My Most Beautiful Dream Mi Sue O M S Bonito English Spanish

Is it time to embrace the so-called “Anthropocene”—the age of human dominion—and to abandon tried-and-true conservation tools such as parks and wilderness areas? Is the future of Earth to be fully domesticated, an engineered global garden managed by technocrats to serve humanity? The schism between advocates of rewilding and those who accept and even celebrate a “post-wild” world is arguably the hottest intellectual battle in contemporary conservation. In Keeping the Wild, a group of prominent scientists, writers, and conservation activists responds to the Anthropocene-boosters who claim that wild nature is no more (or in any case not much worth caring about), that human-caused extinction is acceptable, and that “novel ecosystems” are an adequate replacement for natural landscapes. With rhetorical fists swinging, the book’s contributors argue that these “new environmentalists” embody the hubris of the managerial mindset and offer a conservation strategy that will fail to protect life in all its buzzing, blossoming diversity. With essays from Eileen Crist, David Ehrenfeld, Dave Foreman, Lisi Krall, Harvey Locke, Curt Meine, Kathleen Dean Moore, Michael Soulé, Terry Tempest Williams and other leading thinkers, Keeping the Wild provides an introduction to this important debate, a critique of the Anthropocene boosters’ attack on traditional conservation, and unapologetic advocacy for wild nature.

This sampler was designed for art specialists and art museum educators with a basic understanding of teaching discipline-based art education content. The introduction offers a brief history of the Sampler and explains its intended purpose and use. Then 8 unit models with differing methodologies for relating art objectives to the four disciplines: aesthetics, art criticism, art history, and art production, are presented. The sampler consists of two elementary units, two units for middle school, two units intended for required high school art, one high school studio ceramic unit, and a brief unit for art teachers and art museum educators that focuses on visits to art museums. Learning activities, resource material, and learning strategies are given for the units along with a sequence of lessons organized on a theme.

A Self-Study Grammar Book for Engineers és un llibre d'autoaprenentatge de la llengua anglesa en l'àmbit de les carreres tècniques i, d'una manera especial, per a l'alumnat universitari dins el camp de les enginyeries. Està dividit en tres mòduls ben diferenciats per a facilitar la seva utilització i ordenar les unitats a estudiar en funció de les necessitats específiques de l'alumne en cada moment. En un primer mòdul s'han inclòs 31 unitats de gramàtica i documents específics amb explicacions i exemples bilingües (en català i en castellà), així com exercicis complementaris i les seves solucions respectives. El segon mòdul conté un total de 13 unitats bàsicques, relacionades amb l'anglès per a finalitats específiques: anglès per a la banca i les finances, anglès comercial, anglès per a la producció i el transport, anglès per a la construcció, etc. També en aquest mòdul s'han afegit 6 unitats extres, molt útils com a referència bàsica i sòlida sobre l'anglès americà i l'anglès britànic, friends and false friends, phrasal verbs i opposites. En el tercer i últim mòdul d'aquest llibre hi ha un apèndix amb material essencial per a l'aprenent avançat de la llengua anglesa, com per exemple: abreviacions típiques angleses, taules de conversió i càlcul, els verbs irregulars anglesos traduïts al català i al castellà, el sistema de puntuació anglès, un quadre sinòptic dels temps verbals en anglès, etc. Al final del llibre s'hi pot trobar la bibliografia i una sèrie de webs i enllaços recomanats per ambdues autores per tal de facilitar el procés d'aprenentatge de l'alumne en l'anglès com a llengua estrangera i per a finalitats específiques.

A readable and erudite study of the cultural history of Spain and its people.

A key decade in world cinema, the 1960s was also a crucial era of change in Spain. A Cinema of Contradiction, the first book to focus in depth on this period in Spain, analyses six films that reflect and interpret these transformations. The coexistence of traditional and modern values and the timid acceptance of limited change by Franco's authoritarian regime are symptoms of the uneven modernity that characterises the period. Contradiction--the unavoidable effect of that unevenness--is the conceptual terrain explored by these six filmmakers. One of the most significant movements of Spanish film history, the 'New Spanish Cinema' art films explore contradictions in their subject matter, yet are themselves the contradictory products of the state's protection and promotion of films that were ideologically opposed to it. A Cinema of Contradiction argues for a new reading of the movement as a compromised yet nonetheless effective cinema of critique. It also demonstrates the possible contestatory value of popular films of the era, suggesting that they may similarly explore contradictions. This book therefore reveals the overlaps between art and popular film in the period, and argues that we should see these as complementary rather than opposing areas of cinematic activity in Spain.

"The Strachwitz Frontera Collection is the largest repository of commercially produced Mexican and Mexican American vernacular recordings in existence. It contains more than 130,000 individual recordings. Many are rare, and some are one of a kind. Although border music is the focus of the collection, it also includes notable recordings of other Latin forms, including salsa, mambo, sones, and rancheras. More than 40,000 of the recordings, all from the first half of the twentieth century, have been digitized with the help of the UCLA Chicano Studies Research Center and are available online through the University of California's Digital Library Program. Agustin Gurza explores the Frontera Collection from different viewpoints, discussing genre, themes, and some of the thousands of composers and performers whose work is contained in the archive. Throughout he discusses the cultural significance of the recordings and relates the stories of those who have had a vital role in their production and preservation. Rounding out the volume are chapters by Jonathan Clark, who surveys the recordings of mariachi ensembles, and Chris Strachwitz, the founder of the Arhoolie Foundation, who reflects on his six decades of collecting the music that makes up the Frontera Collection."--Publisher description.

He has been called "the father of Chicano music" and "the original Chicano hepcat." Now, Lalo's autobiography takes readers on a musical rollercoaster, from his earliest enjoyment of Latino and black sounds in Tucson to his burgeoning career in Los Angeles singing with Los Carlistas, the quartet with which he began his recording career in 1938.