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Trín Trín Trín!
Speak to me!
Is that the house of Gravés? Can one talk with Don Roberto?
At the apparatus! On behalf of whom?
I am Don Blas Mas y Mas.
A thousand pardons, Don Blas. In consequence of the bad telephone connexion I did not fix in my mind that it was you.
How do you find yourself, Don Roberto?
Very rickety well, thanks be to God!
I celebrate it. And your graceful spouse?
Regrettably she is a trifle catarrhed.
I much lament it. And the four beautiful children?
For the present, thanks be to the saints, well enough. I feel overwhelmed by your amicable inquiries. But you, Don Blas? How goes it with you?
A stupidity has occurred to me. I am speaking from my uncle's private clinic, having broken my arm in various places.
Ai, Ai, Ai! I feel it painfully... What a most disgraceful event! I wager that it somehow had relations with motor-bicycles.
Mathematically correct, Don Roberto!
Another phrase of the same sort is tiene ángel, 'has angel', which is an idiomatic way of saying 'has charm or grace'. A person can have mal ángel as well as buen ángel --- that is, be a sinister sort of person --- and he can even be desangelado, 'un-angeled' or colourless. In addition to this he can have buena (or mala) sombra, that is, can 'cast a good (or a bad) shadow'. All these expressions, which are only partly translatable, imply a belief in a supernatural power or mana (the Moors call it baraka) which dwells in people and affects their character and capabilities, except that the phrase time duende suggests a merely temporary and occasional possession because the duende only manifests himself in moments of great emotion. In Yegen, however, we did not use this phrase: we said instead tiene solitaria. The solitaria is the tapeworm and is here conceived of as a sort of indwelling sprite, something like a leprechaun, which enables the singer to give that extra something which makes his song so deeply disturbing and poignant.
Ninguna otra figura encarna como la de Simón Bolívar la grandeza y la tragedia asociadas a la independencia de las posesiones españolas en América --- según dijo el histórico Nelson Martínez Díaz.
Doce escultores rinden homenaje a la Mezquita de Cordoba con obras contemporáneas
MANUELA LOPEZ 05/05/2004 Los 12 dólmenes forman una flecha en dirección a la Mezquita--Catedral. Los artistas han de realizar sus obras a base de martillo y cincel. El río Guadalquivir a su paso por Córdoba está viviendo estos días una actividad artística sin precedentes, la realización de un bosque de esculturas contemporáneas realizadas por 12 creadores internacionales que trabajarán durante seis semanas en contacto directo con la naturaleza.
Se trata de un simposio internacional organizado por el escultor australiano Lawrence Gundabuka y la Gerencia de Urbanismo, con el que se pretende rendir homenaje a la Mezquita--Catedral. Así, hace unos días se erigieron en un islote doce dólmenes de piedra arenisca de color ocre --material similar al que fue utilizado para la construcción de la Mezquita-- para que los escultores desarrollen sus inquietudes artísticas a base de martillo y un cincel. "Es una lucha física y creativa del escultor con 16 toneladas de piedra", explicó ayer a este Diario CORDOBA el padre de esta iniciativa.
"... architects and sculptors know the paradox that the space defined by the structure is the most important part of their work. This is comprehended in Iberia better than anywhere else in Europe because of the priceless architectural gifts with which the Arabs adorned Spain: the Alhambra, the Mosque of Córdoba, the Aljafería etc.
"The Arabs, probably because of the great space they inhabit, know that space itself is magic. All Islamic architecture is an attempt to crystallize space, for example the fabulous decorations of the interior walls of the Alhambra are not that at all. They are vibrations of the space enclosed by the walls."