Antioxidants improve vascular function in children conceived by assisted reproductive technologies: A randomized double-blind placebo-controlled trial.

AIMS Children conceived by assisted reproductive technology (ART) display vascular dysfunction. Its underlying mechanism, potential reversibility and long-term consequences for cardiovascular risk are unknown. In mice, ART induces arterial hypertension and shortens the life span. These problems are related to decreased vascular endothelial nitric oxide synthase (eNOS) expression and nitric oxide (NO) synthesis. The aim of this study was to determine whether ART-induced vascular dysfunction in humans is related to a similar mechanism and potentially reversible. To this end we tested whether antioxidants improve endothelial function by scavenging free radicals and increasing NO bioavailability. METHODS AND RESULTS In this prospective double-blind placebo controlled study in 21 ART and 21 control children we assessed the effects of a four-week oral supplementation with antioxidant vitamins C (1 g) and E (400 IU) or placebo (allocation ratio 2:1) on flow-mediated vasodilation (FMD) of the brachial artery and pulmonary artery pressure (echocardiography) during high-altitude exposure (3454 m), a manoeuver known to facilitate the detection of pulmonary vascular dysfunction and to decrease NO bioavailability by stimulating oxidative stress. Antioxidant supplementation significantly increased plasma NO measured by ozone-based chemiluminescence (from 21.7 ± 7.9 to 26.9 ± 7.6 µM, p = 0.04) and FMD (from 7.0 ± 2.1 to 8.7 ± 2.0%, p = 0.004) and attenuated altitude-induced pulmonary hypertension (from 33 ± 8 to 28 ± 6 mm Hg, p = 0.028) in ART children, whereas it had no detectable effect in control children. CONCLUSIONS Antioxidant administration to ART children improved NO bioavailability and vascular responsiveness in the systemic and pulmonary circulation. Collectively, these findings indicate that in young individuals ART-induced vascular dysfunction is subject to redox regulation and reversible.

Prevention of vascular dysfunction and arterial hypertension in mice generated by assisted reproductive technologies by addition of melatonin to culture media.

Assisted reproductive technologies (ART) induce vascular dysfunction in humans and mice. In mice, ART-induced vascular dysfunction is related to epigenetic alteration of the endothelial nitric oxide synthase (eNOS) gene, resulting in decreased vascular eNOS expression and nitrite/nitrate synthesis. Melatonin is involved in epigenetic regulation, and its administration to sterile women improves the success rate of ART. We hypothesized that addition of melatonin to culture media may prevent ART-induced epigenetic and cardiovascular alterations in mice. We, therefore, assessed mesenteric-artery responses to acetylcholine and arterial blood pressure, together with DNA methylation of the eNOS gene promoter in vascular tissue and nitric oxide plasma concentration in 12-wk-old ART mice generated with and without addition of melatonin to culture media and in control mice. As expected, acetylcholine-induced mesenteric-artery dilation was impaired (P = 0.008 vs. control) and mean arterial blood pressure increased (109.5 ± 3.8 vs. 104.0 ± 4.7 mmHg, P = 0.002, ART vs. control) in ART compared with control mice. These alterations were associated with altered DNA methylation of the eNOS gene promoter (P < 0.001 vs. control) and decreased plasma nitric oxide concentration (10.1 ± 11.1 vs. 29.5 ± 8.0 μM) (P < 0.001 ART vs. control). Addition of melatonin (10(-6) M) to culture media prevented eNOS dysmethylation (P = 0.005, vs. ART + vehicle), normalized nitric oxide plasma concentration (23.1 ± 14.6 μM, P = 0.002 vs. ART + vehicle) and mesentery-artery responsiveness to acetylcholine (P < 0.008 vs. ART + vehicle), and prevented arterial hypertension (104.6 ± 3.4 mmHg, P < 0.003 vs. ART + vehicle). These findings provide proof of principle that modification of culture media prevents ART-induced vascular dysfunction. We speculate that this approach will also allow preventing ART-induced premature atherosclerosis in humans.

Age in antiretroviral therapy programmes in South Africa: a retrospective, multicentre, observational cohort study.

BACKGROUND As access to antiretroviral therapy (ART) expands, increasing numbers of older patients will start treatment and need specialised long-term care. However, the effect of age in ART programmes in resource-constrained settings is poorly understood. The HIV epidemic is ageing rapidly and South Africa has one of the highest HIV population prevalences worldwide. We explored the effect of age on mortality of patients on ART in South Africa and whether this effect is mediated by baseline immunological status. METHODS In this retrospective cohort analysis, we studied HIV-positive patients aged 16-80 years who started ART for the first time in six large South African cohorts of the International Epidemiologic Databases to Evaluate AIDS-Southern Africa collaboration, in KwaZulu-Natal, Gauteng, and Western Cape (two primary care clinics, three hospitals, and a large rural cohort). The primary outcome was mortality. We ascertained patients' vital status through linkage to the National Population Register. We used inverse probability weighting to correct mortality for loss to follow-up. We estimated mortality using Cox's proportional hazards and competing risks regression. We tested the interaction between baseline CD4 cell count and age. FINDINGS Between Jan 1, 2004, and Dec 31, 2013, 84,078 eligible adults started ART. Of these, we followed up 83,566 patients for 174,640 patient-years. 8% (1817 of 23,258) of patients aged 16-29 years died compared with 19% (93 of 492) of patients aged 65 years or older. The age adjusted mortality hazard ratio was 2·52 (95% CI 2·01-3·17) for people aged 65 years or older compared with those 16-29 years of age. In patients starting ART with a CD4 count of less than 50 cells per μL, the adjusted mortality hazard ratio was 2·52 (2·04-3·11) for people aged 50 years or older compared with those 16-39 years old. Mortality was highest in patients with CD4 counts of less than 50 cells per μL, and 15% (1103 of 7295) of all patients aged 50 years or older starting ART were in this group. The proportion of patients aged 50 years or older enrolling in ART increased with successive years, from 6% (290 of 4999) in 2004 to 10% (961 of 9657) in 2012-13, comprising 9% of total enrolment (7295 of 83 566). At the end of the study, 6304 (14%) of 44,909 patients still alive and in care were aged 50 years or older. INTERPRETATION Health services need reorientation towards HIV diagnosis and starting of ART in older individuals. Policies are needed for long-term care of older people with HIV. FUNDING National Institutes of Health (National Institute of Allergy and Infectious Diseases), US Agency for International Development, and South African Centre for Epidemiological Modelling and Analysis.

Jerónimo Sánchez Carranza y la Escuela Española de Esgrima

El deporte de la esgrima no siempre ha sido considerado como actualmente se conoce, ni tampoco el empleo de las armas ha sido el mismo en las diferentes épocas de la historia. Si nos centramos en la española, podemos decir que se hablaba de una forma particular de hacer esgrima, la cual era muy apreciada por el resto de los países europeos. También lo era la que se hacía en Italia. Como cualquier actividad que se desarrolla a lo largo del tiempo debe generarse desde unos comienzos. Estos comienzos siempre están en relación a alguna causa. Para centrarnos en nuestro estudio, los comienzos del manejo de la espada, de una manera lógica y razonada, se une en la persona y en la vida de Jerónimo Sánchez Carranza porque hasta que él no se decide a estudiar en profundidad la ciencia de las armas, no se ve con claridad si todo lo que se hacía con ellas era correcto o no y si todo lo que la inmensa mayoría hacía cuando tenía que utilizarlas estaba revestido de cierta coherencia y fundamento, es decir, tenía su verdad que se pudiera demostrar. Carranza estudia la esgrima que se empleaba en su época y en las anteriores y se da cuenta que tiene que dar una nueva visión de la forma de usar las armas, diferente a lo que la gran mayoría entendía hasta entonces. A Carranza se le ha considerado por muchos autores como el inventor de la esgrima española, hecho que se puede leer con bastante facilidad si se hojea algún tratado que hable de la esgrima española, sin embargo también se habla de Luis Pacheco de Narváez asignándole el mismo calificativo, aunn- ;o es posteriora Carranza. or tanto nuestro estudio se ha centrado en la vida de Jerónimo Sánchez Carranza y en ueva forma de emplear las armas por lo que hace que la tesis sea una tesis biográfica de dicho personaje, donde se ha resaltado mucho más el aspecto del manejo de las armas, de la Destreza. Partimos de las siguientes hipótesis: Carranza es el que sienta los principios técnicos dando forma y coherencia a la escuela de esgrima española gracias a sus aportaciones en los distintos aspectos metodológicos, técnicos y tácticos. La escuela de esgrima española tiene una estructura interna, responde a unas características determinadas y sirve de base a la esgrima que posteriormente se practica. Para que el estudio se pudiera llevar a cabo tuvimos que diseñar un esquema donde se pudieran recoger todos los aspectos que estuvieran relacionados con nuestro autor, de ahí surge el porqué de cada uno de los capítulos que hemos confeccionado. Dicho esquema responde a la visión actual de diferentes facetas de lo que hoy se estudia en diversas ciencias y que cuando Carranza vivía aún no se conocían. Para recoger información sobre su persona y su obra tuvimos en cuenta los distintos lugares donde se podía localizar la documentación necesaria, sobre todo Bibliotecas y Archivos, para ir confeccionando el método de trabajo que consistió en la recopilación de fuentes de todo tipo referidas al tema, pasando luego a la interpretación de las mismas. Esto nos dio una visión de conjunto que hizo que nos adentráramos en aquellos aspectos que más tarde tendríamos que analizar con mucho más detenimiento. En la tesis se puede observar dos partes bien diferenciadas que son las relacionadas; por un lado, a su vida y su tratado y, por otro, al contenido de sus teorías que son realmente las que se deben analizar necesariamente bajo unos conocimientos específicos de la actividad de la esgrima. En cuanto a su vida, se han destacado y estudiado los hechos más importantes de los que hay que resaltar, sobre todo, el que fuera considerado como el inventor de la destreza y de la manera tan particular de concebir dicho arte, diferente a lo que hasta ahora se venía haciendo y que dio paso a lo que se entendió por esgrima científica, quedando plasmada de tal manera que dio pie a la creación de una doctrina y una nueva forma de entender la esgrima la cual generó una línea de actuación que fue continuada por numerosos seguidores. Para todo ello tuvo mucho que ver el que Carranza fuera militar, la cultura y los estudios que poseía, así como la situación en la que se encontraba España además de la gente con quien se relacionaba, que por lo general, era gente culta y de clase social alta. Se ha estudiado también dentro del mismo apartado de su vida unos hechos que se le imputan y que en nuestra opinión son erróneos. Hemos considerado como más relevantes el que Carranza no fue quien riñó con Quevedo como se afirma en algunas de las obras que hemos tratado, sino que fue Pacheco quien tuvo dicha riña, ya que más bien Quevedo se mostraba partidario de las enseñanzas de Carranza, estando en contra de Pacheco. Tampoco fue quien inventó el florete como se dice en algunas ocasiones, ya que el florete aparece posteriormente como un arma de estudio de la técnica de la esgrima. Con respecto al apartado de su obra, se debe decir que tan solo escribió un único tratado que se publicó en 1582, aunque estaba acabado desde el año 1569. En el apartado de su escuela se debe destacar los fundamentos en los que basó sus postulados para que la destreza alcanzara el mismo nivel de las demás artes liberales y que lo hizo a través del estudio de la propia destreza. A lo largo del estudio que hemos realizado se puede apreciar cómo se está generando un arte que hasta ahora no había sido estudiado, viéndose los problemas que ello suponía, desde la organización de la materia a tratar, hasta cómo se debía enseñar, pasando a veces a tener que denominar conceptos de nueva aparición o renombrar y modificar antiguos que estaban anclados en puntos de partida equivocados, siendo éstos los que mayor trabajo le supuso. Diferencia bien dos aspectos básicos que debían existir en cualquier arte y más concretamente en la destreza que son: la teoría y la práctica, ambas deben estar en base a la razón ya que sería una de las formas por la que la destreza perduraría en el tiempo, junto con que esta razón estuviera apoyada en otras ciencias y con los principios de ellas. Carranza fue de la opinión de que el diestro debía conocer mediante el estudio, los elementos fundamentales con los que había que trabajar la destreza, estos elementos son el cuerpo del diestro y las armas, porque ambos van a intervenir en cualquier gesto o acción que se vaya a realizar. Del cuerpo estudió cada una de las partes que más importancia tiene cada vez que el diestro interviene y lo hace sobre todo en base a la medicina, relacionándolo con las matemáticas para poder sacar el máximo provecho, aconsejando que por el conocimiento del propio cuerpo, como el del contrario, se podrá emplear en determinadas situaciones, que si no se supiera de ello, no se sacaría el mismo resultado. De las armas lo que más resaltó fue, por un lado, que la espada debía ser el único arma que el diestro debía utilizar y, por otro, el hecho de que la espada la graduara para poder demostrar que no se hacia todo igual con las distintas partes de la misma porque no todo el arma tenía las mismas propiedades cuando se actuaba con ella. Una de las recomendaciones que dio fue que con la parte más próxima a la empuñadura se debía practicar la defensa por tener más fuerza con esta parte que con la punta y lo demostró con principios matemáticos. Se puede ver con la lectura de la tesis cómo Carranza aporta una nueva forma de trabajo en la que le da mucha importancia a la aplicación de los conocimientos, que previamente se han adquirido y para ello, es importante conocer bien los puntos fuertes y débiles del adversario. La adquisición de la práctica se debe realizar a través de la repetición para crear el hábito necesario que haga que el gesto salga fluido en cada uno de los movimientos que el diestro ejecute. Todo esto no sería posible si quien lo enseña no conoce cada uno de los elementos que intervienen en la destreza, por tanto, a la figura del maestro le da un lugar de una gran relevancia, ya que va a ser él quien tenga que guiar a los alumnos que enseñe. Lo primero que debe hacer los maestros es procurar saber lo máximo de la materia que va a enseñar, por lo que el maestro debe saber casi todo sobre la teoría y la práctica de la destreza, pero además esta teoría y práctica debe ser la correcta. Carranza persigue con su estudio, establecer los principios de la destreza, por lo menos, los más importantes, aunque fueran elementales, para que posteriormente se siguiera trabajando sobre ellos y poder conseguir que la destreza tenga cuerpo y forma de arte liberal, pudiéndose estudiar como cualquier otra, así de esta manera se haría un bien público, ya que los jóvenes se instruirían eficazmente en el uso de las armas, aunque el verdadero fin se encuentra en la conservación de la vida como manda la Fe Católica, siendo la destreza uno de los medios más eficaces para conseguirlo. Hemos dedicado un apartado de técnica y de táctica donde se refleja todo lo relacionado con las posiciones y movimientos que debe realizar el diestro para llegar a conseguir su objetivo, que es herir sin ser herido. Se han analizado las distintas tretas y el porqué de cada una desde el punto de vista del gesto y del movimiento. Si lo que se hace en destreza se relaciona con el adversario, nos adentramos en el terreno de la táctica donde se han estudiado como más importantes los conceptos del tiempo y la distancia, así como las energías que debe conservar el diestro para poder llevar a cabo un combate y del mismo salir victorioso sin llegar al agotamiento. Concluimos diciendo que de todo el estudio que se ha realizado, se ha podido comprobar que Carranza fue quien dotó a la destreza de unos principios técnicos, tácticos y metodológicos, por su forma de concebir este nuevo arte, así como que por la manera en que estableció sus teorías hizo que la destreza que se practicaba en España disfrutara de una estructura interna coherente que perduró a través de los años. SUMMARY The sport of fencing has not always been the respected sport that we know it to be today ñor has the use of weapons been the same throughout history. If we concéntrate on Spainish weapons, we can say that one particular type of sword ¡s spoken about. this sword being very respected by outher European countries, it was also the one that was respected and used in Italy. As with any activity that develops in time, it must evlove from some simple beginnings. Such basics beginnings are always in relation to a cause. To concéntrate on our study, the beginnings are, the use of the sword in a reasoned and logical manner, brought together in the life and times of Jerónimo Sánchez Carranza because until he decided to study in depth the science of weapons, we cannot see with calrity if their use was correct or not and if the vast majority , when they had to use them, used any foundation or coherence, that ¡s to say if any exactness of logical use could be demonstrated. Carranza studied the sword used in his time and those that had gone before, bearing in mind that he had a new visión of the form of use of weapons, different to what the vast majority had until then understood. Carranza has been considered by many historians as the inventor of the Spanish sword, a fact which can be seen with relative ease if one flicks through any work which deals with the Spanish sword, however, they also speak of Luis Pacheco de Narváez affording him the same title, even though he followed Carranza. In ar H our study has been centred on the life of Jerónimo Sánchez Carranza and his ne-" use of weapons. In effect this thesis is a biographical thesis of the said wherein the aspect of the use of weapons stands out more than their mastery. Given the following hypothesis: It was Carranza who evolved the first techniques giving form and coherence to the .Spanish School of Fencing, thanks to his contributions to the different aspects of method, íechnique and tactic. The Spanish School of Fencing had an ¡nternal structure anaswerable to pre-detremined characteristics and served as a base for the fencing that was to, in later days, be practised. For this study to come to a head, we had to design a plan wherein we could collate all of the aspects we could, related to our inventor. From there springs the reason for each of the chapters that we have put together. The said plan responding to the actual visión of different facets that are studied today in different sciences, that were not known in Carranza's lifetime. To collect information on his person and his works we bore in mind the different places in which we could lócate the necessary documentation, above all in libraries and archives. Developing the work-method that consisted in extracing from every source, every thing relative to the theme, re-writing later our interpretation of the same. This brought us closer and made us focus of those aspects that much later we would have to analize in greater detail. In the thesis one can observe two defferent parts that are related; on the one hand his life and works and on the other his theories, which are those that should be really analised and as such, necessarily analised within the confines of a specific knowledge of fencing. In that his life has been isolated and studied the most important facts that stand out above all, is that he was considered to be the inventor of swordmanship and the particular manner of interpreting the said art, different to its interpretaion uptil then. It gave a footing to what they understood as scientific fencing, giving shape and form to the creation of a doctrine and a new form of fencing which developed a line of action that was continued by numerious followers. For all that, much had to do with the facts that Carranza was a military man, the culture, the level of studies he had and the situation in which he found himself. What's more the people with whom he mixed were, in general, cultured and of high social standing. We have also seen in the same article on his life some dubious facts which in our opinión are erróneos. We have considered the most relevent to be that it wasnt Carranza who was in dispute with Quevedo as is stated in some of the works with which we have dealt but rather it was with Pacheco he had such disputes. What's more Quevedo demonstrated his partiality to the teachings of Carranza, going against Pacheco ñor was it him who invented The Florete, a famous Spanish sword, as was said on some ocassions, eventhough the florete appeared later as a weapon in the study of fencing technique. With respect to the article on his works, we must say that there was only one article which was published in 1582, even though it was finished in 1569. In the article on his life one must distinguish between the foundations on which he based his teachings in which swordmanship reached the same levéis as other libral art forms and what he did through the study of the self same mastery. Throughout the study which we have done, one can appreciate how he was developing an art which uptill then had not been studied, seeing for himself the problems he had fortold, from the organisation of materials at hand to how it should be taught, at times having to domínate comparative concepts again or clarify and modify ones which were anchored in erróneos points of a fencing match, feeling these to be the main forseeable jobs-at-hand. Differenciating between two basic concepts which must exist in whatever arte form and more concretly in the skill that is; the theory and practice , both being fundamental to the reason why the skill endured through time, together with this reason he was supported by other sciences and the beginnings of such. Carranza was of the opinión that the swordsman must acquired by way of study, the fundemental elements with which he had to work, these elements being the body of the swordsman and the weapons, because both were going to intervene in whatever movement or action that was going to be taken. The body studied, each of the parts having more importance each time the skill intervened and above all what it did based on medicne relating it to matemathics to exact the máximum advantage, one could employ in certain circumstances, that if they were not employed, the same advantages would not result. On weapons, what resulted best was, on the one hand, the sword should be the only weapon that the swordsman should use and on the other hand, the sword should be graded to show that one cannot do the same with the different parts of the same because not all of the weapon had the same properties when used. One of the recomendations he made was that the part nearest to the hand-guard should be used for defence because one could use more forcé with it than the point and he demonstrated this with mathematical principies. One can see on reading this thesis how Carranza brought forth a new work form, in which he put much importance on the application of experience that had previously been acquired and because of it, it was important to know well the strenghts and weaknesses of an adversery. The acquisition of technique should be realised through repetition to form the habit necessary for movement to flow freely each time the swordsman executed a movement. None of this would be possible if whoever was teaching did not know each one of the elements that intervened, affording the fencing master a great reverence, in that it was he who had to guide the students he was to teach. The first thing that the master had to do was to make sure he had the maximun knowledge over which he was going to teach, to that end, the master had to know almost everything about the theory and practice of the skill of fencing but what's more that such theory and practice had to be the correct one. Carranza persued his studies, establishing the principies of technique, at least, the most important ones even though they were elementary, so that later they could continué working on them and it could be seen that the technique had a shape and form of any other art form, allowing it to be studied like any other form, as such it had a good following, even young people could be instructed in the correct use of weapons, however the real end could be found in the conservaron of life as ordered by the Catholic Church, feeling that skill with the sword was one of the most effective methods for assuring it. We have dedicated an article to technique and tactics wherein is reflected everything related to positions and movement that the swordsman must do to achieve his objective, that is, wound without being wounded. We have analised the different tricks and the reasons from every point of view of movement and action. If what is done by technique is related with the adversery we enter in the territory of tactics wherein we have studied, most importantly, the concepts of time and distance just as, the energy the swordsman muse conserve to bring to a head a bout and arrive victorious without being exhausted. We conclude by saying that everything that has been realised by this study, has shown that it was Carranza who gave to the skill, the first basic techniques, tactics and methodology, by his conception of this new art form, just as the manner in which he established his theories, made possible the tecnhiques practiced in Spain would enjoy an intemal coherent structure, which would endure throughout the years.

Teaching art and history to photonics students

The case to be reported in this paper is the teaching of topics involving the relation among Photonics, its history, the international situation and the artistic movements in each period. These kind of new studies correspond to a new tendency in teaching interdisciplinary topics to students coming from different areas. Two main courses, one in History and other one in Art, will be taken as examples. Theses two courses have been taught for several years in Madrid, Spain, for Telecomm students and the results have been very satisfactory

La identificaciónde de los daños estructurales, herramienta de la nueva atribución de responsabilidades : análisis crítico de la transición del art. 1591 cc al art. 17 LOE

RESUMEN Su objetivo esencial: Regular el proceso de la edificación, está basado en 3 grandes pilares: 1.- Completar la configuración legal de los agentes que intervienen en el mismo, fijando sus obligaciones para así establecer las responsabilidades. 2.- Fomentar la calidad de los edificios. 3.- Fijar las garantías a los usuarios frente a los posibles daños. Estos tres fundamentos están intensamente relacionados, ya que, las obligaciones y responsabilidades de los agentes son la base de la constitución de las garantías a los usuarios, definidas mediante los requisitos básicos que deben satisfacer los edificios. Partiendo del análisis cualitativo y cuantitativo del grado de cumplimiento del objetivo de la nueva Ley, elaborado a través del estudio de sus tres pilares fundamentales, proponemos medidas tendentes a la plena entrada en vigor de la misma. Para ello se deberá desarrollar el Real Decreto previsto en la Disposición Adicional 2ª, una vez conseguido el grado de madurez de los sectores de la edificación y del seguro. En todo este proceso de estudio hemos podido apreciar que la objetiva identificación de los daños y en especial los que afectan la estabilidad del edificio, constituye una herramienta fundamental para la correcta atribución de responsabilidades a los agentes, basada en la aplicación de los tres grados de responsabilidad “ex lege” por daños materiales y sus plazos de prescripción surgidos del nuevo régimen impuesto por el art. 17 LOE Para avalar esta propuesta hemos analizado: 1.- El entorno económico, general y pormenorizado al sector de la edificación, en Europa y España durante el período comprendido entre los años 1990 y 2013, años previos y posteriores a la entrada en vigor de la Ley, dada la influencia de los ciclos de actividad producidos en la regulación del sector, las responsabilidades atribuidas a los agentes, el fomento de la calidad y las garantías ofrecidas a los adquirentes. 2.- Las diversas legislaciones sobre responsabilidades y garantías de los agentes de la edificación en los países de nuestro entorno económico. 3.- La gestación de la LOE, incidiendo en la evolución de los últimos borradores y su tramitación parlamentaria. 4.- El desarrollo doctrinal de la Transición desde el régimen de responsabilidades, fijado por el art. 1591 de Código Civil, y su Jurisprudencia, hacia el nuevo régimen de responsabilidades establecido por el art. 17 LOE. En esta tarea además de apreciar la asimilación, por parte de los Jueces y Magistrados, de los principios doctrinales de la LOE, hemos observado la labor de los peritos, de cuya experta identificación de las causas de los daños depende la justa y eficaz atribución de responsabilidades. 5 -. El grado de eficacia de la LOE a la vista de la estadística siniestral, de la que ya hay datos consolidados, tras la cancelación de casi 15.000 expedientes de reclamación a Arquitectos. 6 -. También hemos estudiado el grado de cumplimiento con el usuario y propietario de las garantías previstas en el art. 19 de la Ley y en la D.A. 1ª, los efectos reales alcanzados y las tareas pendientes por delante. Analizando la atribución de responsabilidades a los agentes de la edificación, dentro del primer pilar fundamental de la LOE, hemos estudiado las actuaciones de los peritos expertos y su incidencia en este objetivo, previa selección de casos de gran interés y dificultad. Fruto de ello se han formulado propuestas tendentes a la especialización de este colectivo, evitando conductas “irregulares” que tanto daño provocan a los agentes reclamados como a los propietarios afectados. Este daño es evidente pudiendo ocasionar condenas injustas, enriquecimientos ilícitos o bien falsas expectativas de satisfacción de daños mal dictaminados y costosas e ineficaces reparaciones. De cara a la consecución del pilar de la calidad de la edificación, mediante los requisitos básicos planteados por la LOE y desarrollados por el Código Técnico de la Edificación (Real Decreto 314/2006, de 17 de marzo), hemos procesado datos de expedientes de reclamaciones por daños que afectan a edificios ejecutados bajo el nuevo régimen LOE. Con esta base se han analizado las causas generadoras de las diversas lesiones y su frecuencia para que de este análisis puedan establecerse pautas de actuación para su prevención. Finalmente, tras demostrar que las garantías obligatorias impuestas por la LOE sólo abarcan un pequeño porcentaje de los posibles daños a la edificación, insistimos en la necesidad de la plena eficacia de la Ley mediante la aprobación de todas las garantías previstas y para todo tipo de edificaciones. En suma, se ha diseñado la tesis como una matriz abierta en la que podremos continuar incorporando datos de la evolución de la doctrina, la jurisprudencia y la estadística de los daños en la edificación. ABSTRACT The approval of Law 38/1999 on November 5, 1999, (Official Gazette BOE 266/1999 of 11.6.1999, p. 38925), was the culmination of a long period of over 20 years of gestation for which deep agreements were needed between all stakeholders affected. Although several parliamentary groups denounced its incomplete approval, regarding mandatory guarantees to the purchaser, its enactment caused general satisfaction among most of the the building agents. This assessment remains after fourteen years since its partial enactment. Its essential purpose, “to regulate the building process”, is based on 3 pillars: 1.- To complete the legal configuration of the agents involved in it, setting their obligations in order to establish their responsibilities. 2.- To promote the buildings quality. 3.- To specify users´guarantees against possible buildings damage. These three issues are strongly related, since the obligations and responsibilities of the actors are the basis of the users’guarantees constitution, defined by the basic performance required by buildings. Based on the qualitative and quantitative analysis of the fulfillment of the new law’s objectives, made by monitoring the three pillars, we propose measures to the full enactment of this Directive, by the development of the Royal Decree, provided in its Second Additional Provision, once maturity in the sectors of the building and insurance is achieved. Throughout this process of study we have seen that the skill identification of damage, particularly those affecting the stability of the building, is an essential tool for the proper allocation of responsibilities of the new regime installed by the art. 17 LOE, based on the application of the three degrees of responsibility "ex lege" for property damage and limitation periods. To support this proposal, we have analyzed: 1.- The evolution of the building sector in Europe and Spain during the years before and after the enactment of the Law, due to the influence of cycles of activity produced in industry regulation, the responsibilities attributed to agents, promotion of the quality and the assurances given to acquirers. 2.- The scope of various laws on liability and building agents warranties in the countries of our economic environment. 3.- The long period of LOE generation, focusing on the developments in recent drafts and parliamentary procedure. 4.- The doctrinal development in the Transition from the regime of responsibilities, set by art. 1591 of the Civil Code, and its Jurisprudence, to the new liability regime established by art. 17 LOE. In this task, while we have noted assimilation by the Judges and Magistrates of the doctrinal principles of the LOE, we have also analyzed the work of experts, whose skilled identification of the damage causes helps the fair and efficient allocation of responsibilities. 5 - The effectiveness of the LOE based on knowledge of the siniestral statistics, which are already consolidated data, after the cancellation of nearly 15,000 claims to Architects. 6.- We have also studied the degree of compliance with the user and owner guarantees, established in art. 19 and the D.A. 1th of the LOE, exposing the real effects achieved and the pending tasks ahead. Analyzing the allocation of the building agents´ responsibilities, within the first cornerstone of the LOE, we have studied the expert witnesses actions and their impact on this duty, selecting cases of great interest and difficulty in this aim. The result of this enterprise has been to propose the specialization of this group, avoiding "irregular" behaviors that create as much damage as the agents claimed to affected owners. This damage is evident and can cause wrong convictions, illicit enrichment, false expectations and inefficient and costly damage repairs. In order to achieve the pillar of building quality through the basic requirements set by the LOE and developed by the Technical Building Code (Royal Decree 314/ 2006 of 17 March), we have analyzed records of damage claims involving buildings executed under the new regime LOE. On this basis we have analyzed the root causes of various damages and their frequency, from these data it will be easy to propose lines of action for prevention. Finally, after demonstrating that mandatory warranties imposed by LOE cover only a small percentage of the potential building damage, we emphasize the need for the full effectiveness of the Law by the obligation all the guarantees provided in the art. 19 LOE, and for all types of buildings. In conclusion, this thesis is designed as an open matrix in which we will continue including data on the evolution of the doctrine, jurisprudence and the statistics of the damage to the building.

Rotten Symbol Mongering: Scapegoating in Post-9/11 American War Literature

A rhetorical approach to the fiction of war offers an appropriate vehicle by which one may encounter and interrogate such literature and the cultural metanarratives that exist therein. My project is a critical analysis—one that relies heavily upon Kenneth Burke’s dramatistic method and his concepts of scapegoating, the comic corrective, and hierarchical psychosis—of three war novels published in 2012 (The Yellow Birds by Kevin Powers, FOBBIT by David Abrams, and Billy Lynn’s Long Halftime Walk by Ben Fountain). This analysis assumes a rhetorical screen in order to subvert and redirect the grand narratives the United States perpetuates in art form whenever it goes to war. Kenneth Burke’s concept of ad bellum purificandum (the purification of war) sought to bridge the gap between war experience and the discourse that it creates in both art and criticism. My work extends that project. I examine the symbolic incongruity of convenient symbols that migrate from war to war (“Geronimo” was used as code for Osama bin Laden’s death during the S.E.A.L team raid; “Indian Country” stands for any dangerous land in Iraq; hajji is this generation’s epithet for the enemy other). Such an examination can weaken our cultural “symbol mongering,” to borrow a phrase from Walker Percy. These three books, examined according to Burke’s methodology, exhibit a wide range of approaches to the soldier’s tale. Notably, however, whether they refigure the grand narratives of modern culture or recast the common redemptive war narrative into more complex representations, this examination shows how one can grasp, contend, and transcend the metanarrative of the typical, redemptive war story.