Un buen lugar para morir

El objeto específico de este trabajo es el itinerario jurídico seguido por el Opus Dei hasta llegar a su configuración canónica definitiva, haremos también referencia a su espíritu y al desarrollo de su apostolado y, por tanto, a su historia en general, pues, en su defecto, su iter jurídico –como el de cualquier institución espiritual y apostólica– no resultaría plenamente inteligible. Reiteremos, sin embargo, que ni una ni otra realidad –es decir, ni el espíritu del Opus Dei, ni el desarrollo de su labor apostólica– serán objeto de examen directo: se hará referencia a...

This study presents a compelling reflection on the historian's task. Based on his extensive teaching and research experience as well as his rigorous analysis of historical scholarship, Professor Bernardo Ares's study of history sets historical knowledge against the general framework of scientific knowledge. Supported by a thorough definition of the concept of history, Historiology, Research and Didactics focuses on the basic epistemological and methodological questions involved in the study of history, and provides a unique analysis of the didactics of history. Stressing the importance of...

In 1839, French writer and activist Flora Tristán traveled to London to observe firsthand the capital of the first modern industrial nation in the world. In Promenades dans Londres, she recounts the four months she spent visiting both those areas of the city the tourists avoided (and a few places she could only enter disguised as a man)—workshops and brothels, working-class neighborhoods and factories, asylums and jails—as well as the haunts of the bourgeoisie: Parliament, the horse races at Ascot, and private clubs. Her resulting diatribe against the inequalities she witnessed, and the...

The Myth of the Non-Russian explores the magical realist prose of two non-Slavic authors writing in Russian in the Soviet Union in the 1970s-1980s. Erika Haber argues that these authors juxtaposed their native myth with Soviet myth, thus undermining the Soviet prescription of national conformity in art by suggesting a plurality of worlds and truths.