Search results for ""Author José Esteban""

De todos los cafés que han protagonizado al vida sociocultural de los últimos dos siglos, el Gijón es el gran superviviente. Escritores, políticos, pintores, actores y hasta toreros se han distribuido estratégicamente por sus mesas para hablar mal unos de otros, arreglar los problemas de España y trasegar alcoholes e infusiones. En el Gijón tuvo tertulia Cela, Gerardo Diego y la mantiene José Esteban, autor de este libro ágil y ameno que, ilustrado ahora por Javier de Juan, resume la vida intelectual española desde los duros años de la posguerra hasta la decadencia de la posmodernidad. Premios Nobel y golfos, estrellas de Hollywood y miembros del Gobierno de la nación entran y salen por estas páginas tan vivas como apasionantes.

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En 1917 la cupletista española Raquel Meller conoció al periodista y diplomático guatemalteco Enrique Gómez Carrillo, con quien se casaría dos años después. El matrimonio sólo duró hasta 1922 y, durante ese período, Gómez Carrillo logró que parte de la intelectualidad española rindiera homenaje a la artista que mejor interpretó La violetera en un libro que se ha convertido en una joya bibliográfica. Aquí están las opiniones sobre la Meller de Jacinto Benavente, Manuel Machado, los hermanos Álvarez Quintero, Mariano Benlliure, María Guerrero, Apeles Mestres, Ángel Guimerá. Y todo ilustrado por el pintor Carlos Vázquez, discípulo de Sorolla y Ramón Casas.

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En los 58 años que Benito Pérez Galdós pasó en Madrid, desde su llegada en 1862, la ciudad sufrió una enorme transformación: duplicó su población y pasó de ser una urbe del antiguo Régimen a una ciudad moderna. Testigo privilegiado de ese cambio, el gran novelista español peinó las calles con su pluma, dejando constancia del paisaje y paisanaje urbano en cada una de sus obras. José Esteban se centra ahora en los denominados barrios bajos, los del madroño, aquellos más alejados del oso, que vive desde la Plaza Mayor para arriba: la calle de Toledo, la del Almendro, el Manzanares, El Rastro? En ese viaje galdosiano le acompaña el fotógrafo Antonio Tiedra, para dejar huella gráfico de ese recorrido literario.

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Los protagonistas de la bohemia española de la A a la Z

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Encuadernación: RústicaErratas! Erratas! Pijoteras erratas!La errata es un microbio de origen desconocido y de picadura irreparable. Quizás Dios no sólo dijo a la mujer: Parirás con el dolor de tu vientre, y al hombre que ganaría el pan con el sudor de su frente, sino que añadió, suponiendo al intelectual que no suda: Y tú, hombre, sufrirás, cuando seas intelectual, la mordedura atroz de las erratas.Así, sucede que después de que hemos corregido segundas, terceras y cuartas pruebas; después de que nos hemos cansado de poner ojo!! ojo!! al margen de las correcciones difíciles; después de que hemos leído el primer pliego salido de la máquina y hasta la hemos mandado parar para que corrigieran las últimas erratas, sin embargo, a la postre, hay erratas aún. Por eso, después de una constante experiencia de estas cosas, he deducido que la errata es un microbio independiente a la higiene del escritor y del cajista. La errata que tiene vida y sagacidad propia se disimula detrás de u

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Dejándose los ojos en los amarillentos legajos del Archivo de Palacio, el investigador Agustín G. de Amezúa y Mayo fue descubriendo una faceta inédita en la vida de un rey que solía vestir de negro: su pasión por los jardines y por las flores que los pueblan. Su aborrecimiento de las ciudades le llevan a buscar lugares donde pueda refugiarse: la Casa del Campo y el Palacio de El Pardo, para los meses del invierno; Aranjuez y Aseca, en los primaverales; y Valsaín como resguardo de los calores del estío. Y cuando levanta la mole ciclópea de El Escorial, en una dehesa cercana, La Fresneda, construirá también una casa o palacio a dónde ir a solazarse.

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Una obra fundamental para conocer la prensa española desde comienzos del siglo?XX hasta el final de la guerra civil.

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There is more to identity than identifying with one’s culture or standing solidly against it. José Esteban Muñoz looks at how those outside the racial and sexual mainstream negotiate majority culture—not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Muñoz calls this process “disidentification,” and through a study of its workings, he develops a new perspective on minority performance, survival, and activism.Disidentifications is also something of a performance in its own right, an attempt to fashion a queer world by working on, with, and against dominant ideology. By examining the process of identification in the work of filmmakers, performance artists, ethnographers, Cuban choteo, forms of gay male mass culture (such as pornography), museums, art photography, camp and drag, and television, Muñoz persistently points to the intersecting and short-circuiting of identities and desires that result from misalignments with the cultural and ideological mainstream in contemporary urban America.Muñoz calls attention to the world-making properties found in performances by queers of color—in Carmelita Tropicana’s “Camp/Choteo” style politics, Marga Gomez’s performances of queer childhood, Vaginal Creme Davis’s “Terrorist Drag,” Isaac Julien’s critical melancholia, Jean-Michel Basquiat’s disidentification with Andy Warhol and pop art, Felix Gonzalez-Torres’s performances of “disidentity,” and the political performance of Pedro Zamora, a person with AIDS, within the otherwise artificial environment of the MTV serialThe Real World.

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The LGBT agenda for too long has been dominated by pragmatic issues like same-sex marriage and gays in the military. It has been stifled by this myopic focus on the present, which is short-sighted and assimilationist. Cruising Utopia seeks to break the present stagnancy by cruising ahead. Drawing on the work of Ernst Bloch, José Esteban Muñoz recalls the queer past for guidance in presaging its future. He considers the work of seminal artists and writers such as Andy Warhol, LeRoi Jones, Frank O’Hara, Ray Johnson, Fred Herko, Samuel Delany, and Elizabeth Bishop, alongside contemporary performance and visual artists like Dynasty Handbag, My Barbarian, Luke Dowd, Tony Just, and Kevin McCarty in order to decipher the anticipatory illumination of art and its uncanny ability to open windows to the future. In a startling repudiation of what the LGBT movement has held dear, Muñoz contends that queerness is instead a futurity bound phenomenon, a "not yet here" that critically engages pragmatic presentism. Part manifesto, part love-letter to the past and the future, Cruising Utopia argues that the here and now are not enough and issues an urgent call for the revivification of the queer political imagination.

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Substantially reducing the number of human beings who lack access to clean water and safe sanitation is one of the key Millennium Development Goals. This book argues and demonstrates that this can only be achieved by a better integration of the technical and social science approaches in the search for improved organization and delivery of these essential services. It presents a historical analysis of the development of water and sanitation services in both developed and developing countries, which provides valuable lessons for overcoming the obstacles facing the universalization of these services. Among the key lessons emerging from the historical analysis are the organizational and institutional diversity characterizing the development of water and sanitation internationally, and the central role played by the public sector, particularly local authorities, in such development. It also explores the historical role played by cooperatives and other non-profit institutions in reaching rural and peri-urban areas, as well as the emergence of new forms of organization and provision, particularly in poor countries, where aid and development agencies have been promoting the self-organization of water systems by local communities. The book provides a critical exploration of these different institutional options, including the interaction between the public and private sectors, and the irreplaceable role of public funding as a condition for success. The book is divided into two parts: the first reviews theoretical and conceptual issues such as the political economy of water services, financing, the interfaces between water and sanitation services and public health, and the systemic conditions that influence the provision of these services, including the diversity of organizational and institutional options characterizing the governance and management of water and sanitation services. The second section presents a number of country or regional case studies, each one chosen to highlight a particular problem, approach or strategy. These case studies are drawn from Africa, the Americas, Asia and Europe, covering a wide range of socio-economic and political contexts. The book will be of great interest to advanced students, researchers, professionals and NGOs in many disciplines, including public policy and planning, environmental sciences, environmental sociology, history of technology, civil and environmental engineering, public health and development studies.

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The Sense of Brown is José Esteban Muñoz's treatise on brownness and being as well as his most direct address to queer Latinx studies. In this book, which he was completing at the time of his death, Muñoz examines the work of playwrights Ricardo Bracho and Nilo Cruz, artists Nao Bustamante, Isaac Julien, and Tania Bruguera, and singer José Feliciano, among others, arguing for a sense of brownness that is not fixed within the racial and national contours of Latinidad. This sense of brown is not about the individualized brown subject; rather, it demonstrates that for brown peoples, being exists within what Muñoz calls the brown commons—a lifeworld, queer ecology, and form of collectivity. In analyzing minoritarian affect, ethnicity as a structure of feeling, and brown feelings as they emerge in, through, and beside art and performance, Muñoz illustrates how the sense of brown serves as the basis for other ways of knowing and being in the world.

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A 10th anniversary edition of this field defining work—an intellectual inspiration for a generation of LGBTQ scholars Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. Part manifesto, part love-letter to the past and the future, José Esteban Muñoz argued that the here and now were not enough and issued an urgent call for the revivification of the queer political imagination. On the anniversary of its original publication, this edition includes two essays that extend and expand the project of Cruising Utopia, as well as a new foreword by the current editors of Sexual Cultures, the book series he co-founded with Ann Pellegrini 20 years ago. This 10th anniversary edition celebrates the lasting impact that Cruising Utopia has had on the decade of queer of color critique that followed and introduces a new generation of readers to a future not yet here.

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Andy Warhol was queer in more ways than one. A fabulous queen, a fan of prurience and pornography, a great admirer of the male body, he was well known to the gay audiences who enjoyed his films. This title demonstrates that to ignore Warhol's queerness is to miss what is valuable, interesting, sexy, and political about his life and work.

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A 10th anniversary edition of this field defining work—an intellectual inspiration for a generation of LGBTQ scholars Cruising Utopia arrived in 2009 to insist that queerness must be reimagined as a futurity-bound phenomenon, an insistence on the potentiality of another world that would crack open the pragmatic present. Part manifesto, part love-letter to the past and the future, José Esteban Muñoz argued that the here and now were not enough and issued an urgent call for the revivification of the queer political imagination. On the anniversary of its original publication, this edition includes two essays that extend and expand the project of Cruising Utopia, as well as a new foreword by the current editors of Sexual Cultures, the book series he co-founded with Ann Pellegrini 20 years ago. This 10th anniversary edition celebrates the lasting impact that Cruising Utopia has had on the decade of queer of color critique that followed and introduces a new generation of readers to a future not yet here.

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