El problema del destructor y el submarino (ACTUALIZADO)Publicado por ^Di. Am. On. D^ el 6 de julio de 2. Juegos . Aunque el comentario no ten. Por ello os lo planteo hoy en Gaussianos. No os voy a dejar el enunciado literal que se propuso en ese art. En un momento dado, ambos empiezan a moverse a velocidades constantes, siendo la velocidad del barco superior a la del submarino. El submarino se mueve obligatoriamente en linea recta, pero el barco desconoce la direcci. Resumen de La Muerte de Artemio Cruz. Autor. Carlos Fuentes G. Para defender todo eso, incluso combati. Tal vez por ello perdi. Acerca del autor: Carlos Fuentes escritor mexicano, autor de novelas y ensayos, uno de los m. Microsoft y Facebook, los dos socios.
![]() ![]() Carlos pejino el autor de este blog y mi amigo ha muerto. Como legado nos deja esta gran web que permanecer. Mi muerte no disminuir Eso me hizo recordar que, con 48 a La verdadera muerte de Juan Ponce de Le. Las Intermitencias de la Muerte. ![]() ![]()
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Henri van Wermeskerken - Wikipedia. Johan Wilhelm Henri (Henri) van Wermeskerken (Rotterdam, 2. Hij was de zoon van Johanna van Woude; mogelijk heeft hij ook onder het pseudoniem Henri van Woude geschreven. Henri van Wermeskerken werd in 1. Sophia Margaretha Cornelia Junius (die schreef onder het pseudoniem Johanna van Woude) en Johannes van Wermeskerken. Hij is driemaal getrouwd geweest. Eerst met Maria Pappadopoulos, die hij ontmoette toen hij de Olympische Spelen in Athene versloeg. Hij trouwde in 1. Frederika . Uit dit huwelijk kwam een dochter voort, Elfrida . In 1. 93. 4 trouwde hij met Sophia Cornelia Johanna te Mijtelaar (Amsterdam, 2. Hij was correspondent van onder andere De Telegraaf, het Haarlems Dagblad, de NRC en het Soerabajasch Dagblad. Een van zijn Nederlandse mededeelnemers was Jan Wils. Op Westerveld is een mausoleum voor hem gebouwd, deze graftombe staat op de Lijst van rijksmonumenten in Driehuis. Zijn romans zijn vlot geschreven, maar voortdurend op het publiek gericht, dat beurtelings geamuseerd en ontroerd moest worden, en ze zijn niet geheel vrij van mooi- doenerij. Hetzelfde geldt voor zijn toneelstukken: ze zijn handig in elkaar gezet, maar ze moeten het toch te veel hebben van goedkope, lachwekkende situaties. Uitzondering is de verhalenbundel Langs den gordel van smaragd waarin van Wermeskerken zichzelf heeft overtroffen. Zonder zijn banaliteiten kon hij een bekwaam verteller zijn. Het grote succes van zijn moeder was Het Hollandsch Binnenhuisje, een van zijn boeken was Het Indisch Binnenhuisje (mogelijk bedoeld als vervolg). Hoofdfiguur in Het Hollandsch Binnenhuisje is Hein Smeder. Van Wermeskerken heeft een boek geschreven, getiteld Leo Smeder. Tropenadel (1. 91. Maakt ook goede stille wijn onder Terre di Franciacorta DOC (een hele goede. De Suikerfreule (1. De Verjongingskuur genoemd. Roemah angker (1. Langs den gordel van smaragd (1. Een Indisch binnenhuisje (1. 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Superman Returns (2. Director: Bryan Singer. It may have been a slighter return than some people had hoped for, but Singer's vision of the Man Of Steel is an heroic effort. Plenty of spectacle and a lot of heart helps Kal- El soar. Read our Superman Returns review. Jailhouse Rock (1. Director: Richard Thorpe. Elvis plays up to his rock 'n' roll bad- boy image as a former lag who gets into the music biz, becomes famous and grows a hell of an ego. Featuring a bunch of classic tunes, it's The King's best movie. Director: Alexander Payne. Wine, women and a right old ding- dong are the driving forces behind this excellent midlife- crisis road movie, so impactful it put millions off Merlot forever. In The Company Of Men (1. Director: Neil La. Bute. Squirmy satire abounds in La. Bute's all- too- recognisable tale of two corporate men's bullying of a deaf female colleague. Amores Perros (2. Director: Alejandro Gonz. Man's best friend (and one car crash) may provide the connection between three disparate people, but it's the director's assured control that keeps it all together. Ben- Hur (1. 95. 9)Director: William Wyler. Wyler's version of Lew Wallace's novel may have been the third adaptation to hit the big screen but, boy, was it the biggest. A huge budget and an exhausting shoot were rewarded with 1. Oscars and an epic for the ages. Sweeney Todd: The Demon Barber Of Fleet Street (2. Director: Tim Burton. The Gothic sensibilities of Tim Burton meet the musical mastery of Stephen Sondheim for a demented Grand Guignol spectacular, which finds Johnny Depp in bloody fine singing voice. Brick (2. 00. 5)Director: Rian Johnson. Johnson's impressive debut finds Hammett- style P. Princess Mononoke (1. Director: Hayao Miyazaki. The Studio Ghibli head honcho weaves a tale of swords and sorcery with his trademark stunning style. He intended this to be his swansong; thankfully, it wasn't. Superbad (2. 00. 7)Director: Greg Mottola. This coming- of- age tale from the Judd Apatow school of comedy succeeds by genuinely caring for its lovable loser heroes - doesn't stop it from hilariously putting the pair through the wringer, though. Breakfast At Tiffany's (1. Director: Blake Edwards. While it has its flaws, there's no denying that Audrey Hepburn still looks ravishing and Henry Mancini's score still makes us swing. The Wicker Man (1. Director: Robin Hardy. A movie about the evil that men (and women) do in the name of religion, Hardy's horror gets closer than most to exposing our own dark nature, all while creeping us out with a bunch of freaky folkies, led by Christopher Lee. The Fountain (2. 00. Director: Darren Aronofsky. Despite splitting audiences right down the middle, there's no mistaking the conviction that drives this deceptively simple fable about love and death. The Big Red One (1. Director: Samuel Fuller. Sam Fuller had brought leather- tough visions of war to the big screen before, but The Big Red One is his hard- nosed masterpiece, based largely on the former crime reporter's own experiences battling across North Africa and Europe during World War II, and the project he'd held close to his heart for most of his filmmaking career. Legend has it that one studio wanted Fuller to cast John Wayne as the growling, indurate sergeant who, along with four privates (ultimately to include Mark Hamill), is one of the division's few survivors. Fuller opted not to make the movie rather than have the Duke headline it - which sums up exactly what kind of war movie this is. When, eventually, he rolled, the part went to Lee Marvin, who carries the movie to its devastating concentration- camp- liberation conclusion without breaking a sweat. One suspects, also, that Steven Spielberg took notes during the gut- wrenching Omaha beach sequence. Scream (1. 99. 6)Director: Wes Craven. The self- referential irony may have become less hip in the aftermath of countless pretenders, but the brutal effectiveness of Craven's slasher - and his ghost- faced killer creation - remain a genuine genre highpoint. The Son's Room (2. Director: Nanni Moretti. A heartbreaking look at a father's grief after the death of his son, Moretti's Palme d'Or winner is lifted from the maudlin by his thoughtful and tender treatment. Topsy- Turvy (1. 99. Director: Mike Leigh. Stepping away from the kitchen sink, Leigh gave us this fabulous study of theatrical types as they create the first- ever production of Gilbert and Sullivan's The Mikado. The Secret Life Of Walter Mitty (1. Director: Norman Z. Mc. Leod. The story of a mild- mannered accountant and the imaginary fantasy world he visits every time reality gets too tough, this Danny Kaye vehicle plays like a Technicolor version of Billy Liar. Flesh (1. 96. 8)Director: Paul Morrissey. Produced by Andy Warhol and taking place in a New York awash with free love and free- flowing drugs, this tale of hustlers, dealers and sexual adventurers is frank, absorbing and surprisingly amusing. Rebel Without A Cause (1. Director: Nicholas Ray. As a teenage loner who involves himself in knife fights and road races, James Dean created an icon for a generation adrift, while Ray's direction created a timeless tale of teenage disaffection. Santa Sangre (1. 98. Director: Alejandro Jodorowsky. Sick, twisted and very, very bloody, Jodorowsky's tale of madness, revenge and hacked- off limbs draws from a variety of inspirations, culminating in an influential freakshow of a movie. Pirates Of The Caribbean: Dead Man's Chest (2. Director: Gore Verbinski. While it's confused and bloated, the first Pirates sequel pleased crowds by giving them exactly what they wanted: more Captain Jack. Enter The Dragon (1. Director: Robert Clouse. The movie that introduced the wider world to the bone- cracking kung fu icon that was Bruce Lee, Clouse's martial- arts funhouse - hall of mirrors and all - still sets the benchmark for all chopsocky actioners. Into The Wild (2. Director: Sean Penn. Penn's fourth feature takes him into previously uncharted territory with a true- life tale about a young hobo explorer and his quest to truly escape modern life in America. Using the entire country as his backdrop, this is Penn's most ambitious movie yet. Le Doulos (1. 96. Director: Jean- Pierre Melville. French director Melville did for gangsters exactly what the Italian Sergio Leone did for cowboys, creating a distinctively European take on a predominantly American form by focusing on details of props and costume in hyper- realist manner, spinning familiar B- plotlines into fable- like miniature epics of betrayal and revenge, and stressing brutally professional violence to an almost existential degree (albeit with a distancing Gallic shrug rather than Italianate close- up leering). In Le Doulos - slang for accuser, as in police informant, but also vengeance- seeker - Jean- Paul Belmondo is the underworld icon in fedora and collar- upturned trenchcoat, donning white editor's gloves whenever he shoots anyone and, in an astonishing sequence, tying a woman to a radiator to batter information out of her. His middleman, Silien, is presented as the rat who squealed on jewel thief Maurice (Serge Reggiani), but, of course, things are far from being that simple. Harry Potter And The Prisoner Of Azkaban (2. Director: Alfonso Cuar. Glengarry Glen Ross (1. Director: James Foley. David Mamet's pungent chronicle of real- estate hustling is a modern Death Of A Salesman and makes one of the great ensemble films. Pacino, Lemmon, Spacey, Baldwin, Harris, Arkin - 'nuff said. Fear And Loathing In Las Vegas (1. Director: Terry Gilliam. Johnny Depp channels Hunter S. Thompson and consumes inhuman amounts of drugs, while Gilliam shows that the straight, Nixon- voting world outside Thompson's head - represented by Vegas at its most hideous - is scarcely less insane. The Crow (1. 99. 4)Director: Alex Proyas. Dripping with stormcloud- moody teen- Goth cool, Proyas' Hollywood debut brought glumster J. O'Barr's culty comic book to action- packed life. Infamous, of course, for the tragic death of star Brandon Lee. The Deer Hunter (1. Director: Michael Cimino. Cimino's bold, powerful 'Nam epic goes from blue- collar macho rituals to a fiery, South? East Asian hell and back to a ragged singalong of America The Beautiful. De Niro holds it together, but Christopher Walken, Meryl Streep and John Savage are unforgettable. Snatch (2. 00. 0)Director: Guy Ritchie. Surprising that this should make the 5. Lock, Stock hasn't. Still, this is the more proficient film, and particularly laudable for having both Brad Pitt and Frank Butcher from East. Enders on the same cast list. Monkeys (1. 99. 5)Director: Terry Gilliam. Here's a crazy theory for you - maverick genius Terry Gilliam, untameable and outspoken, a thorn in Hollywood's precious derri. Take 1. 2 Monkeys, with its weird- fangled, time- tripping script from David 'Blade Runner' Peoples. |
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