UNEAC

AcronymDefinition
UNEACUniversity of New England Asia Centre
References in periodicals archive ?
Por un lado, la UNEAC les decia que Virgilio estaba en otro lugar o algo asi; pero, por otro, el propio Virgilio, si se enteraba de que alguien del extranjero lo buscaba, no queria verlo.
UNEAC president Armando Cedeno said there might be instances where animals might have been mistreated, but an across-the-board ban was not warranted.
His office is located on the second floor of the old mansion that has become the UNEAC building.
Santiago de Cuba: Ediciones Caseron, Comite Provincial de la UNEAC, 2009.
Arenas presento la version de El mundo alucinante escrita en 1965 al Concurso de Escritores de la UNEAC donde recibe tina mencion pero el premio es declarado desierto: "El autor debio sentirse muy mal al perder el concurso contra nadie; es decir, vence el sistema" (Valero 191).
2) This section, and other parts of this paper, draw on John Funston, "Thailand's Southern Fires: The Malaysian Factor", in UNEAC Asia Papers 26 (2008): 55-67, available at <http://www.
Back in the 1980s, I came across another Benny More biography ("Benny More: Perfil Libre", UNEAC, 1985), written in Havana by a Cuban scribe named Amin Naser, but it turned out to be rather brief and frail.
2005), "An Overview of the External Debt Situation in Sri Lanka", UNEAC Asia Papers, 9, pp 1-10.
1968 es tambien el ano del anticipo del famoso "caso Padilla", con motivo de la publicacion del poemario Fuera del juego por la UNEAC con un prologo de esta institucion que evidenciaba las primeras desavenencias serias entre la estetica y la politica revolucionaria.
Al pueblo lo que es del Pueblo", en: Memorias del Consejo Nacional de la UNEAC, UNEAC, La Habana.
Premio "Caracol" de la UNEAC a la mejor musica y la mejor direccion artistica.
There are echoes of Dario's 'Epistola a Ricardo Jaimes Freyre' in Guillen's two other published epistles, his 'Epistola a Don Enrique Amorim' (1956), and the 'Epistola' with which he dedicates his book El diario que a diario (La Habana: UNEAC, 1972) to his younger compatriot, the poet Eliseo Diego in order, firstly, to skilfully introduce, with self-deprecatory humour, the seemingly chaotic style and format of the book, and, secondly, to intimate that the form fits the book's content, which is the wanton horror, squalor, and abuse that characterized Cuba's experience of slavery, colonialism, and neo-colonialism.