Miguel de Cervantes
Miguel de Cervantes Saavedra was a Spanish writer, regarded as the greatest writer in the Spanish language and one of the world's pre-eminent novelists. His novel Don Quixote has been translated into over dialects. Don Quixote, a classic of Western literature, is sometimes considered both the first modern novel and the best work of fiction written. Cervantes' influence on the Spanish language has been so great that the language is called la lengua de Cervantes, he has been dubbed El príncipe de los ingenios. In 1569, in forced exile from Castile, Cervantes moved to Rome, where he worked as chamber assistant of a cardinal, he enlisted as a soldier in a Spanish Navy infantry regiment and continued his military life until 1575, when he was captured by Barbary pirates. After five years of captivity, he was released on payment of a ransom by his parents and the Trinitarians, a Catholic religious order, he returned to his family in Madrid. In 1585, Cervantes published a pastoral novel, he worked as a purchasing agent for the Spanish Armada and as a tax collector for the government.
In 1597, discrepancies in his accounts for three years previous landed him in the Crown Jail of Seville. In 1605, Cervantes was in Valladolid when the immediate success of the first part of his Don Quixote, published in Madrid, signalled his return to the literary world. In 1607, he settled in Madrid, where he worked until his death. During the last nine years of his life, Cervantes solidified his reputation as a writer, publishing Novelas ejemplares in 1613, Viaje del Parnaso in 1614, Ocho comedias y ocho entremeses and the second part of Don Quixote in 1615, his last work, Los trabajos de Persiles y Sigismunda, was published posthumously in 1617. It is assumed that Cervantes was born in Alcalá de Henares, a Castilian city about 35 kilometres north-east from Madrid on 29 September 1547; the probable date of his birth was determined from records in the church register, given the tradition of naming a child after the feast day of his birth. He was baptized in Alcalá de Henares on 9 October 1547 at the parish church of Santa María la Mayor.
The register of baptisms records the following: On Sunday, the ninth day of the month of October, the year of our Lord one thousand five hundred forty and seven, son of Rodrigo Cervantes and his wife Leonor, was baptised. Witnesses, Baltasar Vázquez, I, who baptised him and signed this in my name. Bachelor Serrano, his father, was a barber-surgeon of Galician extraction from Córdoba, who set bones, performed blood-lettings, attended to "lesser medical needs". His paternal grandfather, Juan de Cervantes, was an influential lawyer who held several administrative positions, his uncle was mayor of Cabra for many years. His mother, Leonor de Cortinas, was a native of Arganda del Rey and the third daughter of a nobleman, who lost his fortune and had to sell his daughter into matrimony in 1543; this led to a awkward marriage and several affairs by Rodrigo. Leonor died on 19 October 1593. Miguel at birth was not surnamed Cervantes Saavedra, he adopted the "Saavedra" name as an adult. Little is known of Cervantes' early years.
It seems he spent much of his childhood moving from town to town with his family enrolling in The Imperial School, a Jesuit educational establishment for boys in Madrid. Court records show a poor household. While it has been speculated that he studied at the University of Salamanca, there is no evidence supporting it. Based on the high praise of the Jesuits in the Dialogue of the Dogs, there has been speculation that Cervantes studied with them, but again there is no evidence, his siblings were Andrés, Luisa, Rodrigo and Juan – the latter known because he is mentioned in his father's will. The reasons that forced Cervantes to leave Spain remain uncertain. Possible reasons include that he was a "student" of the same name, a "sword-wielding fugitive from justice", or fleeing from a royal warrant of arrest, for having wounded a certain Antonio de Sigura in a duel. Like many young Spanish men who wanted to further their careers, Cervantes left for Italy. In Rome, he focused his attention on Renaissance art and poetry – knowledge of Italian literature is discernible in his work.
He found "a powerful impetus to revive the contemporary world in light of its accomplishments". Thus, Cervantes' stay in Italy, as revealed in his works, might be in part a desire for a return to an earlier period of the Renaissance. By 1570, Cervantes had enlisted as a soldier in a regiment of the Spanish Navy Marines, Infantería de Marina, stationed in Naples a possession of the Spanish crown, he was there for about a year. In September 1571, Cervantes sailed on board the Marquesa, part of the galley fleet of the Holy League that, under the command of John of Austria, the illegitimate half brother of Spain's Phillip II, defeated the Ottoman fleet on 7 October 1571, in the Battle of Lepanto. Though taken with fever, Cervantes refused to stay below, he d
Costumbrismo is the literary or pictorial interpretation of local everyday life and customs in the Hispanic scene, in the 19th century. Costumbrismo is related both to artistic realism and to Romanticism, sharing the Romantic interest in expression as against simple representation and the romantic and realist focus on precise representation of particular times and places, rather than of humanity in the abstract, it is satiric and moralizing, but unlike mainstream realism does not offer or imply any particular analysis of the society it depicts. When not satiric, its approach to quaint folkloric detail has a romanticizing aspect. Costumbrismo can be found in any of the literary arts. Found in short essays and in novels, costumbrismo is found in the zarzuelas of the 19th century in the género chico. Costumbrista museums deal with folklore and local art and costumbrista festivals celebrate local customs and artisans and their work. Although associated with Spain in the late 18th and 19th century, costumbrismo expanded to the Americas and set roots in the Spanish-speaking portions of the Americas, incorporating indigenous elements.
Juan López Morillas summed up the appeal of costumbrismo for writing about Latin American society as follows: the costumbristas' "preoccupation with minute detail, local color, the picturesque, their concern with matters of style is no more than a subterfuge. Astonished by the contradictions observed around them, incapable of understanding the tumult of the modern world, these writers sought refuge in the particular, the trivial or the ephemeral." Antecedents to costumbrismo can be found as early as the 17th century and the current becomes clearer in the 18th century. All of these writers have, in at least some of their work, an attention to specific, local detail, an exaltation of the "typical" that would feed into both costumbrismo and Romanticism. In the 19th century costumbrismo bursts out as a clear genre in its own right, addressing a broad audience: stories and illustrations made their first or most important appearance in cheap periodicals for the general public, it is not easy to draw lines around the genre: Evaristo Correa Calderón spoke of its "extraordinary elasticity and variety".
Some of it is reportorial and documentary, some folkloric. Sebastián de Miñano y Bedoya is considered by some a costumbrista, although arguably his writing is too political to properly fit the genre. According to Andrés Soria, the first incontestable costumbristas are the anonymous and pseudonymous contributors to La Minerva, El Correo Literario y Mercantil and El Censor. Come the major figures of literary costumbrismo: Serafín Estébanez Calderón, Ramón de Mesonero Romanos, Mariano José de Larra who sometimes wrote under the pseudonym "Fígaro". Estébanez Calderón looked for a "genuine" and picturesque Spain in the recent past of particular regions. An afrancesado—a liberal child of the Enlightenment—he was not enamored of the Spanish society that he nonetheless observed minutely. Costumbrismo was by no means without foreign influences; the work of Joseph Addison and Richard Steele nearly a century earlier in The Spectator had influenced French writers, who in turn influenced the costumbristas.
Furthermore and Steele's own work was translated into Spanish in the early 19th century, Mesonero Romanos, at least, had read it in French. Still, an stronger influence came by way of Victor-Joseph Étienne de Jouy, Louis-Sébastien Mercier, Charles Joseph Colnet Du Ravel, Georges Touchard-Lafosse. In addition, there were the travelogues such as Richard Ford's A Handbook for Travellers in Spain, written by various foreigners who had visited Spain and, in painting, the foreign artists who had settled for a time in Seville and Granada and drew or painted local subjects. While Estébanez Calderón, Mesonero Romanos, Larra were the major costumbrista writers, many other Spanish writers of the 19th century devoted all or part of their careers to costumbrismo. Antonio María Segovia, who wrote pseudonymously as "El Estudiante" and who founded the satiric-literary magazine El Cócora.
Rodolfo Alfonso Raffaello Pierre Filibert Guglielmi di Valentina d'Antonguella, professionally known as Rudolph Valentino, was an Italian actor based in the United States who starred in several well-known silent films including The Four Horsemen of the Apocalypse, The Sheik and Sand, The Eagle, The Son of the Sheik. He was an early pop icon, a sex symbol of the 1920s, known in Hollywood as the "Latin lover" or as "Valentino", his premature death at the age of 31 caused mass hysteria among his fans and further propelled his status as a cultural film icon. Valentino was born in Castellaneta, Kingdom of Italy and named Rodolfo Pietro Filiberto Raffaello Guglielmi, his mother, Marie Berthe Gabrielle Barbin, was French, born in Lure in Franche-Comté. His father, Giovanni Antonio Giuseppe Fedele Guglielmi di Valentina d'Antonguella, was Italian. Valentino had an older brother, Alberto, a younger sister, an older sister, who had died in infancy; as a child, Rodolfo was indulged because of his playful personality.
His mother coddled him. He did poorly in school and was enrolled in agricultural school at Genoa, where he earned a certificate. After living in Paris in 1912, he soon returned to Italy. Unable to secure employment, he departed for the United States in 1913, he was processed at Ellis Island at age 18 on December 23, 1913. Although he found unparalleled fame and success in America, Valentino never filed the necessary papers for naturalization, so retained his Italian citizenship. Arriving in New York City, he supported himself with odd jobs such as busing tables in restaurants and gardening. Valentino once worked as a bus boy at Murray's on 42nd Street and was well liked, but didn't do a good job and was fired. While he was living on the streets, Valentino would come back to Murray's for lunch and the staff would slip him some food. Around 1914, Restaurateur Joe Pani who owned Castles-by-the-Sea, the Colony, the Woodmansten Inn was the first to hire Rudolph to dance the tango with Joan Sawyer for $50 per week.
He found work as a taxi dancer at Maxim's Restaurant-Cabaret. Among the other dancers at Maxim's were several displaced members of European nobility, for whom a premium demand existed. Valentino befriended Chilean heiress Blanca de Saulles, unhappily married to businessman John de Saulles, with whom she had a son. Whether Blanca and Valentino had a romantic relationship is unknown, but when the de Saulles couple divorced, Valentino took the stand to support Blanca de Saulles's claims of infidelity on her husband's part. Following the divorce, John de Saulles used his political connections to have Valentino arrested, along with a Mrs. Thyme, a known madam, on some unspecified vice charges; the evidence was flimsy at best, after a few days in jail, Valentino's bail was lowered from $10,000 to $1,500. Following the well-publicized trial and subsequent scandal, Valentino could not find employment. Shortly after the trial, Blanca de Saulles fatally shot her ex-husband during a custody dispute over their son.
Fearful of being called in as a witness in another sensational trial, Valentino left town and joined a traveling musical that led him to the West Coast. In 1917, Valentino joined an operetta company, he joined an Al Jolson production of Robinson Crusoe, Jr., travelling to Los Angeles. By fall, he was in San Francisco with a bit part in a theatrical production of Nobody Home. While in town, Valentino met actor Norman Kerry, who convinced him to try a career in cinema, still in the silent film era. Valentino and Kerry became roommates at the Alexandria Hotel, he continued dancing, teaching dance, building up a following that included older female clientele who would let him borrow their luxury cars. At one point after the United States entered World War I, both Kerry and Valentino tried to get into the Canadian Air Force to fly and fight in France. With his dancing success, Valentino found a room of his own on Sunset Boulevard and began seeking screen roles, his first part was as an extra in the film Alimony, moving on to small parts in several films.
Despite his best efforts, he was cast as a "heavy" or gangster. At the time, the archetypal major male star was Wallace Reid, with a fair complexion, light eyes, an All-American look, with Valentino the opposite supplanting Sessue Hayakawa as Hollywood's most popular "exotic" male lead. By 1919, he had carved out a career in bit parts, it was a bit part as a "cabaret parasite" in the drama Eyes of Youth that caught the attention of screenwriter June Mathis, who thought he would be perfect for her next movie. He appeared as second lead in The Delicious Little Devil with star Mae Murray. Displeased with playing "heavies", Valentino entertained the idea of returning to New York permanently, he returned for a visit in 1917, staying with friends in Greenwich Village settling in Bayside, Queens. There he met Paul Ivano, who would help his career. While traveling to Palm Springs, Florida, to film Stolen Moments, Valentino read the novel The Four Horsemen of the Apocalypse by Vicente Blasco Ibáñez. Seeking out a trade paper, he discovered.
In New York, he sought out Metro's office. She cast him in the role of Julio Desnoyers. For the director, Mathis had chosen Rex Ingram, with whom Valentino did not get along, leading Mathis to pla
Blood and Sand (1941 film)
Blood and Sand is a romantic melodrama Technicolor film directed by Rouben Mamoulian, produced by 20th Century Fox, starring Tyrone Power, Linda Darnell, Rita Hayworth, Alla Nazimova. It is based on the 1908 Spanish novel, critical of bullfighting and Sand, by Vicente Blasco Ibáñez; the supporting cast features Anthony Quinn, Lynn Bari, Laird Cregar, J. Carrol Naish, John Carradine and George Reeves. Rita Hayworth's singing voice was dubbed by Gracilla Pirraga. There are two earlier versions of Blood and Sand, a 1922 version produced by Paramount Pictures, starring Rudolph Valentino, a 1916 version filmed by Blasco Ibáñez himself with the help of Max André, a 1989 version starring Christopher Rydell and Sharon Stone; this film was the fourth and last in which Tyrone Power and Linda Darnell worked together: the others were. As a child, Juan Gallardo wants only to become a bullfighter like his dead father. One night he has an argument with the pompous critic Natalio Curro who asserted Juan's father's lack of talent in the bullring.
The argument spurs Juan to achieve his dream of success in the bullring. Before leaving, he promises his aristocratic child sweetheart Carmen Espinosa he will return when he is a success and marry her. Ten years Juan Gallardo returns to Seville, he uses his winnings to help his impoverished family. He enables her to give up her work as a scrubwoman, he lavishes money on his sister Encarnacion and her fiancé Antonio so they can open a business and wed. He hires ex-bullfighter Garabato. Best of all, he is now able to marry his childhood sweetheart Carmen. Juan's wealth and fame continue to grow along with his talents as a bullfighter, he becomes Spain's most acclaimed matador. The once scornful critic Curro now lavishes praises upon Juan and brags that it was he who discovered Juan's talent. Although Juan remains illiterate, doors open to society and he catches the eye of sultry socialite Doña Sol des Muire at one of his bullfights. Juan is blinded by the attention his fame has brought and Doña Sol finds it easy to lead him astray.
He soon begins to neglect his wife and training in favor of her privileged and decadent lifestyle. His performance in the bullring suffers from his excesses and he falls from his position as the premiere matador of Spain while his extravagant lifestyle means that he has no savings and fails to pay suppliers and employees, his manager warns Juan that he is heading for destruction but Juan refuses to accept his advice. With falling fame and income comes rejection by everyone once important to him, while Carmen leaves him after she learns of his affair. With his fame now gone, Doña Sol moves on to new up and coming matador Manolo de Palma, Juan's childhood friend. After losing everything, a repentant Juan is taken back by Carmen, he promises her to leave bullfighting but wishes to have one final bullfight to prove he is still a great matador. His prayers for one last success, are not answered and, like his father before him, he is gored by the bull. Garabato angrily says. Juan dies in the arms of Carmen as the crowd cheers for Manolo's victory over the bull.
Manolo bows to the fickle crowd near the bloodstain left in the sand by Juan. Over thirty actresses were considered for the role of Doña Sol, including Gene Tierney and Dorothy Lamour. After Zanuck's original choice, Carole Landis, refused to dye her hair red for the role, Rita Hayworth was cast. Rouben Mamoulian's sets were inspired by the works of painters El Greco and Velázquez. During shooting he carried paint spray guns in order to be able to alter the color of props at a moment's notice, he painted shadows onto walls rather than changing the lighting. The film's exterior long shots were filmed in the Plaza de Toros in Mexico City and Oscar "Budd" Boetticher Jr. served as the film's technical director for bullfighting. Unlike most films and Sand was not previewed, but premiered uncut at Grauman's Chinese Theatre in May 1941; the film was a big hit and earned a profit of $662,500. In the same year 1941, the Mexican comedian Cantinflas launched Ni sangre ni arena about bullfighting. Inspired by Blood and Sand's popularity The Three Stooges released a short titled "What's the Matador?"
11 months with no story connection except bullfighting. Fear and Sand, Italian comedy film of 1948 The film won an Oscar for Best Cinematography, it was nominated for Best Art Direction. Variety review. Time Out London review. Answers.com review. Blood and Sand on IMDb Blood and Sand at AllMovie Blood and Sand at the TCM Movie Database Blood and Sand at the American Film Institute Catalog
Fontana Rosa is a historic garden situated on the Avenue Blasco Ibáñez in Menton, Alpes-Maritimes, on the French Riviera. The Spanish writer Vicente Blasco Ibáñez began to build it from 1922 on, he set up home here with his second wife and died there in 1928; this garden with Spanish and Menton pottery is found in avenue Blasco Ibanez, near Garavan station, was created a Historical Monument in 1990. It is called "Le Jardin des Romanciers", was frequented by celebrities such as Jean Cocteau, it was the place where Blasco Ibáñez wrote Mare Nostrum, a novel filmed in 1926. The garden inspired by Andalusian and Arabian-Persian styles contains species such as Ficus macrophylla, Araucaria heterophylla, palm trees, banana trees or scented rosebushes, it is a tribute to Vicente's favourite writers: Cervantes, Shakespeare or Honoré de Balzac, whose busts can be found at the entrance and to whom he dedicated several fountains and rotundas. Its main buildings are a small elevated villa with polychromatic pottery which houses a library and a personal movie projector room, a main house in the lower part of the property that dates from the 19th century.
The architectural complex has an aquarium, a colonnade, a concrete pergola, flower vases, ceramic-panelled benches around the main house and a big round, steel pergola covering a long staircase in the middle of the property. After Blasco Ibáñez's death here, his son inherited the property. In 1939, it was sacked during the war and abandoned for more than thirty years. Blasco Ibáñez's son gave it to the commune of Menton in 1970. Since 1985, the buildings as from 1991, the pottery too. Still undergoing restoration, the garden may be visited only by guided tour, on Monday and Friday at 10am. Official pages at Menton.com
Antipope Benedict XIII
Pedro Martínez de Luna y Pérez de Gotor, known as el Papa Luna in Spanish and Pope Luna in English, was an Aragonese nobleman, who as Benedict XIII, is considered an antipope by the Catholic Church. Pedro Martínez de Luna was born at Illueca, Kingdom of Aragon in 1328, he belonged to the de Luna family. He studied law at the University of Montpellier, where he obtained his doctorate and taught Canon law, his knowledge of canon law, noble lineage, austere way of life won him the approval of Pope Gregory XI, who appointed de Luna to the position of Cardinal Deacon of Santa Maria in Cosmedin on 20 December 1375. In 1377 Pedro de Luna and the other cardinals returned to Rome with Pope Gregory, persuaded to leave his papal base at Avignon by Catherine of Siena. After Gregory's death on 27 March 1378, the people of Rome feared that the cardinals would elect a French Pope and return the papacy to Avignon, they rioted and laid siege to the cardinals, insisting on an Italian Pope. The conclave duly elected Bartolomeo Prignano, Archbishop of Bari, as Urban VI on 9 April, but the new Pope proved to be intractably hostile to the cardinals.
Some of them reconvened at Fondi in September 1378, declared the earlier election invalid and elected Robert of Geneva as their new Pope, initiating the Western Schism. Robert moved back to Avignon. Clement VII sent de Luna as legate to Spain for the Kingdoms of Castile, Aragon and Portugal, in order to win them over to the obedience of the Avignon pope. Owing to his powerful relations, his influence in the Province of Aragon was great. In 1393 Clement VII appointed him legate to France, Flanders, Scotland and Ireland; as such he stayed principally in Paris, but he did not confine his activities to those countries that belonged to the Avignon obedience. Following Clement's death on 16 September 1394, the cardinals met at Avignon; the conclave consisted of 11 French cardinals, eight Italians, four Spaniards, one from Savoy, all proclaiming the ardent wish to reunite the church. The cardinals elected Luna as the new pope, on the condition that he should labor to quell the schism, should resign the papal dignity whenever the pope of Rome should do the same, or the college of cardinals demand it.
On the death of Urban VI in 1389 the Roman College of Cardinals had chosen Boniface IX. At the start of his term of office, de Luna was recognised as Pope by France, Sicily, Aragon and Portugal. In 1396 Benedict sent Sanchez Muñoz, one of the most loyal members of the Avignon curia, as an envoy to the Bishop of Valencia to bolster support for the Avignon papacy in the Crown of Aragon. In 1398 the Kingdom of France withdrew its recognition of the Avignon anti-popes. Benedict was abandoned with only five remaining faithful to him. Benedict's rationale for continuing the rivalry lay in the fact that he was the last living cardinal created by Gregory XI, the last undoubted Supreme Pontiff; as the only unquestioned cardinal, Benedict argued, he was, by right and by canon law, the only qualified candidate left who could validly claim the papacy. Following the Council of Constance Benedict's logic was not accepted. An army led by Geoffrey Boucicaut, brother of Jean Boucicaut, occupied Avignon and started a five-year siege of the papal palace which ended when Benedict managed to escape from Avignon on 12 March 1403, seek shelter in territory belonging to Louis II of Anjou.
Avignon submitted again to him, his cardinals recognized him, popular sentiment being again in his favor, he was recognized as the legitimate pope by France, Castile and Sicily. After the Roman Pope Innocent VII died in 1406, the newly elected Roman Pope, Gregory XII, started negotiations with Benedict, suggesting that they both resign so a new Pope could be elected to reunite the Catholic Church; when these talks ended in stalemate in 1408, the French king, Charles VI, declared that France was neutral to both papal contenders. Charles helped to organise the Council of Pisa in 1409; this council was supposed to arrange for both Gregory and Benedict to resign, so that a new universally recognised Pope could be elected. To oppose this, Benedict convoked the Council of Perpignan but with little success. Since both Benedict and Gregory refused to abdicate, the only thing in Pisa, achieved was that a third candidate to the Holy See was put forward: Peter Philarghi, who assumed the name Alexander V.
A group of Augustinian clergy, driven from the University of Paris by the Schism and from the universities of Oxford and Cambridge by the Anglo-Scottish Wars, formed a society of higher learning in St Andrews, Scotland in 1410. The Bishop of St Andrews, Henry Wardlaw successfully petitioned Benedict to grant the school university status by issuing a series of papal bulls, which followed on 28 August 1413. Having lost the support of France and driven out from Avignon, Benedict by had taken refuge in Perpignan, on the Catalan border of the Crown of Aragon, but Scotland was among the handful of supporters that remained loyal. Nowadays, the University of St Andrews's coat of arms/emblem still incorporates that of Benedict. In part to bolster faltering support for his papacy, Benedict initiated the year-long Disputation of Tortosa in 1413, which became the most prominent Christian–Jewish disputation of the Middle Ages. Two years Benedict issued the Papal bull Etsi doctoribus gentium, one of the most complete collections of anti-Jewish laws.
Synagoges were closed, Jewish goldsmiths we
The Albufera, or L'Albufera de València, is a freshwater lagoon and estuary on the Gulf of Valencia coast of the Valencian Community in eastern Spain. It is the main portion of the Parc Natural de l'Albufera de València, with a surface area of 21,120 hectares; the natural biodiversity of the nature reserve allows a great variety of flora and fauna to thrive and be observed year-round. Though once a saltwater lagoon, dilution due to irrigation and canals draining into the estuary and the sand bars increasing in size had converted it to freshwater by the seventeenth century; the Valencian Albufera Nature Park and lagoon lies just 11 kilometres south of Valencia, in the municipal areas of 13 towns and four pedanies adjoined to the capital city, these in turn lying within four comarques or counties, namely, in Horta Sud: Albal, Beniparrell, Massanassa, Sedaví and Silla. Its proximity to the capital city of the Valencian Land and easy access facilitate nature experiences and birdwatching. Since 1990, the Valencian Albufera Nature Reserve has been included as a Ramsar Site in the list of wetlands of international importance for birds, established in the Ramsar Convention of 1971.
Since 1991 the Parc Natural de l'Albufera de València has been included in the Special Protection Areas. The most important human use of the lagoon continues to be fishing. From prehistoric times the rich fishing has attracted people specializing in this activity there. Fishing was recognised in year 1250, when regulations were laid down for the El Palmar Fishing Association and which would be applied to the fisheries of Silla and Catarroja; until the lagoon's catchment area started to become industrialised, fishing generated substantial profits, as the clean waters of the lake provided a great diversity and abundance of fish. At present, catches of bass and eels have dropped while those of mullet and American blue crab have increased. Rice growing is another traditional use, though more recent; these rice paddies provide food and shelter for many birds. L'Albufera is dominated by Cyanobacteria Synechococcus; the natural microbial population of Albufera has been described. Index: Special Protection Areas of Spain Index: Ramsar sites in Spain Parque Natural de la Albufera Parc Natural de L'albufera de València