Isomonodromic Deformations Along The Caustic Of a Dubrovin-Frobenius Manifold

We study the family of ordinary differential equations associated to a Dubrovin-Frobenius manifold along its caustic. Upon just loosing an idempotent at the caustic and under a non-degeneracy condition, we write down a normal form for this family and prove that the corresponding fundamental matrix solutions are strongly isomonodromic. It is shown that the exponent of formal monodromy is related to the multiplication structure of the Dubrovin-Frobenius manifold along its caustic

La polémica del romanticismo en Manuel de Eduardo de Gorostiza

To appropriately situate the work of Manuel Eduardo de Gorostiza in the history of Mexican and Spanish theatre, it is more important to consider his comedy Las costumbres de antaño (Madrid, 1819; Mexico, 1833) than his more famous work, Contigo pan y cebolla. Different from the latter, which satirizes the vogue for and the conventions of the sentimental novel of pre-romanticism, the former is dedicated to questioning directly the postulates of historical Romanticism of German origin, whose introduction in Spain dates to this time. Gorostiza’s critical stance is reaffirmed, in the theoretical realm, by the four articles that make up “On the Modern Spanish Theatre,” published in London during his exile (1824). These articles have been inexplicably forgotten, and upon their review it becomes evident that the author chose both of these comedias to commemorate his return to Mexico in 1833, as if he satirically presaged the advent of Romanticism in this country, which would soon appear in the dramas of Fernando Calderón and Ignacio Rodríguez Galván. (FRP, Article in Spanish

Los veneros del petróleo del diablo en tres obras literarias de los 20

1 archivo PDF (27 páginas)Actualmente se halla en debate la Reforma energética en todos los medios, así como la entrada del capital extranjero para “modernizar” –¿vender?– Pemex. Para entender la labor “altruista” de las empresas extranjeras en este sector, es necesario revisar y conocer a través de las obras literarias cómo se comportaron ellas hace un siglo en nuestro país y qué beneficios o daños ocasionaron en donde se asentaron. Por ello, en este artículo reviso los textos de tres autores que publicaron en la segunda década del siglo veinte y que reflejan el inicio y auge de la explotación petrolera en la región huasteca de nuestro país: José Manuel Puig Casauranc, La hermana impura (1927); Francisco Monterde, Oro negro (1927); y Xavier Icaza, Panchito chapopote (1928). A través de estas tres obras reviso la situación de la explotación petrolera en esa década, me centro en los efectos dañinos en la población rural y lo estructuro en cuatro partes: una introducción del país a inicios del siglo veinte y después las tres fases o etapas de la explotación petrolera: las primeras chapopoteras 1901-1908; el auge petrolero 1910-1917; y las compañías independientes 1917-1921. ABASTRACT: Currently is under discussion the Energetic reform in all media , as well as entry of foreign capital to “modernize” –sell?– Pemex. To understand the “ altruistic “ work of foreign ventures with enterprises in this sector, it is necessary to review and know through literary works how they behaved a century in our country and what benefits or damage caused where settled. Therefore, in this article I review the work of three authors who published in the second decade of the twentieth century and reflect the start and rise of oil exploitation in the Huasteca region of our country: José Manuel Puig Casauranc , Impure sister (1927 ) ; Francisco Monterde , black gold ( 1927 ); and Xavier Icaza, Panchito tar (1928 ) . Through these three works I check the situation of oil exploitation in that decade , I focus on the harmful effects on the rural population and divided into four parts: an overview of the country in the early twentieth century and then the three stages of exploitation oil: the first chapopoteras 1901-1908 ; the oil boom; 1910-1917 ; and independent companies from 1917 to 1921. PALABRAS CLAVE Explotación petrolera en la región huasteca. José Manuel Puig Casauranc. La hermana impura. Francisco Monterde. Oro negro. Xavier Icaza, Panchito chapopote. KEY WORDS: Oil Exploitation in the Huasteca region. José Manuel Puig Casauranc. Impure sister. Francisco Monterde. Black gold. Xavier Icaza. Panchito tar. tyvlxli

El destino en Donde deben estar las catedrales de Severino Salazar

1 archivo PDF (16 páginas). tyvlxlivEn este ensayo analizo la influencia del destino a través de los sueños de las madres y de Crescencio, así como la visión pesimista de dos personajes, Crescencio y el santo, en la primera obra de Severino Salazar, Donde deben estar las catedrales. Para demostrarlo, dividí mi texto en cuatro partes: su obra, el sueño premonitorio, el destino y lo que ambos personajes hallan en la vida. ABSTRACT: In this essay, I analyze Severino Salazar’s first work, Where Cathedrals Should Be. I particularly deal with the influence of fate through Crescencio’s and mothers’ dreams, as well as through the pessimistic view of two characters, Crescencio, and the Saint. To demonstrate this, I divide the present paper into four sections: Salazar’s work, premonitory dream, fate, and what Crescencio and the Saint find out about life. PALABRAS CLAVE: Los Atridas, la obra, el sueño premonitorio, el destino, la visión de la vida. KEY WORDS: Atreides, Salazar’s first work, premonitory dream, fate, perspective on life

Los bucoliastas

1 archivo PDF (8 páginas). fhseptendeci

Sánchez Mejías y algunos poetas del 27

Ignacio Sánchez Mejías. Periodista y dramaturgo. Seminari

Carta inédita: Nahui y Naná en México

1 archivo PDF (15 páginas)A Nahui Olin la conocemos por sus desnudos fotográficos, su pintura kitsch y sus poemas en francés. Sin embargo, jamás se había escrito nada acerca de su pasión por el cine y su correspondencia con los actores y directores franceses, como se refleja en esta carta inédita. Nahui Olin, Carmen Mondragón Valseca, se apasionó desde su tierna infancia por el cine en Francia, San Sebastián y México. Tuvo preferencia por el cine francés y, durante la década de los cincuenta, vio muchas películas del director francés Christian-Jaque, a quien admiró por su arte, juventud y belleza, y con quien intercambió cartas en francés. Producto de ese intercambio es esta carta inédita, escrita en 1956, que ahora presento, por medio de la cual conocemos su relación con el cineasta y desentrañamos su vinculación con el cine. Ella elabora este borrador que envía a Christian-Jaque, a propósito del estreno de su película Naná, el miércoles 26 de septiembre de 1956, en el cine Metropolitan de la ciudad de México. Nahui Olin know for her nude photography, her kitsch painting and poems in French. However, there has never been anything written about her passion for cinema and her correspondence with French actors and directors, as reflected in this unpublished letter. Nahui Olin, Carmen Mondragón Valseca, passionate since childhood for film in France, San Sebastian and Mexico. She had a preference for French cinema, during the fifties, watched many films of French director Christian-Jaque, whom she admired for his arts, youth and beauty, and with whom she exchanged letters in French. Proceeds from this exchange this unpublished letter, written in 1956, now presented, through which we know her relationship with filmmaker and unravel its links with cinema. She makes this draft that sends Christian-Jaque, regarding to the premiere of his movie Nana, on , September 26th, Wednesday, 1956, at the Metropolitan Theater in Mexico City. Palabras clave / Key words: Nahui Olin, testimonio epistolar, arte y literatura / Nahui Olin, testimonial letters, art and literature. tyvlxxxi

El fandango : Casimiro Castro

1 archivo PDF (15 páginas). fhtrigintaquinqueSe intenta desentrañar los secretos que oculta, “El Fandango”, obra de uno de los más importantes litógrafos del siglo XIX, Casimiro Castro (1826-1889), quien testimonió su siglo en imágenes, plasmó escenas cotidianas con tipos populares y ayudó a forjar nuestra nación

Cura y locura de Juan Tovar: Entre Aristóteles, Artaud y Luisa Josefina Hernández

This homage to Artaud, which at first glance appears as a concentrated biography of his most important moments (as magnetic actor, the travels to Mexico and Ireland, the psychological treatment of Rodez and his final troubled years in Paris), is presented as an exercise in acting. It confronts the discursive principles of the Aristotelian theatre that prevailed up to the 20th century with the possibility of another principle that proposes to recover the sacred, orginary dimensions of the theatre. Even though establishing the ritual sacrifice as the nucleus of the Artaudian conception is debatable, this convincing biographical and theatrical re-creation by the Mexican playwright Juan Tovar in Cura y locura legitimizes the sacrifice of Artaud himself in what Luisa Josefina Hernández, Tovar’s professor of theatre, would call a “tragic farce.” (FRP, Article in Spanish