Los esfuerzos manifiestos en este trabajo se canalizan a presentar al lector un estudio sobre la obra de José María Díaz, merece, de vez en cuando, un estudio más o menos amplio de su producción artística. Todos somos los deudores de quienes mediante sus escritos nos entretienen e instruyen al compartir con nosotros sus experiencias e ideas, y parece que nos cumple manifestar de una manera o de otra nuestro agradecimento. Es esta actitud, pues, la que anima al autor del presente trabajo.

This thesis is about the Spanish poet and playwright Don Tomás Rodríguez y Díaz Rubí.

This dissertation examines U.S. views of Mexico from the end of the U.S.-Mexico War in 1848, to the end of the first phase of the Mexican Revolution in May 1911. During this period numerous Americans saw Mexico as a laboratory to test their ability to transform a country seemingly in need of guidance. Americans, however, struggled to define the role of the United States: whether it was solely to be a model for other nations to follow, or whether Americans should be actively involved in this process. In the years after the U.S. Civil War, a diverse group of Americans, especially missionaries, investors, and working-class activists, saw Mexico as a nation in need of change and sought to affect its transformation through the means of informal imperialism. Yet they vigorously disagreed whether this transformation should occur in religious, political, economic or social terms. Despite these differences, they all believed that Mexico could be reshaped in the image of the United States. Their views thus provided a powerful counter-narrative to persistent U.S. images of the Mexican people as irredeemable because of allegedly inherent inferiorities based on race, religion or culture. The dissertation also examines the role of Mexican actors in attracting, resisting and altering U.S. informal imperialism. These Mexican actors included government officials who petitioned for U.S. assistance during the French Intervention (1862-67) and the Porfiriato (1876-1911); dissident Catholic priests who requested aid for the fledgling Protestant movement in Mexico; and Mexican liberal exiles from the repressive Díaz regime, who sought U.S. support in bringing a democratic government to Mexico. More generally this dissertation challenges scholarly assessments of the United States as an isolationist nation during the mid-to-late nineteenth century, before the embrace of formal empire after the War of 1898. Though different groups of Americans would come to divergent conclusions about the foreign policy of the United States, a close analysis of U.S. efforts to reshape Mexico reveals an outward-looking and internationalist public that took seriously its self-image as a nation destined to transform the world.

Jorge Díaz Cintas (University College London) / En esta entrevista, el Dr. Jorge Díaz Cintas (University College London) habla acerca del impacto del streaming en la TAV, su nuevo libro sobre subtitulación y las aplicaciones de subtitulación en la nube.

This work explores Junot Díaz’s incorporation of nerd culture into his novel, The Brief Wondrous Life of Oscar Wao, and that move's larger impact on the genre of trauma narratives. By using allusions to nerd texts such as The Lord of the Rings to structure his depiction of the brutal reign of Dominican dictator Rafael Leónidas Trujillo Molina, Díaz effectively rewrites Dominican history, creating a retroactive continuity of fantasy. Retroactive continuity, or retcon, is a little-discussed interpretive strategy of the nerd community with striking parallels to Lacanian notions of fantasy. A reading of Díaz's retcon ultimately casts doubt on the silent victim's traditional role as the foundation of trauma narratives, suggesting instead that the ideological root of these stories is actually the hypothetical denier of trauma.

O presente trabalho tem como objetivo promover um maior debate e reflexão sobre a representação do feminino negro na fotografia no século XX e começo do século XXI, especificamente no Brasil, com o projeto fotográfico de Ricardo Teles (1966), na Colômbia com Hernán Díaz (1931-2009) e em Moçambique com Ricardo Rangel (1924-2009) tendo como base seus livros autorais, respectivamente: Terras de Preto: Mocambos, Quilombos: Histórias de Nove Comunidades Negras Rurais do Brasil, de 2004; Cartagena de Siempre, de 2002 e O Pão Nosso de Cada Noite. Our nightly bread, de 2004. Para tanto, comparamos a fotografia como linguagem técnica e artística com a iconografia previamente produzida nos referidos países. A análise da fotografia como um exercício objetivo mostra que a semiótica e a multidisciplinaridade podem ser instrumentos auxiliares na procura por responder a informações contidas na imagem. O fotógrafo encaminha a interpretação de uma narrativa visual, pois é responsável pela produção e a recepção da imagem, no entanto a imagem contém em si um conjunto complexo de interpretações e de construções de alteridades. Por isso, deve-se levar em consideração seu caráter tão subjetivo quanto artístico quando adotando uma metodologia de análise. / The present work aims to promote further debate and reflection on the representation of the black female in photography in the twentieth century and the beginning of the twenty - first century, specifically in Brazil, with the photographic project of Ricardo Teles (1966), in Colombia with Hernán Díaz (1931-2009) and in Mozambique with Ricardo Rangel (1924-2009) based on their authorial books, respectively: Terras de Preto: Mocambos, Quilombos: Histórias de Nove Comunidades Negras Rurais do Brasil, 2004; Cartagena de Siempre, 2002 e O Pão Nosso de Cada Noite. Our nightly bread,2004. In order to do so, we compare photography as technical and artistic language with the iconography previously produced in those countries. The analysis of photography as an objective exercise shows that semiotics and multidisciplinarity can be auxiliary tools in the search for information contained in the image. The photographer directs the interpretation of a visual narrative, since it is responsible for the production and reception of the image, however the image contains a complex set of interpretations and constructions of alterities within itself. Therefore, its subjective as well as artistic character must be taken into account when adopting a methodology of analysis.

O presente trabalho tem como objetivo promover um maior debate e reflexão sobre a representação do feminino negro na fotografia no século XX e começo do século XXI, especificamente no Brasil, com o projeto fotográfico de Ricardo Teles (1966), na Colômbia com Hernán Díaz (1931-2009) e em Moçambique com Ricardo Rangel (1924-2009) tendo como base seus livros autorais, respectivamente: Terras de Preto: Mocambos, Quilombos: Histórias de Nove Comunidades Negras Rurais do Brasil, de 2004; Cartagena de Siempre, de 2002 e O Pão Nosso de Cada Noite. Our nightly bread, de 2004. Para tanto, comparamos a fotografia como linguagem técnica e artística com a iconografia previamente produzida nos referidos países. A análise da fotografia como um exercício objetivo mostra que a semiótica e a multidisciplinaridade podem ser instrumentos auxiliares na procura por responder a informações contidas na imagem. O fotógrafo encaminha a interpretação de uma narrativa visual, pois é responsável pela produção e a recepção da imagem, no entanto a imagem contém em si um conjunto complexo de interpretações e de construções de alteridades. Por isso, deve-se levar em consideração seu caráter tão subjetivo quanto artístico quando adotando uma metodologia de análise. / The present work aims to promote further debate and reflection on the representation of the black female in photography in the twentieth century and the beginning of the twenty - first century, specifically in Brazil, with the photographic project of Ricardo Teles (1966), in Colombia with Hernán Díaz (1931-2009) and in Mozambique with Ricardo Rangel (1924-2009) based on their authorial books, respectively: Terras de Preto: Mocambos, Quilombos: Histórias de Nove Comunidades Negras Rurais do Brasil, 2004; Cartagena de Siempre, 2002 e O Pão Nosso de Cada Noite. Our nightly bread,2004. In order to do so, we compare photography as technical and artistic language with the iconography previously produced in those countries. The analysis of photography as an objective exercise shows that semiotics and multidisciplinarity can be auxiliary tools in the search for information contained in the image. The photographer directs the interpretation of a visual narrative, since it is responsible for the production and reception of the image, however the image contains a complex set of interpretations and constructions of alterities within itself. Therefore, its subjective as well as artistic character must be taken into account when adopting a methodology of analysis.

Estudio del léxico de las obras de Gutiérrez de Toledo (1498), de Montaña de Monserrate (1551), de Juan Valverde (1556) y de Francisco Díaz (1588), elegidos por ser, unos, los primeros tratados sobre Urología y Anatomía escritos en romance y, otros, los mejores tratados del Renacimiento español.Hemos intentado demostrar cómo una gran cantidad de términos médicos utilizados, usualmente, hasta hoy día aparecen por primera vez en estas obras. En total nuestro léxico contiene 4565 entradas, de las que sólo 500 aparecen en los tres diccionarios consultados -DRAE, DCECH, DETEMA-. Concluimos demostrando que la primera datación de algunas de las voces se halla en estos autores. Su interés estriba en la falta de estudios al respecto y en lo novedoso que resulta en el momento en que los tratados científicos aún se escribían en latín, el hecho de que estos cuatro médicos se decidan a hacerlo en romance. / Research on the vocabulary of the works by Gutierrez de Toledo, by Montaña, by Valverde and by Díaz, chosen as ones are the first treatises on Urology and Anatomy written in Spanish and others because they are the best Spanish Renaissance treatises.We have tried to prove that such a big amount of medical terminology used, usually, even nowadays, appears for the first time in the above mentioned works. In total our lexicon contains up to 4,565 terms, but only 500 appear in the 3 dictionaries checked -DRAE, DCECH, DETEMA-. We conclude proving that the first time these terms appear are in the works of these authors.The interest relies on the lack of research regarding this issue and how innovative is the fact that these four doctors decided to do it in Spanish at a time these type of scientific treatises were still written in Latin.

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