Los Lucas de Alaejos Una familia de inmigrantes

Sport in History, 2024

Lilian Harrison fue una nadadora sudamericana pionera que estableció nuevos récords de distancia de natación en aguas abiertas y de tiempo dedicado a nadar en diciembre de 1923, cuando se convirtió en la primera persona en cruzar a nado el Río de la Plata, desde Uruguay hasta Argentina. Hasta ahora, sus logros han sido recordados y estudiados como una historia sudamericana, desde el nacimiento de Harrison en Quilmes hasta su entrenamiento en Tigre, pasando por la tumultuosa recepción que recibió al regresar a Buenos Aires después de su exitoso nado. En este artículo, situamos los logros de Harrison dentro del contexto histórico de sus primeros años de vida y educación, que transcurrieron en una escuela idealista y pionera en Letchworth Garden City, Inglaterra. Sostenemos que la educación inglesa de Harrison fue un ingrediente vital en su éxito de 1923 que generalmente fue pasado por alto en los informes de prensa. Utilizando fuentes periodísticas existentes, así como periódicos familiares privados que hemos tenido la suerte de consultar, analizamos la educación de Harrison en la escuela, en la piscina y su crianza familiar. El artículo concluye con algunas reflexiones sobre la naturaleza de las historias del deporte mundial a principios del siglo XX.

During the nineteenth century a transatlantic migration took place between the valley of Toranzo in Spain and the city of Puebla, Mexico. The relocation of Spaniards comprised both a chain and circular migration that involved moving to Puebla from Spain, and in some cases, returning to their home province with the capital they had accumulated through the exploitation of textile mills and agricultural enterprises. The first migratory movement involved the G?mez de Rueda siblings who journeyed between the years of 1838 and 1858. The second migratory movement involved kinsmen from the Spanish hamlet: the Mart?nez-Conde siblings and the Gonz?lez de Collantes brother?s. Most of the immigrants built important capitals in Puebla?s pre-revolutionary history (1910-1917) and returned to Cantabria after making their fortune in the Western Hemisphere, reinvesting some of the profits by improving the hamlet whence they had departed. The article takes a micro-historical approach, which explores a group of vecino?s regional and familial network\\\'s impact on the place of departure and the destination.

Varia Historia, 2023

This article analyzes the life, exile, and artistic work of the republican painter José Luis Fernández Martínez (also known as Sarralde- “Pasajes” painter) under the republican government and the ensuing Franco regime. Enlisted as a volunteer in the Army of the Republic, he worked in the Culture Section of the General War Commissariat alongside other artists. He survived the victors by masking his past during the postwar period and facing the ravages of a Spain shrouded in darkness during the early years of Franco’s rule. He was lucky enough to embark on an early journey to America, in 1945, and brave enough, in the face of Franco’s government, to make friends with Republican exiles in Mexico. There, he married and raised a family. Since then and for long years he resided between the two shores. His brush portrayed illustrious characters from the field of culture and politics during the Republican government, the Franco regime, and the Republic of Mexico; but also other Republican exiles or characters related to the cause in America. Through his art, he demonstrated a unique ability to bridge two starkly contrasting worlds.

Legacy, 2006

An incomplete genealogy of an important individual who has rewritten pages within the book of mankind is one that leaves huge gaps in history. This is what motivated me to commit myself to researching the genealogy and historical background of Juan Ponce de Leon. The outcome of that research is contained within my book, Juan Ponce de Leon His New And Revised Genealogy. My new research and discovery project involves the Cuban revolutionary, Jose Marti y Perez. This paper has been researched and extensive documentation within the Archives of Spain, and Family Search.org online. The documentation has been supplied by this author without changing its content.

Callaloo, 2011

Were you born here? TRISTAN REYES: I was born here. According to what our ancestors and some historians like the Venezuelan Maria Elena Vasquez-who studied African roots a great deal, how things were here, and who wrote a book-the majority of blacks brought to Peru were blacks from the Congo, Angola, Mozambique, and South Africa. Their language was Quibundo. Their religion was witchcraft, as is still the case today in many parts of the world. Because they had sex aboard the ships in which they were being transported, they formed ten casts of blacks. Among the ten casts of blacks were the Terranovas, the Locumies, the Mandingas, the Cahundas, the Calveies, the Cangaes, the Chalas, the Guadacholies, and the Congo. The split was based on the original four casts there had been. For instance, that's why my skin is a bit darker; my cousin Augusto has lighter skin. This is what they called casts. They also took into account height, build, weight, skin color, facial features. There are blacks who have very thick lips; there are blacks who have a broad nose; there are blacks who have straighter profiles. There has been a type of black whose bottom half of their bodies is longer and who are shorter from the waist up. And when blacks and Indians started mixing, the zambo resulted. The mulatto resulted. More variants started to emerge, until we got to the present day. San Jose was a hacienda of blacks. There was the transition from slavery to semi-slavery, and then to liberty while what really changed were the owners of the hacienda. It started with Monte Blanco, or "Carrillo" as they called them. From them, it got passed on to the Benavides. The Benavides kept it within the family until the Siones came forward and took over everything. We're talking about more than 12,455 acres. A single brother was in charge, and they liked to work with blacks a lot. We're talking about the 1700s, 1600s, or 1800s. There was plenty of water here. Sugar cane was planted. Blacks harvested the sugar cane. They went out singing early in the morning. For instance, they sang: "I was born on the beaches of Magdalena, under the shades of a valley beyond. Because my mother was * This interview was conducted on August 4,

1984

2007

Attractively laid out and carefully edited, Professor González del Valle's version of Jacinto de Salas y Quiroga's Viages. Isla de Cuba will be a welcome addition to the growing body of work on this transatlantic writer. 1 This book reproduces Salas's text in facsimile, and the reader can appreciate the experience of perusing the scarce first edition, while reading a new version of Viages illustrated with copies of engravings contemporary to the original text. 2 The editor has included an extensive bibliography related to critical concepts discussed in the Estudio Preliminar, as well as to Salas's life and works. There is also a helpful "índice crítico-bibliográfico de conceptos considerados en Viages sobre la Cuba del siglo XIX", with multiple entries for the headings "Clases sociales," "Diversiones," "Enseñanza," "Esclavitud y la presencia de los negros," "Historiografía/historia," "Insatisfacción con respecto a España," and "Periodismo." born in La Coruña in 1813, Salas y Quiroga travelled extensively in Spanish America, and Viages is the text he produced as a result of his visit to Cuba in the late 1830s. besides negotiating the encounters between Spanish culture and that of the

2008

Diagonal: An Ibero-American Music Review

Cuba exerted a particular fascination on several generations of Spanish composers. Enrique Granados, himself of Cuban ancestry, was no exception. Even though he never set foot on the island-unlike his friend Isaac Albéniz-his acquaintance with the music of Cuba became manifest in the piano piece A la cubana, his only work with overt references to that country. This article proposes an examination of A la cubana that accounts for the textural and harmonic characteristics of the second part of the piece as a vehicle for Granados to pay homage to the piano danzas of Cuban composer Ignacio Cervantes. Also discussed are similarities between A la cubana and one of Albéniz's own piano pieces of Caribbean inspiration as well as the context in which the music of then colonial Cuba interacted with that of Spain during Granados's youth, paying special attention to the relationship between Havana and Catalonia. Resumen Varias generaciones de compositores españoles sintieron una fascinación particular por Cuba. Enrique Granados, de ascendencia cubana, no fue la excepción. Aunque -a diferencia de su amigo Isaac Albéniz-Granados nunca visitó la isla, su conocimiento de la música cubana quedó plasmado en la pieza para piano A la cubana, la única obra en la que hizo referencias explícitas a ese país. Este artículo propone un análisis que explica la textura y características armónicas de la segunda parte de A la cubana como un homenaje a las danzas para piano del compositor cubano Ignacio Cervantes. Se examinan también las similitudes entre A la cubana y una de las obras de inspiración caribeña de Albéniz, así como el contexto en el que la música de la entonces Cuba colonial interactuó con la de la metrópoli durante la juventud de Granados, haciendo énfasis en la relación entre La Habana y Cataluña.

Diagonal: An Ibero-American Music Review, 2016

Cuba exerted a particular fascination on several generations of Spanish composers. Enrique Granados, himself of Cuban ancestry, was no exception. Even though he never set foot on the island—unlike his friend Isaac Albéniz—his acquaintance with the music of Cuba became manifest in the piano piece A la cubana, his only work with overt references to that country. This article proposes an examination of A la cubana that accounts for the textural and harmonic characteristics of the second part of the piece as a vehicle for Granados to pay homage to the piano danzas of Cuban composer Ignacio Cervantes. Also discussed are similarities between A la cubana and one of Albéniz's own piano pieces of Caribbean inspiration as well as the context in which the music of then colonial Cuba interacted with that of Spain during Granados's youth, paying special attention to the relationship between Havana and Catalonia. Resumen Varias generaciones de compositores españoles sintieron una fascinación particular por Cuba. Enrique Granados —de ascendencia cubana— no fue la excepción. Aunque —a diferencia de su amigo Isaac Albéniz— Granados nunca visitó la isla, su conocimiento de la música cubana quedó plasmado en la pieza para piano A la cubana, la única obra en la que hizo referencias explícitas a ese país. Este artículo propone un análisis que explica la textura y características armónicas de la segunda parte de A la cubana como un homenaje a las danzas para piano del compositor cubano Ignacio Cervantes. Se examinan también las similitudes entre A la cubana y una de las obras de inspiración caribeña de Albéniz, así como el contexto en el que la música de la entonces Cuba colonial interactuó con la de la metrópoli durante la juventud de Granados, haciendo énfasis en la relación entre La Habana y Cataluña.

2018

Eh, my name is Luz María Ochoa Posada My name is Miriam Pang Posada My name is Luis Carlos Posada, we are from Medellín Colombia and we are sibblings. Yes, and we came in nineteen seventy-five here, [pause] and my father brought us, he brought us from Colombia because he worked in a textile mill in Colombia and the textile industry eh in here here needed more workers. So, he was interviewed there in Colombia and they opened the way for him to come work here [pause] in a mill. The story is, he worked with Fabricato, in Colombia Medellín, in Bello Colombia which is another municipality of, outside of Medellín, [pause]. The story that he told, or told me about, he was walking through downtown Medellin and found a card [pause] and the card announced that they were looking for people to come to the US, to work in textiles [pause] in the northeastern US.

En Blanco, 2021

Tomando como caso de estudio el pabellón de España en la Feria Mundial de Nueva York 1964-1965, de Javier Carvajal, el artículo cuestiona la pervivencia física de algunos pabellones. Rigurosamente, un pabellón es 'tienda' y 'satélite'. Los pabellones nacionales de exposición son efímeros satélites de su país, pero no pueden definirse como tiendas de no ser fácilmente desmontables, trasladables y reconstruibles. El éxito de su segunda vida dependerá de cuestiones esenciales, como dicha tecnología constructiva o su tamaño, pero también de otras circunstanciales, como su capacidad de adaptación a unas condiciones distintas a las originales y su consiguiente viabilidad económica. Frecuentemente, el conflicto entre estos factores ha acabado en fracaso. Tras la reconstrucción, en 1959 y en la Casa de Campo, del pabellón de Corrales y Molezún para Bruselas 1958, su homólogo neoyorquino siguió una suerte paralela al reconstruirse en San Luis en 1969 como “casa de los hispanos”. Pronto fracasó y se transformó en hotel. Hoy, allí apenas son reconocibles algunos vestigios de ese ideal arquitectónico que pervive por la memoria, las publicaciones y su huella conceptual en arquitecturas recientes. Las nuevas condiciones hicieron que lo concebido como efímero acabara siendo efímero, aunque sus ideas han trascendido. Aquí reside su verdadera pervivencia, ¿por qué pervertirla convirtiendo lo excepcional en ordinario?

Emilio Jéquier. La construcción de un patrimonio, 2021

Capítulo biográfico sobre Emilio Jéquier y su familia. Parte del libro "Emilio Jéquier. La construcción de un patrimonio". Dirección editorial: Fernando Pérez O. & Yolanda Muñoz L. autores: Yolanda Muñoz L. Jean-Philippe Garric Claudio Rolle C. Amarí Peliowski D. Fernando Pérez O. Germán Hidalgo H. Proyecto realizado por el Museo Nacional de Bellas Artes con el auspicio de LarrainVial y el patrocinio de la Corporación Amigos del Patrimonio Cultural de Chile. Edición Limitada. El libro completo está disponible en el sitio web del Museo Nacional de Bellas Artes.