Sandwiched between the ocean and the mountains surrounding the Pueblo de Los Angeles, wealthy Spanish caballeros live side by side with Native Americans. One boy with both Spanish and Indian blood belongs to both worlds. He is Diego de la Vega, who will one day wear the mask of Zorro. As a boy Diego is more concerned with riding horses and making mischief with his best friend, Bernardo, than about fighting injustice. But when men start disappearing from the pueblo of Los Angeles and cattle are missing from Diego's father's rancho, Diego and Bernardo encounter an injustice so wicked that they must take action. Inspired by Isabel Allende's novel Zorro, which reveals how Diego de la Vega became the legendary masked hero, Young Zorro: The Iron Brand introduces readers to a land of vaqueros and kidnappers -- an exciting world in which a young hero is formed. First introduced in 1919, the legend of Zorro, "the fox," swiftly grew into a phenomenon. A hero of Spanish California with a dual identity, Zorro has vanquished evildoers and conquered hearts in books, movies, and television series around the world. Most recently the Zorro tale has been brought to life by Antonio Banderas and Catherine Zeta-Jones in the 1998 major motion picture The Mask of Zorro and its 2005 sequel, The Legend of Zorro.
The paper develops a simple, integrated methodology to project public pension cash flows and healthcare spending over the long term. We illustrate its features by applying it to the LAC5 (Argentina, Brazil, Chile, Colombia and Mexico), where public spending pressures are expected to increase significantly over 2015-50 due to demographic trends and rising healthcare costs. We simulate alternative pension reforms, including the transition from a defined benefit to a defined contribution pension system and the fiscal burden of a minimum guaranteed pension under the latter. We also analyze public healthcare outlays in the LAC5, which is likewise expected to increase significantly over 2015-50 due to aging and the so-called excess cost growth factor of healthcare services, showing that curbing the evolution of the latter (e.g., through enhanced competition in the healthcare sector) could aid in containing spending pressures. Despite its simplicity, the methodology yields projections that compare well with other approaches. It therefore provides a good benchmark for assessing alternative reform scenarios, particularly in data-constrained countries.
This book presents the development and experimental validation of the structural test strategy called Oscillation-Based Test – OBT in short. The results presented here assert, not only from a theoretical point of view, but also based on a wide experimental support, that OBT is an efficient defect-oriented test solution, complementing the existing functional test techniques for mixed-signal circuits.
The creator of amazing works of art--and great controversy--this Mexican muralist's political beliefs and marital infidelities fueled his artistic expression.
Chronicles the life of Mexican artist Diego Rivera and discusses the artists who influenced him, his involvement in Communism, his family life, and other related topics.
In 1931, Diego Rivera was the subject of The Museum of Modern Art's second monographic exhibition, which set attendance records in its five-week run. The Museum brought Rivera to NewYork six weeks before the opening and provided him a studio space in the building. There he produced five 'portable murals' - large blocks of frescoed plaster, slaked lime and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, taking on NewYork subjects through monumental images of the urban working class. Published in conjunction with an exhibition that brings together key works from Rivera's 1931 show and related material, this vividly illustrated catalogue casts the artist as a highly cosmopolitan figure who moved between Russia, Mexico and the United States and examines the intersection of art-making and radical politics in the 1930s.
The catalog Diego Rivera, famous words, 1886-1957 is the result of exposure of the same name in the Diego Rivera Studio Museum, dedicated to providing a visual tour of Rivera's reflections on art. It presents a combination of a selection of textsand quotes from Rivera and images made by Rivera himself orby the artists who in one way or another had a place in his memory. Words illustrated, illustrations speaking, these pageswe face moments in the history of art in the vision of a great creator. Diego Rivera, in addition to the exceptionalqualities that distinguished him as a painter, was possessed of a strong liberal education that served as support their vastintellectual reflections. While in the scaffolding, running a mural, facing reclined on canvas or a pad, sketching a drawing, Riverawas brought into deep meditations on art and the complexintricacies of its evolution throughout history, and also reflection on the duties of the creator, either to society or to the future of the discipline.
This second part extends from the illustrious words of DiegoRivera returned to Mexico in June 1921 until his death. After spending nearly fourteen years in Europe reached a Mexico in the middle stage of reconstruction, in which the revolutionary leaders who emerged triumphant arms had changed by the speeches and promises of change. Devourer of news from any part of the cultural and politicalspectrum, the artist not only brought with them their knowledge of the European avant-garde but the desire to put in writing theirviews on art, politics and the works of his contemporaries. Wroteabout himself, and much, but over all artistic expression to callyour attention. He wrote much as he painted, with the sameexpressive power with the same passion. Urgent verbal reactionsto their own works, to put forward the social function of art andartistic creators call to form a united front to the side of the peasants and workers. Along with the works presented areexcerpts from texts that reflected the painter left his aesthetic ideas. In this book the reader can enjoy a little spread DiegoRivera, to which we must not only see but also read.
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