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(Spanish baˈroxa)
(Biography) Pio (ˈpio). 1872–1956, Spanish Basque novelist, who wrote nearly 100 novels, including a series of twenty-two under the general title Memorias de un Hombre de Acción (1944–49)


(bəˈroʊ hɑ)

n. Pío,
1872–1956, Spanish novelist.
References in periodicals archive ?
Martinez made no mistake five minutes later, however, racing through to drill past goalkeeper Alain Baroja after Venezuela lost possession in midfield.
Contract notice: Project management contract for the renovation and extension of the leisure centre in anglet baroja.
Bayern Munich's Pizarro scored on a left-footed shot that was tipped by Venezuela goalkeeper Alain Baroja but still went in off the underside of the crossbar.
Avant l'ouverture du score, la Colombie, meconnaissable, avait timidement domine la rencontre, sans inquieter Alain Baroja une seule fois.
Ernest Hemingway drew from Spanish writers of the generation of '98--from Pio Baroja, Vicente Blasco Ibanez, and Miguel de Unamuno--who, along with a generous tutoring in metronomic repetitions by Gertrude Stein, helped to shape his style.
4) Caro Baroja senala que en la epoca se creia que la "sangre y leche van unidas.
Such expectation brings to mind what Pio Baroja identified as a frequent critical error: "juzgar una iglesia gotica con las reglas del arte griego" (4:313).
Ensayo de Historia Social[beaucoup plus grand que] (1957), ecrit par Caro Baroja sur les morisques et les [beaucoup moins que]moros[beaucoup plus grand que] pour que la conscience des historiens et intellectuels espagnols soit fortement secouee pour leur cecite et ideologisation des questions arabo-musulmanes.
He negates the idea that Hemingway and Pio Baroja were friends, quoting Barojds negative reaction to Hemingway's appearance at his bedside.
This collection of fourteen essays by renowned Basque historian and linguist Julio Caro Baroja showcases this important writer's contributions to the preservation of Basque heritage.
These meanderings in time in the second part of the novel take place in May and June, what Julio Caro Baroja has called the season of love, months dedicated to love and to the powers of generation: this would explain why the second part of the novel centers on Dulcinea's enchantments.