Robin Hood: de leyenda a mito cultural

[es] A lo largo de la historia, los villanos, ya sean reales o imaginarios, han tenido funciones útiles para la sociedad y a menudo han actuado como «válvulas de seguridad» para aliviar las presiones sociales. Esta es probablemente la razón por la que muchos «villanos» han sido definidos como «bandidos sociales», término utilizado originalmente por Eric Hobsbawm para referirse a un forajido quizás mejor ejemplificado por el personaje de Robin Hood en la tradición inglesa. Este bandido social, admirado por todos y en todas partes, que roba a los ricos y reparte el botín entre los pobres, actúa al margen de la ley y personifica asimismo la resistencia a la opresión social y una serie de virtudes más personales. En este artículo, vamos a analizar la forma en que el bandido inglés se ha convertido en un héroe mítico más que legendario. De hecho, el personaje de Robin Hood ha trascendido el tiempo y la cultura, y se ha convertido en el arquetipo del proscrito benevolente, un héroe popular nacido de las frustraciones de una clase inferior que considera que no hay leyes ni reglas en una sociedad injusta, sino la voluntad y el capricho de quien detenta el poder. [en] Throughout history, villains -whether real or imaginary- have served useful functions, especially those of “safety valves” for society. This is probably why many “villains” have been defined as “social bandits”, a term originally used by Eric Hobsbawm to refer to a type best exemplified in the Anglo-Saxon tradition by Robin Hood. This true and widely admired social bandit who steals from the rich and gives to the poor operates outside the law but at the same time personifies both group resistance to oppression and a number of more personal virtues. In this paper, we shall analyse the way in which the English bandit has become a mythical rather than a legendary hero. Indeed, the Robin Hood figure has transcended time and culture, and has become the archetype of the benevolent outlaw, a folk hero born of the frustrations of an underclass that sees the law as the will and whim of the privileged classes above them.

Room-temperature dual-wavelength erbium-doped fibre laser based on a sampled fibre Bragg grating and a photonic Robin Hood

With the assistance of a kind of photonic Robin Hood that is originated from four-wave mixing in a dispersion-flattened high-nonlinearity photonic-crystal fibre, a novel dual-wavelength erbium-doped fibre (EDF) laser is proposed and demonstrated by using a sampled fibre Bragg grating. The experiments show that, due to the contribution of the photonic Robin Hood, the proposed fibre laser has the advantage of excellent uniformity, high stability and stable operation at room temperature. Our dual-wavelength EDF laser has the unique merit that the wavelength spacing remains unchanged when tuning the two wavelengths of laser, and this laser is simpler and more stable than the laser reported by Liu et al. [Opt. Express, 13 142 (2005)].

Robin Hood.

Resumen basado en el del autor. Se adjuntan enlaces de interés: http://www.nntec.co.uk/robinhood/, http://www.sherwoodinitiative.co.uk/, http://rodent.lib.rochester.edu/camelot/rh/rhhome.htm y http://us.imdb.com/M/title-substring?title=Robin+Hood&tv=both

Transferências federativas e potência dos contratos: avaliação da lei Robin Hood

Buscando melhorar as condições de vida dos municípios mineiros, o governo estadual mineiro instituiu, em 1995, a lei 12.040, conhecida como Lei Robin Hood. Esta permitia que 25% dos recursos de ICMS a serem distribuídos aos municípios mineiros se dessem sobre resultados observáveis em diversas áreas tais como saúde, educação, conservação ecológica, entre outras. Ou seja, instituia, em relação a estas transferências, um contrato de alto poder com os municípios relacionados às políticas públicas implementadas. O estudo destas transferências (relativas à educação e saúde) mostrou um forte impacto positivo na primeira (e inexistente na segunda). Dada a relativa escassez deste tipo de contrato em transferências federativas, este resultado aponta a necessidade de utilização de instrumentos de maior poder nas relações federativas, buscando incrementar as condições de vida locais.

Maid Marian, the forest queen; being a companion to "Robin Hood",

Mode of access: Internet.

Robin Hood and his merry foresters.

Mode of access: Internet.

Robin Hood : opera in three acts /

Mode of access: Internet.

Stories of Robin Hood and his merry outlaws, retold from the old ballads.

Mode of access: Internet.

Robin Hood and his merry men: a play in two acts. Founded on 'A little geste of Robin Hood and his Meiny.'.

Mode of access: Internet.

'Strange Visitor From Another Planet': Genre, Corporate Identity and the Arrival of American Telefantasy on British Television

While the BBC had been broadcasting television Science Fiction productions from as early as 1938, and Horror since the start of television in 1936, American Telefantasy had no place on British television until ITV’s broadcast of Adventures of Superman (1952-1958) in 1956. It would be easy to assign this absence to the avoidance of popular American programming, but this would ignore the presence of Western and adventure serials imported from the US and Canada for monopoly British television. Similarly, it would be inaccurate to suggest that these imports were purely purchased as thrilling fare to appease a child audience, as it was the commercial ITV that was first to broadcast the more adult-orientated Science Fiction Theatre (1955-7) and Inner Sanctum (1954). This article builds on the work of Paul Rixon and Rob Leggott to argue that these imports were used primarily to supply relatively cheap broadcast material for the new channel, but that they also served to appeal to the notion of spectacular entertainment attached to the new channel through its own productions, such as The Invisible Man (1958-1959) and swashbucklers such as The Adventures of Robin Hood (1955-60). However, the appeal was not just to the exciting, but also to the transatlantic, with ITV embracing this conception of America as a modern place of adventure through its imports and its creation of productions for export, incorporating an American lead into The Invisible Man and drawing upon an (inexpensive) American talent pool of blacklisted screenwriters to provide a transatlantic style and relevance to its own adventure series. Where the BBC used its imported serials as filler directed at children, ITV embraced this transatlantic entertainment as part of its identity and differentiation from the BBC.

L'Edat Mitjana al cinema : material didàctic, personatges i llegendes medievals. 'La Edad Media en el cine : material didáctico, personajes y leyendas medievales'.

Material destinado a alumnos de primaria que realiza un recorrido por leyendas y personas de la Edad Media. El material consta de una guía didáctica, una ficha didáctica y un vídeo de 20 minutos. El montaje está realizado a partir de una serie de fragmentos de films dirigidos al público infantil ambientados en la Edad Media (La princesa prometida, Robin Hood, Excalibur, ...).

Arrow hitting target SFX X2

A sound effect of an arrow whooshing past and hitting its target X 2.