Relaciones públicas y tecnología: la interactividad como punto de encuentro entre las ONG y sus públicos / Public relations and technology: interactivity as a meeting point between NGOs and their audiences

This study focuses on the perceptible interactivity processes in the corporate websites of non-traditional political actors of enormous importance in increasingly unequal societies: non-governmental organizations. To carry out this study, another similar research is taken as a reference on the methodological matter (Caprioti et al, 2016; Smolak and Castillo, 2017). In the first part of the article, we make a theoretical review about how interactivity gets to establish as an issue for public relations scholars. This is a subject that has been being studied for almost twenty years in the academic field. Then, in the methodology section, to analyze the interactivity level of these websites, a sample of seven NGOs dedicated to Development Cooperation that operate in Spain is selected. These NGOs have the greatest annual budget, and we decided to pick only the ones that do not have a religious basis. The Spanish NGOs that enter on that category are: Oxfam Intermon; Plan Internacional España; Educo; Cruz Roja Española; Save The Children España; Acción contra el Hambre y Ayuda en Acción. We carry out a content analysis is that aims to identify the expression of two categories, Information Presentation Tools and Virtual Visitor Resources. To carry out the methodology, we use a model created by the studies mentioned above. Based on the detection of these categories on each NGO website, the level of interactivity offered by these entities is analyzed, and the type of relationship they establish with their audiences is interpreted from the spaces for participation and interactivity that they promote. The analysis is complemented with the study of the "call to action" present on each web page, as a singular element of web design that aims to establish a privileged contact with the public. Among the results, we can say that several NGOs are using the same tools to get in contact with their audiences. Also, they implement different kinds of digital spaces to get more interactivity with their stakeholders. Nevertheless, we also identified that the first contact that they offer from their websites is asking for money, which might be a problem for them as non-traditional political actors who depends on their capacity of influence in the political system. This action may have an impact on the way people think about them, and the symbolic capital of these entities may be at stake. The research concludes that the NGOs that are part of the study offer high levels of interactivity on their corporate websites, however, the first contact they offer from the call to action of the web pages aims to request financial contributions, which would negatively impact in generating a long-term bond between these NGOs and their audiences. With this first contact, they are communicating that their stakeholders are just money givers, and not citizens how are committed to changing the odds of unequal situations. These results are a contribution to the existing scientific literature about public relations and interactivity on the NGOs, and invite a critical reflection on the actions of digital communication from NGOs for development, non-traditional political actors of enormous importance in the current context.

El Cine y la Villa Malaparte de Capri

La Pelle, novel or autobiographical story by Curzio Malaparte and La Pelle, film by Liliana Cavani. Written hypotext and visual hypertext in terminology of literary and interartistic theory. On the other hand there are Il disprezzo, novel by Alberto Moravia and Le Mépris, film by Jean-Luc Godard, in a similar condition. There is always an intermediate step: it is the script, written but already prefiguring moving images. We can consider it both hypotexts of the novel and hypertext of the film. In Liliana Cavani’s film, the Malaparte house is necessarily the same as in the novel, where it appears and is explicitly described. However in the case of Le Mépris it is a choice of Godard, since the reference to the house in the novel only prefigures that the house is in Capri and has nice views to Punta Campanella. As we will see some of the locations, when adapting to the configuration of the Malaparte, extract from the house specific original possibilities of the film and in some way they bring new approaches of greater plasticity to the scenes while, however, the dialogues between the characters remain almost intact. One example is the way in which a singular element such as the upper terrace of the house replaces the beach where Molteni, the screenwriter, finds his wife Emilia. The same terrace appears as well as the set of the Odyssey version that begins to be shoot precisely at the end of Le Mépris.

NUMERICAL EVALUTION OF STRESS INTENSITY FACTOR AND STRESS BIAXIALITY FOR COMPACT SPECIMEN BASED ON GRAPH MODEL OF ELASTIC SOLID

The paper presents the results of numerical calculation of the stress intensity factor and the biaxiality factor for a compact tension specimen. A singular element of the graph model of an elastic solid is used to analyze the stress state near a crack.

Las intervenciones arquitectónicas en el Palacio del Almirante de Aragón en Valencia (principios del siglo XX)

<p>The Palace of the Admirals of Aragón is in the city of Valencia, Spain. It was built in the Gothic style of the Valencian self-governing period, and has always been an “architectonic type” reference of this era. Referring to the building itself, there are two elements to highlight because of their interest. The first is its courtyard, which fits into the developed standards in all states of the old Crown of Aragón, talking about either the ones currently in Spain or those existing in France or Italy. Because of that, researchers came up with the term “Mediterranean Gothic” to define this style, since there are currently different geographic regions belonging to different countries. This courtyard will be the main research objective of this paper; it was designed before the ground floor, first floor and small attic interventions. The second element which makes this building unique is its ceilings of carved painted woodwork. Until the present day, this Palace has only been refurbishment once (in 1987), according to written records. The aim of this paper is to show that even though the courtyard has always been used as the best way to show the Valencian Gothic style, many of its elements were added in the first half of the 20th Century. In this research, it can be deduced that there were at least three technicians in the period between 1902 and the late 30s. Surveyor Salvador Furió, who simply put some order into interior partitions where a Gothic spiral staircase was demolished, carried out the first intervention. In the late 1920s, the work was taken over by architect Joaquín Rieta Sister, who was responsible for the restoration of the original state of the courtyard, whose ground floor arcs had been blinded before Rieta’s intervention. He opened these arcs by creating new wall gaps and installing regular windows there. This architect also removed some of the closed rooms on the ground floor, which were used for storage. Finally, he demolished the upper floor façade, turning the attic into a balcony using metallic handrails. After Rieta, architect Antonio Gómez Davó took charge of the work. He kept working on the courtyard, removing the last storage room left, and making three new gaps in the east façade, inspired by existing Neogothic doors. He demolished Rieta’s balconies and turned the upper floor into a useful space that met the requirements of the building to be used as a school. Gómez Davó increased the building’s height by turning this upper floor into a closed space and reconstructed the ashlar wall adding bilobed Gothic windows. From that moment, the courtyard was composed of a ground floor and two full upper floors. Both Rieta’s interventions, as well as the one carried out by Gómez, can be considered “in style”, as it was the ruling fashion at that moment to refurbish historic buildings, at least in Spain.</p><p>It is interesting to highlight the new or refurbished works by Gómez due to the treatment given to the edges, so the new can be identified against the old. After the intervention by Rieta that turned the attic into a balcony, and after its demolition, there was a horizontal joint left which clearly crosses all the way through the patio’s perimeter. This part also shows a modern intervention treatment for its horizontality and by using new and lighter colour stone in the new attic enclosure, so both areas can be distinguishable.</p><p>The intervention carried out by Gómez was not only focused on the courtyard as Rieta did. In his archives, there is plenty of written and graphic material to approximate his interventions in this monument. Although the main objective of this research is to show the courtyard’s modern changes as the Palace’s singular element, it has attempted to reflect these interventions briefly, in the attached appendix. For this reason, 3D models of the patio and building have been built to give the most accurate idea of what happened to the building over time. The modelling of the courtyard includes three historical moments: before the intervention of Rieta, after the intervention of Rieta, and after the intervention of Gómez. The modelling of the building includes prior to the intervention of Gómez, after his intervention, before the 1987 intervention, and after its completion. The text also reflects on the danger of interventions “in style”, since these elements have been mistaken for the original ones and therefore may have caused confusion among researchers. Today, progress has been made in favour of historical truthfulness thanks to the participation of archaeologists, restorers to the traditional teams of architects and surveyors, who were dedicated exclusively to these works. Now we may have a different and perhaps more specialized vision in some aspects, thus ensuring a better result of the work.</p>

Precise Integration Symplectic Analytical Singular Element for Cracks Analysis Under Transient Thermal Conduction

Numerical modeling of mechanical behavior of cracks under transient thermal conduction involves solving an initial value problem (IVP) and two boundary value problems (BVPs). Both of the BVPs have a singularity issue. Drawbacks such as numerical error accumulation and high computational expense of existing numerical approaches should be overcome. This contribution intends to build a unified framework with highly efficiency and accuracy for the numerical modeling of cracks under thermal shock. The precise integration method (PIM) and the symplectic analytical singular element (SASE) have been demonstrated to be favorable alternatives for each problem, i.e., the PIM for solving the IVP and SASE for the BVP. However, it is found that these two methods cannot be combined directly. In order to incorporate the SASEs into the PIM, the existing SASEs are reformulated for the thermal shock cracks analysis. Details of the mathematical derivations are provided. The validity of the proposed method is demonstrated through numerical examples.

Fragmentation narrative et structuration identitaire dans vi de Kim Thúy

"In this article we propose to analyse the work of the Quebec writer of Vietnamese origin Kim Thúy and, in particular, her latest novel: vi (2016). Belonging to two cultures is always present in her narrative. The singular element in her stories rests on the narrative construction and on the force of the word to evoke the decisive facts of a life. Events, past and present, which are marked by this separation into short chapters that present intermittent and apparently dispersed situations but which, by gradually superimposing themselves, present a coherent unity with full meaning that adjusts structurally to the experiences narrated. We study the repercussions of this choice in her publications in which fragmentation composes the identity of the narrator and becomes a distinctive element of the writer's poetics"

Thermal-Mechanical Fracture Analysis Considering Heat Flux Singularity

Precise modeling of thermoelastic cracks remains challenging due to the fact that both heat flux and stress fields have singularity issue. In the previous studies, the first author proposed different types of symplectic analytical singular element (SASE) for thermal conduction and stress analysis of cracks. It has been demonstrated that these crack-tip elements of which the interior fields are defined by analytical solutions are highly accurate and efficient. However, the thermal mechanical coupling problem of crack cannot be treated with the existing SASEs. The main difficulty is that the analytical solution of the crack problem considering arbitrary temperature distribution is not available. Approximate solution may lead to significant numerical instabilities. Moreover, the construction of a crack-tip singular element for both thermal conduction and stress analysis is complicated and requires more efforts. In this study, the governing symplectic dual equation of thermoelastic crack is restudied. The analytical solution considering arbitrary temperature distribution is obtained in close form which, to the best of the authors' knowledge, has not been found before. Then, the finite element formulation of a new SASE for thermal-mechanical fracture analysis is derived analytically through a variational approach. A two-step analysis procedure is proposed to calculate the mixed mode thermal stress intensity factors (TSIFs)) and the analysis can be done on a fixed finite element mesh. Mesh refinement around the crack tip is unnecessary, and the mixed-mode TSIFs can be solved accurately without any postprocessing.