Top authors in dermatology and beyond: A personal note

A few weeks, a friend of mine directed me to a paper in the Blue Journal, the Journal of the American Academy of Dermatology, and congratulated me: I was ranked in the paper among the first 25 top authors in Dermatology by career-long total citations 1996-2019 [...]

Introduction

The chapter provides an overview of this book on religious non-affiliation in American society. It first offers some social science background on the non-affiliated in the United States, so that readers will have some general knowledge before they embark on the book. Then it provides a brief overview of each chapter, so that readers will be familiar with what is to come. The chapter’s author is an identity scholar, so there follows a discussion of how we might understand the changing nature of the religious identity in American society. The chapter ends on a personal note with the author’s own experience and a brief evaluation of religious non-affiliation.

The appropriation of the necessary technique in singing performance

This article wants to highlight the fact that for an opera/operetta performer, just talent and voice are not enough, he must have a multilateral, detailed and disciplined training. Of course, the nature of the voice is the starting point of any path in subsequent evolution. To reach a high level of interpretation you have to go through certain stages of approaching an opera/operetta role. You can't start the road without knowing your vocal apparatus, its components and how to use it, for later to be able to get to the interpretation, style and personal note. A perfect opera/operetta performer will be the one who, in addition to his voice, is able to understand the subtleties of music and implicitly of the libretto, and will also have a very fair and organized technical and informational training, "The sincerity of the expressiveness of a voice that does not take into account the real personal potentials, she will be doubtful” (Cîmpeanu 1975, 28).

El postmodernismo peruano: vida y obra de Abraham Valdelomar

Durante el modernismo y el postmodernismo peruano surgieron grandes poetas que dibujaron un panorama artístico muy significativo en este país. Todos ellos, aunque influenciados por la Europa (sobre todo la Francia) decadentista de fin de siglo XIX, supieron imprimir también una nota muy personal a sus creaciones literarias. Tal fue el caso de Abraham Valdelomar. Este artículo quiere rendir homenaje a este gran escritor, articulista y poeta peruano. De ahí que se realice un recorrido de su vida, y de sus obras literarias y periodísticas más relevantes. During peruvian modernism and postmodernism great poests emerged who Drew a very significant artistic scenery in this country. Al lof them, although influenced by the decadentist Europe (especially France) of the late 19th century, also knew how to give a personal note to their poetic creations. Such was the case with Abraham Valdelomar. This article wants to pay tribute to this great Peruvian writer, journalist an poet, through showing his life and Works.

Traducir a Lope: El acero de Madrid

This essay takes on and reorganises the elements brought forth at the time of the round table conference To translate Lope, coordinated by Renata Londero in October 2019. It considers the place that the Spanish baroque theatre occupies today in the French context. It mentions some translations of Lope de Vega in accordance with the taste of the public and it analyses a successful Spanish adaptation of El acero de Madrid. Attending to the translation in prose of the play (Gallimard, 1994), it evokes the method chosen by translators and presents some ecdotic and linguistic questions and their impact on the translation. It ends on a more personal note.