En ÀCu‡l Guerra? Testimonios de Sobrevivientes Maya, algunos j—venes que fueron v'ctimas de la violencia relatan sus historias. En sus propias palabras, nos cuentan c—mo sus vidas fueron devastadas por el trauma, el terror y la muerte. La violencia es colocada en contexto hist—rico con cap'tulos espec'ficos que enfocan en el exilio forzado, las experiencias œnicas sobrellevadas por mujeres y ni–os, el empacto en la vida familiar, la lucha por mantener la identidad maya y el efecto de los Acuerdos de Paz. La realidad es que se necesita de un profundo coraje para romper el silencio y hablar de esta dolorosa historia personal. Estos sobrevivientes est‡n comprometidos a decir la verdad de sus propias experiencias. Aqu' lidian con el futuro, rehacen sus vidas y tienen el compromiso de crear una nueva Guatemala.

This volume of collected essays explores the premise that Plutarch’s work, notwithstanding its amazing thematic multifariousness, constantly pivots on certain ideological pillars which secure its unity and coherence. So, unlike other similar books which, more or less, concentrate on either the Lives or the Moralia or on some particular aspect(s) of Plutarch’s œuvre, the articles of the present volume observe Plutarch at work in both Lives and Moralia, thus bringing forward and illustrating the inner unity of his varied literary production. The subject-matter of the volume is uncommonly wide-ranging and the studies collected here inquire into many important issues of Plutarchean scholarship: the conditions under which Plutarch’s writings were separated into two distinct corpora, his methods of work and the various authorial techniques employed, the interplay between Lives and Moralia, Plutarch and politics, Plutarch and philosophy, literary aspects of Plutarch’s œuvre, Plutarch on women, Plutarch in his epistemological and socio-historical context. In sum, this book brings Plutarchean scholarship to date by revisiting and discussing older and recent problematization concerning Plutarch, in an attempt to further illuminate his personality and work.

The Historical Dictionary of South American Cinema covers the long history of cinema in Portuguese-speaking Brazil and the nine Spanish-speaking countries. These films include Los tres berretines, Prisioneros de la tierra, La balandra Isabel llegó esta tarde, La hora de los hornos, El chacal de Nahueltoro, La teta asustada, Abrir puertas y ventanas, El secreto de sus ojos, and NO. This is done through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 300 cross-referenced dictionary entries on directors, producers, performers, films, film studios and genres. This book is an excellent access point for students, researchers, and anyone wanting to know more about the South American Cinema.