Responsabilidad civil y entidades aseguradoras


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La importancia del riesgo de circulación se traduce en la suscripción de un seguro que cubra los posibles daños, con la finalidad de que las víctimas de accidentes de tráfico sean siempre indemnizadas. Sin embargo, el seguro suscrito no ofrece una cobertura ilimitada, sino concreta. Por lo que en determinadas circunstancias debe poder reclamarse al causante que responda con su patrimonio en aquellas situaciones en las que no está justificado que se ampare en el seguro contratado. La entidad aseguradora se hace cargo de la indemnización de la víctima, pero debe quedar garantizado su derecho de repetición en los casos en los que le corresponde. La cobertura del seguro se extiende, no sólo a supuestos que debe en realidad asumir el causante, sino incluso a otros en los que la responsabilidad podría corresponder al Consorcio de Compensación.







Illinois 2021 Rules of the Road


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Illinois 2021 Rules of the Road handbook, drive safe!




Responsabilidad civil en la circulación sin permiso de conducir


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El presente trabajo analiza la asunción de la responsabilidad civil en la conducción sin permiso de conducir: supuesto que está tipificado en el código penal como delito contra la seguridad vial, y que no debe ampararse en la contratación de un seguro de automóviles. En los casos que legalmente la cobertura se sitúa fuera del alcance del contrato de seguro, que la víctima tenga derecho al cobro de su indemnización, no implica que el pago deba realizarlo la aseguradora. Aunque existen muchas dificultades para que el ejercicio del derecho de repetición permita a la aseguradora recuperar la indemnización pagada al perjudicado en estos supuestos.




Sociétés Transnationales


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Cecilia Valdés or El Angel Hill


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Cecilia Valdés is arguably the most important novel of 19th century Cuba. Originally published in New York City in 1882, Cirilo Villaverde's novel has fascinated readers inside and outside Cuba since the late 19th century. In this new English translation, a vast landscape emerges of the moral, political, and sexual depravity caused by slavery and colonialism. Set in the Havana of the 1830s, the novel introduces us to Cecilia, a beautiful light-skinned mulatta, who is being pursued by the son of a Spanish slave trader, named Leonardo. Unbeknownst to the two, they are the children of the same father. Eventually Cecilia gives in to Leonardo's advances; she becomes pregnant and gives birth to a baby girl. When Leonardo, who gets bored with Cecilia after a while, agrees to marry a white upper class woman, Cecilia vows revenge. A mulatto friend and suitor of hers kills Leonardo, and Cecilia is thrown into prison as an accessory to the crime. For the contemporary reader Helen Lane's masterful translation of Cecilia Valdés opens a new window into the intricate problems of race relations in Cuba and the Caribbean. There are the elite social circles of European and New World Whites, the rich culture of the free people of color, the class to which Cecilia herself belonged, and then the slaves, divided among themselves between those who were born in Africa and those who were born in the New World, and those who worked on the sugar plantation and those who worked in the households of the rich people in Havana. Cecilia Valdés thus presents a vast portrait of sexual, social, and racial oppression, and the lived experience of Spanish colonialism in Cuba.




Shri Sai Satcharita


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Copiar el edén


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Analyzes the evolution of contemporary art in Chile from 1973 to 2007. This edition reproduces more than 500 color images of works by 74 contemporary artists (selected by editor Mosquera) including names such as: Juan Downey, Carlos Arias, (Santiago, Chile, 1964); Juan Castillo, (Antofagasta, 1952); Eugenio Dittborn, (Santiago, Chile, 1943); Paz Errzuriz, (Santiago, Chile, 1944); Volupsa Jarpa, (Rancagua, 1971); Carlos Leppe, (Santiago, Chile, 1952); and Carolina Ruff, (Santiago, Chile, 1973), as well as younger generation artists. The artists are presented in alphabetical order with brief introductory texts. Each reproduced work is rigorously documented with a caption that, in addition to providing the technical data offers the reader a description of the work for better comprehension. Six essays by noted critics and art historians: Guillermo Machuca, Mar̕a Berr̕os, Justo Pastor Mellado, Catalina Mena, Nelly Richard y Adriana V̀lads (description provided by vendor).




The Spanish American Reader


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