Ruxia i Ruxianos w romansach rycerskich autorstwa Feliciano de Silva

W niniejszym artykule przeanalizowany został sposób wykorzystania przez Feliciano de Silva autentycznego toponimu Ruxia (Ruś) przy konstruowaniu świata przedstawionego w romansie rycerskim. Jak zostaje wykazane, Feliciano de Silva jedynie częściowo wpisuje się w tendencję zaobserwowaną wcześniej m.in. u Garci Rodrigueza de Montalvo, który w swoich dziełach nakreśla jasną opozycję pomiędzy chrześcijańskim światem błędnego rycerstwa a złym i nikczemnym pogaństwem. Autor z Ciudad Rodrigo, chcąc nawiązać do chwały średniowiecznego Konstantynopola, powraca do czasów konfliktu bizantyńsko-ruskiego, który twórczo wykorzystuje w aż trzech księgach Florisel de Niquea. Ruxia, jeden z głównych przeciwników greckiego rodu, przedstawiona zostaje jako pogańska potęga militarna, której przewodzą władcy odważni, lecz zarazem owładnięci żądzą, niemoralni i okrutni.

The first chronicle of Miguel Hernandez: The New Journalism (1936-1939)

This paper presents and analyzes the first literary-journalistic chronicle writen and published by Miguel Hernández: “Defensa de Madrid. Madrid y las ciudades de Retaguardia”, during the Spanish Civil War (1936-1939). This chronicle is the first one of a series establishing a new and personal type of journalism: literary chronicles –poetical and political-. Miguel Hernandez published his masterpieces in different newspapers as a war reporter, with his own name and with a pen-name, playing roles of director and political commissar in different newspapers in the war-trenches. Thematically, this first article shows his personal and political engagement, as well as his desire and strategy to protect the capital city of Spain: Madrid. Methodologically, the analysis is an approached to linguistics in social sciences, which presents some of the personal characteristics and style of the chronist Miguel Hernández. Thus, it becomes patent that the so-called New Journalism (narrative and literary), which flourished in the 70s, had already been deeply and efficiently practiced by Miguel Hernández 40 years before. That is the reason why Miguel Hernández deserves to be added to the well-known collective of chronicle writers that have already been rescued to this moment. His literary style and quality are installing him in a outstanding position as well as pioneer of the genre nowadays known as New Journalism that in his case, it is politically engaged

Contratos públicos adjudicados a sociedades cooperativas en el País Vasco entre 2010 y 2012

La Contratación Pública constituye una fuente muy importante de la demanda de bienes y servicios, especialmente en la Comunidad Autónoma del País Vasco en donde el Gobierno Autonómico, también llamado la Administración General Vasca, desarrolla un papel capital como impulsor de dicha contratación pública. Por otro lado, la Economía Social, y especialmente el movimiento cooperativo, tiene en ese mismo ámbito geográfico un papel de gran peso en el conjunto de la Economía Vasca, por sus cifras de empleo y aportación al PIB, así como por tradición y arraigo social. Cabe preguntarse en tal caso, cuál es el papel que desempeñan las cooperativas en la Contratación Pública en aquella Comunidad Autónoma, cómo y cuáles son los contratos de los que resultan adjudicatarias, qué importes suponen esos contratos para las cuentas públicas y, en definitiva, si su papel de adjudicatarias se corresponde con el que desempeñan en el conjunto de la Economía Vasca. Del examen de los contratos publicados en el Perfil del Contratante del Gobierno Vasco, se obtienen datos suficientes que, una vez procesados y analizados, se visualizan en tablas y porcentajes que constituyen la base de un diagnóstico que responde a las preguntas planteadas y evidencia la situación de debilidad de las cooperativas en el campo de la contratación pública vasca.

The duty of loyalty in the cooperative law. A comparative study

Among the duties of the government bodies’ members of the different entities, which are connected to the good government, the duty of loyalty must be underlined. This duty, derived from the good-faith duty, obliges to act in the interest of the entity in case of conflict of interest, and to subordinate one’s own interests, except when there is an authorisation. Loyalty duty is applicable both to managers, who must manage the entity’s interest, and to partners, according to the common purpose derived from the company contract. This duty, at the same time, includes some particular rules, referred to transparency, remuneration, prohibition of competition, self-contracting... This essay compares the regulation of the duty of loyalty and its realizations in the different Cooperative Laws in Spain, both referring to the managers and to the partners, comparing this, at the same time, with the regulation of these aspects in companies’ general legislation, an in the Spanish Corporate Enterprises Act in particular, in order to obtain a general view of the issue, a necessary basis to go more deeply into it, and suggesting some preliminary conclusions or assessments.

Women artists of the international avant-garde: the case of "Abstraction-Création" (1931-1936)

Women’s contribution to abstract art in the interwar period is a subject that, to date, has received very little attention. In this article we deal with the untold story of the participation of women artists in Abstraction-Création, the foremost international group dedicated to abstract art in the 1930s. Founded in Paris in 1931, the group took on the work of two previous collectives to become a platform for the dissemination and promotion of abstract art and consisted of around a hundred members. Twelve of these were women, whose writings and works were published in the group’s annual magazine, abstraction creátion art non figuratif (1932-1936), and who participated in a number of the group’s exhibitions. Compared to what had occurred in previous groups, the participation of women, although reduced in number, was comparable to that of the male artists and being members of the group had a generally positive impact on the women’s careers. However, all this came at the expense of relinquishing any gender specificity in their work and the public presentation of it, and demonstrates that the normalization of women’s contributions to the avant-garde could only be brought about alongside a questioning of the more dogmatic views of modernity.