La Viñuela
Lake Viñuela
Coat of arms
La Viñuela Location in Andalusia
La Viñuela Location in Spain
Coordinates: 36°51′N 4°08′W / 36.85°N 4.133°W / 36.85; -4.133Coordinates: 36°51′N 4°08′W / 36.85°N 4.133°W / 36.85; -4.133
Country	Spain
Autonomous Community	Andalusia
Province	Málaga
Comarca	Axarquía - Costa del Sol
Government
• Type	Mayor-council
• Body	Ayuntamiento de Viñuela.
• Mayor	Juan José Jiménez López (PSOE)
Area
• Urban	27.22 km2 (10.51 sq mi)
Elevation	150 m (490 ft)
Population (2011)
• Urban	1,980
Demonym	Viñoleros
Time zone	CET (UTC+1)
• Summer (DST)	CEST (UTC+2)
Postcode	29712 and 29713
Calling code	+34 (Spain) 95 (Málaga)

Viñuela is a municipality in the province of Málaga, Spain. The village of La Viñuela is situated 47 kilometres from Málaga and 19 kilometres from the coast at Torre del Mar. The village sits at a height of 150 metres above sea level. Inhabitants are called viñoleros.
La Viñuela is dominated by the landscape of La Maroma which belongs to the mountain range known as Sierra de Tejeda and at a height of 2068m is the highest mountain in Axarquía.^[1] Another dominant feature of the landscape is that of the reservoir known in English as Lake Viñuela; it holds 170 million cubic metres of water and is surrounded by picnic areas, some with barbecues. Swimming and non-motorised water sports are also permitted here.

Climate[link]

• Average temperature: 17°C
• Hours of sun per year: 2900
• Rainfall: 568 l/m²

History[link]

The village grew during the 18th century around a building called La Venta La Viña, which fed and watered weary travellers en route between the coast and inland Granada, which is still a centre for the old men of the village to meet for a game of dominoes.  The village was named after the vines which grow in the area and from this building where local wine was sold.  In 2011 the population was 1980 inhabitants, according to data from the INE,^[2] which is the Spanish Institute of National Statistics.

It became a town in 1764 with its first appointed mayor Juan Lucas García del Rey, however, this was not the first time the area had been inhabited, when the excavation work began to create the reservoir, 14 archaeological sites dating back to Neolithic and Roman times were found, including the remains of wattle and daub huts, a smelting furnace and a abundance of stone tools and ceramics.

Monuments and Places of Interest[link]

• Chapel of Our Lady of Sorrows
• San José Church
• Embalse de la Viñuela (Lake Viñuela)
• Atalaya Tower
• The Miraculous Chapel

Local Festivities[link]

The local fiestas begin at Easter, usually mid-March or April.  In May there is the pilgrimage from the village to the hamlets of Los Gómez and Los Romanes.   In mid-July they celebrate the Feria de Los Gómez in honour of the Virgen del Carmen.  At the end of July/beginning of August are the celebrations for the feast day of the town's patron saint, the Virgen de las Angustias (the Virgin of Sorrows) at the Chapel of Our Lady of Sorrows which is located in the area of Los Ramírez.  Mid-August sees the fiesta of Los Romanes which honours the Virgen de la Milagrosa (Virgin of the Miraculous).  Finally, in mid-September, they celebrate the Feria de la Pasa, to coincide with the harvesting of grapes to be made into raisins.

Gastronomy[link]

Some typical dishes from la Viñuela are sopa de tomate(tomato soup), gazpachuelo (similar to hot gazpacho), potaje (vegetables and pulses cooked in water), migas with orange and pomegranate, ajoblanco, gazpacho, asparagus omelette and Russian salad with orange.

Art and Crafts[link]

Traditional and artistic forging and leather works.

References[link]

External links[link]

• Ayuntamiento de La Viñuela (La Viñuela town hall)

José Miguel Agrelot Coliseum
The Choliseo
200px Front view of the José Miguel Agrelot Coliseum
Full name	Coliseo de Puerto Rico José Miguel Agrelot
Location	500 Arterial B St., Hato Rey, San Juan, Puerto Rico 00918
Built	July 1998-2004
Opened	September 4, 2004
Owner	Puerto Rico Convention Center District Authority
Operator	SMG
Construction cost	$292 Million
Architect	Sierra Cardona Ferrer & HOK Architects
Project Manager	QB Construction
Capacity	Can be configured in: Minimum 3,500 (General attendance) Minimum 3,500-7,000 (Theater events) Maximun 14,500 (Sideway stage) Maximun 16,500 (Ice rink events) Maximum 18,500 (Center stage)
Website	http://www.coliseodepuertorico.com
Tenants
Cangrejeros de Santurce, BSN Puerto Rico Tip-Off

The José Miguel Agrelot Coliseum, officially named "Coliseo de Puerto Rico José Miguel Agrelot" (and nicknamed El Choliseo, in honor of Agrelot's character, Don Cholito), is the biggest indoor arena in Puerto Rico dedicated to entertainment. It is located at the Golden Mile of San Juan, the island capital.

The coliseum opened its doors to the public in September 2004 after a prolonged construction financed by the Government of Puerto Rico. This venue is owned by the Puerto Rico Convention District Authority, a public corporation of Puerto Rico, and managed by SMG. It can accommodate up to 18,500 spectators and can be reached by the Tren Urbano (Urban Train) system from a nearby station.

The arena hosted the first WWE pay-per-view event outside the continental United States, Canada and the United Kingdom when New Years Revolution was held there in 2005.

As of November 2009, the arena has received over 3 million spectators, hosting more than 516 events with a gross ticket revenue of over $128 million.

On May 26, 2011, the "Choliseo" was ranked 8th on the "Top 50 Arena Venues" of the world and second of the West Hemisphere in worldwide ticket sales by Pollstar Magazine.

History[link]

Original plans[link]

The Coliseum was a project started during the administration of Governor Rafael Hernández Colón, initially as part of an Olympic bid to host the 2004 Olympic Games. The facility was supposed to be constructed between two local sport venues: the Roberto Clemente Coliseum and Hiram Bithorn Baseball Stadium, about a mile and a half away from the current arena site. The Coliseum would have been used for events such as Gymnastics and Olympic Basketball had the games been held in San Juan.

Controversy[link]

In 1997, however, Athens was selected to host the games, and the construction of the Coliseum was jeopardized. Recognizing the need for such a facility anyway, the government decided to continue the construction, this time at a site physically close to San Juan's financial district, the "Milla de Oro" ("Golden Mile"). Since the new site was adjacent to a future Tren Urbano station, the Coliseum's planners decided not to incorporate parking facilities to the arena, as to induce visitors to use mass transportation to reach it.

Political opponents of the Rosselló administration raised various objections to the original plan, claiming that the lot of land purchased for the construction would benefit some of his political party's (the New Progressive Party of Puerto Rico) heaviest financial contributors. They also objected to the lack of parking space, claiming that nearby private parking operators (who, they claimed, were also money donors to Rosselló's party) would extort high parking fees from people who could not or would not use public transportation to the venue (at the time, the Tren Urbano was in its initial stages of construction; by the time the facility opened it was still under construction). Objectors would also point out that a private operator would take control of the facility under contract from the government of Puerto Rico under what was perceived as a highly expensive contract. The Rosselló administration countered by stating that previous experience with public sports facilities in Puerto Rico (which would quickly fall into disrepair at an accelerated rate requiring constant remodelling) demanded that a private entity manage the facility. The contract's expense would be justified by bringing in an operating partner with international experience managing world-class facilities, whose reputation would ensure that performers and sport events that had never been staged in Puerto Rico could visit the island.

The Coliseum's construction was stopped for close to two years during the administration of governor Sila María Calderón, the leader of the opposition party (the Popular Democratic Party of Puerto Rico) whose administration followed Rosselló's. She claimed that the Puerto Rican government had spent $242 million for a facility where only 42% of its scheduled project plan had been completed when she took office. The planners and constructors had overlooked the fact that a water pumping station next to the facility had been built over unstable land, and a portion of the building's foundations would have had to be redone because of this. There was even talk of demolishing what had been built and starting from scratch, which infuriated Rosselló supporters, who dismissed the suggestion as merely an excuse to spend more government money, this time to benefit the PDP's financial backers. Plans for a redesigned interior added during the Calderón administration added fuel to the intense public controversy.

Yet another controversy came about when the ticketing distributor was named. An exclusive contract was awarded to Banco Popular's Ticketpop, almost ignoring the bid by competitor TicketCenter. The situation almost went to trial, as both parties argued over who should sell the tickets for the events, but the Puerto Rican government stood by their original contract with Ticketpop. Local producer Angelo Medina spearheaded a group that wanted the legislature to curb the managing powers of SMG, recently named to oversee operations and activities, because they feared that the company's relationship with non-local T.V. companies would limit the participation of local talent in the arena.

The coliseum was finally inaugurated in September 2004, several years into its construction and millions of dollars over budget.

Dedication[link]

The naming of the structure caused a controversy by itself. During the construction phase, plans called for the coliseum to be named simply El Coliseo de Puerto Rico (The Coliseum of Puerto Rico), but when it was also suggested that a private entity could sponsor the facility and thereby lend its name to it, most local politicians objected to the idea, since the financial scandal involving Enron reminded them that the bankrupt company had sponsored a sports facility (Enron Field, later named the Minute Maid Park) in Houston, Texas, United States.

Some politicians argued on behalf of naming the coliseum after a Puerto Rican celebrity. Some of the names mentioned were that of pop star Chayanne, boxer Félix Trinidad and recently deceased actor Raúl Juliá. Puerto Rican law demanded that no facility could be named after a living individual, and there were talks of making an exception to the law should a living Puerto Rican icon be honored with the name.

However, the name of beloved local comedian José Miguel Agrelot was chosen when the coliseum was near its completion. Agrelot himself had suggested the name of Rafael Hernández Marín to be used, and when someone suggested his name instead he was both surprised and concerned. He was quoted as saying once in his radio program, "Tu Alegre Despertar": "I can only hope my name won't be used, since I'd like God to keep me alive for quite some time. .. it would be a great honor, and I wouldn't object to it if that is what people want, but public facilities here are customarily named after dead people. .. I won't even dare to think about it. I'd only like the controversy over the name to stop".

Soon after, Agrelot died in his sleep while taking an afternoon nap, on January 28, 2004. The almost unanimous consensus of most Puerto Ricans was that Agrelot deserved the honor, and the facility was dedicated to him on what would have been his birthday that year. A bust of "Don Cholito" now stands at the coliseum's lobby.

Awards and recognitions[link]

Pollstar, the prestigious U.S. based magazine, chose the Puerto Rico Coliseum as the "International Large Venue of the Year 2005". This means it is recognized as one of the most important venues in the world, competing with the Acer Arena in Australia; the Manchester Evening News Arena in Manchester, England; The Auditorio Nacional in Mexico City, and the Odyssey Arena in Belfast, Northern Ireland.

"The Choliseo, as Puerto Ricans affectionately call, was another of those pleasant surprises last year," continued Rivera Cardona. "It received Pollstar's coveted 2005 Best New International Large Venue of the Year and it was nominated again for the Best International Venue of the Year in 2006." The Puerto Rico Coliseum ranks No. 15 in ticket sales worldwide according to industry trade magazine Pollstar.

The Puerto Rico Coliseum has developed into the premier entertainment site of the Island. Since its inauguration in September 2004 over 3 million people have crossed its gates bringing in $128 million in gross ticket revenue and hosting more than 516 events.

On May 26, 2011, the "Choliseo" was ranked 8th on the "Top 50 Arena Venues" of the world and second of the West Hemisphere in worldwide ticket sales by Pollstar Magazine, surpassing Los Angeles' Staples Center, Miami's American Airlines Arena, London's Wembley Arena, etc. In its first three months of 2011, the coliseum received an overwhelming number of people of over 205,000. During the first trimester, the coliseum was ranked 13 times in the 25 best arenas worldwide, according to Pollstar, Billboard Magazine and Venues Today.^[1]

Events[link]

External links[link]

Puerto Rico portal

• Coliseo de Puerto Rico Official Website

References[link]

Coordinates: 18°25′39.78″N 66°3′41.01″W / 18.4277167°N 66.0613917°W / 18.4277167; -66.0613917

Don Juan in Mozart's opera Don Giovanni, a painting by Max Slevogt

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2011)

Don Juan (Spanish, or "Don Giovanni" in Italian) is a legendary, fictional libertine whose story has been told many times by many authors. El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest) by Tirso de Molina is a play set in the fourteenth century that was published in Spain around 1630. Evidence suggests it is the first written version of the Don Juan legend. Among the best known works about this character today are Molière's play Dom Juan ou le Festin de pierre (1665), Byron's epic poem Don Juan (1821), José de Espronceda's poem El estudiante de Salamanca (1840) and José Zorrilla's play Don Juan Tenorio (1844). Along with Zorrilla's work (still performed every year on November 2nd throughout the Spanish-speaking world), arguably the best known version is Don Giovanni, an opera composed by Wolfgang Amadeus Mozart with libretto by Lorenzo da Ponte, first performed in Prague in 1787 (with Giacomo Casanova probably in the audience) and itself the source of inspiration for works by E. T. A. Hoffmann, Alexander Pushkin, Søren Kierkegaard, George Bernard Shaw and Albert Camus.

Don Juan is used synonymously for "womanizer", especially in Spanish slang, and the term Don Juanism is sometimes used as a synonym for satyriasis.

Don Juan legend[link]

Although the various iterations of the Don Juan myth show some variation, the basic storyline remains the same. Starting with Tirso's work, Don Juan is portrayed as a wealthy, seductive libertine who devotes his life to seducing women, taking great pride in his ability to seduce women of all ages and stations in life. His life is also punctuated with violence and gambling, and in many interpretations (Tirso, Espronceda, Zorrilla), he kills Don Gonzalo, the father of a girl he has seduced, Doña Ines. This leads to the famous last supper scene, whereby Don Juan invites the dead father to dinner. The ending depends on which version of the legend one is reading. Tirso's original play was meant as religious parable against Don Juan's sinful ways, and ends with his death, having been denied salvation by God. Other authors and playwrights would interpret the ending in their own fashion. Espronceda's Don Felix walks into hell and to his death of his own volition, whereas Zorrilla's Don Juan asks for, and receives, a divine pardon. The figure of Don Juan has inspired many modern interpretations.

Pronunciation[link]

In Castilian Spanish, Don Juan is pronounced [doŋˈxwan]. The usual English pronunciation is /ˌdɒnˈwɑːn/, with two syllables and a silent "J". However, in Byron's epic poem it rhymes with ruin and true one, indicating that it was intended to have the trisyllabic spelling pronunciation /ˌdɒnˈdʒuːən/. This would have been characteristic of his English literary predecessors who often deliberately imposed partisan English pronunciations on Spanish names, such as Don Quixote /ˌdɒnˈkwɪksət/.

Chronology of works derived from the story of Don Juan[link]

This section may contain excessive, poor or irrelevant examples. You can improve the article by adding more descriptive text and removing less pertinent examples. See Wikipedia's guide to writing better articles for further suggestions. (May 2010)

Seventeenth century[link]

• 1630: Tirso de Molina's play El burlador de Sevilla y convidado de piedra
• 1643: Paolo Zehentner's play Promontorium Malae Spei
• 1650: Giacinto Andrea Cicognini's play Il convitato di pietra
• 1658: Dorimon (Nicolas Drouin's) Le festin de pierre, ou le fils criminel
• 1659: Jean Deschamps, Sieur de Villiers's play Le Festin de Pierre ou le Fils criminel
• 1665: Molière's comedy Dom Juan ou le Festin de pierre
• 1669: Rosimon's Festin de pierre, ou l’athée foudroyé
• 1676: Thomas Shadwell's play The Libertine
• 17th century: L'ateista fulminato, Italian play by unknown author

Eighteenth century[link]

• 1714?: Antonio de Zamora's play No hay plazo que no se cumpla ni deuda que no se pague o convidado de piedra^[1]
• 1730: Antonio Denzio's opera La pravità castigata, with music mainly by Antonio Caldara
• 1736: Carlo Goldoni's play Don Giovanni Tenorio ossia Il dissoluto
• 1761: Christoph Willibald Gluck's and Gasparo Angiolini's ballet Don Juan
• 1776: Vincenzo Righini's opera Il convitato di pietra
• 1787: Giovanni Bertati's opera Don Giovanni, music by Giuseppe Gazzaniga
• 1787: Lorenzo da Ponte's opera Don Giovanni, music by Mozart

Nineteenth century[link]

• 1813: E.T.A. Hoffmann's novella Don Juan (later collected in Fantasiestücke in Callots Manier)
• 1821: Byron's epic poem Don Juan
• 1829: Christian Dietrich Grabbe's play Don Juan und Faust
• 1830: Pushkin's play Каменный гость (Kamenny Gost', The Stone Guest) set as an opera in 1872
• 1831: Alexandre Dumas' play Don Juan de Maraña
• 1831: Balzac's short story L'Élixir de longue vie (The Elixir of Life)
• 1834: Prosper Mérimée's novella Les âmes du Purgatoire
• 1840: José de Espronceda's El estudiante de Salamanca
• 1841: Franz Liszt's Réminiscences de Don Juan on themes from the Mozart opera
• 1843: Søren Kierkegaard's Either/or in which he discusses Mozart's musical interpretation of Don Giovanni, and includes another text which develops a similar character called Johannes ("Diary of a seducer").
• 1844: Nikolaus Lenau's play Don Juan
• 1844: José Zorrilla's play Don Juan Tenorio
• 1857: Charles Baudelaire's poem Don Juan aux enfers (Don Juan in Hell) in Les Fleurs du Mal
• 1862: Aleksey Konstantinovich Tolstoy's verse drama Don Juan
• 1872: Alexander Dargomyzhsky's opera The Stone Guest after Puskin
• 1874: Guerra Junqueiro's poem A morte de D. João
• 1878: The Finding of Don Juan by Haidee, painting by Ford Madox Brown
• 1883: Paul Heyse's "Don Juans Ende"
• 1888: Richard Strauss' symphonic poem Don Juan
• 1889: Vernon Lee's short story 'The Virgin of the Seven Daggers', in which Don Juan raises a Moorish princess from the grave in order to seduce her

Twentieth century[link]

• 1903: George Bernard Shaw's play Man and Superman; the third act's dream sequence is often played by itself as Don Juan in Hell
• 1902–1905: Ramón del Valle-Inclán's Las sonatas
• 1906 : Ruperto Chapí's opera Margarita la tornera, based on José Zorrilla's dramatic poem. This features a seducer of women known as Don Juan Alarcon.
• 1907: Guillaume Apollinaire's novel Les exploits d'un jeune Don Juan
• 1910: Gaston Leroux's novel Phantom of the Opera, which includes an opera called Don Juan Triumphant.
• 1910–1912: Aleksandr Blok's The Commander's Footsteps (Шаги командора).
• 1912: Lesya Ukrainka's Stone Host (Кам'яний господар), a dramatic poem.
• 1913: Jacinto Grau's play Don Juan de Carillana; also, the play El burlador que no se burla (1927) and the essay Don Juan en el tiempo y en el espacio (1954)
• 1921: Edmond Rostand's play La dernière nuit de Don Juan
• 1922: Azorín's Don Juan
• 1926: Ramón Pérez de Ayala's novel and play Tigre Juan
• 1926: Don Juan, starring John Barrymore, silent film with Vitaphone soundtrack.
•  ?: Serafín and Joaquín Álvarez Quintero's play Don Juan
• 1928: Don Juan in der Mädchenschule, directed by Reinhold Schünzel, starring Ernst Behmer, Adolphe Engers and Carl Geppert
• 1932: short story Don Juan's Confession in Karel Čapek's Apocryphal Tales (Kniha apokryfů)^[2]
• 1934: Miguel de Unamuno's Don Juan
• 1934: The Private Life of Don Juan, Douglas Fairbanks, Sr.'s last film
• 1934–1949: André Obey: Don Juan
• 1936: Ödön von Horváth's Don Juan kommt aus dem Krieg (Don Juan comes back from the war)
• 1938: Sylvia Townsend Warner's novel "After the Death of Don Juan"
• 1940: Le Mythe de Sisyphe: Albert Camus. Published by Librarire Gallimard (1942) and by Alfred A. Knopf (1955, 1983) and First Vintage International Editions (1991) in English as The Myth of Sisyphus and other essays. In Camus' anti-suicide treatise, Don Juan is one of three 'Absurd Men', 'heroes' who overcome life with their attitude.
• 1942: Paul Goodman's novel Don Juan or, The Continuum of the Libido, edited by Taylor Stoehr, 1979.
• 1942: Franz Zeise's novel Don Juan Tenorio
• 1944: Josef Toman Don Juan
• 1946: Suzanne Lilar, play "Le Burlador", an original reinterpretation of the myth of Don Juan from the female perspective that revealed a profound capacity for psychological analysis.
• 1949: Adventures of Don Juan, film starring Errol Flynn
• 1950: Don Juan, film directed by José Luis Sáenz de Heredia
• 1952: "A Story of Don Juan", a short ghost story by V.S. Pritchett
• 1953: Max Frisch's Don Juan oder die Liebe zur Geometrie; also Nachträgliches zu Don Juan
• 1954: Ronald Frederick Duncan's play Don Juan
• 1955: Ingmar Bergman's play Don Juan
• 1955: Desi Arnaz as Ricky Ricardo as Don Juan in several episodes (Season 4, Episode #6, #9, #10, #17, #21) of I Love Lucy, the television series.
• 1956: Buddy Holly's song Modern Don Juan
• 1957: Georges Bataille's novel "Blue of Noon", an adaptation of the Don Juan story set in 1930s fascist Europe
• 1958: Henry de Montherlant's play Don Juan
• 1959: Roger Vailland's play Monsieur Jean
• 1960: Ingmar Bergman film Djävulens öga(The Devil's Eye)
• 1963: Gonzalo Torrente Ballester's novel Don Juan
• 1967: In the Star Trek Episode from the first season Shore_Leave_(Star_Trek) Yeoman Tonia Barrows is accosted by Don Juan.
• 1969: Jan Švankmajer's Don Šajn (Don Juan); a short retelling of the Don Juan legend featuring live-action, stop-motion animation, and marionettes.
• 1969/1970: Donna Juanita, a song performed by Swedish artist Monica Zetterlund, part of the revue and TV-show "Spader, Madame!" by comedians Hasseåtage, based on a musical piece by Franz Schubert (Sixth Symphony, Second Movement) - the theme of the lyrics is to show the gender inequality in the fact that Don Juan's philandering behaviour would never have been accepted in a woman
• 1970: The Stoned Guest, a half-act opera by P. D. Q. Bach
• 1973: Don Juan ou Si Don Juan était une femme..., a film starring Brigitte Bardot
• 1974: Derek Walcott's play, The Joker of Seville
• 1975: Lars Gyllensten's novel I skuggan av Don Juan (In the shadow of Don Juan)
• 1980: New York City no-wave artists Mars and DNA recorded a collaborative opera based on Don Giovanni entitled John Gavanti
• 1983: Carlos Morton's play, Johnny Tenorio
• 1987: In the Andrew Lloyd Webber musical The Phantom Of the Opera, the Phantom both writes and stars in a fictional opera named Don Juan Triumphant.
• 1987: Post-minimalist composer Elodie Lauten wrote an opera based on a feminist variation of the legend entitled "The Death of Don Juan"
• 1988: The Pet Shop Boys song "Don Juan", which used the story as a metaphor for the seduction of the Balkans by Nazism during the 1930s
• 1991: Georges Pichard's Exploits d'un Don Juan, comic from Apollinaire's novel
• 1995: Don Juan DeMarco, film starring Johnny Depp in the role of Don Juan, and also starring Marlon Brando
• 1997: David Ives' comedy Don Juan in Chicago

Twenty-first century[link]

• 2003: Félix Gray's musical comedy Don Juan
• 2004: Peter Handke's novel Don Juan (erzählt von ihm selbst) ("Don Juan (Told by Himself)")
• 2005: José Saramago's play Don Giovanni ou O Dissoluto Absolvido (Don Giovanni or The Dissolute Acquitted).
• 2005: Jim Jarmusch's film Broken Flowers.
• 2006: Don Juan in Soho, a play by Patrick Marber
• 2009: Kasper Bech Holten's film Juan

Both the Flynn and Fairbanks versions turn Don Juan into a likeable rogue, rather than the heartless seducer that he is usually presented as being. The Flynn movie even has him successfully foiling a treasonous plot in the Spanish royal court. Shaw's play turns him into a philosophical character who enjoys contemplating the purpose of life.

References[link]

1. ^ http://es.wikipedia.org/wiki/Antonio_de_Zamora
2. ^ Apocryphal Tales, Karel Čapek.

Further reading[link]

• Macchia, Giovanni (1995) [1991] (in Italian). Vita avventure e morte di Don Giovanni. Milano: Adelphi. ISBN 88-459-0826-7. 
• Said Armesto, Víctor (1968) [1946] (in Spanish). La leyenda de Don Juan. Madrid: Espasa-Calpe. 
• Guillaume Apollinaire: Don Juan (1914).
• Michel de Ghelderode: Don Juan (1928).

External links[link]

Wikimedia Commons has media related to: Don Juan

• Don Juan Archiv Wien (in German)
• Text of Molière's Dom Juan' (in French)
• Encyclopædia Britannica article about Don Juan
• Armand E. Singer: A Bibliography of the Don Juan Theme 1954-2003
• "Juan!...Juaaan!!!" Sample of an alternative Don Juan story
• "Flowers of Evil", Charles Baudelaire

Raquel Argandoña
Raquel Argandoña attending an event in Iquique on February 19, 2011.
Born	Raquel Eliana Argandoña de la Fuente December 5, 1957 Santiago de Chile
Occupation	TV presenter, Actress, beauty pageant contestant, mayor
Parents	Eduardo Argandoña L'Huillier (deceased) Eliana de la Fuente Honorato
Relatives	Raquel Calderón (daughter) Hernán Calderón (son)

Raquel Eliana Argandoña de la Fuente (December 5, 1957 in Santiago de Chile) is a Chilean former beauty pageant contestant, TV presenter, actress and mayor of Pelarco. She is best known for her role as the La Quintrala in the 1986 TV mini-series of the same name. Raquel Argandoña was also the 1975 Miss Chile.^[1] Raquel is the mother of the actress-singer Raquel Calderón.^[2]

Electoral Resume[link]

Municipal Elections 1996[link]

Pelarco's mayoralty^[3]

Municipal Elections 2000[link]

Pelarco's mayoralty^[4]

Municipal Elections 2004[link]

San Joaquín's mayoralty^[5]

Parlamentarial Elections 2005[link]

Deputy for the Distrito 25 (La Granja, Macul and San Joaquín), Región Metropolitana^[6]

References[link]

External links[link]

• Official website
• Raquel Argandoña at the Internet Movie Database
• Especial de Raquel Argandoña on EMOL.

Claudia Conserva
Claudia Conserva as presenter in Caiga Quien Caiga, in 2007.
Born	Claudia Marcela Conserva Pérez (1974-01-12) January 12, 1974 (age 38) Santiago de Chile,  Chile
Occupation	Actress, Television presenter
Years active	1990-present
Spouse	Juan Carlos Valdivia

Claudia Marcela Conserva Pérez (Santiago, Chile, January 12, 1974) is a Chilean actress, model and television presenter of Italian-Albanian (Arbëreshë) descent.

She studied ballet and worked in publicity and TV programs when she was a child and in 1990 she won Miss 17[1].

She met her husband Juan Carlos Valdivia in Extra Jóvenes (Chilevisión). They have two children, Renato and Matilda.

Teleseries[link]

Television programs[link]

External links[link]

• Claudia Conserva at the Internet Movie Database