Alpine permafrost index map

The objective of this study is the production of an Alpine Permafrost Index Map (APIM) covering the entire European Alps. A unified statistical model that is based on Alpine-wide permafrost observations is used for debris and bedrock surfaces across the entire Alps. The explanatory variables of the model are mean annual air temperatures, potential incoming solar radiation and precipitation. Offset terms were applied to make model predictions for topographic and geomorphic conditions that differ from the terrain features used for model fitting. These offsets are based on literature review and involve some degree of subjective choice during model building. The assessment of the APIM is challenging because limited independent test data are available for comparison and these observations represent point information in a spatially highly variable topography. The APIM provides an index that describes the spatial distribution of permafrost and comes together with an interpretation key that helps to assess map uncertainties and to relate map contents to their actual expression in terrain. The map can be used as a first resource to estimate permafrost conditions at any given location in the European Alps in a variety of contexts such as research and spatial planning. Results show that Switzerland likely is the country with the largest permafrost area in the Alps, followed by Italy, Austria, France and Germany. Slovenia and Liechtenstein may have marginal permafrost areas. In all countries the permafrost area is expected to be larger than the glacier-covered area.

El análisis de la dirección integrada de proyectos (project & construction management) en el marco europeo: propuesta de regulación en España y su inclusión en la ley de la ordenación de la edificación

El presente trabajo de Tesis Doctoral surge de la Figura de la Dirección Integrada de Proyecto en Edificación (“Project & Construction Management”) y su analisis de la situación regulatoria en la legislación española. El primer planteamiento fue pensar en la situación actual de esta figura en el contexto internacional, para analizar su repercusión en el sector de la edificación, lo cual me llevo a cabo las siguientes preguntas que he reuelto en esta investigación. ¿ Como surge el ¨Project & Construction Management”? ¿ Cuales son sus actividades, funciones y cometidos? ¿ Existe el ¨Project & Construction Management” en otros países? ¿Hay regulación del ¨Project & Construction Management” en esos paises? ¿Cómo es la regulación del ¨Project & Construction Management”? ¿Existe demanda del ¨Project & Construction Management” en España? ¿Cómo es esa demanda en España, y como se puede cuantificar? ¿Existe regulación del ¨Project & Construction Management” en España? ¿ Como debería ser la regulación del ¨Project & Construction Management” en España? Todas las preguntas anteriores las he ido respondiendo con el presente trabajo, llegando a una serie de respuestas, que están reflejadas en el desarrollo del presente trabajo y que resumo: - EL ¨Project & Construction Management” surge a principios del siglo XX en USA, desarrollándose como una disciplina con metodología propia y extendiéndose por otros países. - EL ¨Project & Construction Management” es una disciplina, basada en una metodología propia con herramientas y técnicas para organizar cualquier 14 proyecto de cualquier tipo, pero en este caso un proyecto de edificación, para lo cual he definido con todo detalle esta figura. - El origen del ¨Project & Construction Management” es anglosajón, concretamente en USA, extendiendose luego al Reino Unido, a Europa (Francia y Alemania), a Asia, a América del Sur y a Oceanía. - En todos los paises estudiados (Estados Unidos, Reino Unido, Francia y Alemania) existe una regulación sobre el ¨Project & Construction Management” que me ha servido de base comparativa para introducirla en España. - Hay muchas empresas en España (Nacionales e Internacionales) que ejercen su actividad dentro de este sector, por lo que para realizar un estudio más profundo, hice una muestra de las 30 empresas más significativas, prepare un cuestionario, dividido en 5 apartados: Organizativo, Sectorial, Cualitativo, Cuantitativo y Profesional para obtener una radiogradía de la situación real del sector, y así valorar cual es la importancia de este agente. - Estudié las posibles regulaciones del ¨Project & Construction Management” en España y no encontré ninguna. - El lugar idóneo para que se regule al ¨Project & Construction Management” es la Ley de Ordenación de la Edificación (LOE), ya que la jurisprudencia (sentencias de los tribunales de justicia españoles) le ha asimilado con los agentes de la LOE y se ha basado para absolver o condenar en la Ley de Ordenación de la Edificación. Por lo que el Objetivo fundamental de esta tesis ha sido regular la figura del ¨Project & Construction Management”, traducirla al Castellano, definirla y realizar una estructura de Agente de la Edificación, según la LOE, para poder introducirla dentro de la Legislación Española, con el objeto de mejorar la calidad de la edificación, proteger al usuario, estableciendo responsabilidades y garantías y proteger al ¨Project & Construction Management” de las responsabilidades solidarias. ABSTRACT This Doctoral Thesis figure emerges from the Integrated Building Project ("Project & Construction Management") and his analysis of the regulatory situation in the Spanish legislation. The first approach was to think of the current situation of this figure in the international context, to analyze its impact on the building sector, which I conducted the following questions that I have met in this research. - How did the “Project & Construction Management "? - What are your activities, functions and duties? - Is there a “Project & Construction Management "in other countries? - Is there regulation “Project & Construction Management "in these countries? - How is regulation of ¨ Project & Construction Management "? - Is there demand “Project & Construction Management "in Spain? - How is that demand in Spain, and as you can quantify? - Is there regulation “Project & Construction Management "in Spain? - How should regulation ¨Project & Construction Management "in Spain? All the above questions have been answered with this study, leading to a series of responses, which are reflected in the development of this study and are summarized: - The ¨ Project & Construction Management "comes early twentieth century in the USA, developed as a discipline with its own methodology and extending other countries. - The ¨ Project & Construction Management "is a discipline based on a metodology own tools and techniques to organize any project of any kind, but in this case a building project, for which I have defined in detail this figure. - The origin of ¨Project & Construction Management "is Anglo-Saxon, particularly in USA, then spreading to the UK, Europe (France and Germany), Asia, South America and Oceania. - In all countries studied (USA, UK, France and Germany) there is a regulation on ¨Project & Construction Management "has helped me to introduce comparative base in Spain. - There are many companies in Spain (National and International) who perform work within this sector, so for further study, I made a sample of the 30 most important companies, prepare a questionnaire, divided into five sections: Organizational , Sector, Qualitative, Quantitative and Professional radiography for a real situation of the sector, and thus assess which is the importance of this agent. - Study the possible regulations ¨Project & Construction Management "in Spain and found none. - The place to be regulated to ¨Project & Construction Management "is the Law of Construction Planning (LOE), as the case law (judgments of the courts Spanish) has assimilated LOE agents and has been based to absolve or condemn Law Construction Planning. So the objective of this thesis has been regular figure ¨ Project & Construction Management ", translated to spanish, define and perform an Agent structure of the Building, as the LOE, to enter into Spanish law, in order to improve the quality of the building, protecting the user, establishing responsibilities and guarantees and protect the ¨ Project & Construction Management "solidarity responsibilities.

Analysis of the operating efficiency of mobile operators during the 2002 to 2008 period

This article aims to quantify the efficiency of mobile operators in Spain and other European countries such as France and Germany. The period considered is from 2002 to 2008. Linear regression is used to analyze the relationship between growth in revenue and gross operating margin (EBITDA) generated by the relevant operators and the aggregate industry in each country. At the industry level, it is shown that (i) there is a strong correlation between revenue and margin; and (ii) this correlation weakens when competitive intensity grows. At the operator level, those which achieved larger increases in revenues did not sacrifice their margins, but offset the additional investments and costs required to achieve said growth through economies of scale.

La introducción del hormigón armado en España: razón constructiva de su evolución

España se incorporó a la técnica del hormigón armado con más de dos décadas de retraso respecto a Francia o Alemania. En 1890, en Europa se construían ya estructuras de hormigón armado de cierta envergadura y complejidad. En España hubo que esperar hasta 1893 para la primera obra en hormigón armado, que fue un sencillo depósito descubierto en Puigverd (Lérida), ejecutado por el ingeniero militar Francesc Macià con patente Monier. En 1898, de la mano de Hennebique, se empezó la construcción de los dos primeros edificios con estructura de hormigón armado en España. Fueron dos obras puntuales, con proyectos importados de Francia, pero necesarias para introducir de manera definitiva el material. En paralelo, en París, se estaban edificando en hormigón armado la mayoría de los pabellones de la Exposición Universal de 1900. En el cambio de siglo, las construcciones de hormigón armado habían alcanzado ya la madurez proyectual y técnica en Europa. A pesar de la incorporación tardía, se puede constatar por las obras ejecutadas que en un periodo corto de tiempo, entre 1901 y 1906, se alcanzó en España prácticamente el mismo nivel técnico y constructivo que tenían el resto de los países que fueron pioneros en el empleo del hormigón armado. El desarrollo e implantación de una técnica constructiva no es un proceso lineal, y son muchos los factores que intervienen. Las patentes tuvieron una gran importancia en el desarrollo inicial del hormigón armado. Estas ofrecían un producto que funcionaba. Las primeras estructuras de hormigón armado no se calculaban y se construían siguiendo una reglamentación, se compraban. Y el resultado de esa “compra” solía ser, en la mayoría de los casos, satisfactorio. Las patentes vendían sistemas estructurales cuyo funcionamiento estaba corroborado por la experiencia y la pericia de su inventor. Esta investigación parte de la hipótesis de que las patentes sobre cemento y hormigón armado depositadas en España entre 1884 y 1906 fueron uno de los factores que proporcionaron a los técnicos y a las empresas españolas una pericia constructiva sólida en el empleo del hormigón armado. En este trabajo se aborda el estudio del proceso de introducción del hormigón armado en España desde una perspectiva fundamentalmente técnica, incorporando las patentes como una de las razones constructivas que explican su rápida evolución y generalización en un periodo de tiempo breve: 1901-1906. En este proceso se contextualiza y analiza una de las figuras que se considera fundamental en los primeros años del hormigón armado en España, la del ingeniero Juan Manuel de Zafra y Estevan. Esta tesis analiza las patentes de hormigón armado desde el punto de vista estadístico y constructivo. Desde ambas perspectivas se verifica la hipótesis de partida de esta investigación, concluyendo que las patentes fueron una de las razones constructivas de la evolución del hormigón armado en España y de su rápida implantación. ABSTRACT Spain incorporated the reinforced concrete technique more than two decades after France and Germany. In central Europe reinforced concrete structures of considerable size and complexity were being built in 1890, while in Spain it was not until 1893 that the first work, a simple open air water tank, was implemented in Puigverd (Lleida) by the military engineer Francesc Macià with a Monier patent. In 1898 the construction of the first two buildings with reinforced concrete structure in Spain started, with the guidance by Hennebique. They were two isolated cases with projects imported from France, but playing a key role to definitively introduce the material in Spain. In parallel, in Paris, most of the pavilions of the 1900 World Expo were being built in reinforced concrete. At the turn of the century reinforced concrete buildings had reached maturity both as a technology and as a design practice. Despite the late assumption of the material, the works carried out in the very short period between 1901 and 1906 clearly show that Spain reached practically the same technical and constructive level as the other pioneering countries in the use of reinforced concrete. The development and implementation of a constructive technique is never a linear process, there are many factors involved. The patents offered a successful product. Initial reinforced concrete structures were not calculated and built according to regulations, they were bought. And this purchase in most cases was satisfactory for the required use. Patents sold structural systems whose performance was supported by the experience and expertise of its inventor. The hypothesis of this research is based upon the assumption that the cement and concrete patents registered in Spain between 1884 and 1906 were one of the factors that provided Spanish technicians and companies with a solid constructive expertise in the use of reinforced concrete. This investigation studies the introduction of reinforced concrete to Spain from a predominantly technical perspective, incorporating patents as the constructive reason for the rapid evolution and spread in such a short period of time: 1901-1906. Along the way, the role of engineer J. M. de Zafra, generally considered a key agent in the initial years of reinforced concrete in Spain, is contextualized and analyzed. This dissertation analyzes the patents of reinforced concrete from a statistical and constructive point of view. From both perspectives the hypothesis of this research is verified, concluding that patents were one of the constructive reasons for the development of reinforced concrete in Spain.

La emigración cualificada española en Francia y Alemania

A pesar del interés que despierta el fenómeno de las migraciones cualificadas, es difícil encontrar datos que permitan realizar un análisis detallado de los factores que condicionan la movilidad. El caso español constituye un ejemplo de la modificación cualitativa en la composición de las migraciones de sur a norte en Europa tras el ingreso en la Comunidad Económica Europea. No se produjeron migraciones masivas de trabajadores sin cualificación; sin embargo, sí se alteró drásticamente su composición: la migración no cualificada fue sustituida por migración cualificada de España a Alemania y Francia. Esta migración queda ocultada por la llegada masiva de inmigrantes a España. Empleando los datos de la encuesta EIMSS, se analizan las diferencias de las condiciones de egreso y movilidad entre los dos tipos de migrantes, cualificados y no cualificados.

The Franco-German Alliance: Can it continue to serve as a motor for Europe? CEPS Commentary, 22 January 2013

On the occasion of the 50th anniversary of the Elysée Treaty between Germany and France, CEPS Director Daniel Gros acknowledges the fundamental contribution made by the Franco-German motor but also takes the two countries to task for their refusal abandon the pretence that they still perform individually an independent role at the global level. France and Germany should allow European institutions to formulate and implement common external policies.

The fiscal compact - Europe's "hard core" based on German economic conditions. OSW Commentary No. 71, 2012-03-07

On 2 March, the leaders of 25 EU member states signed the Treaty on stability, coordination and governance in the economic and monetary union. It will introduce new fiscal constraints and officially vest new competences in the eurozone countries. Thus, their right to coordinate economic policy among them will be sanctioned. So far, the Lisbon Treaty has only provided for organisation of informal Eurogroup meetings, to be attended by representatives of the European Commission. The principles introduced by the compact, if the eurozone countries are really determined to observe its provisions, will create a new way of managing the single currency. Within the next few years, the most indebted countries will have to carry out radical reforms to boost their competitiveness and adjust it to German standards. During this period the Federal Republic of Germany will most probably decide to offer higher loan guarantees to relieve these countries’ budgets. The compact’s political consequences are also of great significance, especially considering how the treaty was finalised. The eurozone states have in fact accepted that the direction for changes will be devised by France and Germany, and the role of European institutions such as the Commission or the Parliament may weaken. From the perspective of eurozone candidate countries, the introduction of the fiscal compact means expanding the scope of conditions they must meet to become members of the single currency area. In the future, a country, in order to adopt the single currency, will have to meet the structural deficit criterion, and also most probably carry out economic reforms such as unifying its fiscal system. These goals will be achieved across the eurozone gradually, in the subsequent stages of the economic governance reform.

Automatic Fiscal Stabiliser: Make it happen! EPC Discussion Paper, 2 May 2016

The eurozone crisis triggered a whole new series of innovations in EU economic governance in order to make the Union more resilient for the next economic downswing. But one of the more persistent issues are the socio-economic divergences between member states, identified by the Five Presidents’ Report as a major problem in the functioning of the Economic and Monetary Union (EMU). Debates took place in recent years about automatic stabilisers, and more specifically about the possibility of introducing an unemployment insurance within the EMU. While the need for some form of fiscal risk-sharing has become a dominant view in expert circles, there has been much less progress among the main political parties and stakeholders. In this study, Regula Hess and László Andor analyse the political feasibility of the adoption of an automatic fiscal stabiliser (AFS) for the eurozone by evaluating actors’ positions towards three distinctive proposals: 1) cyclical shock insurance, 2) reinsurance, 3) a European basic unemployment insurance; they included an empirical case study of France and Germany as the most relevant players within the intergovernmental bargaining constellation. Although the authors realise the current political context makes the adoption of an AFS improbable, Hess and Andor encourage stakeholders to further pursue the discussion, as windows of opportunities can open at any time, and even give some suggestions on what the parameters of the most feasible proposal might be.

The discourse of climate change: a corpus-based approach

Based on Goffman’s definition that frames are general ‘schemata of interpretation’ that people use to ‘locate, perceive, identify, and label’, other scholars have used the concept in a more specific way to analyze media coverage. Frames are used in the sense of organizing devices that allow journalists to select and emphasise topics, to decide ‘what matters’ (Gitlin 1980). Gamson and Modigliani (1989) consider frames as being embedded within ‘media packages’ that can be seen as ‘giving meaning’ to an issue. According to Entman (1993), framing comprises a combination of different activities such as: problem definition, causal interpretation, moral evaluation, and/or treatment recommendation for the item described. Previous research has analysed climate change with the purpose of testing Downs’s model of the issue attention cycle (Trumbo 1996), to uncover media biases in the US press (Boykoff and Boykoff 2004), to highlight differences between nations (Brossard et al. 2004; Grundmann 2007) or to analyze cultural reconstructions of scientific knowledge (Carvalho and Burgess 2005). In this paper we shall present data from a corpus linguistics-based approach. We will be drawing on results of a pilot study conducted in Spring 2008 based on the Nexis news media archive. Based on comparative data from the US, the UK, France and Germany, we aim to show how the climate change issue has been framed differently in these countries and how this framing indicates differences in national climate change policies.

Intercultural training for international placements

Despite its increasing popularity, much intercultural training is not developed with the same level of rigour as training in other areas. Further, research on intercultural training has brought inconsistent results about the effectiveness of such training. This PhD thesis develops a rigorous model of intercultural training and applies it to the preparation of British students going on work/study placements in France and Germany. It investigates the reasons for inconsistent training success by looking at the cognitive learning processes in intercultural training, relating them to training goals, and by examining the short- and long-term transfer of intercultural training into real-life encounters with people from other cultures. Two cognitive trainings based on critical incidents were designed for online delivery. The training content relied on cultural practice dimensions from the GWBE study (House, Hanges, Javidan, Dorfman & Gupta, 2004). Of the two trainings, the 'singlemode training' aimed to develop declarative knowledge, which is necessary to analyse and understand other cultures. The 'concurrent training' aimed to develop declarative and procedural knowledge, which is needed to develop skills for dealing with difficult situations in a culturally appropriate way. Participants (N-48) were randomly assigned to one of the two training conditions. Declarative learning appeared as a process of steady knowledge increase, while procedural learning involved cognitive re-categorisation rather than knowledge increase. In a negotiation role play with host-country nationals directly after the online training, participants of the concurrent training exhibited a more initiative negotiation style than participants of the single-mode training. Comparing cultural adjustment and performance of training participants during their time abroad with an untrained control group, participants of the concurrent training showed the qualitatively best development in adjustment and performance. Besides intercultural training, multicultural personality traits were assessed and proved to be a powerful predictor of adjustment and, indirectly, of performance abroad.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

El impacto de la crisis en la industria cinematográfica en Europa

Este trabajo analiza el impacto que ha generado la crisis económica y financiera más reciente en las industrias cinematográficas de siete países miembros de la Unión Europea. Las conclusiones señalan que, en efecto, la crisis ha impactado negativamente en las industrias de España e Italia, y muy gravemente en la de Portugal, pero en el lado contrario, la del Reino Unido ha experimentado un crecimiento apreciable y las de Francia y Alemania también lo han hecho, aunque en menor medida. Y en segundo lugar, es muy notable la escasa colaboración alcanzada entre los agentes europeos.

El concepto de ciudadanía en la obra de Dominique Schnapper: entre el tipo ideal sociológico y el ideal de sociedad democrática

Este artículo analiza la evolución del concepto de ciudadanía en la obra de Dominique Schnapper como uno de los ejemplos más destacados en la sociología contemporánea de una aproximación completa a la cuestión. A través de un recorrido exhaustivo por su obra, el objetivo es profundizar en la comprensión de la tensión entre la dinámica democrática y la idea de ciudadanía en cuanto que tipo ideal del vínculo social y como principio regulador de las sociedades democráticas. La autora propone en sus primeros trabajos una noción de ciudadanía vinculada al proceso político de construcción de la nación que no distingue entre la definición de un tipo ideal sociológico y la construcción de un ideal de sociedad. Esta confusión se corrige al introducir posteriormente en el análisis la incidencia de la democracia sobre las experiencias individuales de la ciudadanía, aportando una perspectiva de análisis de gran utilidad tanto para la comprensión de la dinámica contemporánea de las sociedades democráticas como para la necesaria defensa de la ciudadanía como vínculo social fundamental y como principio fundador de la legitimidad política.

Commentary on Maugham's Treatise on the Laws of Literary Property (1828)

The first British legal treatise dedicated specifically to the law of copyright written by a strong advocate of the common law rights of the author. Maugham, in addition to providing a commentary upon the law of copyright, also used his work to lobby for both an extension to the copyright term (ideally resulting in a perpetual right) and a reduction in the library deposit requirements (arguing that authors should only be required to deposit one copy of their work for the British Museum). In proselytising the need for a change to the law in both areas he drew frequent comparisons with the law of other jurisdictions (in particular France and Germany). The work became a standard point of reference for many British and American authors who followed.

Self-selection into export markets by business services firms:evidence from France, Germany and the United Kingdom

This study investigates business services firms that (start to) export, comparing exporters to firms that serve the national market only. We estimate identically specified empirical models using comparable enterprise data from France, Germany, and the UK. Our findings show that exporters are on average more productive and pay higher wages in all three countries. However, results for profitability differ across borders, where profitability of exporters is significantly smaller in Germany, significantly larger in France, and does not differ significantly in the UK. The results for wages and productivity hold in the years before firms start exporting, which indicates self-selection into exporting of more productive services firms that pay higher wages. The surprising finding of self-selection of less profitable German services firms into exporting does not show up among firms from France and the UK. In all three countries we do not find evidence for positive effects of exporting on firm performance. © 2012 Elsevier B.V.