A propósito de "Sangre y arena" de Vicente Blasco Ibáñez: miradas a un opúsculo que costaba 10 céntimos

Relaciones estilísticas entre la novela Sangre y arena, la adaptación cinematográfica que dé ella hizo el mismo Blasco Ibáñez en 1916 y un opúsculo que se publicó relacionado con ésta

La representación de los cuerpos del gaucho y el torero en los films Nobleza gaucha (1915) y Sangre y arena (1916)

This article focuses on the analysis of the representation of the bodies of the gaucho and the bullfighter in the Argentinian film Nobleza gaucha (1915) and the Spanish Sangre y arena (1916). Both films share the fact that they are products of a cinematographic era of transition between the early cinema and the classic cinema. We will observe how this circumstance is reflected in the different methods with which each of the two films represent the bodies of their protagonists.Este artículo se centra en el análisis de la representación de los cuerpos del gaucho y del torero que protagonizan respectivamente la película argentina Nobleza gaucha (1915) y la española Sangre y arena (1916). Ambas películas comparten ser producto de una época cinematográfica de transición entre el cine de los orígenes y el cine clásico. Observaremos cómo esta circunstancia tiene su reflejo en los distintos métodos con que cada uno de los dos films representan el cuerpo de sus protagonistas

La suerte cinematográfica de Sangre y arena, novela de Blasco Ibáñez

Sangre y arena fue una novela que le otorgó fama enorme a Blasco Ibáñez y ayudó a difundir cierta imagen de España relacionada con el toreo. A esa difusión contribuyeron varias adaptaciones cinematográficas. De dos de ellas, especialmente notables, trata este trabajo, las dirigidas por Fred Niblo (1922) y por Rouben Mamoulian. El análisis de ambas películas se hace subrayando lo que las acerca y lo que las diferencia de la novela de partida.Sangre y Arena was a novel that made Blasco Ibáñez highly famous and helped to spread an image of Spain closely related to bullfighting. At that diffusion contributed several film adaptations. This work is about two of them, especially outstanding, those directed by Fred Niblo (1922) and by Rouben Mamoulian. The analysis of both films emphasizes their similarities and differences with respect to the original novel

Arenicola marina, sus aplicaciones en la medicina

Arenicola marina es un gusano marino que habita en la zona costera al noroeste de Europa. Se conoce como “gusano de cebo”, pues es una de las carnadas favoritas y de la alta demanda en la pesca deportiva, o simplemente como “arenícola” haciendo alusión a que vive en galerías, debajo de la arena marina. En la última década A. marina ha sido motivo de distintas investigaciones en el ramo de la biomedicina, pues la hemoglobina contenida en su sangre posee características que la hacen un excelente transportador de oxígeno y compatible con cualquier tipo de sangre humana. En esta nota se mencionan algunos de los usos potenciales de la hemoglobina del gusano marino, los productos biotecnológicos conocidos a la fecha, y lo que sabemos de las arenícolas en México

A Discordant Voice from the Trenches: Juan José de Soiza Reilly's War Chronicles

The First World War represented a deep crisis of the European civilization that called into question the values and certitudes of the Belle Époque society. Trenches became the symbol of the dehumanization produced by a conflict that marked a watershed in modern history. As a global conflict, its impact was felt beyond the confines of Europe, involving even neutral countries, puzzled by that unexpected spectacle of violence. In this new scenery, war correspondents were first-hand witnesses of the horrors of the battlefields, transmitted through their journalistic contributions to a public opinion profoundly shaken by this new kind of warfare. Non-European war correspondents were exceptional cultural mediators between the experiences of the theater of war and distant regions like Latin America, contributing to disseminate different understandings of the wartime crisis. This article aims to explore the response of the Argentine war correspondent Juan José de Soiza Reilly (1879-1959) to the challenge of making the nature of the Great War intelligible to his readers. He embodied the new figure of the professional journalist-writer who contributed to establishing commercial mass press as the fulcrum of Argentine cultural life and as the field of convergence of literature and journalism at the beginning of the twentieth century. The primary sources of this study are Soiza Reilly’s war chronicles, published by two large circulation periodicals, the newspaper La Nación and the illustrated magazine Fray Mocho, from October 1914 to October 1916. Those contributions were the result of his more than two years’ experience in the Western and Eastern fronts. Soiza Reilly’s perspectives on the First World War were clearly unconventional for his national framework, where most of the intellectuals and the press took sides early in favor of the Allies, due to the deep-rooted Francophilia prevailing in Argentine cultural field. As a result, they devoted themselves to arguing over the question of the war responsibilities and the belligerents’ attributes. Unlike them, Soiza Reilly denounced the absurdity of the war, which he strongly condemned, and made a pacifist profession of faith. In addition, far from the Argentine social consensus, he was often critical of the Allies and sympathetic to the German Empire. However, since Italy’s entry into the war in May 1915, Soiza Reilly adopted a belligerent attitude in favor of the Allies, expressing an intense admiration for Italy and a virulent anti-Austrian sentiment. These two last features were very unusual in the Argentine context, where the devotion for France was hegemonic as well as the vehement anti-German stance. Through the analysis of Soiza Reilly’s war chronicles and reportages, this article intends to shed light on the reception of the war in a neutral country, the general climate of public opinion, and its dissensions around the significance of the Great War.Fil: Tato, María Inés. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Saavedra 15. Instituto de Historia Argentina y Americana "Dr. Emilio Ravignani". Universidad de Buenos Aires. Facultad de Filosofía y Letras. Instituto de Historia Argentina y Americana "Dr. Emilio Ravignani"; Argentin