Pedro Calderon

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The Governor of Buenos Aires then is Dark brown Mauritius de Zabala that does not accept the orders and only when it has the news that Vicente Gives Whistles Gives Fonseca, Captain of the Colony, realises a precarious lusitano establishment in this bay, it is decided to undertake the march and foundation. It is born direct Montevideo consequence of the occupation and development of this small citadel and factory. In January of 1730, the first theater representation in the Eastern territory is realised, " The Arms Of the Hermosura" of Pedro Calderon de la Barca, in honor to the wedding of Inheriting prince Don Jose of Portugal and Infant of Castile Do6na Maria Ana Vittoria. In 1735 the lusitana city is surrounded by the Spanish forces. Was denominated it, the Site of Salcedo, by the Buenosairean Governor Miguel de Salcedo who decides to attack it blood and fire. Governor Antonio Pedro de Vasconcellos of heroic form resists, he maintains unconquered and he makes raise it to the site the 16 of September of 1737.

During this government the port of Colony – key point from entrance to South America reaches to lodge fifty ships of diverse flags, dedicated to illicitly introduce merchandises towards the Virreinato of Peru. After 27 years of excellent government, one of the impelling majors of its military, commercial and cultural life must retire ill. During all their management, several were the attempts, diplomats and the military, to make disappear the wonderful colony. Its phrase is well-known: " The Colony is of as much importance that would not change it by but advantageous equivalente". Already without Vasconcellos, the idea arises to exchange this city by something that it interests to Portugal. Company/signature in Madrid, in 1750, the Treaty of Exchange. The Colony of the Sacrament in exchange for the seven towns Eastern missionaries.

Athenian Tragedy

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It seems to be an illusion to think that all the tragedies are tragic, that is, that it has a critical one that it will be able to recognize them or not tragic, according to some criterion of ' ' tragicidade' '. To this form, we approach in them to a very complex question on the concept of tragic and if it would englobaria what he brings the tragedies, or the tragedy being a literary creation, would be subjects to the ability of its author. The literary critic/philosopher or even though the proper reader would be the last ones to diagnosis the tragic one in a tragedy. This approach of concepts between tragic tragedy and leaves in them to understand that in the tragedy it will have to contain the tragic one. For Most, it is not accidental that the tragic term is freed of its linking with a literary form and generalized to apply to the condition human being at the accurate moment of history, in the turn of century XIX, when the sort of the tragedy leaves of to be a dominant literary way. Currently, tragedies in the theaters are almost not staged, but, in our roads, them they are produced always.

Already the tragic word tries to define the state/invariant character of the man. In the literary critical philosophy and the old ones it seems not to have had nothing corresponding to the modern philosophical notion of ' ' trgico' ' as a basic dimension of the experience human being, but in its place only theories of ' ' tragdia' ' as a specific sort. Perhaps either therefore that the story of Aristotle on the historical evolution of the tragedy if refuses to mention the traditional inventor of the sort: Tspis, therefore, when trying suprimiz it, Aristotle makes the sort to seem Athenian occidental person and, more inevitable and human less.