Diseño y creación de la base de datos documental del Grupo Godó

Se describe y analiza el proyecto de diseño y creación de la base de datos corporativa del Grupo Godó. En primer lugar, se exponen las características de la situación de partida que originó la necesidad del proyecto. A continuación, se explican con detalle las características de la base de datos: su estructura, colecciones que integra, tratamiento documental, flujos de información e interfaces de consulta. Finalmente, se presenta una evaluación sobre el funcionamiento de a nueva base de datos hasta el momento presente y las iniciativas de futuro con las que se pretende mejorar su implantación y funcionamiento.

A latin defixio (Sisak, Croatia) to the river god Savus mentioning L. Licinius Sura, Hispanus*

This paper focuses on the analysis of a judicial defixio (AIJ557) found in 1912 in the River Kupa, a tributary of the Save, near Sisak (Siscia, Pannonia Superior), that invokes the river god Savus, as well as the ancient Latin goddess Tacita Muta. Among the targets, some of whom are specially stated to come from the western Mediterranean, we pay special attention to Lucius Licinius Sura, Hispanus. We also investigate the religious horizon implicit in the ritual offering, as well as the social and historical context of the information.

Lumen Dantis et Lumen Margaretae: el imaginario compartido por Dante Alighieri y Marguerite dicta Porete

In this article we compare the images used by Dante Alighieri with the ones used by her“heretical” contemporary Marguerite Porete (†1310) for expressing the final contact-vision of God. We will analyze the use of the images of light, the gradual ascent and the knot in bothauthors, putting it into the context of the theological doctrines about the visio Dei. This will allow us, in the first place, to claim a shared cultural background based in the conception of God as a visible being and, in the second, to discuss the historical implications ofheteredoxy/ortodoxy in the Commedia and the Mirouer.

Predestination and the Protestant ethic

This paper shows an equivalence result between the utility functions of secularagents who abide by a moral obligation to accumulate wealth and those of religiousagents who believe that salvation is immutable and preordained by God. Thisresult formalizes Weber's renowned thesis on the connection between the worldlyasceticism of Protestants and the religious premises of Calvinism. Furthermore,ongoing economies are often modeled with preference relations such as "Keeping upwith the Joneses" which are not associated with religion. Our results relate thesesecular economies of today and economies of the past shaped by religious ideas.

Specialization and rent-seeking in moral enforcement: The case of confession

Moral codes are produced and enforced by more or less specialized means and are subject to standard economic forces. This paper argues that the intermediary role played by the Catholic Church between God and Christians, a key difference from Protestantism, faces the standard trade-off of specialization benefits and agency costs. It applies this trade-off hypothesis to confession of sins to priests, an institution that epitomizes such intermediation, showing that this hypothesis fits cognitive, historical and econometric evidence better than a simpler rent-seeking story. In particular, Catholics who confess more often are observed to comply more with the moral code; however, no relationship is observed between mass attendance and moral compliance. The data also links the current decline in confession to the rise in education, which makes moral self-enforcement less costly, and to the productivity gap suffered by confession services, given its necessarily interpersonal nature.

Mitologia i literatura a "Suddenly Last Summer" de Tennessee Williams: tot lluitant contra Venus i Èdip

The aim of this article is to analyze accurately the role played by two classical references, Venus and Oedipus, in Tennessee Williams¿s Suddenly Last Summer, in accordance with the usual nature of studies on Classical Tradition ¿Greek and Roman- and focusing in this case on the relationship between literature and mythology. It is thanks to Venus and Oedipus that the playwright succeeds in showing the magnitude of men¿s and women¿s tragedy, which from his point of view is simply that they have failed to see either kindness in the face of God or to feel his loving and fatherly providence.

Philo of Alexandria's De opificio mundi (LIII-LXI): discovering the essential features of Greek and Western Misogyny in a Platonising Jewish Text

The aim of this article is to show the Western centuries-old misogynist tradition from its origins in Greece by analysing a text by the allegorical interpreter of the Bible Philo of Alexandria, his De opifico mundi, which on many occasions is read by him from a Platonic point of view. The accurate analysis of the chapters devoted to the creation of the woman by God proves to what extent it is not possible to understand this text if one does not take into account a Greek philosophical tradition which was already centuries-old.

Literature and Mythology in Tennessee Williams's "Suddenly Last Summer": Fighting against Venus and Oedipus

The aim of this article is to analyze accurately the role played by two classical references, Venus and Oedipus, in Tennessee Williams Suddenly Last Summer, in accordance with the usual nature of studies on Classical Tradition a Greek and Roman- and focusing in this case on the relationship between literature and mythology. It is thanks to Venus and Oedipus that the playwright succeeds in showing the magnitude of mens and womens tragedy, which from his point of view is simply that they have failed to see either kindness in the face of God or to feel his loving and fatherly providence.

Mitología y Literatura en "Suddenly Last Summer" de Tennessee Williams: luchando contra Venus y Edipo

The aim of this article is to analyze accurately the role played by two classical references, Venus and Oedipus, in Tennessee Williams's Suddenly Last Summer, in accordance with the usual nature of studies on Classical Tradition -Greek and Roman- and focusing in this case on the relationship between literature and mythology. It is thanks to Venus and Oedipus that the playwright succeeds in showing the magnitude of men¿s and women¿s tragedy, which from his point of view is simply that they have failed to see either kindness in the face of God or to feel his loving and fatherly providence.

El aprendiz de rapsoda, o de cuando Homero cruzó la laguna estigia (Lucianus, Cont. 7)

In Charon or the Inspectors we find the ferryman of the underworld on earth, talking to the god Hermes about wealth, happiness, and the vain human striving for material goods. The piece has been considered to be an example of Menippean satire inside the corpus of Lucian"s works. Homeric poetry is always in the background. Lucian uses Homeric verses, or rather, verses structured in the Homeric manner, to formulate his critical view of the mortal world; in addition, he puts these verses into the mouth of a character who must temporarily give up his job as a ferryman in order to practise the art of rhapsody. This paper analyses a textual problem: the two variants in Cont. 7 referring to Homer in the manuscript tradition. In a context in which Lucian wants to make fun not just of foolish humans but also of the Greek poet par excellence, the reading of the ueteres seems more appropriate because it illustrates better Lucian"s parodic intention in recalling Homer and in trying to adapt form and content to the Greek tradition.

Miguel de Unamuno i Heràclit: de ‘La elegía eterna’ a ‘La flor tronchada’

[cat] L’objectiu d’aquest breu article és provar i analitzar la influència de la saviesa d’Heràclit en alguns poemes de Miguel de Unamuno com ara ‘La elegía eterna’ i ‘La flor tronchada’. En certes ocasions –‘La elegía eterna’- Heràclit és per a ell una mena de crossa amb l’ajut de la qual reïx a mostrar poèticament les seves angoixes i, en d’altres –‘La flor tronchada’- necessita realment Heràclit per a il•lustrar la seva visió de Déu i de la vida humana com una lluita o guerra permanent.

New York versus Tragedy and Oedipus. The Legacy of Sophocles and the Sophists in Woody Allen's "Crimes and Misdemeanors"

Beyond the explicit reference to the Greek tragedy and Oedipus, the aim of this article is to show the clear relationship, in the author's opinion, between what the protagonists of the film maintain and the theories of the Greek Sophists about God, the law, etc. An accurate analysis both of their texts and the screenplay of Crimes and Misdemeanors reveals different sophistic roots, which, in this case, cannot be attributed to the constant presence of the Jewish legacy in W. Allen's work.

El démon: la inteligencia en el mundo

From Hesiod on, Gctiywv denotes a passionate figure, useful to ffee divinity from the charge of evil. Plutarch conceives Gaiywv as an active and changeable entity between God and rnatter; he must complete a catharsis that makes him better (more akin to God; Being in a higher degree). The task of Gaiyov is to take care of oracles and to guide human lives. If this task has been done correctly, Gaipov ascends to the sun; if not, he falls down to the earth.

La visión teofánica en el sufismo de Ibn al-'Arabî (ob. 638/1240)

Un conocido dicho sufí dice que: "El color del agua es el color de su recipiente". Para hablar de la visión teofánica, al-Junayd, Ibn 'Arabi y otros muchos místicos invocaban frecuentemente este símbolo. Según al-Bistami, el color del recipiente -el corazón del contemplador- da "color" al agua que en sí es invisible; según Ibn 'Arabi, no es el corazón quien da su "color" a la Forma que recibe, sino que, a la inversa, el corazón del gnóstico "se colorea" en cada instante con el color, es decir, con la modalidad de la Forma bajo la cual el Ser divino se epifaniza en él. Así es como "l gnóstico,asume las peculiaridades del carácter de Dios, hasta tal punto que parece como si él fuera El". El propósito del presente artículo es analizar la teoría neoplatónica de la manifestación de lo divino expresada por medio de dos parábolas -el color del agua y el color del vidrio- presentes tanto en la tradición islámica como en la judía.