Historia

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.



Las obras teatrales de Federico García Lorca están presentes en los teatros húngaros desde 1955, cuando fue el primer estreno de La casa de Bernarda Alba. Las seis décadas pasadas desde entonces y el octogésimo aniversario de la muerte del poeta granadino en 2016 dan la actualidad de esta monografía cuyo objetivo es ofrecer a los lectores un panorama abarcador sobre la recepción del teatro lorquiano en Hungría entre 1955 y 2015. Junto al cuadro general sobre la recepción, el libro contiene numerosos análisis de unos estrenos concretos de La casa de Bernarda Alba, Bodas de sangre, Yerma, La zapatera prodigiosa, Amor de Don Perlimplín con Belisa en su jardín y otras obras menores. La monografía analiza no solamente los espectáculos de prosa sino también presta atención a las diferentes adaptaciones de las obras lorquianas ?entre ellas ópera, ballet, teatro de movimiento, teatro de títeres y teatro experimental? porque estas interpretaciones, junto al género de prosa, influyen mucho en la imagen de García Lorca en Hungría.





Sabies que a Barcelona el primer globus aerostàtic fou alçat el 3 de gener de 1784? Que a principis del segle XIX es posava en dubte la capacitat femenina de volar? Que l’italià Vincenzo Lunardi fou el primer aeronauta a elevar-se des de Barcelona? Que Eudald Munné, l’Eudalet dels cotxes, fou el primer català a veure la ciutat des de l’aire? Que Barcelona estigué a punt de constituir una escala regular del “Graf Zeppelin”? El 1783, la Humanitat inicià la conquesta del cel per mitjà d’aparells més lleugers que l’aire —és a dir, amb globus aerostàtics— i Barcelona va viure amb passió, a vegades desbordada, les ascensions produïdes a la ciutat. En aquest llibre presenciarem cadascun dels experiments realitzats a Barcelona, cadascuna de les actuacions pioneres. Veurem desfilar aeronautes de prestigi, espontanis esbojarrats i, finalment, acròbates audaços. Viurem dies de glòria i també experiències desgraciades, rescats “in extremis” i desaparicions sorprenents, però no en farem una relació aïllada de caràcter estrictament domèstic, sinó emmarcada dins del procés internacional de desenvolupament de l’aerostació, fins a culminar amb els grans dirigibles, autèntiques aeronaus transatlàntiques amb una gran capacitat de seducció. Us convidem a assistir a cent cinquanta-quatre anys —des de 1783 fins a 1937— d’il·lusions, heroïcitats, emocions i esperances que la majoria de gent va viure del terra estant, mentre uns quants temeraris flotaven a l’aire com per art d’encanteri.ÍndicePrefaci..............................................................................11 Majestuós i formidable alhora.....................................15 Un somni fet realitat ......................................................19 Els primers humans voladors.......................................25 Experiments barcelonins..............................................29 La capacitat femenina de volar...................................35 La tenacitat de Jean-Pierre Blanchard .....................41 Lunardi i la primera bomba del Torín..........................45 Garnerin, el paracaigudes i la ciutadana Henri .......51 Duel de Dames ...............................................................55 Màquines de guerra i altres andròmines ..................59 Més amunt, més lluny ...................................................63 L’Eudalet, el primer català volador .............................67 Algú ha vist monsieur Arban? .....................................73 L’acròbata Grellon i el veterà Orlandi ........................77 La mala sort de Barcelona...........................................81 Ciència o ficció?.............................................................85 Madame Poitevin i el ruc volador...............................89 Un heroi del setge de París a Barcelona ..................93 Mala experiència d’Eugène Godard a la Barceloneta ...97 Félix Mayet, el primer capità .....................................101 Centenari de l’aerostació ...........................................107 El capità Budoy, successor de Mayet .....................111 El globus de l’Exposició Universal ............................115 L’era dels capitans.......................................................119 L’obsessió del comte Zeppelin ..................................125 L’aeroplà, rival més pesant que l’aire ......................131 La pràctica esportiva ..................................................135 Primera guerra aèria...................................................141 Les expedicions àrtiques............................................145 El Graf Zeppelin, transatlàntic de l’aire ...................151 Furor pels zepelins, ocàs dels capitans...................157 El gegant de l’aire a Barcelona.................................161 Aspiracions frustrades ...............................................165 El Hindenburg, més gran encara ..............................171 La fi del somni...............................................................177