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DeVoto had made the history and life of the great Mississippi Valley his historical focus, a possible source of greater identification with Twain than with Wolfe, notwithstanding Twain's occasional tone deafness. [...]like most journalists of his time, Samuel Clemens acquired his literary education in print shops and as a practicing journalist, in his case in San Francisco, the Southwest, and on the Mississippi. Thomas Wolfe, by contrast, was an easterner and product of elite institutions: an Asheville private school, Chapel Hill, and Harvard, where he tried to shape himself into a dramatist. Having turned over crates of unedited manuscript to Aswell, Wolfe left on a cross-country trip during which he developed a fatal illness. [...]Wolfe's departure from Scribner's, whatever his misgivings, was rendered irreversible by his death within months of this perhaps impulsive turning point. Measured in the light of his analysis of Mark Twain's masterpieces, DeVoto's mockery of Wolfe, while rude and excessive, seems a shade less gratuitous than it would appear if we knew nothing of his censure of Twain's fitful artistic judgment in Huckleberry Finn-a further irony in this most ironic of literary-critical tales.

The current research develops an interpretative proposal based on Saint Miguel Archangel, venerated figure by the Religious Celebration done by the Original Caciques (mapuches) from Calbuco (Chile) and its cultural interpretation produced by the popular religious expression. This work is based on a theorical-critical and empirical frame, given by Miquel Rodrigo Alsina's intercultural communication contribution and his social semiotic model.

A Martini must be freshly made -- \"You can no more keep a Martini in the refrigerator than you can keep a kiss\" -- and he counsels against making them too strong: a Martini should make you believe that \"at any moment we may see the unicorn. But it would not be a Martini if we should see him\". His ideal ratio is 3.7 parts gin to 1 part dry vermouth. The Martini became drier during the course of the 20th century; [Bernard DeVoto] was writing in the 1940s and even then his ratio would be considered distinctly wet. Most Martini drinkers these days take Noel Coward's view that \"a perfect Martini should be made by filling a glass with gin, then waving it in the general direction of Italy.\"

  The word \"cocktail\" appears in an 1803 issue of The Farmer's Cabinet as a drink \"excellent for the head,\" but the mixing of distilled spirits and juices reached its apex in the 20th century. Prohibition (1920 to 1933) got it really going. Adding other ingredients cut down on the vile taste of bathtub gin. A wonderful overview of the aesthetics can be found in the book \"Cocktail Culture: Ritual and Invention in American Fashion, 1920-1980.\" Today's interest in cocktail culture, it explains, \"attests to a nostalgia for the glamour and role playing of earlier eras.\" In the 1935 movie \"Roberta,\" Fred Astaire introduces a Paris collection of cocktail outfits as follows: \"'Tis the hour for dry martinis. The Ritz bar is serving caviar and weenies. Madame is there. And from Roberta, she has something 'too divine' on.\"