scholarly journals "Luz de domingo": texto y adaptación fílmica

Author(s):  
Enrique Sánchez Costa

Este artículo aborda desde un punto de vista comparatista la novela poemática ayaliana Luz de domingo, cotejándola con la libre adaptación al cine llevada a cabo por José Luis Garci. Si el escritor pergeñó una novela corta, intelectual, una parábola con la que denunciar los males endémicos que arrastraba la sociedad española, el director ha sorbido el espíritu de la novela, pero tratándola desde su particular punto de vista. De esta manera veremos como un mismo tema –el sufrimiento del justo a manos de los caciques– puede afrontarse desde ópticas diferentes, incidiendo en unos u otros aspectos, y de qué manera puede recrearse una obra literaria por medio del lenguaje y las técnicas cinematográficas. Palabras clave: Ramón Pérez de Ayala; novela poemática; novela lírica; Luz de domingo; José Luis Garci; película.   This article trackles, from a comparative point of view, Perez de Ayala’s poematic novel Luz de domingo, in comparison with its movie adaptation directed by José Luis Garci. If the writer drew an intellectual short story, a parable about the endemic diseases dragged by Spanish society, the director has sipped the spirit of the novel, but focusing it from his particular interests. Thus, we shall see how the same issue –the righteous’ suffering at the hands of the tyrants– can be tacked through different lenses, focusing on some other aspects, and how a literary work can be recreated through language and film techniques. Key words: Ramón Pérez de Ayala; poematic novel; lyrical novel; Luz de domingo; José Luis Garci; film.

2021 ◽  
Vol 2021 ii (15) ◽  
pp. 146-182
Author(s):  
Haroula Hatzimihail ◽  
Ioannis Pantelidis

In this announcement, the various –linguistic and non-linguistic- symbols used in the literary work 'Around the world in 80 days', written by Jules Verne, are examined from an intertemporal and contemporary point of view. The references through these points of view, in matters of multiculturalism and multilingualism, are becoming classical in nature: they concern the necessity of the applied ability to communicate between individuals who belong to different social classes and age groups, speak the same or different languages, come from different cultures, with rights and obligations in their various areas of life, etc. Key-words: linguistics, multilingualism, multiculturalism, semiotics, semiotic systems, symbols


2021 ◽  
pp. 47-104
Author(s):  
Albert Esplugas

This paper presents a critique of intellectual property from an ethical and economical point of view. Once patents and copyrights are characterized as a monopolies of ideas, it is argued that intellectual pro-perty violates private property rights in its original meaning and it is not based in real scarcity but creates artificial scarcity instead. In addition, the paper challenges intellectual property as an incentive to innovation and studies the several costs of this kind of regulation. Eventually, diffe-rent market alternatives to tackle the free-riding problem are explored. Key words: intelectual property, patents, copyrights, private property, scar-city, public good, innovation incentives, market economy. Clasificación JEL: O310, O320, O340, H410. Resumen: En este trabajo se presenta una crítica a la propiedad intelec-tual desde una perspectiva ética y económica. Tras caracterizar las paten-tes y los copyrights como monopolios sobre ideas, se arguye que la pro-piedad intelectual viola el derecho de propiedad privada en su sentido tradicional y crea una escasez artificial en lugar de fundarse sobre la esca-sez. Se cuestiona, asimismo, que la propiedad intelectual suponga un incen-tivo a la creación, estudiando los distintos costes de una regulación de este tipo. Por último se mencionan varias alternativas de mercado para hacer frente a los problemas de free-riding. Palabras clave: propiedad intelectual, patentes, copyrights, propiedad privada, escasez, bien público, incentivos a la innovación, mercado.


2014 ◽  
pp. 27
Author(s):  
Daniel Rueda Garrido

<p><strong> </strong></p> <p><strong>RESUMEN</strong></p> <p>La obra novelística de Ramón Pérez de Ayala en su primera época (1907 – 1913) está construida según la ley de progreso histórico del ideal krausista. Ese   ideal supone la integración de las partes en el todo, es decir,  la asimilación sucesiva de los conjuntos humanos por el individuo en un proceso gradual de comprensión de sus características esenciales. El medio idóneo para esa comprensión universal es la educación estética,  que favorece la imaginación por la concordancia de la razón y los sentidos. El momento cumbre de ese progreso es un estado definido como armonía con todo lo existente, y esto se aprecia tanto en la filosofía krausista de la historia como en la biografía de Díaz de Guzmán.</p> <p><strong>PALABRAS CLAVE: </strong>Ramón Pérez de Ayala - progreso histórico - educación estética - ideal   krausista - tetralogía</p> <p><strong> </strong></p> <p><strong>ABSTRACT</strong></p> <p>The early novels of Ramón Pérez de Ayala (1907 – 1913) are designed to follow the law of historical progress related to the Krausist ideal. That ideal is understood as the integration of the parts, that is to say, the gradual assimilation and comprehension of the essential characteristics of the human groups. To comprehend this takes an aesthetic education, which reinforce and help develop the imagination through the collaboration of reason and senses. The top of this human progress is a state of harmony with every existing thing, and that can be seen in the Krausist Philosophy of History as well as in the biography of Díaz de Guzmán.</p> <p> </p> <p><strong>KEY WORDS: </strong>Ramón Pérez de Ayala - historical progress - aesthetic education - Krausist  ideal - tetralogy</p>


Author(s):  
Jorge Sierra Merchán

ResumenEn la discusión sobre las implicaciones éticas de la ingeniería genética, es común establecer una diferencia entre eugenesia negativa y eugenesia positiva. La eugenesia negativa está conformada por procedimientos orientados a corregir defectos genéticos, es decir, a evitar o minimizar la trasmisión de enfermedades hereditarias. La eugenesia positiva consiste en potenciar u optimizar caracteres que se consideran deseables (belleza o inteligencia). Una cosa es reparar, con fines terapéuticos, un error genético y otra cosa es mejorar genéticamente un rasgo que se considera bueno y deseable. En este sentido cabe preguntarse: ¿hay un deber moral de evitar, mediante la ingeniería genética, que los niños nazcan con discapacidades y no se les condene a una vida de desgracia? ¿O hay también un deber moral equivalente de garantizar que los niños posean belleza e inteligencia? El presente texto busca responder ambas cuestiones mediante una evaluación de los argumentos en pro y en contra de la eugenesia desarrollados por Singer y Nussbaum. Sostendré que hay una obligación moral de aplicar la eugenesia negativa, mientras que tal obligación no es extensiva para el caso de la eugenesia positiva. Esto implica que no es posible exigir un presunto derecho a ser desgraciado ni desde el punto de vista de los padres ni desde el punto de vista de los futuros hijos para el caso de la eugenesia negativa, en tanto que para el caso de la eugenesia positiva el derecho a ser desgraciados parece ser más defendible. Palabras clave: Eugenesia, genoma humano, principio preventivo, Singer, Nussbaum**********************************************************Is it possible to claim a alleged right to be disgraced? The “happy world” of eugenicsAbstractIn the discussion about the ethical implications of genetic engineering it is usual to distinguish between negative and positive eugenics. Negative eugenics refers to genetic imperfections correction procedures, which aim to avoid or minimize the transmission of hereditary diseases. Positive eugenics consists in the improvement or optimization of features considered desirable (as beauty or intelligence). One thing is to repair, for therapeutic purposes, a genetic error, and another to genetically improve a feature considered good and desirable. In this sense one could ask if it is a moral duty to avoid, through genetic engineering, impairments in newborns, saving them from an unfortunate life; and if there is also an equivalent moral duty to guarantee that children possess beauty and intelligence. This paper aims to answer both questions through an evaluation of the arguments for and against eugenics proposed by Singer and Nussbaum. I will hold that though there is a moral obligation to apply negative eugenics, this kind of obligation is not present in the case of positive eugenics. This implies that it is not possible to demand a presumed right to be miserable, either from the parent’s or the future children’s point of view, in the case of negative eugenics, although this presumed right to be miserable seems to be more defensible in the case of positive eugenics. Key words: Eugenics, human genome, preventive principle, Singer, Nussbaum.**********************************************************É possível reclamar um alegado direito a ser desgraçado? O “mundo feliz” da eugenesiaResumoNa discussão sobre as implicações éticas da engenharia genética é frequente estabelecer uma diferenciação entre eugenesia negativa e eugenesia positiva. A eugenesia negativa está conformada pelos procedimentos orientados a corrigir defeitos genéticos, ou seja, evitar ou minimizar a transmissão de doenças hereditárias. A eugenesia positiva consiste em potenciar ou aperfeiçoar caracteres que se consideram desejáveis (beleza ou inteligência). Uma coisa é reparar, com fins terapêuticos, um erro genético, e outra coisa é melhorar geneticamente um traço que se considera bom ou desejável, Nesse sentido é possível perguntar: há o dever moral de evitar, mediante a engenharia genética, que as crianças nasçam com incapacidades e não sejam condenados a uma vida de desgraça? Ou há também um dever moral equivalente de que as crianças possuam beleza e inteligência? O presente texto procura responder ambas as questões mediante uma avaliação dos argumentos em prol e em contra da eugenesia desenvolvidos por Singer e Nussbaum. Vou suster que há uma obrigação moral de aplicar a eugenesia negativa, enquanto que tal obrigação não é extensiva para o caso da eugenesia positiva. Isto implica que não é possível exigir um pressuposto direito a ser desgraçado nem desde o ponto de vista dos pais nem desde o ponto de vista dos futuros filhos no caso da eugenesia negativa, em tanto que no caso da eugenesia positiva o direito a ser desgraçados parece ser mais defendível. Palavras chave: Eugenesia, genoma humano, princípio preventivo, Singer, Nussbaum.


2019 ◽  
pp. 39-48
Author(s):  
María del Socorro MoraC de Asmat

Pedro Azabache Bustamante (1918-2012) fue un reconocido maestro indigenista, discípulo directo del fundador del movimiento, José Sabogal (1888-1956). Este artículo es una reflexión sobre su vida y obra desde un punto de vista psicobiológico y neuroestético. Palabras clave: Pedro Azabache, Indigenismo, Moche, maestro, personalidad, memoria, tradición, juego neuroestético AbstractPedro Azabache Bustamante (1918-2012) was a renowned Indigenist Master, direct disciple of the founder of the movement, José Sabogal (1888-1956). This article is a collection of thoughts on the life and work of Pedro Azabache from a psychobiological and neurasthenic point of view. Key words: Pedro Azabache, Indigenism, Moche, master, personality, memory, tradition, neuroaesthetics game


Author(s):  
Macarena Garcia-Avello

Este artículo examina la manera en que la metaficción postmoderna de Carol Shields en The Stone Diaries sirve de punto de partida para una crítica feminista desde la que se explora el carácter relacional y fragmentario del sujeto femenino. Aunque la crítica haya incidido en la vertiente feminista de la novela de Carol Shields, The Stone Diaries, el papel que juega el postmodernismo en la crítica feminista ha pasado desapercibido. El objetivo de este artículo es, por tanto, ahondar en la manera en que el feminismo se intercala con el postmodernismo en la obra de Shields. A lo largo de este  se demostrará cómo la confluencia entre la condición postmoderna y la construcción de la subjetividad de la protagonista proporciona a la obra una función política. Palabras clave: postmodernismo, feminismo, política, The Stone Diaries   This article examines the way in which postmodern metafiction in Carol Shields´ s The Stone Diaries can be understood as a starting point to explore the relational and fragmentary subjectivity from a feminist standpoint. Although most analysis on The Stone Diaries put an emphasis on the importance of feminism, the influence of postmodernism in Shields´s novel has been commonly overlooked. This article aims to delve into the interaction between feminism and postmodernism in order to demonstrate how this interplay provides the novel with a political function.   Key words: postmodernism, feminism, politics, The Stone Diaries.  


ZARCH ◽  
2016 ◽  
Author(s):  
Fernando Zaparaín Hernández

Muchas de las imágenes con las que Le Corbusier construyó su paisaje urbano procedían de las infraestructuras elevadas. Estas le aportaron dos visiones novedosas: se sustituía al tradicional observador a ras de suelo por la vista de pájaro y se superaba el estatismo de la perspectiva focal con un travelling dinámico desde el automóvil. Para conseguirlo, tomó prestada de la ingeniería civil la idea de crear una plataforma sobre pilotis, en la que disponer los edificios y las calles. Empleó la superposición de usos que permitía esa sección como instrumento urbanístico para zonificar y separar las circulaciones de lo habitacional. Esa plataforma, que al principio se limitaba al nivel inferior, evolucionó inspirándose en autopistas y puentes para definir algunos recursos plásticos que luego fueron imprescindibles en su arquitectura, como el viaducto habitado o la rampa, siempre asociados al movimiento y con dimensión territorial. De este análisis se desprende la habilidad corbuseriana para traducir las nuevas tecnologías a formas verdaderamente abstractas, su versatilidad para usar a diversas escalas los mismos elementos, la fidelidad a sus sistemas característicos y la capacidad para generar grandes iconos de la modernidad mediante la eficaz combinación propagandística de imágenes, gráficos y eslóganes. Palabras clave: Le Corbusier, ciudad, infraestructuras, circulaciones, viaductos Many of the images used by Le Corbusier to depict his urban landscape are from the high ways and bridges. This allowed him to change the traditional point of view in two ways: replacing the traditional observer at ground level by the bird's eye and changing the statism of the focal perspective which was replaced with a dynamic traveling from the car. To do this, he borrowed from civil engineering the idea of ​​creating a platform of pilotis, and to putting up the buildings and the streets. He used the superposition of uses that allowed that section as an urban planning instrument to zoning and separate the circulations of the housing. This platform, which at first was limited to the lower level, evolved inspired by motorways and bridges to define some plastic resources that were then essential in its architecture, such as the inhabited viaduct or ramp, always associated with movement and territorial dimension. This analysis reveals the ability of Le Corbusier to translate new technologies into truly abstract forms, his versatility to use the same elements at different scales, his fidelity to their characteristic systems and his ability to generate great icons of modernity through the effective combination of propaganda, images, graphics and slogans. Key words: Le Corbusier, city, road infrastructure, circulation, viaduct


2018 ◽  
Vol 222 (1) ◽  
pp. 225-240
Author(s):  
Ahmed Abdul RazaqNasir

The thesis of New Historicism in this research stand on an approach the narrative discource in a novel named "the veil of bride" by Muhammed Al Humarany an Iraqi novelist. It's written after American occupation to Iraq in 9 April 2003. The approach also try to know how the traces of past enter the modern culture, and put the literary work in the historical Context, and then interpretate the codes of narrative text, and deeply digging to grasp the cultural systems, that lies in aesthetic text. This systems that disguise in the novels meanwhile its imagenativelyportartes the reality, from point of view agree or disagree with the historical events. So this resaearch try to deconstruct the central and dominant discourses in the aesthetic text, to reveal the part of diver mountain in the discourses of texts. The research diveds into two parts: First is a theoritcal approach, which distinguish between the traditional historical criticism and New Historical criticism, and how are they connect with the cultural criticism. Second is try to approach the novel of this research


ECA Sinergia ◽  
2018 ◽  
Vol 9 (2) ◽  
pp. 121 ◽  
Author(s):  
Gladys Saltos Briones ◽  
Silvia Odriozola Guitart ◽  
Maritza Ortiz Torres

  En el mundo contemporáneo, cada vez con mayor fuerza, el conocimiento se convierte en un elemento fundamental para los procesos de desarrollo, lo cual ha ido transformando el rol de las universidades en sus vínculos con la sociedad. En este contexto, la participación del gobierno, así como del sistema empresarial, se torna igualmente relevante, dando lugar a diversos modelos de vinculación entre todos estos actores. Teniendo en cuenta lo anterior, el presente trabajo tiene como propósito fundamental la sistematización, desde el punto de vista teórico-metodológico e histórico, de las bases conceptuales para la vinculación universidad-empresa-gobierno, así como de los modelos de vinculación derivados de la experiencia internacional. Ambos tópicos son abordados en los dos apartados que conforman el artículo.   Palabras clave: Vinculación, Universidad, Empresa, Gobierno   ABSTRACT In the contemporary world, knowledge is increasingly becoming a fundamental element for development processes, which has been transforming the role of universities in their links with society. In this context, the participation of the government, as well as of the industry, becomes equally relevant, giving rise to diverse models of linkage between all these actors. Taking into account the above, the present work has as its fundamental purpose the systematization, from the theoretical-methodological and historical point of view, of the conceptual bases for the university-industry-government linkage, as well as of the linking models derived from the international experience. Both topics are addressed in the two sections that make up the article.   Key words: Linkage, University, Industry, Government  


Author(s):  
Laurie Champion

The short story is the only genre that can be considered uniquely American. The genre began as sketches, or tales, as in the classic tale “Rip Van Winkle.” The genre remained undefined until Edgar Allan Poe’s well-known 1842 review of Nathaniel Hawthorne’s Twice-Told Tales. Since Poe’s review, in which he distinguished short fiction from other genres, the American short story has evolved both in form and in content. Like other genres, the short story has evolved through various movements and traditions such as realism, modernism, and postmodernism; however, it has remained unique because of publishing opportunities that differ from longer works such as the novel. The short story genre shares elements of fiction with the novel, traditionally consisting of characteristics such as plot, character, setting, point of view, theme, and writing style. Although the short story shares elements of literature and writing devices with other literary genres, avenues for publication differ greatly. Unlike a novel, a short story is not published as a single entity. It is usually presented with works by other authors in a journal or magazine or in a collection of previously published stories by one author. The rise in popular magazines during the 1920s gave rise to the short story, as the magazines provided a publication outlet. During the second half of the 20th century the short story became less commercial and more literary, paving the way for artistic stories such as one appropriately called “The New Yorker Story.” However, as it became less commercial, the short story fell from popularity and became somewhat obscure in the manner in which poetry remains. Because short stories do not sell, publishers are hesitant to produce them. But during the 1970s, American universities began teaching creative writing classes, and the short story provided a suitable genre for teaching the art of fiction writing. Hence, the American short story experienced a renaissance, and a wave of literary journals emerged. About this time, minimalism was one of the styles most often used in the short story. Raymond Carver built on what Ernest Hemingway had started in America, and the short story took on a new form. During the latter half of the 20th century and early 21st century, women and ethnic writers were given more opportunities to publish short fiction, and the short story reflected progress in civil rights issues. Currently, the rise in technological advances has brought even more opportunities for publication, and more and more American authors are publishing short stories online, now a respected publication venue.


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