La parroquia de San Miguel de Sagra y San Gil de Madrid en el siglo XVI. Aportaciones documentales

Una serie de documentos inéditos relativos a la antigua parroquia de San Miguel de Sagra y San Gil, localizada muy próxima a la entrada principal del Alcázar de Madrid, así como su posterior derribo y traslado en 1548 con nuevo edificio en el lado suroriental del Palacio, permite profundizar en un proyecto urbano largo tiempo madurado y culminado en la conformación de un espacio abierto y regularizado, emblemático y representativo, que resultó ser la plaza situada frente a la portada principal del Alcázar.

José Manuel Fraile Gil, El Mayo y su fiesta en tierras madrileñas, (apéndice musical de Eliseo Parra)

De entre los muchos repertorios de textos recogidos de la tradición oral hispánica que en los últimos años han ido publicándose, éste sobresale por un rasgo excepcional: su autor dedica igual espacio, aténcion, tiempo, rigor y esmero tanto al asunto puramente textual (los mayos) como as las cuestiones referidas al contexto folklórico (la fiesta) en el que los textos se actualizan.

Gil Vicente e os sexos

O espectáculo Serviço D’Amores, encenado por Maria Emília Correia, que é igualmente a autora da dramaturgia, ao emergir na programação do Teatro Nacional D. Maria II como um espectáculo acessível, apelativo, vivo, colorido e aparentemente mais exercício visual e lúdico do que especulação filosófica (o que não é senão parcialmente verdade mas, mesmo que o fosse, tinha a sustentar tal opção numa leitura exegética da obra vicentina que nela vê a criação plástica mais do “ourives” do que do poeta que Vicente também foi), esconde, porém, para quem quiser atentar, uma leitura disfórica do amor, como que anunciando a posteridade vicentina no que há-de vir a ser, no final do Renascimento, com Camões, o período perturbante a que se chamou Maneirismo.

Implementação de uma solução open source de Business Intelligence com metodologia Ágil

A importância dos sistemas de data warehousing e business intelligence é cada vez mais pronunciada, no sentido de dotar as organizações com a capacidade de guardar, explorar e produzir informação de valor acrescido para os seus processos de tomada de decisão. Esta realidade é claramente aplicável aos sectores da administração pública portuguesa e, muito em particular, aos organismos com responsabilidades centrais no Ministério da Saúde. No caso dos Serviços Partilhados do Ministério da Saúde (SPMS), que tem como missão prover o SNS de sistemas centrais de business intelligence, o apelo dos seus clientes, para que possam contar com capacidades analíticas nos seus sistemas centrais, tem sido sentido de forma muito acentuada. Todavia, é notório que, tanto os custos, como a complexidade, de grande parte destes projetos têm representado uma séria ameaça à sua adoção e sucesso. Por um lado, a administração pública tem recebido um forte encorajamento para integrar e adotar soluções de natureza open source (modelo de licenciamento gratuito), para os seus projetos de sistemas de informação. Por outro lado, temos vindo a assistir a uma vaga de aceitação generalizada de novas metodologias de desenvolvimento de projetos informáticos, nomeadamente no que diz respeito às metodologias Agéis, que se assumem como mais flexíveis, menos formais e com maior grau de sucesso. No sentido de averiguar da aplicabilidade do open source e das metodologias Ágeis aos sistemas de business intelligence, este trabalho documenta a implementação de um projeto organizacional para a SPMS, com recurso a ferramentas open source de licenciamento gratuito e através de uma metodologia de desenvolvimento de natureza Ágil.

Mrs Carrie Chapman, président[e] de la ligue internationale du suffrage féminin (cliché C.N. New-York) : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 59248

Marginal/minority popular music : the concept of the "third space" and the case for "hybridities" of cultures/identities /

The topic of this thesis is marginaVminority popular music and the question of identity; the term "marginaVminority" specifically refers to members of racial and cultural minorities who are socially and politically marginalized. The thesis argument is that popular music produced by members of cultural and racial minorities establishes cultural identity and resists racist discourse. Three marginaVminority popular music artists and their songs have been chosen for analysis in support of the argument: Gil Scott-Heron's "Gun," Tracy Chapman's "Fast Car" and Robbie Robertson's "Sacrifice." The thesis will draw from two fields of study; popular music and postcolonialism. Within the area of popular music, Theodor Adorno's "Standardization" theory is the focus. Within the area of postcolonialism, this thesis concentrates on two specific topics; 1) Stuart Hall's and Homi Bhabha's overlapping perspectives that identity is a process of cultural signification, and 2) Homi Bhabha's concept of the "Third Space." For Bhabha (1995a), the Third Space defines cultures in the moment of their use, at the moment of their exchange. The idea of identities arising out of cultural struggle suggests that identity is a process as opposed to a fixed center, an enclosed totality. Cultures arise from historical memory and memory has no center. Historical memory is de-centered and thus cultures are also de-centered, they are not enclosed totalities. This is what Bhabha means by "hybridity" of culture - that cultures are not unitary totalities, they are ways of knowing and speaking about a reality that is in constant flux. In this regard, the language of "Otherness" depends on suppressing or marginalizing the productive capacity of culture in the act of enunciation. The Third Space represents a strategy of enunciation that disrupts, interrupts and dislocates the dominant discursive construction of US and THEM, (a construction explained by Hall's concept of binary oppositions, detailed in Chapter 2). Bhabha uses the term "enunciation" as a linguistic metaphor for how cultural differences are articulated through discourse and thus how differences are discursively produced. Like Hall, Bhabha views culture as a process of understanding and of signification because Bhabha sees traditional cultures' struggle against colonizing cultures as transforming them. Adorno's theory of Standardization will be understood as a theoretical position of Western authority. The thesis will argue that Adorno's theory rests on the assumption that there is an "essence" to music, an essence that Adorno rationalizes as structure/form. The thesis will demonstrate that constructing music as possessing an essence is connected to ideology and power and in this regard, Adorno's Standardization theory is a discourse of White Western power. It will be argued that "essentialism" is at the root of Western "rationalization" of music, and that the definition of what constitutes music is an extension of Western racist "discourses" of the Other. The methodological framework of the thesis entails a) applying semiotics to each of the three songs examined and b) also applying Bhabha's model of the Third Space to each of the songs. In this thesis, semiotics specifically refers to Stuart Hall's retheorized semiotics, which recognizes the dual function of semiotics in the analysis of marginal racial/cultural identities, i.e., simultaneously represent embedded racial/cultural stereotypes, and the marginal raciaVcultural first person voice that disavows and thus reinscribes stereotyped identities. (Here, and throughout this thesis, "first person voice" is used not to denote the voice of the songwriter, but rather the collective voice of a marginal racial/cultural group). This dual function fits with Hall's and Bhabha's idea that cultural identity emerges out of cultural antagonism, cultural struggle. Bhabha's Third Space is also applied to each of the songs to show that cultural "struggle" between colonizers and colonized produces cultural hybridities, musically expressed as fusions of styles/sounds. The purpose of combining semiotics and postcolonialism in the three songs to be analyzed is to show that marginal popular music, produced by members of cultural and racial minorities, establishes cultural identity and resists racist discourse by overwriting identities of racial/cultural stereotypes with identities shaped by the first person voice enunciated in the Third Space, to produce identities of cultural hybridities. Semiotic codes of embedded "Black" and "Indian" stereotypes in each song's musical and lyrical text will be read and shown to be overwritten by the semiotic codes of the first person voice, which are decoded with the aid of postcolonial concepts such as "ambivalence," "hybridity" and "enunciation."

Aerial view of the Chapman College campus, Orange, California, 1966

Aerial view of the Chapman College campus, Orange, California, 1966. Looking diagonally to the northeast. Corner of North Glassell Street and Palm Avenue in lower middle, with the five original buildings just beyond. The old gymnasium is by the oval playing field and stadium. Photographed by Rene Laursen, 702 N. Grand, Santa Ana, California [No. 1499#1].

Aerial view of the Chapman College campus, Orange, California, 1973

Aerial view of the Chapman College campus, Orange, California, February 23, 1973. Looking north; athletic field and stadium in center. Photographed by "Aerial Eye Inc. - Custom Aerial Photography - 1330 Bristol S. E. #103 - Santa Ana, California 92707." [#9]