of a poem card<br />
kabe no ato torn off the wall<br />
This is Basho's haiku with wich he ended his "Saga Nikki."<br />
<br />
6. On the poem stone next to it is the haiku by Takahama Kyoshi:<br />
oyoso tenka ni I've visited<br />
Kyorai hodo no the world's smallest<br />
chiisaki haka ni Kyorai's<br />
mairi keri gravestone<br />
He made this poem when he visited the gravestone in the 41st year of
Meiji (1908). The calligraphy was done by the poet himself, and the
stone was made in Showa 34 (1959).<br />
<br />
7. To the north of those two stones there is a small stone monument to
Shaku Hyosai, who was a famous journalist for the Asahi (newspaper) and
demonstrated his talent in haiga (haiku paintings), He made a great
contribution to the conservation of Rakushisha. We have a poem stone of
his haiku at the entrance to the Kyorai's graveyard;<br />
akikaze ni left behind<br />
fuki nokosarete the autumn wind<br />
haka hitotsu single gravestone<br />
<br />
8. There is a gorinto (five stone monument) called "haijin to" (monument
for haiku poets) at the back of the garden. It was erected by Kudo
Shiranshi, the eleventh master of Rakushisha, and is dedicated to all
the haiku poets in the past, present and future.<br />
Note: Gorinto is a monument composed of five pieces piled up one
upon another representing, from the bottom upward, earth, water, fire,
wind, and heaven respectively.<br />
<br />
9. A poem stone to the "haijin to" has the haiku in the original
calligraphy of a former president of Kyoto University, Hirasawa Ko,<br />
haru no ame the spring rain<br />
ame tsuchi koko ni heaven and earth here<br />
haijin to the monument<br />
haiku poets<br />
<br />
10. Kyorai's gravestone is in the Kogenji Graveyard a hundred meters
north of Rakushisha. Only his name "Kyorai" is carved in the natural
stone which is only forty centimeters tall.<br />
<br />
11. Rakushisha is now conserved by the Rakushisa Conservation Association. </p>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-69306459059911442802023-08-12T03:51:00.003-07:002024-02-25T01:23:07.272-08:00<p> <span>Welcome To All J.R.R. Tolkien and Silmarillion Fans
Please read Pinned Post. </span><br />
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If you have some questions you can contact one of the Administrators (
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creator of this group)</span></p>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-36825461406769307732023-08-12T03:50:00.004-07:002024-02-25T01:23:10.653-08:00<p> <b>Hendrick Avercamp</b> fue un <a href="https://es.wikipedia.org/wiki/Pintor" title="Pintor">pintor</a> y <a href="https://es.wikipedia.org/wiki/Dibujante" title="Dibujante">dibujante</a> <a class="mw-redirect" href="https://es.wikipedia.org/wiki/Holand%C3%A9s" title="Holandés">holandés</a> <a href="https://es.wikipedia.org/wiki/Barroco" title="Barroco">barroco</a>, que nació en <a href="https://es.wikipedia.org/wiki/%C3%81msterdam" title="Ámsterdam">Ámsterdam</a> en enero de <a href="https://es.wikipedia.org/wiki/1585" title="1585">1585</a> y murió el <a href="https://es.wikipedia.org/wiki/15_de_mayo" title="15 de mayo">15 de mayo</a> de <a href="https://es.wikipedia.org/wiki/1634" title="1634">1634</a> en <a href="https://es.wikipedia.org/wiki/Kampen" title="Kampen">Kampen</a>, se convirtió en el máximo exponente del paisaje invernal. Hendrick Avercamp era conocido como el mudo de Kampen porque era <a href="https://es.wikipedia.org/wiki/Sordomudo" title="Sordomudo">sordomudo</a>.
</p>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-81265504972530324662023-08-07T02:06:00.004-07:002024-02-18T13:46:44.828-08:00<p> A <b><span lang="it" style="font-style: normal;">Fata Morgana</span></b> (<small>Italian: </small><span class="IPA" title="Representation in the International Phonetic Alphabet (IPA)"><a href="https://en.wikipedia.org/wiki/Help:IPA/Italian" title="Help:IPA/Italian">[ˈfaːta morˈɡaːna]</a></span>) is a complex form of <a href="https://en.wikipedia.org/wiki/Mirage#Superior_mirage" title="Mirage">superior mirage</a> that is seen in a narrow band right above the horizon. It is an Italian term named after the Arthurian sorceress <a href="https://en.wikipedia.org/wiki/Morgan_le_Fay" title="Morgan le Fay">Morgan le Fay</a>, from a belief that these mirages, often seen in the <a href="https://en.wikipedia.org/wiki/Strait_of_Messina" title="Strait of Messina">Strait of Messina</a>, were fairy castles in the air or false land created by her witchcraft to lure sailors to their deaths.<sup class="noprint Inline-Template Template-Fact" style="white-space: nowrap;">[<i><a href="https://en.wikipedia.org/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (May 2019)">citation needed</span></a></i>]</sup>
Although the term Fata Morgana sometimes is applied to other more
common kinds of mirages, true Fata Morgana is different from both an
ordinary superior mirage and an <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Inferior_mirage" title="Inferior mirage">inferior mirage</a>.
<br />
Fata Morgana mirages significantly distort the object or objects
on which they are based, often such that the object is completely
unrecognizable. A Fata Morgana may be seen on land or at sea, in polar
regions, or in deserts. It may involve almost any kind of distant
object, including boats, islands, and the coastline.
<br />
Often, a Fata Morgana changes rapidly. The mirage comprises
several inverted (upside down) and erect (right side up) images that are
stacked on top of one another. Fata Morgana mirages also show
alternating compressed and stretched zones.<sup class="reference" id="cite_ref-An_Introduction_to_Mirages_1-0"><a href="https://en.wikipedia.org/wiki/Fata_Morgana_(mirage)#cite_note-An_Introduction_to_Mirages-1">[1]</a></sup>
<br />
The <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Optical_phenomenon" title="Optical phenomenon">optical phenomenon</a> occurs because rays of light are bent when they pass through air layers of different temperatures in a steep <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Temperature_inversion" title="Temperature inversion">thermal inversion</a> where an <a href="https://en.wikipedia.org/wiki/Atmospheric_duct" title="Atmospheric duct">atmospheric duct</a> has formed.<sup class="reference" id="cite_ref-An_Introduction_to_Mirages_1-1"><a href="https://en.wikipedia.org/wiki/Fata_Morgana_(mirage)#cite_note-An_Introduction_to_Mirages-1">[1]</a></sup>
(A thermal inversion is an atmospheric condition where warmer air
exists in a well-defined layer above a layer of significantly cooler
air. This temperature inversion is the opposite of what is normally the
case; air is usually warmer close to the surface, and cooler higher up.)
<br />
In calm weather, a layer of significantly warmer air may rest
over colder dense air, forming an atmospheric duct that acts like a
refracting <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Lens_(optics)" title="Lens (optics)">lens</a>,
producing a series of both inverted and erect images. A Fata Morgana
requires a duct to be present; thermal inversion alone is not enough to
produce this kind of mirage. While a thermal inversion often takes place
without there being an atmospheric duct, an atmospheric duct cannot
exist without there first being a thermal inversion.<br />
<br /></p>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.comtag:blogger.com,1999:blog-6910270665509098112.post-50748577157997386752023-08-02T01:05:00.002-07:002024-02-25T01:23:15.493-08:00<p><b>Imbécil</b><br />
<br />
</p><div class="node node-palabra clearfix" id="node-2603">
<div class="field field-name-body field-type-text-with-summary field-label-hidden">
<div class="field-items">
<div class="field-item even">
Proviene del latín <i>imbecillis,</i> palabra latina formada con el prefijo privativo <i>in-</i> antepuesto a <i>bacillum</i> --origen de la palabra bacilo*--, que es el diminutivo de <i>baculum</i> ‘bastón’, con lo que <i>imbecillis</i> viene a significar literalmente ‘sin bastón’. <i>Baculum</i> proviene del griego <i>baktron</i> ‘báculo’, ‘bastón’, emparentado éste con la raíz indoeuropea <i>bak-.</i><br />
<br />
<i>Imbecillis</i> no tenía la connotación negativa que le damos hoy
o la tenía de un modo diferente: significaba ‘frágil’, ‘débil’,
‘vulnerable’ y también ‘enfermizo’, ‘sin carácter’ o ‘pusilánime’.<br />
<br />
Fue con estos significados con los que la voz <i>imbecil</i>
--palabra aguda-- llegó al español desde su primera documentación en
1524 y como tal figuró en la edición de 1780 del Diccionario de la Real
Academia, pero en 1822 se introdujo el significado moderno, aunque los
romanos ya usaban esta palabra con el sentido de ‘debilidad de
espíritu’.<br />
<br />
Hay quien opina que la acentuación actual como voz grave proviene de una mala interpretación del tilde en el francés <i>imbécille,</i> pero Corominas cree más probable que se trate de un error como el que ocurre, por ejemplo, cuando se dice <i>sútil</i> u <i>hóstil,</i> error que, a la postre, se impuso.<br />
En psicología, <b>imbecilidad</b> es un grado de debilidad mental de menor gravedad que la idiocia o idiotez y mayor que la insuficiencia mental leve.<br />
</div>
</div>
</div>
</div>
<div class="pie">
<br /><b>Estos textos ha sido extraídos de los libros de Ricardo Soca <a class="pie" href="http://www.elcastellano.org/libro.html">La fascinante historia de las palabras</a> y <a class="pie" href="http://www.elcastellano.org/libro.html">Nuevas fascinantes historias de las palabras</a>.</b></div>FJBarrerahttp://www.blogger.com/profile/03000605701060032442noreply@blogger.com