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J.B. Priestley, a Cervantist in the Making
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Resumen Bibliografía relativa a Filología Inglesa publicada en España en 2013 y 2014. Palabras clave: Filología Inglesa; bibliografía; España. Abstract Bibliography on English Studies published in Spain, 2013 and 2014.
RESUMEN ¿Cómo surge el concepto de transversal? ¿Cuáles son las diferentes representaciones que se han tenido hasta llegar a la actual? ¿Cuáles son los hechos y las circunstancias que significan un avance en la construcción del concepto? Su evolución ha sido rápida y aunque sus raíces son procedimentales, ha llegado a simbolizar lo novedoso del actual sistema educativo. No obstante, este concepto no está generalizado y existen dificultades para lograrlo. INTRODUCCIÓN. "La Transversalidad como paradigma". Cuando utilizamos el término "transversal", todos sabemos a qué nos referimos. Se trata de la Educación Moral y Cívica, para la Salud, para la Paz y la Convivencia, para la Igualdad de Oportunidades entre los Sexos, del Consumidor, Ambiental, y Vial. Sin embargo, la concepción del término ha pasado por diferentes momentos con distintos significados, hasta llegar a lo que en estos momentos representa. Su evolución ha sido rápida, casi una mutación. Los diversos sectores del mundo educativo le han ido asignando diferentes enunciados intentando, de esta forma, llenar alguna de las lagunas que poseen la LOGSE o los Decretos que desarrollan los currículos de las diferentes etapas educativas. La construcción del concepto de transversalidad se ha efectuado en poco tiempo, con aportaciones diversas que han ido añadiendo nuevos significados al término, significados que han sido rápidamente asumidos, enriqueciendo la representación que hoy tenemos. Transversal ha pasado de significar ciertos contenidos que deben considerarse en las diversas disciplinas escolares: la higiene, el recibo de la luz, la vivienda, etc. a representar el conjunto de valores, actitudes y comportamientos más importantes que deben ser educados. Es símbolo de innovación, de apertura de la escuela a la sociedad, incluso a veces se utiliza como paradigma de la actual Reforma educativa. Esta evolución, con las dificultades y momentos críticos que todo proceso evolutivo comporta, ha tenido lugar en una doble dimensión. La primera ha sido metodológica: ¿cómo considerar desde las áreas curriculares las materias transversales? Las diversas tentativas de solución han facilitado el desarrollo de la segunda dimensión: la conceptual, ya que de significar unos enunciados, se pasa a servir de referencia a una serie de valores y actitudes; de ubicarse en unas determinadas materias, se pasa a que sea toda la actividad escolar la que esté impregnada de estos enfoques axiológicos.
Inspired by her own family’s immigrant history, master gardener Patricia Klindienst traveled the country, gathering stories of urban, suburban, and rural gardens created by people rarely presented in American gardening books: Native Americans, immigrants from across Asia and Europe, and ethnic peoples who were here long before our national boundaries were drawn. In The Earth Knows My Name, she writes about the beautiful yards and fields she discovered, each one an island of hope, offering us a model—on a sustainable scale—of a truly restorative ecology.
“It lifts my heart to find the kind of intelligence, grace, and regard that are in this book’s pages.” —Barry Lopez, author of Artic Dreams
Narrative Prosthesis: Disability and the Dependencies of Discourse” develops a narrative theory of the pervasive use of disability as a device of characterization in literature and film. It argues that, while other marginalized identities have suffered cultural exclusion due to a dearth of images reflecting their experience, the marginality of disabled people has occurred in the midst of the perpetual circulation of images of disability in print and visual media. The manuscript’s six chapters offer comparative readings of key texts in the history of disability representation, including the tin soldier and lame Oedipus, Montaigne’s “infinities of forms” and Nietzsche’s “higher men,” the performance history of Shakespeare’s “Richard III, " Melville’s Captain Ahab, the small town grotesques of Sherwood Anderson’s “Winesburg, Ohio” and Katherine Dunn’s self-induced freaks in “Geek Love.
As I am now near the Centre of this Work, so I am to describe the great Centre of England, the City of London. Daniel Defoe, A Tour thro' the Whole Island of Great Britain London is in fact at the centre of many, many literary works of seventeenth- and eighteenth-century Britain, not just as a setting or backdrop but as a shaping force - of plot, character, and narrative itself. Narrators describe the city, inhabit the city, walk the city, write the city. The circuits Defoe as traveller- narrator takes in his epistolary documentary A Tour thro' the Whole Island of Great Britain (1724-7) begin and end in London, and London is its centrepiece, expanding as we read: 'We see several Villages, formerly standing, as it were, in the Country, and at a great Distance, now joyn'd to the Streets by continued Buildings, and more making haste to meet in the like Manner.' And he draws – or rather, follows – a ‘Line of Measurement’ about the city, a line that actively ‘runs’ and ‘passes’ and ‘crosses’ and ‘turns’ and ‘goes away’ and ‘comes to’: From Tottenham Court, the Line comes in a little South, to meet the Bloomsbury Buildings, then turning East, runs behind Montague and Southampton Houses, to the N.E. Corner of Southampton House, then crossing the Path, meets the Buildings called Queen’s Square, then turning North, ’till it comes to the N.W. corner of the Square, thence it goes away East behind the Buildings on the North side of Ormond Street, ’till it comes to Lamb’s Conduit. (2.2.99)