Antonio Guzmán es el detective enviado desde la Capital a La Platea, para averiguar sobre una desaparición. La persona desaparecida es doña Juana de Lucero, esposa del artista del pueblo. Es una novela policíaca que pinta, en forma muy ágil, cómo se vivía en los pueblos del interior de Guatemala, durante los 60 ́s. La trama involucra al médico, al cura, a la comadrona y al artista del lugar. Las características y costumbres del lugar hacen al relato muy ameno. El desenlace es inesperado. Antonio Guzmán is the detective sent to La Platea from the capital city to find out about a disappearance. The person who disappeared is doña Juana de Lucero, wife of the town artist. This is a police novel that describes, in a very lively way, how life was in the rural towns of Guatemala during the 60 ́s. The plot involves the doctor, the priest, the midwife and the artist of the town. The characteristics and customs of the place make this an entertaining story. The end is unexpected.

Caught between the well-worn grooves the Boom and the Gen-X have left on the Latin American literary canon, the writing intellectuals that comprise what the Generation of '72 have not enjoyed the same editorial acclaim or philological framing as the literary cohorts that bookend them. In sociopolitical terms, they neither fed into the Cold War-inflected literary prizes that sustained the Boom nor the surge in cultural capital in Latin American cities from which the writers associated with the Crack and McOndo have tended to write. This book seeks to approach the Generation of '72 from the perspective of cosmopolitanism and global citizenship, a theoretical framework that lends a fresh and critical architecture to the unique experiences and formal responses of a group of intellectuals that wrote alongside globalization's first wave.

"The first exhibition to offer a critical assessment of the artistic experimentation that took place in Mexico during the last three decades of the twentieth century. The exhibition carefully analyzes the origins and emergence of techniques, strategies, andmodes of operation at a particularly significant moment of Mexican history, beginning with the 1968 Student Movement, until the Zapatista upraising in the State of Chiapas. Theshow includes work by a wide range of artists, including Francis Alys, Vicente Rojo, Jimmie Durham, Helen Escobedo, Julio Galán, Felipe Ehrenberg, José Bedia,Guillermo Gómez-Peña, Francisco Toledo, Carlos Amorales, Melanie Smith, and Alejandro Jodorowsky, among many others. The edition is illustrated with 612 full-colorplates of the art produced during these last three decades of the twentieth century reflect the social, political and technical developments in Mexico and ranged from painting andphotography to poster design, installation, performance, experimental theatre, super-8 cinema, video, music, poetry and popular culture like the films and ephemeral actionsof 'Panic' by Alejandro Jodorowsky, Pedro Friedeberg's pop art, the conceptual art, infrarrealists and urban independent photography, artists books, the development ofcontemporary political photography, the participation of Mexican artists in Fluxus in the seventies and the contribution of Ulises Carrión to the international artist book movement and popular rock music, the pictorial battles of the eighties and the emergence of a variant of neo-conceptual art in 1990. The exhibition is curated by Olivier Debroise, Pilar García de Germenos, Cuauhtémoc Medina, Álvaro Vázquez Mantecón"--Provided by vendor.

Speech Actions in Theory and Applied Studies, the first of the two volumes of Pragmatic Perspectives on Language and Linguistics, brings together twenty essays which critically examine linguistic action and explore ways in which it can be accounted for. The articles presented in this collection are all focused on “doing things with words”, but in most cases do not subscribe to speech act theory in the tradition of John L. Austin and John R. Searle. The linking thread through the volume is not a theoretical commitment to one of the speech-act theoretical models, but the authors’ perspective on language as a means of action, how linguistic expressions become effective in context and how this effectiveness can be explicated. The papers represent different pragmatic approaches and varied levels of expertise in the research area; among the authors there are eminent linguists and philosophers, well established researchers, and young beginners. The texts include purely theoretical discussions, case studies, reports on research in experimental pragmatics, contrastive and corpus studies, and considerations of the pedagogical implications of pragmatic reflection on the nature of language. Without purporting to cover all relevant topics, this variety reflects the complex character of linguistic pragmatics and integrates studies which cross-cut other research fields. The book is divided in three parts. The seven papers gathered in the first part of the volume, “Speech Action in Theory”, are concentrated on theoretical issues pertaining to speech as a type of action with emphasis both on linguistic forms (e.g. fragments) and theoretical commitments and particular theories’ explanatory power. Part two, “Case Studies & Experimental Pragmatics”, includes reports on research into irony processing in Polish and in English as a second language, intercultural differences in interactions broadcast in the media, power relations in doctor/patient interaction, and metaphors in media discourse at the time of crisis. Part three, “Pragmatics, Grammar, and Language Pedagogy”, contains five essays, which explore both more “formal” pragmatics through analyses of grammatical forms and the interface which the analysis of these forms share with context-grounded research, and the practical implications of pragmatic knowledge in language didactics. This collection is supplemented by the essays gathered in volume two, entitled Pragmatics of Semantically Restricted Domains.

Dónde está mi lugar, dónde está mi vida, dónde estoy yo... Tras un grave accidente de tráfico, nuestra protagonista pierde la memoria, teniendo que enfrentarse a la vida sin más herramientas que las que va construyendo con ayuda de su intuición. Libre de condicionamientos sociales que le indiquen un camino, emprenderá un viaje que la llevará a conocer la oscuridad del alma humana, pero también aprenderá a sobrevivir con la fuerza que habita en su interior. La Lluvia me dirá quién eres es la historia de muchas mujeres en diferentes partes del mundo, que salen adelante con el alma rota y las cicatrices de una guerra en la que ellas no siempre son las vencedoras.

There are numerous ways to understand failure in literature: failure to produce a work of demonstrable literary merit, or failure to publish a work despite such merit; failure to see something translated, adapted or performed adequately, or indeed to see it translated, adapted or performed at all; failure to establish a connection with the contemporary reading public, failure to please critics, or to charm readers and hence the failure to achieve substantial sales. An author or a literary wor...