Dani García is one of the most important new chefs of Spanish cuisine. This chef’s book is based on Andalusia and the Spanish tradition. Afterwards, Dani goes beyond that and integrates new techniques giving a very personal touch to his creations. For chef’s work lovers. Recommended by Ferrá Adriá.
A estas alturas no me voy a poner a descubrir a Dani García, una de las realidades más incuestionables del panorama gastronómico mundial. En efecto, hoy en día Dani es uno de los protagonistas más importantes de nuestra vanguardia culinaria, y defiende este papel con osadía, honestidad, pasión y un gran respeto por la historia de la cocina, la tradición de su tierra y el trabajo de otros cocineros. Y esto, en mi manera de ver las cosas, justifica su relevancia presente y le augura un futuro espléndido. Por si no tuviéramos prueba suficiente de ello, Dani nos ofrece ahora un libro que es un compendio de todo su arte y que además es una declaración de intenciones, ya desde el mismo título, COCINACONTRADICIÓN. Porque así es la cocina de Dani, una cocina que no es "contra" nada, sino que suma, que se sirve, se inspira y homenajea a la tradición culinaria andaluza, pero siempre desde la cocina más vanguardista. Ahí es nada a estas alturas de las vanguardias culinarias: atreverse con una pipirrana, con unas quisquillas, y hacerlo con la ayuda del nitrógeno líquido, un producto y una técnica, por cierto, que Dani fue uno de los primerísimos en utilizar no sólo en España, sino en todo el mundo, cuando nadie la conocía y parecía más un truco de ciencia ficción que una ayuda auténtica para el cocinero. O esa tortillita de camarones con que se arranca gracias al abulato. Por no hablar de los homenajes más directos, como las sopas frías, la inspiración en los paisajes (el mar, las minas de Río Tinto, Sierra Nevada), o el recurso a los productos estrella de Andalucía: los coquitos, el calamar de pota, el cerdo ibérico de bellota, el atún de almadraba, y tantos otros. Ferran Adrià.
With its astounding hardcover reviews Richard Zenith's new complete translation of THE BOOK OF DISQUIET has now taken on a similar iconic status to ULYSSES, THE TRIAL or IN SEARCH OF LOST TIME as one of the greatest but also strangest modernist texts. An assembly of sometimes linked fragments, it is a mesmerising, haunting 'novel' without parallel in any other culture.
A temporary move to Toronto in the winter of 2000, a twisted ankle, an empty house -- all inspired Moure as she read Alberto Caeiro/Fernando Pessoa's classic long poem O Guardador de Rebanhos. For fun, she started to translate, altering tones and vocabularies. From the Portuguese countryside and roaming sheep of 1914, a 21st century Toronto emerged, its neighbourhoods still echoing the 1950s, their dips and hollows, hordes of wild cats, paved creeks. Her poem became a translation, a transcreation, the jubilant and irrepressible vigil of a fervent person. "Suddenly," says Moure impishly, "I had found my master." Caeiro's sheep were his thoughts and his thoughts, he claimed, were all sensations. Moure's sheep are stray cats and from her place in Caeiro's poetry, she creates a woman alive in an urban world where the rural has not vanished, where the archaic suffuses us even when we do not beckon it, and yet the present tense floods us fully.
The Washington Post Book World has written that Fernando Pessoa was "Portugal's greatest writer of the twentieth century [though] some critics would even leave off that last qualifying phrase" and "one of the most appealing European modernists, equal in command and range to his contemporaries Rilke and Mandelstam." The Selected Prose of Fernando Pessoa, a Los Angeles Times Best Book of 2001, spans playful philosophical inquiry, Platonic dialogue, and bitter intellectual scrapping between Pessoa and his many literary alter egos ("heteronyms"). The heteronyms launch movements and write manifestos, and one of them attempts to break up Pessoa's only known romantic relationship. Also included is a generous selection from Pessoa's masterpiece, The Book of Disquiet, freshly translated by Richard Zenith from newly discovered materials. The Selected Prose of Fernando Pessoa is an important record of a crucial part of the literary canon. "Zenith's selection is beautifully translated, compact while appropriately diverse." -- Benjamin Kunkel, Los Angeles Times "[Pessoa] is one of those writers as addictive, and endearing, as Borges and Calvino." -- Michael Dirda, The Washington Post Book World
The Avant-Garde and Geopolitics in Latin America examines the canonical Latin American avant-garde texts of the 1920s and 1930s in novels, travel writing, journalism, and poetry, and presents them in a new light as formulators of modern Western culture and precursors of global culture. Particular focus is placed on the work of Roberto Arlt and Mario de Andrade as exemplars of the movement. Fernando J. Rosenberg provides a theoretical historiography of Latin American literature and the role that modernity and avant-gardism played in it. He finds significant parallels between the cultural battles of the interwar years in Latin America and current debates over the role of the peripheral nation-state within the culture of globalization. Rosenberg establishes that the Latin American avant-garde evolved on its own terms, in polemic dialogue with the European movements, critiquing modernity itself and developing a global geopolitical awareness. In the process these writers created a bridge between postcolonial and postmodern culture, forming a distinct movement that continues its influence today.
Formulated in 1967, the PREVI Experimental Housing Project in Lima is one of the most ambitious experiments in social housing ever built, not only for the number of variables proposed but also because it brought together, for the first time, such outstanding figures on the architectural scene of the time as Aldo van Eyck, Charles Correa, James Stirling, Christopher Alexander, Atelier 5, Fumihiko Maki, Candilis, Josic and Woods, among others. With their proposals for low-density, progressive housing they jointly debated various ways of creating the city in a context of limited resources and urgent urbanisation
Chilean architecture--along with that of Sao Paolo and Mexico City--sets a benchmark for the intersection of modernism with vernacular influences in Latin America. Culture, landscape, and the geology of this earthquake-prone region have all served as important filters for the practice of post-1950s design in Chile. This volume introduces the modern architecture of Chile to readers in the United States. Looking primarily at domestic architecture as a lens for studying the larger movement, Fernando Perez Oyarzun considers the relationship between theory and practice in Chile. As he shows in his chapter, during the early 1950s the School of Valparaiso offered the possibility of developing experimental projects accompanied by theoretical statements. There, visual artists considered poetry the starting point of modern architecture and contributed their radically modern views to the design process of the project. Next, Rodrigo Perez de Arce examines the material context of architecture in Chile: the availability of materials and technologies, the frequency of violent earthquakes and related seismic activity, and the nation's craft-based, labor-intensive building practices. He applies these considerations to a series of case studies to demonstrate how they interact with cultural, historical, economic, and even political influences. In the book's final chapter, Horacio Torrent reviews the interplay between the architectonic culture and modern shapes that came into sharp focus in the 1950s in Chile. In another series of case studies, he highlights the formation of a system of concepts, thought processes, instruments, and values that have given Chilean architecture a certain singularity during the last fifty years.
On 25 November 1975, representatives of five South American intelligence services held a secret meeting in the city of Santiago, Chile. At the end of the gathering, the participating delegations agreed to launch Operation Condor under the pretext of coordinating counterinsurgency activities, sharing information to combat leftist guerrillas and stopping an alleged advance of Marxism in the region. Condor, however, went much further than mere exchanges of information between neighbours. It was a plan to transnationalize state terrorism beyond South America. This book identifies the reasons why the South American military regimes chose this strategic path at a time when most revolutionary movements in the region were defeated, in the process of leaving behind armed struggle and resuming the political path. One of Condor’s most intriguing features was the level of cooperation achieved by these governments considering the distrust, animosity and historical rivalries between these countries’ armed forces. This book explores these differences and goes further than previous lines of inquiry, which have focused predominantly on the conflict between Latin American leftist guerrillas and the armed forces, to study the contribution made by other actors such as civilian anticommunist figures and organizations, and the activities conducted by politically active exiles and their supporters in numerous countries. This broader approach confirms that the South American dictatorships launched the Condor Plan to systematically eliminate any kind of opposition, especially key figures and groups involved in the denunciation of the regimes’ human rights violations.
Within the field of soil science, soil chemistry encompasses the different chemical processes that take place, including mineral weathering, humification of organic plant residues, and ionic reactions involving natural and foreign metal ions that play significant roles in soil. Chemical reactions occur both in the soil solution and at the soil part
The Valparaíso School, as it became known, acquired an international reputation for its radical stance and its commitment to dialogue between architects and other disciplines. Since 1970 the Valparaíso School has focused much of its research and design activity on the Open City (Ciudad Abierta) project, created by a group of architects, artists, poets, and engineers with a vision of a city with "no master plan, no imposed ordering devices, and no hierarchical networks of infrastructure." Originally set up as a laboratory-type environment, this alternative community has since become the place of residence and work for many people. Valparaíso School: Open City Group provides insight into this radical experiment in urban development through a series of essays and photographs.
Designed as a survey and focused on key examples and movements arranged chronologically from 1903 to 2003, this is the first comprehensive history of modern architecture in Latin America in any language. Runner-up, University Co-op Robert W. Hamilton Book Award, 2015 Modern Architecture in Latin America: Art, Technology, and Utopia is an introductory text on the issues, polemics, and works that represent the complex processes of political, economic, and cultural modernization in the twentieth century. The number and types of projects varied greatly from country to country, but, as a whole, the region produced a significant body of architecture that has never before been presented in a single volume in any language. Modern Architecture in Latin America is the first comprehensive history of this important production. Designed as a survey and focused on key examples/paradigms arranged chronologically from 1903 to 2003, this volume covers a myriad of countries; historical, social, and political conditions; and projects/developments that range from small houses to urban plans to architectural movements. The book is structured so that it can be read in a variety of ways—as a historically developed narrative of modern architecture in Latin America, as a country-specific chronology, or as a treatment of traditions centered on issues of art, technology, or utopia. This structure allows readers to see the development of multiple and parallel branches/historical strands of architecture and, at times, their interconnections across countries. The authors provide a critical evaluation of the movements presented in relationship to their overall goals and architectural transformations.
In Fernando Valverde’s América, “sorrow is ancient.” Mournfully lyrical, politically sharp, with a sweeping view of American roots, dysfunctions, and ideals—as if from above, and yet also from within—this is a book that deconstructs the legacy of empire. From the Mississippi River to Fulton Avenue, from slavery to “lone wolf” shooters, Valverde grieves but does not wince away from all that is lost to greed and a culture of violence, painting an urgent portrait of “the thirst of America / a smile satisfied to death.” Valverde is widely regarded as one of the most important younger Spanish-language poets. Here his vibrant voice and convictions are translated and introduced by Carolyn Forché, herself a world-renowned poet of witness. Bilingual, with Spanish originals and English translations.
In Vernacular Latin Americanisms, Fernando Degiovanni offers a long-view perspective on the intense debates that shaped Latin American studies and still inform their function in the globalized and neoliberal university of today. By doing so he provides a reevaluation of a field whose epistemological and political status has obsessed its participants up until the present. The book focuses on the emergence of Latin Americanism as a field of critical debate and scholarly inquiry between the 1890s and the 1960s. Drawing on contemporary theory, intellectual history, and extensive archival research, Degiovanni explores in particular how the discourse and realities of war and capitalism have left an indelible mark on the formation of disciplinary perspectives on Latin American cultures in both the United States and Latin America. Questioning the premise that Latin Americanism as a discipline comes out of the tradition of continental identity developed by prominent intellectuals such as José Martí, José E. Rodó or José Vasconcelos, Degiovanni proposes that the scholars who established the discipline did not set out to defend Latin America as a place of uncontaminated spiritual values opposed to a utilitarian and materialist United States. Their mission was entirely different, even the opposite: giving a place to culture in the consolidation of alternative models of regional economic cooperation at moments of international armed conflict. For scholars theorizing Latin Americanism in market terms, this meant questioning nativist and cosmopolitan narratives about identity; it also meant abandoning any Bolivarian project of continental unity or of socialist internationalism.
Although everything in this imaginative and compelling biography of the martyred Chilean President, Salvador Allende, is solidly based on fact, it is cast in the form of a novel by the author, who was a close friend and longtime colleague of Allende.
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