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Michael lonsdale

The Name of the Rose (Der Name der Rose, in German) is a 1986 thriller-drama film co-produced between Italy, France and Germany, directed by Jean-Jacques Annaud and based on the novel of the same name, written by Italian-born Umberto Eco and published to enormous acclaim in 1980.[2][3] The film is based on the novel of the same name, written by Italian-born Umberto Eco and published to enormous acclaim in 1980.[2][3] The film is a film about a Franciscan friar, William of Basil.
Focusing on the detective element and moving away from the political and theological themes of the original novel, the film features Sean Connery as the Franciscan friar William of Baskerville and Christian Slater as the novice, also a Franciscan,[n. 1] Adso de Melk (a Benedictine in the novel), the former being called upon to solve the mystery surrounding a series of murders in a northern Italian abbey during the Middle Ages.
William of Baskerville being a sharp man, he discovers that everyone in the abbey has something to hide: some, vices of the flesh, and others, vices of the spirit. It is precisely the thirst for knowledge (which in Umberto Eco’s book is called “lust of the intellect”) that gives rise to the most tragic events seen in such a quiet and holy place, dedicated to prayer.

Valentina vargas

The Name of the Rose is a 1986 thriller-drama film, co-produced between Italy, France and Germany, directed by Jean-Jacques Annaud and based on the novel of the same name, written by the Italian Umberto Eco and published with enormous success in 1980. Focusing on the detective element and moving away from the political and theological themes of the original novel, the film features Sean Connery as the Franciscan friar William of Baskerville and Christian Slater as the novice, also a Franciscan, Adso de Melk a Benedictine in the novel, the former being called upon to solve the mystery surrounding a series of murders in a northern Italian abbey during the Middle Ages.
The Spectre of the Rose is a one-act ballet for a couple of dancers, created by choreographer Michel Fokine for Sergey Diaghilev’s Ballets Russes. Based on a piano piece by Carl Maria von Weber Aufforderung zum Tanz of 1819, The idea for the ballet is due to the French poet Jean-Louis Vaudoyer who in turn was inspired by some verses of the French romantic Théophile Gautier: Je suis le spectre de la rose/que tu portais hier au bal I am the spectre of the rose/that yesterday you wore at the ball. or that of Manuel Legris for the Ballet de l’Opéra de Paris 1990.

El nombre de la rosa autor

concretamente contra el hecho de que los debates sobre la pesca tengan lugar durante las sesiones de noche (El Presidente toma nota de ello), Rosa Miguélez Ramos , en nombre del Grupo PSE, y Elspeth Attwooll , en nombre del Grupo ALDE . europarl.europa.eu
quien expresa su decepción por el hecho de que los debates sobre la pesca hayan tenido lugar durante la sesión nocturna (el Presidente toma nota de sus observaciones), Rosa Miguélez Ramos , en nombre del Grupo PSE, y Elspeth Attwooll , en nombre del Grupo ALDE . europarl.europa.eu
Un año antes, una mujer negra llamada Rosa Parks se había negado valientemente a ceder su asiento delantero en un autobús municipal a un hombre blanco, lanzando un movimiento político y presentando a los estadounidenses a un líder valiente y dinámico: el reverendo Dr. Martin Luther King Jr. america.gov
El público europeo también recuerda a Abraham en El nombre de la rosa (1986), un thriller ambientado en una abadía benedictina de la época medieval. america.gov

The name of the rose summary

George, like many religious of the time, thought that laughter was something characteristic of the uneducated and savage people, but that it should be kept away from the Church so that the intelligentsia, which in those dark moments revolved around it, would not also adopt it as an instrument of truth. The church feared that comedy would strip man of the fear of God, so that he would cease to follow its precepts.
Laughter as an antidote to the devil and to fearFray Jorge thought that laughter was the antidote to fear. From the fear of the devil that made men embrace God. Without this fear, he believed, there was no reason for men not to laugh at God as they did at the other elements. However, in George’s craft lies his own condemnation, for as a lover of books he is in favor of controlling knowledge and not destroying it. Thus, he will only take this path when he is aware that he is trapped, that he has been discovered by Guillermo and that he has no other choice. In the film we can also appreciate another classic medieval confrontation between reason and faith. It is the confrontation that occurs precisely in the work between the inquisitor Bernardo Gui and Guillermo and that will shake the foundations of the church with the birth of the Protestant Reformation and the rise of the Enlightenment.