Dramaturgias en el teatro actual de las Antillas. Cartografía de poéticas en movimiento: Teresa Hernández y Josefina Báez

This dissertation aims to explore the contemporary Caribbean and its dramaturgy through the study of the artistic work of two remarkable artists: the Puerto Rican Teresa Hernández and the Dominicanyork Josefina Báez. Both artists are currently generating a lot of attention due to the internationalization of their creations, but still their work deserves even more consideration. These skilled stage artists connect various islands through their artistic work: Puerto Rico, the Dominican Republic, and the islands within New York City. The different cultures that converge and coexist in these places exemplify the process of hybridization that characterizes our modern world. Teresa and Josefina illustrate in their plays the plurality of the Caribbean, depicting a true multiplicity of languages and cultures that makes it impossible to adopt a fixed and unique conception of a national identity. They engage in the difficult task of finding out what it means to be a Puerto Rican, a Dominican or a New Yorker. Both performers clearly criticize the notion of an identity that pretends to fuse and include all the possible voices of every Caribbean nation under a sole definition. Therefore, one must consider the heterogeneity that surrounds us as the basis to approach the work of these two artists when evaluating the Caribbean, as well as the dramaturgical procedures these great performers employ. To begin with, how can we talk about the Caribbean? How can we talk accurately about dramaturgical procedures? Furthermore, how can we express with words the ephemeral aspect of the theatrical event? How can we use words to address a Caribbean reality, which contains European and American standards, but does not necessarily follow them? These are the questions that the present investigation seeks to answer; however, it is not an easy task. Thus, the real challenge of this dissertation is to offer a rigorous response to these questions...

La biblioteca de la Asociación de la Prensa de Madrid

La Asociación de la Prensa de Madrid (APM) es la mayor y más influyente organización de periodistas de España agrupados en la Federación de Asociaciones de Periodistas de España (FAPE) por lo que está vinculada a las demás agrupaciones provinciales. Tiene entre sus asociados y directivos a personalidades de relieve nacional e internacional (Miguel Moya, su primer presidente, José Francos Rodríguez, Alejandro Lerroux, Vicente Blasco Ibáñez, Azorín, Concha Espina, Josefina Carabias, Manuel Chaves Nogales, Camilo José Cela… entre otros muchos). La APM nació en febrero de 1895 aunque fue en el mes de mayo de ese mismo año cuando celebró su acto verdaderamente fundacional. Nace, en principio, como agrupación asistencial y para defender los derechos de los periodistas, tanto en el terreno laboral como en el profesional. Busca los mismos fines asistenciales (farmacia, asistencia médica, economato) que otras asociaciones similares, pero muy pronto amplía sus servicios: biblioteca, actos culturales, clases de idiomas, de taquigrafía… De los 173 asociados iniciales cofundadores, ha llegado a los 7.521 con los que cuenta hoy. La APM es una institución privada sin ánimo de lucro. La biblioteca está compuesta por una rica colección iniciada el año mismo de su fundación, 1895, y que ha llegado hasta hoy con 13.208 volúmenes y una importante sección de medios de comunicación. Las primeras donaciones, todavía en el S.XIX, fueron de la reina María Cristina de Habsburgo-Lorena, Ministerio de Gracia y Justicia, Ministerio de Fomento, Congreso de los Diputados, Instituto Geográfico y Estadístico. Desde entonces ha sufrido tantos avatares de todo orden (desatenciones, cambios de sede, incendios, escasez de medios, una guerra civil…) que su conformación ha resultado una difícil tarea. En algunos periodos de su historia no pasó de ser un mero instrumento simbólico de prestigio. Sin embargo, siempre ha gozado del interés y atención de numerosos asociados que han ido donando libros de sus bibliotecas particulares...

Measuring the economic performance of socially responsible companies

This paper presents a one-dimensional exploratory study which compares the socially responsible companies included in the Spanish sustainability index, FTSE4Good Ibex, with the rest of the indices in the IBEX family. The aim is to use different economic variables to establish whether there are differences in economic performance. Parametric testing was used to study whether there are differences between the two types of companies. The results demonstrate that there are no statistically significant differences in economic performance between the two groups. The study confirms that companies with good practices are as profitable as the rest, but it also demonstrates that the economic-financial behaviour is not better as a result of being in the sustainability index.

Employee-owned firms: a labour model with potential?

In Spain, the companies that are mainly owned by the employees form a part of the Social Economy and offer an alternative business model, which is found in a conventional capitalist economy. The objective of this study is to establish whether there are significant differences in the performance of Employee Owned Firms (EOFs) and more conventionally structured businesses, non-Employee Owned Firms (non-EOFs), due to the inherent differences in the capital-ownership structure. The aim is to establish whether or not a corporate governance structure characterised by the employee participation for both the financial and the informational decision-making aspects can be advocated. The results show differences in favour of the conventional non-EOFs for various indicators measuring economic performance and confirm the different objectives of each business type; however, they provide evidence of significant differences in favour of the EOFs in terms of the efficient use of the capital and labour factors of production, according to the theoretical literature.

Ciudadanos en defensa del patrimonio mundial: el caso de la Mezquita de Córdoba

La Mezquita de Córdoba fue reconocida por Unesco en 1984 como Patrimonio Mundial por constituir la obra cumbre del arte islámico y andalusí en Europa y ser paradigma universal de concordia entre culturas. Construida en el año 785 por Abderramán I, en 1523 Carlos I autoriza edificar en su interior una Catedral renacentista que rompió la infinitud del bosque de columnas al tiempo que precipitó un mestizaje sin precedentes del islam y el cristianismo. Ambas realidades artísticas, históricas y culturales han convivido durante siglos en Córdoba hasta que en 1998, el Cabildo catedralicio, sus actuales gestores, se propusieron borrar la huella andalusí de todos los documentos oficiales de divulgación hasta el punto de eliminar el nombre de Mezquita y suprimir toda alusión a la arquitectura y herencia omeya de un monumento que es conocido en todo el mundo como el edificio andalusí emblemático por excelencia. En un acto de intolerancia y expolio cultural, el Obispado pretendió roclamar la supremacía católica sobre el Islam a costa del sentido común, de la historia, del arte, de la arquitectura y de la memoria de Córdoba y su significado en el mundo. En febrero de 2014, un grupo de ciudadanos cordobeses organizados como “Plataforma Mezquita-Catedral, Patrimonio de Tod@s” lanzó una campaña de denuncia que ha logrado reunir más de 385.000 firmas para reclamar la restitución del nombre y la memoria del universal monumento y exigir una gestión profesional. Entre los firmantes, se encuentran personalidades de la cultura de la talla de Juan Goytisolo, José Manuel Caballero Bonald, Emilio Lledó, Josefina Molina, Antonio Muñoz Molina, Antonio Gala, Rosa Montero, Norman Foster, Eduardo Galeano, Federico Mayor Zaragoza, Manolo Sanlúcar, José Chamizo y muchos otros de reconocido prestigio. La Plataforma ciudadana estima que la actual gestión de la Mezquita-Catedral de Córdoba es profundamente lesiva para la integridad del monumento, desleal con su historia, ofensiva con la memoria de Córdoba y contraria a los valores fundamentales sobre los que la Unesco la reconoció en 1984 como Patrimonio Mundial.

Tener hambre de luz y devorar una estrella: la poesía de J.E. Eielson

The present Doctoral Thesis is framed within the study of the poetry of the great Peruvian artist Jorge Eduardo Eielson (April 13, 1924 – March 8, 2006). In general terms, it focuses on the symbols that articulate both his literary productions and his work in the field of visual arts. Throughout this project, I used the principles of the modern semiotics as well the myth criticism theory developed by Gilbert Durand in his work The Anthropological Structures of the Imaginary as the basis. Following the assumption of considering Eielsońs work as an indivisible whole, in contrast to many studies that often attempted to analyse part of his creative work by privileging one medium over the others, I analyzed each symbol in all its forms, looked at its presence and relevance in his entire work and sought the archetypal level of each term. For this task, the works of Joseph Campbell and Mircea Eliade provided valuable guidances. At the beginning of this study I present a short author's biography, in order to help to understand the circumstances under which his poems were composed. (Let us remember that most of his books were published many years after their conception). Throughout this chapter, I have carefully considered the Lima period, his relationship with his first mentor, the anthropologist and writer José María Arguedas who introduced him to the knowledge of the ancient civilizations of Peru, his link with the literary circles of Lima and his first acknowledgments: the National Poetry Award (1944) and the National Drama Award (1948)...

Valoración Barón de Ley S.A

Este trabajo tiene por objeto valorar la empresa “Barón de Ley, S.A”. Por tanto, el objeto de estudio pretende dar respuesta a una serie de preguntas necesarias para entender la empresa y poder realizar hipótesis razonables a la hora de valorar la compañía. Esas preguntas son, entre otras: ¿a qué se dedica?, ¿quiénes son sus accionistas y directivos?, ¿cuál es su situación actual en el sector (debilidades y fortalezas, amenazas y oportunidades)?, ¿qué trayectoria está siguiendo?, ¿qué estructura financiera mantiene?, ¿qué rentabilidades logra?. Al ser Barón de Ley una compañía que cotiza en el mercado continuo español (bolsas de Barcelona, Bilbao, Madrid y Valencia), se pretende analizar si está bien valorada por el mercado o por el contrario se encuentra infra/sobrevalorada. Para ello, se comparará la capitalización bursátil de la compañía 425.915 Mn€2 con el valor de los recursos propios de la misma (Equity value) que surgen de la valoración.

The optical design of a far infrared imaging FTS for SPICA

This paper describes the optical design of the far infrared imaging spectrometer for the JAXA's SPICA mission. The SAFARI instrument, is a cryogenic imaging Fourier transform spectrometer (iFTS), designed to perform backgroundlimited spectroscopic and photometric imaging in the band 34-210 μm. The all-reflective optical system is highly modular and consists of three main modules; input optics module, interferometer module (FTS) and camera bay optics. A special study has been dedicated to the spectroscopic performance of the instrument, in which the spectral response and interference of the instrument have been modeled, as the FTS mechanism scans over the total desired OPD range.

SAFARI optical system architecture and design concept

SpicA FAR infrared Instrument, SAFARI, is one of the instruments planned for the SPICA mission. The SPICA mission is the next great leap forward in space-based far-infrared astronomy and will study the evolution of galaxies, stars and planetary systems. SPICA will utilize a deeply cooled 2.5m-class telescope, provided by European industry, to realize zodiacal background limited performance, and high spatial resolution. The instrument SAFARI is a cryogenic grating-based point source spectrometer working in the wavelength domain 34 to 230 μm, providing spectral resolving power from 300 to at least 2000. The instrument shall provide low and high resolution spectroscopy in four spectral bands. Low Resolution mode is the native instrument mode, while the high Resolution mode is achieved by means of a Martin-Pupplet interferometer. The optical system is all-reflective and consists of three main modules; an input optics module, followed by the Band and Mode Distributing Optics and the grating Modules. The instrument utilizes Nyquist sampled filled linear arrays of very sensitive TES detectors. The work presented in this paper describes the optical design architecture and design concept compatible with the current instrument performance and volume design drivers.