EL CINE COMO TEXTO: ¿Un arte nuevo o un género literario? (Spanish Edition)

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Cambridge Scholars Publishing, La experiencia colonial interna en las obras de Rudolfo Anaya. Los libros de la catarata, North America and Spain: Literary Creativity and the Older Woman Writer. Old Age and Memory in Contemporary Narrative. Rethinking Gender in Popular Culture in the 21st Century: Marlboro Men and California Gurls. El teatro de Sam Shepard en el Nueva York de los sesenta. Este libro ha sido publicado con la ayuda de Literature Ireland.

A Discourse of English Poetry Modern Humanities Research Association, Hospitality in American Literature and Culture: El primer toque de la trompeta contra el monstruoso gobierno de las mujeres. Tirant lo Blanch, Journeys in the Sun: Travel Literature and Desire in the Balearic Islands The Wounded Hero in Contemporary Fiction. The Place of the Child Writer. Writings of Persuasion and Dissonance in the Great War: Women on the Move: Making Sense of Popular Culture. Gender and Short Fiction: The Reception of George Eliot in Europe. Jefes escoceses , de Jane Porter. Prensas de la Universidad, Narratives of Refusal and the Struggle Against Work.

Irishness on the Margins: Minority and Dissident Identities. Fantasmas, Aparecidos y Muertos sin descanso. Harald and the Holy Cross. Weaving New Perspectives Together: The Edwin Mellen Press, Trauma Narratives and Herstory. Ethical Speculations in Contemporary British Theatre. The South from Elsewhere. Haunting and Spectrality in Neo-Victorian Fiction: Richard Ford and the Fiction of Masculinities.

Armengol, Josep M, ed. Racialized Masculinities in U. Iberian Masculinities at the Margins. Towards a History of the Male Body in U. Masculinities in Black and White. English for Art and Humanities: Writing Between High and Low Culture. London and New York: National Identities and European Literatures. Britain and North America. Edicions Universitat de les Illes Balears, Un americano en La Mancha tras las huellas de don Quijote.

Reflexiones sobre mi obra en Oriente y Occidente. Bueno Alonso, Jorge L. Literatur interpretieren — ein Analysetool. Atlantic Readings of James Joyce. The Chican Literary Imagination: Travelling Selves for Feminist Pedagogy. Alternative Masculinities for a Changing World. Mujeres a los remos: Universitat de les Illes Balears, Cultural Migrations and Gendered Subjects: Colonial and Postcolonial Representations of the Female Body.

Cambridge Scholars Publishing, Newcastle upon Tyne, Identities 0n the Move. Parting the Mormon Veil: Echoes of History, Shadowed Identities. Rewriting Alterity in J. The Grimsay Press, Historia social e intelectual Literatura, arte, cine y videojuegos. Genre in English Literature, Unruly Penelopes and the Ghosts: Narratives of English Canada. Wilfrid Laurier UP, Mapping Identity and Identification Processes: Approaches from Cultural Studies. Music in Modern Irish Literature.

Del cielo llovieron colores. At 39 and with an arbitrary biological clock ticking, the director of this film faced up to her need to be a mother. Womb is a film essay about women, family and assisted fertility. Using everyday footage and recovering personal archive footage, Reposi Garibaldi reflects on late maternity and the fragility between life and death.

With an associative audiovisual lyricism, the director explores an issue that concerns many contemporary women. Pietro Bulgarelli, Pablo Polanco. An old blind woman threads an infinite yarn, while her house floats in the sea. Sometimes she asks her god to wake her from the dream of being alive. Sometimes she forgets what the dream is. Each part presents recent films from the Argos collection in which the filmmakers politically engage on contemporary socio-political matters.

The films mostly start from a reflection on events in the second half of the twentieth century, although the aim is not to establish a hierarchy or inventory. Rather we approach different modus operandi in which audiovisual artists investigate the recent past in order to question the present times. Through the presented films, we see how first-hand or intimate experiences are often linked to the Great History, how media and archival material has contributed to shaping our collective memories and perceptions, and ultimately how most of the questions raised in the past are still unsolved today.

Historically, the turning point seems to be the period starting from the end of the fifties to the early seventies when the entire African continent embraced decolonization and the process of European integration e. The artistic production of that period—one need only think of figures like Jean Rouch, Chris Marker or Jean-Luc Godard—also had a great influence on the practices of the artists featured here.

Furthermore, the post political and philosophical debates, both in cinema and visual arts, have shaped current ways of making films and thinking in terms of moving images. Today, artists are beyond this enchantment, they dig for relevant information and make critical use of those audiovisual sources without forgetting to question production techniques.

Yet Politically Today doesn't indulge in nostalgia for a period that most of the artists presented in the programme never experienced. Instead, these films show how contemporary filmmakers reap the rewards of that intellectual and aesthetic research. All in all, what is necessary today, while we are still learning from the past, is to be actively engaged and look towards the future. Between and the organization focused on showing a wide variety of experimental works in Belgium, while acting as a distributor of Belgian audiovisual productions to foreign festivals, cultural centres, museums and television networks.

In , Argos had its first presentation space, presenting and coproducing exhibitions by the likes of Anne-Mie van Kerckhoven, Garry Hill and David Claerbout. In , the video conservation programme started with a project that aimed to preserve the most important Belgian videotapes from the s. From to , five editions of the Argosfestival proposed a wide spectrum of activities—including lectures, concerts, screenings and performances—and offered a platform for various forms of artistic expression in the domain of audiovisual media. In , Argos was recognised by the Belgian authorities as an arts centre.

Since then, Argos has combined this function with a fully-fledged collection programme. From , the collection became the focus of the organization and Argos has sought to stimulate and articulate it as a constantly evolving whole. At present, Argos is the largest audiovisual archive in Belgium, including over 5, audiovisual works, a documentation centre and media library, an audiovisual works distributor, and an arts centre with a challenging public programme that addresses a diverse public with whom Argos permanently engages.

We barely notice the prehistoric traces and the contours of the space, but we hear better: The cave becomes a mental world where several histories and temporalities merge. It's a living space with its minimal architecture populated by discoverers, prehistoric peoples, animals and tourists. A journey through time and space. In school, we learn to remember to live, but in life, we learn to forget to enrich living. The image ages with the passage of time, and it still has room to let in unwanted information.

Frozen from the film-propaganda against the student movement, Let the student study , by Jean Manzon, made in the pre-coup-d'etat context, a frame is photocopied, stretched and dipped in the cave of time. The original video is a precarious video where I performanced an advertising proposal, as a pitch fictitious for the new institutional image of the FARC party. I uploaded the video to Youtube and in the same night I tweeted it to the relevant Colombian media.

The next day the video went viral and it really came out in the news from Colombia. What I am interested in showing with this video is that the channel where the video is presented begins to play a representative role, not only as an art but also as a suspicion and post-truth proposal.

Teoría cinematográfica

Yichq'an, Root of Heaven, talks about the participation of women in the Guatemalan guerrilla conflict during the s. The man's trajectory is a grievous one: It would be absurd to start from the idea that man can learn to be good. To leave a house. To film the trees before leaving, the light that one takes with oneself. To go, with the measure of that light, towards an unknown place. To film the distance between one house and another, a path made of dreams, a place as an abyss.

To film fragments of reality in tension with that light. To film that spiral of time, time itself. Found footage short that uses images from the documentary El Grito Mexico, The student movement of in Mexico ends with a State crime that has gone unpunished to this day. The degraded images of Closer to Our Time reflect on the old wounds that remain open: Celeste, a young photographer, finds in her childhood home garbage bags with thousands of negatives that belonged to her father, a photographer who in the s and 80s fought against the dictatorship in Chile before going into exile in Ecuador.

The photos, the only survivors from thousands of missing images, reveal an unknown world, where clandestinity blends with the living emotion of a past, where the idea of making a different future seemed possible. In the light of the present, the archive images seem to offer a space between documentary and fiction, where the unrepresentable part of memory might materialize. The script, a central component of the piece, is a narration developed from a reflection on the past and death. Where and when a person ends, and whether we carry the weight of our ancestors with us, are also a part of that reflection.

It is a question about the place where the people who have disappeared exist, and if the experience of a domestic familiar space is informed and altered by the way others before us inhabited a home. A story that is kept alive in Vieques, Puerto Rico, like the hot embers of the resistance to the colonial status of the island.

The result of this experience is this short film, which takes an epistolary form as she tells her mother about her impressions of the country, just as President Barack Obama visited for the first time, the first Chanel fashion show was held, and shops were opening with brands like Adidas and Clarins.

The film reflects the impressions of a foreigner amid the imminence of major transformations and of what will remain of the socialist revolution of Abubakar is 46 years old and participates in the zikr, ritual dances performed by Chechen Sufi Muslims. In each zikr he reaches a state of ecstasy and for Abubakar this is an exorcism, a form of liberation from everything that his people have suffered over so many years of occupation.

The presence of his mother, his wife and his nine children make ghosts reappear from the past and present: All of this brings memory to life, mixing it with reality. This is the everyday encounter of one Chechen with two pillars of his society, faith and culture, embodied in the zikr where the sacred merges with the profane. A specter is haunting the cinema: If that apparition is an Angel, we must embrace it; and if it is a Devil, then we must cast it out.

But we cannot know what it is until we have met it face to face. We are driving alongside a middle-aged couple, Katja and Torsten Fiedler, on their way to pick up their son, Daniel, from a rural train station. Daniel is apparently returning from a deployment in Afghanistan. In , when Continuity was made, Germany was slowly coming to terms with its real involvement in Afghanistan where troops had been fighting for over eight years.

However, in September , a German commander called an airstrike near Kunduz that killed and wounded approximately people, including civilians. This was the bloodiest action involving the German army since and the loudest of a sequence of events that brought to light the reality of its involvement, forcing the government to acknowledge their role in the war. In many ways, Continuity mimics that slow unfolding, playing up memory and temporality, perception and imagination.

Structured in three loops and a discovery shot, Continuity creates a distorted temporality of inconsistency between vision and recognition, concluding in a scene where Katja and Torsten are confronted with the camel wandering down the middle of the road, follow it into the woods, and find a crater staged with the outcome of a battle. They stand, speechlessly looking into another cinematic zone from above, the camel operating as transitioning device between two constructed realities.

What they, and we, see at the climax, echoes a photograph by Jeff Wall entitled Dead Troops Talk A vision after an ambush of a Red Army patrol, near Moqor, Afghanistan, winter The film concludes by confronting us with the reenactment of a reenactment of images of war, revealing multiple layers of mediation by referencing another work of art that references yet other representations of war.

Slowly, the uncanny invades the real as we realize that the boys are being killed after their role has been enacted. Like Wall in his photograph, Fast mines the well digested language of thriller and horror movies to make direct reference to the way we consume horror. For the structuralists, content was peripheral to filmic form.

For Fast, content is complicit with the structure; storytelling devices like repetition and reenactment are used as means of referencing content that invariably involve the residues of war. These structural devices also function to direct our attention to questions of filmic construction, shifting the focus from the story to the methods used for its retelling. Fast builds a specific relationship to reality where the ethics of the documentary interview are intertwined with over-performed fiction, with no clarification of where one ends and the other begins.

The question of what is an interview is in itself problematized.

The interviewees are usually shown to us through a veil - the dynamic between filmmaker and interviewee follow the conventions of representation and simultaneously betray them by re-representing them in the same space. In Feet is the Best, the real drone operator is blurred as if to protect his identity, the actors playing him and Fast exist in the same diegesis and yet, are hyper-realistically represented in more filmic color grading.

In other words, the fictitious drone operator and the fictitious Fast are more realistic than the real-life characters. Ultimately, by looping us in the landscape of collective experience that Walter Benjamin described as the true training ground of modern perception, Fast is making portraits. The portraits that emerge are not of the interviewees and their tales but of the viewer and their relationship to the medium.

Commissioned for Documenta 13, Continuity follows a young German soldier returning home after serving in Afghanistan. A familiar domestic environment with emotional parents soon gives way to a series of anomalies that gradually become perverse and uncanny.

A total of three different sons spend the night at the house. Each disappears under mysterious circumstances. Originally premiered in the 52nd Venice Biennale, Feet is the Best is based on conversations with a U. Predator drone operator, which were recorded in a hotel in Las Vegas. On-camera, the drone operator discussed the technical aspects of his job and his daily routine.

Off-camera and off-the-record, he briefly described incidents in which the unmanned plane fired at both militants and civilians. Narcisa Hirsch, Tomas Rautenstrauch. Outside, a meadow in Patagonia turns from daylight to dusk to darkness. Inside the cabin, lights turn on; the great windowpane reflects the inside of the living room.

While the outside disappears, a man and a woman sit down to read and listen to music. A film whose theme is waiting, recording it in its most varied manifestations. Waiting in line, mystical waits, the waiting of an actor to get into a scene, the harrowing wait for sleep, the wait for the hormonal effects in a gender identity adjustment. The waiting time is mixed with the time of our own lives, at a time that we are unlearning how to wait. In this video piece I approach these power figures, kissing history, my heroes, my men, cold and erect by the city inviting me to love them.

With these subtle gestures I metaphorically attempt to suspend the historical and patriarchal weight they carry. The discussion and provocation I seek in the video work, not in the place of execution. The kiss for me represents a great sentimental affection, a mutual concession that both parties allow. In this piece the kisses that I give are intense, passionate, in a sexual-erotic tone and maybe a little violent.

Ultimately, each character I choose has a powerful historic value for the construction of my Latin American identity, from the pre-Hispanic to the political. Harry Alan Potamkin, born , was a film critic and poet. In , at age 33, he died of complications relating to starvation in a hospital in New York City. He was beloved in communist circles as a writer of film criticism that charted the simultaneous evolution of formalism and socialism in cinema. In the mids, Potamkin was an acolyte of Pound and Eliot, a devoted poet working through the vortex of competing forms and ideologies that followed the challenge of Imagism.

He was also a community-builder whose passions extended to the editing of little magazines and the committee work of American labour organizations. While likeminded poets were forming the Objectivist school, Potamkin moved toward the cinema, which he perceived as a new form of poetry. For Potamkin this was an art form in which the impulse to modern poetry, to explore new perceptions, was combined with the ambition of social revolution, to stir the common soul of man to justice.

And while there are no images of him, every image herein was a part of his experience of cinema. For it is assembled from fragments of films that he reviewed—those still extant—to compose a singing out into the hereafter. These images are distressed through chemistry. Caligari himself, appears as Kenneth Rexroth.

It plays as a shot list, isolated to a few frames per image. It plays backwards and forwards, and even alternates in both directions at the same time. And when at last it plays backward in full, the horror is impotent: In his writings, he advocated a cinema that would simultaneously embrace the fractures and polyphony of modern life and the equitable social vision of left radical politics. This film-biography is assembled out of distorted fragments of films on which he had written, an impression of erupting consciousness.

At the Odessa steps, trampling gives breath to the child. The bullet miraculously reforms the face. The carriage is set upright. Throughout the animation, visual and narrative elements generate analogies between the sun and electronic displays, culminating in the following statement: In Brief History of the Sun it is posed as a question what is the human relationship with the digital screens to be used as tools for the production of immaterial and affective labor.

Similarly, it evidences screens as the main window for corporate control over our bodies and desires through the use of algorithms. The Dora Case aims to carry out a practical investigation situated on the border between documentary and fiction, taking as its main reference the film La Chinoise by Jean-Luc Godard. The title refers to the first case study published by Freud, in , which to this day is considered a paradigmatic text for presenting the central tenets of his theory of hysteria. Taking advantage of the coincidence between the pseudonym assigned by Freud to his hysterical patient and the first name of the director of the film, The Dora Case proposes an autobiographical reflection commenting on the position of the artist in the present day.

In mid November, the corpses appeared, floating in the Strait of Magellan. The dead bodies of Yan Cumbao, Wang Hao and Sung Chungman were tied up with life vests, cellular phones, computers and passports. Two of them were found malnourished, another with typhus. Some labors do without a name Video I and II correspond to the micro story of A and E, both self-employed workers and those who have a direct relationship with the economy they produce, distribute and consume their product.

Video II, in the form of a recipe, emphasizes the non-visible production processes behind the product. Video III frames everyday tasks, where the working day is camouflaged with unpaid domestic work. Camelia puts the economic chain into circulation by connecting the three videos, altering the language with a nod to the national debt and the time of the image in movement in contrast with the real time of the production of labor and merchandise.

I have replaced the word "object" with the word "labor. Eviction was imminent and I had a run in with the law. Whatever happened to Josefa, the owner of the apartment, is a well-kept and mysterious secret. Then came two years of court battles that were lost before they even began. The goodbye lasted just as long: I reconstructed each memory through my eyes and the beauty of that refuge. I wish I could have covered my ears. Can film and video coexist in the same film? Here, 16mm film and VHS video tapes need each other in order to exist.

Thanks to the transparent clear leader of 16mm acetate film, we can visualize in movement the materiality of the analogue video support, glued on top of the film, serving as skeleton and structure of the VHS tapes intervened. Both and none at the same time Jeff Zorrilla, Ignacio Tamarit. A defacing of the image of normality sold to the public en masse. We manipulate these images to express our visceral reaction as filmmakers and artists to the inauguration of Donald Trump as President of the United States, the disastrous yet logical conclusion of a system that is finally imploding before our eyes.

Pokhot is the story of two people who do not know each other but at the same time have some things in common. One is a Venezuelan sex worker, and the other is Ukrainian and an Orthodox Christian. Along the way the film focuses on the abundant life all around. A child's dream is indecipherable, we can only embrace that mystery without wanting to solve it and cinema gives us the privilege of trying tometaphorize that bewilderment. With brief descriptions, Mollenhauer examines how our inability to establish contact with the non-human has historically led us to take geological monuments as passive entities, ready to be occupied or used.

Taking into account this inability, the film uses the act of speculation as a method to uncover geological agencies in action. The film has a structure in which all the scenes have equal duration.

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In this way, the recording apparatus is converted into a measuring tool to explore transfigurations of time as a result of the encounter between the different trajectories that define the place. An investigation into time, its passing and its perception. Composition made from fragments of the recorded image and the space; a space made possible upon the screen. A series of videos.

Founded in , the International Short Film Festival Oberhausen is one of the major international meeting places for the short form, unique in the range of forms and genres it presents to the public, and particularly well known for its spotlight on experimentation. Oberhausen also operates a well-stocked video library, a non-commercial short film distribution branch and a unique archive of short films from over sixty years of festival history.

In the festival received over 7, competition submissions from around countries. The festival screened a total of around films and registered around 1, accreditations and some 18, entries. The political films in the Resistance programme, ranging in date from to , often present quite an unpolished view of the world. In the works, which occupy a continuum from documentary to essay and animation, filmmakers intervene, take a stand and protest on behalf of human rights, freedom and life itself. The programme is conceived as a journey through time, via the history of the festival and its film archive.

It includes some of the most important award-winning political works shown in Oberhausen.

EXHIBITION UNTIL

The programme Despite Everything focuses on films which deal with harsh realities in very different artistic ways. In the Jiu Valley, once a traditional Romanian industrial area, parents now make long journeys to the West wherever they find work. They return too rarely. Their children are a lot like orphans. The film gives us access to the demilitarised zone and immerses us into the heart of the personal memory of a soldier who tells us about his experience in a reconnaissance mission.

A group of peasants enters La Estancia in search of their missing relatives. Some survivors of the massacre hide in the forest wandering around in shock. Images of stones thrown and beatings blend in with humorous digressions, cinematographic critiques, and the obligatory tea ritual of Arab hospitality. The Labour Reform for the super wealth of businessmen. A World Coup in Brazil. This project explores through my family history the political parallelism between Spain and Guatemala during the 20th century, with their respective wars and post wars.

The thread for this exploration is given by the madness due to the case of schizophrenia of my brother and delirium due to the alcoholism of my father. The approach of this political history was made as a victim and as a victimizer, having in mind how easy is to go from one side to the other and the terrible and corrosive apathy from the society. Quehuaya is the story told by a fisherman on Lake Titicaca, about an island that only exists once a year, during the rainy season. His story transports us to the origins of the lake, the customs of its people, their language and the close relationship they have had with the water for centuries.

A warlock reads the future of the water in the coca leaves. He alerts us to what the future holds for a civilization that refuses to disappear. Using found footage, The Space Shuttle Challenger connects the Challenger disaster, Guantanamo Bay, the Pinochet coup and the experience of being sixteen.

It reflects on the personal impact of major events in world history, and the small moments of hope that survive. Karen Akerman, Miguel Seabra Lopes. I know it's false, an induced error, but This video was made with footage collected from the CD-ROM for the Encarta 98 encyclopaedia and footage made especially for the piece.

It narrates and confronts two logics or forms of storytelling. One is the information from the Encarta 98 with which I used to play as a child. The other is a dream. My voice narrates the video in Spanish, while subtitles in English are provided. The English subtitles intentionally omit part of the information given by the voiceover. The video plays with language hierarchies, changing the role of those who read the subtitles, delivering less information to non-Spanish speakers, making them aware of the lack of information delivered. The work also emphasizes the history of science as a form of hegemonic storytelling.

Starting from a series of weekly meetings with a group of people from the Villa slum in Buenos Aires, this project became a documentary, bringing out a rich variety of points of view, mostly from the slum inhabitants themselves. With the purpose of bringing audiovisual production closer to them, these individual stories are intermingled in a series of images that build as a whole and from what is missing a search for identity and collective memory. Watching cinema, we spend half the time in complete darkness without being able to perceive it because of the effect of retention of images in our brain.

Exercises in Disappearing is a brief questioning about the gaze, its limits, what we show, what others hide from us, what lives behind the curtain, out of frame, or just disappears from our field of vision. The colours on the screen turned red and magenta.

EQUIPO BIM 2018

As far as they were concerned, it was still functioning perfectly. This anecdote gave the name to Life in Red, a project begun in , which takes as its starting point the private and political life of my family. It is an artistic investigation into the history of communism in the twentieth century, the use of personal documents to reflect on history, and the change of representation of images and words in different times and contexts.

This video-essay functions as a mirror of the different parts of the project and narrates, over three generations, the search for that treasure called revolution. The Origin of Stones questions the ideals of the past and their validity in the present through the decay and fall of monuments built to preserve a historic memory. With a text based on a debate that puts in doubt the effectiveness of a scale used to document the proportion and appearance of archaeological remains, this work looks to ruins as elements of living content connected to the present and emphasizes the powerful yet fragile nature of the narratives of history.

Thus, it mirrors the impossibility of imagining the promises of a future in the ruins of the recent past, representing in this way a model of a failed utopia. A dialogue about archival footage turns into a language class. A language class turns into a perspective on a country and its history. A perspective of a country and its history turns back into fiction. The piece was made from intervening discarded news reports from Corela TV authors not identified, The Forces follows a group of jockeys as they learn their craft.

In their analogue practices, simulation reproduces a future experience and a face becomes strange with a new gesture. Under a school logic, with methods and forms of evaluation, the material to be modelled is the body. A body that is complemented by another, a small body that should not grow, of a latent fragility, always at breaking point. Three years later the same ship sank in the Mediterranean. An experimental making-of, Film catastrophe investigates the case. The moment is an indefinite measure of time into which almost all experience falls.

It is the conclusive present and it permeates all written past. It forms in our vision and consciousness. History enters as the moment fleeting, but the moment, in and out of time, the present moment, is our epiphany, when eternity reaches into our time and into us. Eternity carves its expression into us. It comes to us to build. Film has allowed the artist to tame the moment, to record and possess it, to suspend it in a representation that pretends to permanence.

The moment, as inscribed on film, becomes an elastic interval. In this raw form, it opens onto the many possibilities for further creation, be they achieved by distortion and obscurity, by the heightened clarity that comes in the movement study, by the divergent gestures of alternating patterns, and by other operations played on the visual field. Our mastery over the moment and its contents invites us deeper inside of the instant and eternity. That moment of insight, formed in the improvisatory gesture or tempered and realized by later contemplation, might be transformed to damn out old motions, to make them new; to give polyrhythmic integrity to both moment and memory itself; to reach for the essential energy of experience.

Transformations reveal a composition as a field of individual and endlessly renewed meanings and energies. But the epiphany is rare and ultimate. Every moment possesses the power to transform itself. In its stagnant chronology, its fixed coordinate, it changes. By memory and by history, time transforms itself. We use film to alter the moment, to cradle the moment, to annihilate the moment, or at least its impression, and by these operations, the image bears out the mystical associations of consciousness. The transformable moment is the moment turning into both its opposite and its other, and meaning arises in the gap between opposition and otherness.

By this transformation, the moment departs from the assurances of memory and becomes a breathing passage. La Casa de los Malfenti. Desde Argentina nos llega esta revista "bastante literaria" que tiene un poco de todo: En castellano y no se prodiga mucho. La revue des ressources. Admite comentarios de los internautas. Las vanguardias literarias del siglo XX. Un buen ejemplo de la eficacia del entusiasmo de un grupo de aficionados.

Acoge colaboraciones de colegas. De la mano de "Miseria i companyia" se accede a este portal del libro antiguo en castellano. Radicado en Alcoy, pretende descubrir "ese otro mundo paralelo: Una buena idea llevada con constancia por Marcos Taracido. Un taller de escritura permite publicar textos de los lectores. Un buen espacio para nuevos creadores. Ofrece abundantes recursos sobre literatura catalana en la Red: London Review of Books. No es muy literario que digamos, pero es divertido.

Este sitio permite ver a la gata Annie actuando muy seriamente, con gran profesionalidad. Algunos momentos de los videos son bastante buenos.

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