A tu gusto san juan: Pizzería en San Juan – A Tu Gusto
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What’s near “A Tu Gusto San Juan”
21m
Santa Ana Church Religious Center
22m
Hard Rock Cafe Arts & entertainment
22m
Carli’s Fine Bistro & Piano
23m
Triana Tapas & Flamenco Spanish Restaurant
23m
San Juan Deli Restaurant
26m
Flavors of San Juan Food & Culture Tours Arts & entertainment
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Restaurante Triana
27m
Abislaiman Joyas Jewelry & Watches Store
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Green Meds PR
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Keto Pro fit Medical & health
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Human Advisors Employment Agency
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Old Harbor @ Old San Juan
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La Vaca Brava San Juan
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Vaca Brava Viejo San Juan
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Galería Artífice, Viejo San Juan, Puerto Rico
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Restaurante Vaca Brava, Viejo San Juan Hotel & Lodging
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Vaca Brava Old Sanjuan
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Vaca Brava Restaurant, Old San Juan PR.
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Banco Popular Viejo San Juan Bank
36m
Viejo San Juan
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Old Harbor Brewery
38m
Celebrity Reflection
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Populicom
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Old Harbour Brewery And Lobster Steakhouse
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El Paseo De La Princesa
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Spiga Café Restaurant
41m
Pure Soul
41m
Family Balance Therapy
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Plaza Eugenio Maria De Hostos.
Viejo San Juan Arts & entertainment
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Old San Juan Deli Coffee shop
47m
Iglesia Catolica Santa Ana, San Juan, PR Catholic Church
47m
Artesanos Plaza Eugenio Maria De Hostos En El Viejo San Juan Gift Shop
47m
Calle Tetuan, Viejo San Juan
49m
Santaella Rest
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Calle Tetuán
50m
Old Harbor Brewery and Restaurant
Hotels Nearby
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313 Fortaleza St., San Juan
- Fortaleza Suites Old San Juan 4 ★
315 Fortaleza Street, Old San Juan, San Juan
- Fortaleza Suites II
251 calle fortaleza, Old San Juan, 00901 San Juan, Puerto Rico, San Juan
J. Suites Hotel 2 ★Show more on the map
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org/BreadcrumbList”>Celebra a tu gusto en The Mall of San Juan
Sin duda, en esta Navidad, tu destino gastronómico es The Mall of San Juan, ya que, por su exquisita oferta de restaurantes, todos con terraza al aire libre, ofrece un ambiente agradable e inolvidable para compartir con la familia y los amigos. No hay nada mejor que visitar este centro comercial para pasar un rato ameno en sus restaurantes y locales especializados. Tu salida de compras se complementa a la perfección con la experiencia de degustar un buen plato, brindar con una exquisita copa de vino, deleitarse con un delicioso postre o hacer que tu espíritu se eleve con un sabroso café.
Estas Navidades serán aún mejores, ya que los diferentes restaurantes se unen a las festividades con sus amplios ofrecimientos y experiencias culinarias. Además, el centro comercial cuenta con valet parking de lunes a domingo para la conveniencia y comodidad de los visitantes.
VIN’US
Oyster Moi, VINU’S (Suministrada)
Si este Día de Acción de Gracias buscas una experiencia diferente, salir de la rutina y llevar esta celebración a otro nivel, tienes que visitar la distintiva enoteca y restaurante de cocina internacional-creativa Vin’us, en el segundo nivel. Para esa fecha especial, tendrá un menú que incluye: pavochón, criollo stuffing, risotto con gandules y ensalada de papa por $45 por persona. Su ambiente moderno y casual ofrece la oportunidad para descubrir y compartir buenos vinos, probar sabores diferentes y disfrutar de una variada gastronomía. Para reservaciones y horarios, llama al 787-302-3075.
Metropol Restaurant
Metropol Restaurant (Suministrada)
El Metropol Restaurant, en el primer nivel, se une a la celebración navideña con exquisitos manjares de la época.
Para la cena de Acción de Gracias estará ofreciendo un menú digno de la festividad: pechuga de pavo, relleno, arroz con gandules, ensalada de papa y pie de calabaza. También tendrán menú navideño durante la temporada para disfrutar en el salón o en la terraza del restaurante. Para el horario regular, de los días festivos e información, llama al 787-302-0118.
Il Nuovo Mercato
Il Nuovo Mercato (Suministrada)
Los jueves la cita obligada es en Il Nuovo Mercato, en el tercer nivel. Su ambiente exquisito con happy hour y música en vivo será el mejor lugar para disfrutar de su concepto de estilo mercado italiano. Sus cinco bodegas de pescados, pizza, pasta, veggies y carnes, además de su carta de vinos y cócteles, serán suficiente para satisfacer los gustos de los comensales. Toda esta experiencia podrás vivirla desde la hermosa terraza con la mejor vista a la Laguna San José. Así, esa celebración se tornará única. Para horarios e información, llama al 787-922-2734.
Starbene Caffé
Starbene Caffé (Suministrada)
Siempre es reconfortante disfrutar de un buen café, mientras saboreas un delicioso postre o un refrescante gelato, sobre todo si se trata de un ambiente familiar, casual y relajado como el que encuentras en Starbene Caffé, en el tercer nivel. El olor de sus sabrosos postres se funde con el aroma de su pan horneado, logrando que este espacio gastronómico se convierta en el sitio perfecto para degustar las maravillas de Italia sin tener que viajar muy lejos. Esta experiencia cobra otro sentido cuando del brunch buffet se trata, ya que los comensales pueden disfrutar todos los domingos hasta la 1:30 p. m. Para horarios e información, llama al 787-462-7115.
Clandestina
Clandestina (Suministrada)
Clandestina, en el primer piso, es un concepto de comida rápida, pero fresca y saludable. Además, los viernes puedes disfrutar del 2 x 1 de Margaritas de 32 onzas a dos por $25. Para horarios e información, llama al 939-400-5370.
Tijuana’s Bar & Grill
Clandestina (Suministrada)
La fiesta en Tijuana’s, en el segundo nivel, es todo el año, por lo que continúan los happy hours de la margarita tradicional a dos x $10, de lunes a viernes, hasta las 7:00 p. m., y sábados y domingos hasta las 4:00 p. m. Mientras que las margaritas prémium están a $9, desde las 4:00 p. m., sábados y domingos. También hay happy hour de DonQ, Dewars WL y Tito’s a $5 y Dewars 12 a $6. Para horarios e información, llama al 787-302-3071.
Burger & Beer Joint
Burger & Beer Joint (Suministrada)
La franquicia, en el tercer nivel, te da la opción de crear una hamburguesa a tu gusto o seleccionar de entre las alternativas del menú Signature Line con el beef blend de la casa —una mezcla de brisket y carne Black Angus o el Platinum Line, en el que se destacan opciones como Wild Thing (con 1/2 libra de carne de visón), o el Stairway to Heaven (con 1/2 libra de wagyu beef). Para cada plato, el menú recomienda una cerveza diferente y algunas son locales como Magna y Santo Viejo Old Harbor.
Krispy Kreme Doughnuts
Krispy Kreme Doughnuts (Suministrada)
En el primer nivel, Krispy Kreme Doughnuts, la cadena de donas —hechas y fritas in house— sirve café arábico de Puerto Rico y bebidas congeladas o chillers.
Cafeto
Cafeto (Suministrada)
Cafeto, ubicado muy cerca del atrio central, ofrece diferentes tipos de café con los granos de Alto Grande, sándwiches y dulces de repostería, complementan la oferta gastronómica del centro comercial.
de San Juan – tassynik — LJ
The route for our summer Spanish vacation, as I said, was thought over by Dima and, working through this issue, he got the idea to look at the windmills in the town of Campo de Criptana. It was not difficult to persuade me, the main thing was to decide how to get there and book train tickets from Madrid.
The difficulty lay in the fact that on the Internet there was a timetable for the trains we needed until the day before our trip, and then – a failure.
In addition, there was a big issue with the hotel: there were no such hotels at booking in Campo de Criptana, although there were still some offers on the Internet. But putting these two circumstances together, Dima decided not to risk it and bought train tickets to the town of Alcazar de San Juan, located near Campo de Criptana, and booked a hotel there.
Alcazar de San Juan was, by and large, a kind of transit point for us, besides, there was no information about it in the guidebook, so our walk along it turned out to be completely unplanned – we just walked from from the city center to our hotel and further to the railway station, as far as we had enough time before the train (in the morning we went by taxi to Campo de Criptana).
By the way, the hotel turned out to be very pleasant: small, cozy, neat, with a nice room – we were pleasantly surprised, considering that the hotel is two-star.
Alcazar de San Juan is located in the province of Ciudad Real in Castilla-la-Mancha and here, of course, with enviable constancy you can see various figures of the most famous native of this land – Don Quixote of La Mancha.
Our walk fell on a Sunday, the city was extinct: almost all the shops were closed, we occasionally came across rare passers-by on the streets, in general, peace and grace after the capital Madrid.
There is no cathedral in Alcazar de San Juan, but there are 4 (according to the taxi driver, as I understood him, since he did not speak English) churches, one of which is quite modern. She did not get in our way, but we saw two old ones.
And the tile is again the most beautiful national tile.
From the station there is a direct pedestrian street with shops (of course, closed), also almost empty on this Sunday.
And almost, almost in front of the train, Dima and Ilya decided to take a walk and see the old steam locomotive standing next to the existing railway tracks, and found a small amateur museum of various equipment (mainly railway), which could be examined and touched , on which it was possible to climb, moreover, completely free of charge.
If they knew, they would immediately go to it, since they clearly did not have enough time, they ran to me on the platform just before the arrival of our train.
Don Quixote was also involved.
And then we went to the sea!
Vyacheslav Ivanov and San Juan de la Cruz Vsevolod Bagno: yasko — LiveJournal
According to Bakhtin, all of Vyacheslav Ivanov’s poetry “is a brilliant restoration of all the forms that existed before him” (Bakhtin 2000: 320). However, if we ignore this assessment (as a generalizing characteristic of absolutely correct), it turns out that far from all “forms”, not all authors, not all eras were of interest to Ivanov, not all were, from his point of view, worthy of “restoration”. “. A strict hierarchy of cultural values and a unique system of literary predilections, to which the poet remained faithful throughout his life, is one of the most characteristic features of his work. Broad erudition and interest in the most diverse cultural phenomena did not prevent him, with all his knowledge of the culture of English or Spanish, to give a clear preference for the culture of Italian, German and French.
It is all the more significant that in the European literature of the 16th-17th centuries, which left him rather indifferent on the whole, Ivanov’s attention, in addition to Calderon, one of the unconditional authorities who was part of the “canon” (see Averintsev 1989: 54), attracted two names: Cervantes, to whom, as is known, he dedicated two remarkable articles (for details see: Bagno 1988: 398-399), and San Juan de la Cruz, a brilliant mystic poet, almost unknown in Russia as the turn of the 19th and 20th centuries, and today.
San Juan de la Cruz was unlucky in Russia, even compared to Saint Teresa, whose interest in personality and work, albeit misinterpreted, became very noticeable at the beginning of the 20th century (see Bagno 2000:29-42). We have to admit that Teresa de Jesus was needed by such different representatives of the Russian religious revival as Berdyaev and Karsavin, not by itself, but, so to speak, for contrast, to contrast mysticism with Orthodox Catholic mysticism, just as Turgenev did for the final /196/
the design of the famous speech “Hamlet and Don Quixote” needed a Danish prince (in the early version this function was performed by Sehismundo from Calderon’s play “Life is a dream” (Bagno 1988: 325-326) to contrast with the Cervantes hero.
Except for the later Merezhkovsky’s book (Merezhkovsky 1988) and a few scant references—often on a par with the name of Teresa—one can only recall N. S. Arseniev, who knew the poetry of the Spanish mystic firsthand. de la Cruz – were available to the Russian reader from 1917 years old (Arseniev 1917: 251-298). By the way, it is obvious that the “sensual”, “voluptuous” nature of the mystical experience of St. Teresa, as it was understood in Russia, could not but be known to Vyacheslav Ivanov. Not only Berdyaev and Karsavin wrote about him, who raised the issue especially sharply, introducing the bright term “mystical fornication”, Voloshin (the personality and work of Teresa de Jesus played an important role in the image of the fictional poetess Cherubina de Gabriak created by Voloshin together with E. I. Dmitrieva ), but he had to leave Ivanov indifferent. Meanwhile, this did not prevent Ivanov from admiring, according to Makovsky, the sophistication of Cherubina de Gabriac “in mystical eros” (Makovsky 1990:163).
Russian Symbolists and representatives of the Russian religious revival often perceived themselves as “spontaneous” mystics, while emphasizing their independence from any church tradition and their conscious focus on the winds from the worlds of art and the centuries-old religious experience of mankind. Not so much the writings and personality of Teresa de Jesus, as ideas about her creative image, but through the prism of this image and the collective image of Spanish mysticism, sensual, voluptuous and erotic, occupied not the last place in the attempts of self-identification of Russian poets and thinkers at the turn of the 19th and 20th centuries.
San Juan de la Cruz, Saint Teresa’s favorite disciple, is one of the most reticent poets in world literature. He wrote a little more than three hundred lines of poetry. Meanwhile, the lyrics of the mystic from Fontiveros are one of the pinnacles of world religious poetry. / 197 /
Already in the St. Petersburg period, the period of the “tower”, when few people in Russia had any idea about the great Spanish mystic poet, Vyacheslav Ivanov called him “the king of singers”, dedicating, without a doubt, a poem to him “ Rose of Mount Carmel”, included in the cycle “New Ghazels about the Rose” of the book “Rosarium” of the collection “Cor ardens”:
The king of singers sang.
.. Nemela, —
The king did not understand, —
Fragrant, rose
Oak Carmel.
And at midnight the song ceased,
As a storm roared –
And the valley was scattered
Curly mistletoe
In the crowns of headless oaks …
Until morning, the firmament thundered;
She took the singer, but she did not dare to delight the roses
.
(Ivanov 1974:459-460)
This interest intensified in the Roman period, and it is significant that the attention of the Russian poet was attracted by the central, grandiose creation of the mystic from Fontiveros, the treatise “The Climbing of Mount Carmel”, in which Juan de la Cruz with with maximum depth he revealed his mystical view of the world and which almost never falls into the field of view of writers, especially those of other nationalities.
For Ivanov, the vertical is in principle opposed to the horizontal, and climbing is always preferable to the road. In one of his letters to Gershenzon, he stated: “It is not extracted from a given environment or country, but by ascent.
In every place, I repeat again and testify, there is Bethel and Jacob’s ladder, and in every center of any horizon” (Ivanov 1979:412).
It can be assumed that one of the reasons for the new appeal of the Russian poet to the personality, teachings and poetry of Juan de la Cruz was the fact that in that very 19On the year 26, when Ivanov joined Catholicism, the mystic from Fontiveros, who was canonized in 1675 and canonized in 1726, was canonized by Pope Pius XI among the Doctors of the Church. On the other hand, it is more than probable /198/
that Merezhkovsky, meeting with Ivanov in the 1930s, spoke with him about his book “Spanish Mystics”, dedicated to St. Teresa and San Juan de la Cruz, on which he was then working .
The poem “Todo Nada”, written on August 24, is included by Ivanov in the cycle “Rimsky Diary 1944 years old”:
“Do you want to own everything?
Don’t own anything.
Enjoy everything?
Know how to despise everything.
To know everything.
Learn not to know.
If you want to be everything, –
Become nothing.
Night and your stone Carmel,
John of the Cross,
The distant flower is dear to me in God,
Joy is beauty.
“Everything is nothing.” – You glorified, holy,
God, – the key in the night;
Why are your praises streaming
Dark rays?
Nothing looks from heaven
From under the starry ages.
the God-man has risen on my land.
Iloah’s death cry
From the height of the cross –
Is everything that your
could groan your lips in the night?
I do not want riches, delights,
Knowledge, Total:
I want to be one of the children
of my God.
My children’s will —
To be a son, not for everyone.
Become like God called the snake,
Crawled into Eden.
/199/
Not then that will rush
Light to renew the Earth,
The heart wants every color
Bless here.
Not because God can
Deify the creature,
The guest kindled melancholy in me –
Encircle the Cross.
(Ivanov 1979:627-628)
The phrase “Todo Nada” in Spanish, which is included in the title of the poem, is absent from the mystic from Fontiveros, however, the Russian poet unmistakably chose two key image-symbols, which, along with such words as “night”, “ascent”, “flame”, occupy a central place in the system of the mystical-ascetic universe of San Juan de la Cruz. In the Brussels Collected Works of Ivanov, the poem is not commented on, in the two-volume edition of the Big Series “Poet’s Library” the title language is erroneously interpreted as “Italian”, and the poem itself is interpreted as inspired by “two Christian legends (sic!): about John the Baptist and about the Old Testament prophet Elijah » (Ivanov 1995:356).
In fact, the poem is a combination of a translation of a fragment of a poem by a Spanish mystic and an original work by Ivanov himself, based on this poem by a mystic from Fontiveros, the poetry of Juan de la Cruz in general, and also, as we will try to prove, one of the most famous mystical creations of the Christian West, the anonymous sonnet “The spirit boils with love for Thee, my Savior.
”
Ivanov translated the first stanza of the poem, which is an integral part of the drawing by Juan de la Cruz, symbolically generalizing the entire mystical concept of the prose treatise “Climbing Mount Carmel”: /200/
Para venir a gustarlo todo,
No quieras tener gusto en nada;
Para venir a saberlo todo,
No quieras saber algo en nada;
Para venir a poseerlo todo,
No quieras poseer algo en nada;
Para venir a serlo todo,
No quieras ser algo en nada.
(Bakhtin 2000:320)
Thanks to the kindly provided by A. B. Shishkin, handwritten materials from the Roman archive Vyach. Ivanov – drawing and extracts – it can be said with confidence that the creation of the poem “Todo Nada” was preceded by serious work, immersion in the world of religious views of the mystic from Fontiveros.
The poem San Juan de la Cruz, written by him for his spiritual daughters, is the quintessence of the poet’s lyrical attempts to give the most perfect and most convincing description of his mystical experience.
In turn, the drawing, of which the poem we are interested in is a part, is an artistic synthesis of the entire mystical-ascetic system, which so struck both contemporaries and descendants. It was created by Juan de la Cruz in Beas de Segura either at the end of 1578 or at the beginning of 1579of the year. However, the first edition of the treatise “Climbing Mount Carmel” was prefaced not by the original drawing by Juan de la Cruz, lost for a long time and discovered only in 1912, but by Diego de Astor’s engraving created on its basis, which, obviously, came into view Ivanova.
The Russian poet made significant corrections to this comprehensive religious symbolist picture of the ascent of the soul to the top of Mount Carmel. He brought to one plan everything that is located on the engraving at different levels. Leaving the theological virtues in the center and among them Compassion, which corresponds to the source, Ivanov, bordering them, placed cardinal virtues on both sides, in two pairs, thereby creating a curious parallelism between the gifts of the Holy Spirit, on the one hand, and the theological and cardinal virtues.
leading to the top of Mount Carmel, on the other. Thus the following pairs are formed: Piety – Justice, Council – Prudence, Reason – Faith, Wisdom – Love, Knowledge – Hope, Fortress – Strength, Fear of God – Moderation. In the third row we find /201/
twelve fruits of the Holy Spirit, enumerated according to the tradition of the Church: Love, Joy, Peace, Forbearance Generosity, Goodness, Benevolence, Meekness, Loyalty, Modesty, Temperance, Chastity.
The asceticism of Juan de la Cruz is infinitely far from ordinary asceticism. The concentration of all will, feelings, thoughts on the Beloved, with complete oblivion of everything that has nothing to do with Him, is one of the laws of the psychology of love. To the same Magdalena of the Holy Spirit, who was given the aforementioned surviving drawing, the mystic from Fontiferos wrote: something else?” (see: Averintsev 1989:54).
Juan de la Cruz’s poem “Todo Nada”, highly ascetic, even against the background of the rest of the poet’s lyrical heritage, including its lexical, grammatical and syntactic structure, is as close as possible to the aesthetic searches of the late Ivanov.
The poetry of Juan de la Cruz was very close to the Russian poet’s own creative aims. The main reason for this spiritual affinity, apparently, is that Ivanov’s poetry is, as S. S. Averintsev showed, not only the poetry of symbolism, but really symbolic poetry, in which symbols were the reality of poetry (see Averintsev 1989:42). However, for four centuries now, the special attraction of the work of Juan de la Cruz lies in the fact that this theology is not only mystical, not only ascetic, not only lyrical, but also symbolic (see Yndura’in 1969:19-20), and of such depth , expressiveness and perfection, which, according to many connoisseurs of his talent, world culture did not know.
Ivanov’s translation can be recognized as almost absolutely adequate despite two deviations – grammatical and, so to speak, hierarchical semantic. The Russian poet broke each of the statements of the original, perceived by the modern Russian ear as somewhat excessive edification, into two short sentences: a question and an answer, giving the verse greater expression.
At the same time, he changed the order of “instructions”, ascending from the least significant to the final, generalizing, undoubtedly having /202/
mysticism from Fontiveros hierarchical character. With Ivanov, the “knowledge” so dear to his heart moved to the third position from the second.
It is curious that Ivanov’s own poem is permeated with motives rather than other masterpieces of the Spanish mystic’s lyrics, such as “Spiritual Song”, “Dark Night of the Soul” and “Song of the Soul Finding Rest Thanks to Faith in the Lord” than the remaining untranslated stanzas of the poem composed by a mystic from Fontiveros for his spiritual daughters from the Convent of Barefoot Carmelites in Calvario.
The indissoluble unity of the translation and Ivanov’s original poem can be interpreted in different ways: either as an epigraph and the following own text, or, in the traditions of Western European medieval lyrics, as a given theme and variations, or, already in the traditions of the “tower” – as a dialogic structure, according to the laws of the “challenge-response” construction, as a replica by Juan de la Cruz and Ivanov’s response to it, partly picking up the interlocutor’s mystical and symbolic thesis, partly rethinking it, partly developing it.
The central words-symbols of Juan de la Cruz’s poetry, such as “night”, occupy a central place in Ivanov’s poem and refer to the work of the Spanish mystic, but at the same time they carry a completely different semantic load, forcing us to remember, first of all, our own lyrics Russian poet. So, the impenetrable darkness of a hopeless night, outside of which, according to the mystic from Fontiveros, the merging of the soul with God is impossible, is picked up by Ivanov with the lines “Why do your praises stream / Dark rays?”, At the same time referring to Ivanov’s own poem “Mysticism” from from the collection Piloting Stars: “In the bright radiance of the day, pale stars are invisible / Down below the darkness is more mysterious – brighter than the luminaries of heaven” (Ivanov 1971:640), thereby giving the verses a polemical edge. In the next stanza, reminiscences from another famous poem by Juan de la Cruz are obvious – “The Song of the Soul Finding Rest Through Faith in the Lord” – and at the same time, as in the case of the previous stanza, there is an echo with the motives of earlier Ivanov works, such as as an essay “You Are”.
/203/
At the same time, it seems to us that the last four stanzas of the Russian poet’s poem are an echo of another masterpiece of Spanish mysticism, the anonymous sonnet “No me mueve, mi Dios, para quererte”, which for a long time was attributed either to Teresa de Jesus or to Ignacio Loyola, then to other prominent figures of the Jesuit order. In Russia, including the writers and thinkers of the Silver Age, this sonnet was well known thanks to Ivan Kozlov’s translation, entitled “Saint Teresa’s Sonnet”:
My spirit boils with love for You, my Savior,
Carried away not by joyful heavens with desire,
Not frightened by gloomy fires of hell
And not for the abyss of blessings given to me by You!
I love you in you, holy with love
I look like on the cross the Son of God, tired,
Hangs exhausted, hangs bloody,
How hard he died before the violent crowd!
And the mysterious heat penetrates my soul;
Without bright paradise You would have captivated me;
You would be my fear without eternal fire!
What purpose gives birth to such love?
The soul in love for You is full of the hopes of the saints,
But it would also love without them2.
However, after a whole chain of denials and affirmations reinforced by them, structurally and thematically, possibly related to an anonymous Spanish sonnet, the finale of Ivanov’s poem: “The guest kindled melancholy in me – encircle the Cross with it” – again unmistakably leads us to Juan de la Cruz , or John of the Cross, as he was called at the beginning of the 20th century by a few Russian admirers of the talent of the mystic from Fontiveros, for whom the cross on which the Savior was crucified was not only a reminder of the sufferings of Christ on the cross, but became his name and destiny.
The fundamental difference between Vyacheslav Ivanov and all his contemporaries, poets and thinkers was that he /204/ loved world culture regardless of himself. He not only turned to her for support, for relaxation, in search of fresh or thrilling sensations, but cherished her, served her, conducted a dialogue with her. There is something Pushkinian in this relation of Ivanov to world culture, in this constant orientation towards the continuation of an unfinished dispute.