La censura del tema deportivo en la prensa durante la posguerra espa��ola (1939-1945)

La presente tesis doctoral pretende arrojar nueva luz sobre la utilizaci��n de la prensa durante los primeros a��os del franquismo. En concreto, el objetivo ha sido estudiar la censura del tema deportivo dentro del sistema censorio de los primeros a��os de posguerra civil en Espa��a, una ��rea no estudiada hasta hoy y que entendemos fundamental para entender el desarrollo del deporte durante el llamado primer franquismo. Para ello, se estudiaron de manera pormenorizada los actores principales y los pasos b��sicos del proceso de censura; los m��todos utilizados, tanto materiales como personales, para hacer efectiva ��sta; y, por ��ltimo, sus manifestaciones reales en el ��mbito de la informaci��n deportiva: qu�� se censur��, por parte de qui��n, de qu�� forma y por qu�� motivos. De este modo, pretendemos llenar una de las lagunas de investigaci��n que a��n quedan dentro del estudio de la censura de prensa durante el franquismo. La metodolog��a utilizada es la t��cnica historiogr��fica. Basado en el an��lisis cr��tico y en la interpretaci��n de fuentes primarias, dicho m��todo trata de establecer marcos hist��ricos de referencia a trav��s del estudio pormenorizado de las circunstancias del pasado. Ello implica una estructura algo distinta a la de las tesis doctorales de otras ��reas de estudio puesto que, exceptuando la introducci��n, toda la tesis es la exposici��n de los resultados de la investigaci��n llevada a cabo. Se ha utilizado cuantiosa documentaci��n de los archivos General de la Administracion (Alcal�� de Henares) y Centrale dello Stato (Roma) no manejada anteriormente por ning��n investigador. La prensa peri��dica de la ��poca y la legislaci��n que afecta a nuestro tema de estudio tambi��n han sido ampliamente investigadas, tanto en el contexto espa��ol como en el italiano. Nuestra investigaci��n arroja los siguientes resultados. Efectivamente, existi�� censura de prensa en el tema deportivo en las siguientes tem��ticas fundamentales: cuestiones econ��micas, autoridades y jerarqu��as, uso del lenguaje y comportamiento de los deportistas. En la mayor parte de los casos, la censura se ejerce en la informaci��n deportiva por razones ajenas al propio deporte. No se puede afirmar que existan diferencias en el tratamiento general entre medios de la Prensa del Movimiento y otros de titularidad privada o eclesi��stica, si bien la aplicaci��n de la censura no fue homog��nea sino arbitraria en muchos casos. El sistema de censura de prensa espa��ol del primer franquismo toma la mayor��a de sus rasgos del modelo fascista italiano, aunque tiene alguna caracter��stica propia como la censura previa y el catolicismo imperante. ABSTRACT This doctoral thesis aims to shed light on the use of press during the first years of francoism. The particular objective was to study the censorship of the sport topic into the general system of censorship carried out after the Spanish Civil War. It is a subject comparatively understudied to date but a key aspect to understand the development of sport during the so called early francoism. To this end, an in-depth study was made on key actors, main steps of censorship process, human and material methods used to ensure its effectiveness, and the actual manifestations in sports information area: what was censored, by whom, how and why. This should ensure us to fill the historiographical gap within the research on Franco��s press censorship. Methodology used was historiographic research. It is based on critical analysis and interpretation of primary sources and seeks to establish historical reference frameworks tracing back the past in detail. It determines a different doctoral thesis structure in some aspects. Except the introduction, the whole document is the report and explanation of the results of research. A large amount of unexplored documents from the Archivo General de la Administraci��n (Alcal�� de Henares, Spain) and the Archivio Centrale dello Stato (Rome, Italy) has been used. The press of the period and legislation about our topic have also been analysed in detail both in Spain and Italy. Our research states these results. We can affirm that press censorship actually existed on sports topic in these thematic priorities: economical issues, authorities and hierarchies, use of language and sportsmen behaviours. In most cases, the censorship of sports information is exercised for reasons unconnected to sport. It cannot be concluded that general differences were applied in press censorship between State-owned media and private or church media although its implementation was non-uniform and arbitrary in many cases. The system of press censorship in Spain during the early francoism is clearly inspired by fascist Italy system copying most of its features although Spain had a few specific characteristics like prior censorship and catholicism.

Si and SixGe1-x NWs studied by Raman spectroscopy

Group IV nanostructures have attracted a great deal of attention because of their potential applications in optoelectronics and nanodevices. Raman spectroscopy has been extensively used to characterize nanostructures since it provides non destructive information about their size, by the adequate modeling of the phonon confinement effect. The Raman spectrum is also sensitive to other factors, as stress and temperature, which can mix with the size effects borrowing the interpretation of the Raman spectrum. We present herein an analysis of the Raman spectra obtained for Si and SiGe nanowires; the influence of the excitation conditions and the heat dissipation media are discussed in order to optimize the experimental conditions for reliable spectra acquisition and interpretation.

Estimation of functional connectivity from electromagnetic signals and the amount of empirical data required

An increasing number of neuroimaging studies are concerned with the identification of interactions or statistical dependencies between brain areas. Dependencies between the activities of different brain regions can be quantified with functional connectivity measures such as the cross-correlation coefficient. An important factor limiting the accuracy of such measures is the amount of empirical data available. For event-related protocols, the amount of data also affects the temporal resolution of the analysis. We use analytical expressions to calculate the amount of empirical data needed to establish whether a certain level of dependency is significant when the time series are autocorrelated, as is the case for biological signals. These analytical results are then contrasted with estimates from simulations based on real data recorded with magnetoencephalography during a resting-state paradigm and during the presentation of visual stimuli. Results indicate that, for broadband signals, 50���100 s of data is required to detect a true underlying cross-correlations coefficient of 0.05. This corresponds to a resolution of a few hundred milliseconds for typical event-related recordings. The required time window increases for narrow band signals as frequency decreases. For instance, approximately 3 times as much data is necessary for signals in the alpha band. Important implications can be derived for the design and interpretation of experiments to characterize weak interactions, which are potentially important for brain processing.

The dicode workbench: A flexible framework for the integration of information and web services

Aiming to address requirements concerning integration of services in the context of ?big data?, this paper presents an innovative approach that (i) ensures a flexible, adaptable and scalable information and computation infrastructure, and (ii) exploits the competences of stakeholders and information workers to meaningfully confront information management issues such as information characterization, classification and interpretation, thus incorporating the underlying collective intelligence. Our approach pays much attention to the issues of usability and ease-of-use, not requiring any particular programming expertise from the end users. We report on a series of technical issues concerning the desired flexibility of the proposed integration framework and we provide related recommendations to developers of such solutions. Evaluation results are also discussed.

La ciudad editada: de Las Vegas a Nueva York (1972-1978): Venturi / Scott Brown / Koolhaas

Si hubiese un denominador com��n entre todas las artes en lo que ha venido llam��ndose postmodernidad, ��ste tendr��a mucho que ver con el final del origen de la obra. Desde la literatura y la m��sica hasta las artes pl��sticas y la arquitectura, la superaci��n de la modernidad ha estado caracterizada por la sustituci��n del concepto de creaci��n por el de intervenci��n art��stica, o lo que es lo mismo, la interpretaci��n de lo que ya existe. A principios del siglo XX los conceptos modernos de creaci��n y origen implicaban tener que desaprender y olvidar todo lo anterior con el ��nimo de partir desde cero; incluso en un sentido material Mies suger��a la construcci��n literal de la materia y su movimiento de acuerdo a unas leyes. A partir de la segunda mitad de siglo los planteamientos historicistas empezaron a surgir como reacci��n ante la amnesia y la supuesta originalidad de los modernos. En este contexto surgen los libros Learning from Las Vegas, 1972 y Delirious New York, 1978, ambos deudores en muchos aspectos con el anterior libro de Venturi, Complexity and Contradiction in Architecture, 1966. Estos dos libros sobre ciudades, alej��ndose decididamente de las tendencias historicistas de la ��poca, propon��an utilizar el an��lisis cr��tico de la realidad existente como veh��culo para la teor��a y el proyecto de manera simult��nea, convirti��ndose indirectamente en Manifiestos. Si en un primer momento Venturi, Rossi y otros planteaban acabar con los l��mites formales establecidos por la modernidad, as�� como por cualquiera de los c��nones anteriores, tomando la totalidad de la obra construida como sistema de referencia, - al igual que hiciera Eliot en literatura, - los libros de Las Vegas y Nueva York suger��an directamente borrar los l��mites de la propia disciplina, llegando a poner en duda ��Qu�� puede ser considerado arquitectura? Sin embargo, debido precisamente a la ausencia total de l��mites y a la inmensidad del sistema referencial planteado, ���todo puede ser arquitectura���, como apuntaba Hans Hollein en 1968, los libros proponen al mismo tiempo definir el campo de actuaci��n de cada cual de manera individual. Los escritos sobre Las Vegas y Nueva York suponen por un lado la eliminaci��n de los limites disciplinares y por otro, la delimitaci��n de ��mbitos de trabajo concretos para sus autores: los propios de cada una de las ciudades interpretadas. La primera parte de la Tesis, Lecciones, se ocupa del necesario proceso de aprendizaje y experimentaci��n previo a la acci��n cr��tica propiamente dicha. Los arquitectos contempor��neos necesitan acumular material, conocimiento, documentaci��n, experiencias... antes de lanzarse a proponer mediante la cr��tica y la edici��n; y al contrario que ocurr��a con los modernos, cuanto m��s abundante sea ese bagaje previo m��s rica ser�� la interpretaci��n. Las ciudades de Roma, Londres y Berl��n se entienden por tanto como experiencias capaces de proporcionar a Venturi, Scott Brown y Koolhaas respectivamente, sus ���personales diccionarios���, unas interminables imaginer��as con las que posteriormente se enfrentar��an a los an��lisis de Las Vegas y Nueva York. La segunda parte, Cr��ticas, se centra en la producci��n te��rica en s��: los dos libros de ciudades analizados en estrecha relaci��n con el Complexity and Contradiction. El razonamiento anal��gico caracter��stico de estos libros ha servido de gu��a metodol��gica para la investigaci��n, estableci��ndose relaciones, no entre los propios escritos directamente, sino a trav��s de trabajos pertenecientes a otras disciplinas. En primer lugar se plantea un importante paralelismo entre los m��todos de an��lisis desarrollados en estos libros y los utilizados por la cr��tica literaria, observando que si el new criticism y el nuevo periodismo sirvieron de gu��a en los escritos de Venturi y Scott Brown, la nouvelle critique y su propuesta de identificaci��n po��tica fueron el claro referente de Koolhaas al abordar Nueva York. Por otro lado, la relevancia ganada por la actividad de comisariado art��stico y la aparici��n de la figura del curator, como autoridad capaz de utilizar la obra de arte por encima de las intenciones de su propio autor, sirve, al igual que la figura del editor, como reflejo de la acci��n transformadora y de apropiaci��n llevada a cabo tanto en Learning from Las Vegas, como en Delirious New York. Por ��ltimo y a lo largo de toda la investigaci��n las figuras de Bergson y Baudelaire han servido como apoyo te��rico. A trav��s de la utilizaci��n que de sus ideas hicieron Venturi y Koolhaas respectivamente, se ha tratado de mostrar la proximidad de ambos planteamientos desde un punto de vista ideol��gico. La Inclusi��n propuesta por Venturi y la iron��a utilizada por Koolhaas, la contradicci��n y la paradoja, no son sino el reflejo de l��gicas que en ambos casos reaccionan al mismo tiempo contra idealismo y materialismo, contra modernidad y antimodernidad, en un continuo intento de ser lo uno y lo otro simult��neamente. ABSTRACT If there was a common denominator among all the arts in what has been called postmodernism, it would have much to do with the end of the origin of the artwork. From literature and music to fine arts and architecture, overcoming modernity has been characterized by replacing the concept of artistic creation by the one of intervention, in other words, the interpretation of what already exists. In the early twentieth century modern concepts of creation and origin involved unlearning and forgetting everything before with the firm intention of starting from scratch. Even in a material sense Mies suggested the literal construction of matter and its motion according to laws. From the mid-century historicist approaches began to emerge in response to the amnesia and originality alleged by moderns. In this context appeared the books Learning from Las Vegas, 1972 and Delirious New York, 1978, both debtors in many respects to the previous book by Venturi, Complexity and Contradiction in Architecture, 1966. These two books on cities, which broke away decidedly with the historicist trends of the time, proposed using critical analysis of the existing reality as a vehicle for theory and projecting at the same time, indirectly becoming manifests. If at first Venturi, Rossi and others pose to erase the formal limits set by modernity, as well as any of the canons before, taking the entire work built as a reference system, - as did Eliot in literature - the books on Las Vegas and New York proposed directly erasing the boundaries of the discipline itself, coming to question what could be considered architecture? However, and precisely because of the absence of limits and the immensity of the established framework, - ���everything could be architecture��� as Hans Hollein pointed in 1968, - the books suggested at the same time the definition of a field of action for each one individually. The cities of Las Vegas and New York represented on the one hand the elimination of disciplinary limits and on the other, the delimitation of specific areas of work to its authors: Those on each of the cities interpreted. The first part of the thesis, Lessons, attend to the necessary process of learning and experimentation before the critical action itself. Contemporary architects need to accumulate material, knowledge, information, experiences... before proposing through criticism and editing; and unlike happened with moderns, the most abundant this prior baggage is, the richest will be the interpretation. Rome, London and Berlin are therefore understood as experiences capable of providing Venturi, Scott Brown and Koolhaas respectively, their ���personal dictionaries���, interminable imageries with which they would later face the analysis of Las Vegas and New York. The second part, Critiques, focuses on the theoretical production itself: the two books on both cities analyzed closely with the Complexity and Contradiction. The analogical reasoning characteristic of these books has served as a methodological guide for the research, establishing relationships, not directly between the writings themselves, but through works belonging to other disciplines. First, an important parallel is set between the methods of analysis developed in these books and those used by literary criticism, noting that if the new criticism and new journalism guided Venturi and Scott Brown��s writings, the nouvelle critique and its poetic identification were clear references for Koolhaas when addressing New York. On the other hand, the relevance gained by curating and the understanding of the figure of the curator as an authority capable to use artworks above the intentions of their authors, like the one of the Editor, reflects the appropriation and processing actions carried out both in Learning from Las Vegas, and Delirious New York. Finally and over all the research Bergson and Baudelaire figures resonate continuously. Through the use of their ideas done by Venturi and Koolhaas respectively, the research has tried to show the proximity of both approaches from an ideological point of view. Inclusion, as posed by Venturi and irony, as used by Koolhaas, contradiction and paradox are reflections of the logic that in both cases allow them to react simultaneously against idealism and materialism, against modernism and anti-modernism.