Análisis de los mercados de gas mayoristas en Europa: Francia, Reino Unido, Bélgica y Holanda

Este proyecto consiste en una previa investigación descriptiva del mercado mayorista de gas en España. Para ello, se ha estudiado en profundidad el funcionamiento de los componentes que constituyen este sistema y las herramientas necesarias utilizadas para el sostenimiento del mismo. Se ha analizado las capacidades, peajes, etc. para poder extrapolar estos conocimientos al resto de los mercados europeos examinados. Una vez explorado el mercado español, se ha analizado el mercado belga, francés, inglés y holandés. En estos mercados se ha hecho un estudio de las bases necesarias que un comercializador necesita para poder introducirse en estos nuevos mercados. Por último, al tratarse de un proyecto de investigación, se ha realizado un estudio del coste económico que un estudio como este podría conllevar. 3 ABSTRACT This project is a descriptive pre-research study of the wholesale gas market in Spain. For that purpose, the system's structure, functioning and the strategies required for its sustainability have been studied extensively. Capacities, tolls, etc. have been analysed so that results can be then extrapolated to the other markets examined. Once the spanish market was explored; belgian, french, english and dutch markets were analysed. In these markets, the basis required for a potential marketer entering these markets, have been evaluated. At last, as a research study, it includes an economic cost analysis that a study like this would imply

La representación de la arquitectura moderna : la villa Stein-de Monzie en "L'Oeuvre Complète" de Le Corbusier y Pierre Jeanneret : influencia de la visión cinematográfica

Esta tesis doctoral trata de investigar cuánto hubo de presencia del cine en el pensamiento de Le Corbusier y Pierre Jeanneret, a la hora de acometer la publicación y maquetación de las páginas dedicadas a la Villa Stein-de Monzie en Garches, en “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Qué mecanismos cinematográficos pusieron en juego, cuando montaban las páginas de L´Oeuvre Complète. Más que encontrar elementos cinematográficos utilizados de manera directa; el objetivo de esta tesis es profundizar en los mecanismos, procedimientos, sistemas de generación de ideas a lo largo del proceso de proyecto; en las maneras de percibir y experimentar los espacios, o de observar las formas. El armazón lo compone por lo tanto el análisis del modo en que Le Corbusier representa la villa en L´Oeuvre Complète, sus intenciones y la función pedagógica de este modo de representar; así como sus diferencias con respecto a lo realmente construido. Una realidad elaborada sobre un tablero; maquetando su representación, eligiendo los fragmentos, y componiendo las láminas (cercana a la de un director de cine). La justificación del objeto a estudiar se plantea en el primer capítulo: L´Oeuvre Complète (1937), la reedición en francés, alemán e inglés de la primera edición en alemán, Ihr Gesamtes Werk (1929).Se establecen las intenciones de Le Corbusier de que se convierta en un modelo de Tratado de Arquitectura Moderna, eminentemente visual. Se estudian los mecanismos formales y geométricos de composición del libro, y el modo en el que L´Oeuvre Complète debe ser leída. El desarrollo de los siguientes capítulos (del 2 al 9) recoge el método principal de investigación de esta tesis, basado en una lectura longitudinal, crítica y sistemática, a partir de la observación atenta de la representación de la villa Stein-de Monzie en Garches, en las páginas nº 140 a 149 de L´Oeuvre Complète. Se efectúa mediante un desarrollo lineal y secuenciado, como si de un guión cinematográfico se tratara. Cada capítulo describe y analiza cada uno de los diferentes fragmentos, permitiendo al mismo tiempo enlazar temas de interés que ayudan a comprender aspectos de la villa de Garches, de su concepción en la intensa labor de proyecto (con numerosas variantes y propuestas), e incluso de su aparición en el cine. Además, la tesis arroja luz sobre unos documentos bastante desconocidos: las láminas de la colección del Museo Cooper-Hewitt de nueva York, para la villa de Garches. El análisis de la presentación de la villa de Garches en L´Oeuvre Complète, constata que para Le Corbusier, el fragmento, per se, ha de ser perfecto, produciendo la máxima emoción. Como un prestidigitador, Le Corbusier los manipula, o le niega información al espectador mediante el uso de la elipsis en el relato. Los textos concatenan las imágenes, soportan el hilo de la narración. Los bocetos quieren siempre seducir al espectador: son dibujos que rezuman vitalidad, con una técnica muy cercana a la ligne claire del cómic. Las plantas son un laboratorio para demostrar su jerarquía y su libertad de composición; eliminando elementos, distorsionando la valoración de líneas y apareciendo algún elemento no ejecutado. Los alzados, esquemáticos y abstractos, demuestran el control de la geometría para garantizar la emoción. Las fotografías son controladas en su fase de captura (elección del punto de vista, cuidada puesta en escena de los objetos, composición con la luz, uso de las sombras para la aparición del fuera de campo); pero también en la fase de postproducción y edición, donde son cortadas, alisadas superficies, borrando o dibujando elementos sobre ellas. El montaje compone asimismo una representación dinámica, fragmentada y múltiple de la villa. Como sucede en el cine, los fragmentos sólo encuentran su razón de ser una vez son re-creados y montados en la cabeza del espectador. La falta de raccord es un mecanismo buscado por Le Corbusier, trasladando a la representación una de las primordiales características de la villa de Garches: su permanente dualidad simultánea. Todos estos mecanismos son desplegados por Le Corbusier, para ofrecer una versión idealizada de la villa, que recoja todas las virtudes de los distintos proyectos e incorpore el factor tiempo. ABSTRACT This doctoral thesis tries to investigate how much the cinema affected Le Corbusier and Pierre Jeanneret´s thoughts, at the moment of undertaking the publication and layout of the pages dedicated to the villa Stein-de Monzie in Garches, in the book “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Which cinematographic mechanisms they brought into play, when they were mounting those pages. Instead of finding cinematographic elements, used directly; the aim of this thesis is to go deeply into the mechanisms, methods, systems of generation of ideas along the project process; into the ways of seeing and feeling the spaces, or of watching the forms. The body is composed therefore by the analysis of the way in which Le Corbusier represents the villa in L'Oeuvre Complète, his intentions and the pedagogic function of that way of representation; as well as its differences with the real built villa. One reality elaborated on a board; laying out its representation, choosing the fragments, and composing the sheets (near to the work of a director of cinema). The justification of the object to studying appears in the first chapter: L'Oeuvre Complète (1937), the reissue in French, German and English of the first edition in German, Ihr Gesamtes Werk (1929). This chapter shows the intentions of Le Corbusier of turning the book into a model of modern architecture, highly visual. The formal and geometric mechanisms of composition of the book are studied, and the way in which L'Oeuvre Complète must be read. The development of the following chapters (from 2 to 9) gathers the principal method of investigation of this thesis, based on a longitudinal, critical and systematic reading; from the watching of the representation of the villa Stein-de Monzie in Garches, in the pages nr. 140 to 149 of L'Oeuvre Complète. It is carried out by a linear and sequenced development, as a cinematographic script. Every chapter describes and analyzes each of the different fragments, allowing at the same time to connect interesting issues that help to understand aspects of the villa in Garches, of its conception in the intense project process (with numerous variants and designs), and even of its appearance in films. Also, the thesis throws light on some unknown documents: the sheets of the collection of the Museum Cooper-Hewitt in New York, for the villa in Garches. The analysis of the presentation of the villa in Garches in L'Oeuvre Complète, proves that for Le Corbusier, the fragment, itself, has to be perfect, getting the maximum emotion. As a prestidigitator, Le Corbusier manipulates them, or denies information to the spectator by means of the use of the ellipsis in the story. The texts concatenate the images, support the thread of the story. The sketches always attempt to seduce the spectator: they are drawings that leak vitality, with lines very near to the ligne claire of the cómic. The plans are a laboratory to demonstrate their hierarchy and their freedom of composition; deleting elements, distorting the thickness of lines and showing some not executed elements. The elevations, schematic and abstract, shows the control of the geometry to guarantee the emotion in architecture. The pictures are controlled in their instant of capture (choice of the point of view, elegant mise-en-scène of the objects, composition with light, use of the shadows for the appearance of out of vision); but also in the postproduction and edition time, when surfaces are cut, smoothing, erasing or drawing elements in them. The montage composes in the same way a dynamic, fragmented and multiple representation of the villa. As in the films, the fragments only find their raison d'être once they have been re-created and mounted into the mind of the viewer. The continuity error is a mechanism allowed by Le Corbusier, transfering to the representation in the book one of the basic characteristics of the villa in Garches: its constant simultaneous duality. All these methods are displayed by Le Corbusier, to offer an idealized version of the villa, which gathers all the virtues of the different projects, and incorporates the time factor.

Althea Gibson

One quote from the famous Venus Williams sums up what Ms. Gibson did for this world, “For players like myself and a lot of other African American players on the tour, Althea Gibson paved the way for us”. Ms. Gibson was the first African American woman to win the Wimbledon and U.S. Championships in 1957, and the French Open and three double titles at Wimbledon in 1958. She worked as the Athletic Director at Lincoln University and, after retiring from tennis, toured with the Harlem Globetrotters.

Ouida Sprye Tolbert

Ouida Tolbert began her career at Lincoln University in 1950 as a Supervisory teacher of English, French, Speech, and Drama in the Laboratory High School and as an Associate Professor in the Department of Education. She retired from Lincoln as an Associate Professor of English in 1993. Tolbert was a mentor, role model, and life-long educator. Her dedication to pedagogy and passionate attitude touched many of her students’ and colleagues’ lives. She still contributes to the educating community today.

The European Resonance of Napoleon’s Defeat in Spain

The military event that sealed the defeat of Napoleon in Spain was the Battle of Vitoria on 21st June 1813, which saw the allied British, Spanish and Portuguese troops led by Wellington gain victory over Joseph Bonaparte's forces. It was the last great battle of what is known in Spain as the Guerra de la Independencia, in the United Kingdom as the Peninsular War and in France as the Guerre d'Espagne. While a sliver of Spanish territory remained under French control and the war itself went on for a few more months, it was the Battle of Vitoria that marked the end of Napoleon's rule on the Iberian Peninsula, as symbolised by the departure from Spain of Joseph Bonaparte, the monarch who had been imposed five years earlier to remove the Bourbons from the Spanish throne.

Diaries of Benjamin Guild, 1776, 1778

These diaries of Benjamin Guild document his travels as a Presbyterian pastor in Massachusetts and Rhode Island. The daily entries describe people Guild met and dined with, the food he ate (including strawberries, currants, watermelon, English cherries, and lobster), the funerals he attended, and the sermons he gave. Many entries relate to his health concerns (the ague and eye trouble), sleeping habits, and widespread public health concerns (including smallpox, dysentery, "nervous fevers," consumption, and "putrid fever"). The diaries also contain passing references to the activities of American, British, French, and German soldiers during the American Revolution; the invasion of Canada and battles occurring in New York are noted. In August 1778, after visiting Providence, Rhode Island, Guild comments on the disordered state of the city after American soldiers passed through it. He also recounts a visit by officers of the French fleet to the Harvard College library in September 1778 and describes his dinner on board the French man-of-war, Sagitaire. One entry describes an elaborate ball sponsored by John Hancock, held for French soldiers and "Boston ladies," and another refers to the "incursion" of Indians. Many of Guild's diary entries pertain to his work as a Harvard College Tutor; these entries describe his lectures at the College, meetings with colleagues, personnel decisions, and the examination of students. He also describes books he is reading and his opinions of them, the purchase and sale of books, and his desire to learn Hebrew and French. In addition, multiple entries refer to a man named Prince, who was perhaps Guild's slave. Prince sometimes accompanied Guild on his travels.

Letter from William Tudor to his family,

Four letters written from Tudor to his family while he was traveling in France in 1800 and 1802. In two letters, he describes in detail his capture by a French privateer aboard the ship Minerva in the spring of 1800. He also discusses the business activities of "Mr. C" (John Codman), his employer. Tudor additionally describes the French countryside and the impact of the French Revolutionary Wars on the cities.

Letters from William Tudor to his mother, Delia Jarvis Tudor,

Four letters written from Paris, in which he describes his capture by a French privateer and discusses virtues and vices of French society and culture. He also relays details about social visits, including a meeting with the Marquis de Lafayette. Included is an undated list of packages and trunks he was sending home. Content is obscured in some places from loss, and dates are missing from two of the letters, but presumably they were sent in the summer of 1800.

Letters from T. Morton Jones to William Tudor,

Five letters, in which Jones recounts a club meeting and toasts and songs given, and provides updates on the business and descriptions of nail manufacture and design. He also comments on fashions of the day and includes an anectdote about a lecture he attended that was so dull, one audience member "fell fast asleep & tumbled down with a crash that startled everyone in the room." Letter dated 1814 March 24 is addressed to "Fanny" but also contains a message to Tudor from Jones.

Letters from Thomas James Maling to William Tudor,

Six letters providing information about British naval vessels and news of the movements of French vessels and South American belligerents. He also mentions the silver mining partnership and the agent B. Llaveria. Included are a letter from Maling’s wife, and one letter from Maling in Spanish

Extraits des Registres concernans les Affaires de Canada : manuscript, [not before 1708]

Concern French administration and government of Canada, 1663-1708.

Western Hemisphere, 1740 (Image 1 of 2) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Carte nouvelle de la mer du Sud : dressée par ordre des principaux directeurs & tirée des memoires les plus recents et des relations des navigateurs les plus modernes, tant de France, que d'Espagne l'on ÿa joint, diverses remarques curieuses par raport aux decouvertes des graduations des manierres du pais que de la navigation. It was published by Donné au public, par And. & Henry de Leth ... sur le Pont de la Bourse au Pescheur ca. 1740. Scale [ca. 1:30,000,000]. Covers the Pacific and Atlantic oceans, and the Americas, with parts of Asia, Australia, Europe, and Africa. This layer is image 1 of 2 total images of the two sheet source map representing the western portion of the map. Text in French, Dutch, and Latin. The image inside the map neatline is georeferenced to the surface of the earth and fit to the 'Mercator' projection. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. Note: The central meridian of this map is not the same as the Prime Meridian and may wrap the International Date Line or overlap itself when displayed in GIS software. This map shows features such as drainage, cities and other human settlements, territorial boundaries, shoreline features, and more. Relief is shown pictorially. Includes historical and cultural notes, view of "Fort au Cap de Bonne Esperance," and other ill. Insets: Vera-cruz -- Baye de Rio Janeiro -- La Havane ... -- Le Detroit de Gibaltar -- La ville de Mexico -- Istme de Panama ou de Darien -- Baye de Porto Bello. This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection and the Harvard University Library as part of the Open Collections Program at Harvard University project: Organizing Our World: Sponsored Exploration and Scientific Discovery in the Modern Age. Maps selected for the project correspond to various expeditions and represent a range of regions, originators, ground condition dates, scales, and purposes.

Western Hemisphere, 1740 (Image 2 of 2) (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Carte nouvelle de la mer du Sud : dressée par ordre des principaux directeurs & tirée des memoires les plus recents et des relations des navigateurs les plus modernes, tant de France, que d'Espagne l'on ÿa joint, diverses remarques curieuses par raport aux decouvertes des graduations des manierres du pais que de la navigation. It was published by Donné au public, par And. & Henry de Leth ... sur le Pont de la Bourse au Pescheur ca. 1740. Scale [ca. 1:30,000,000]. Covers the Pacific and Atlantic oceans, and the Americas, with parts of Asia, Australia, Europe, and Africa. This layer is image 2 of 2 total images of the two sheet source map representing the eastern portion of the map. Text in French, Dutch, and Latin. The image inside the map neatline is georeferenced to the surface of the earth and fit to a non-standard 'Mercator' projection with the central meridian at 172.66600 degrees west. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. Note: The central meridian of this map is not the same as the Prime Meridian and may wrap the International Date Line or overlap itself when displayed in GIS software. This map shows features such as drainage, cities and other human settlements, territorial boundaries, shoreline features, and more. Relief is shown pictorially. Includes historical and cultural notes, view of "Fort au Cap de Bonne Esperance," and other ill. Insets: Vera-cruz -- Baye de Rio Janeiro -- La Havane ... -- Le Detroit de Gibaltar -- La ville de Mexico -- Istme de Panama ou de Darien -- Baye de Porto Bello. This layer is part of a selection of digitally scanned and georeferenced historic maps from the Harvard Map Collection and the Harvard University Library as part of the Open Collections Program at Harvard University project: Organizing Our World: Sponsored Exploration and Scientific Discovery in the Modern Age. Maps selected for the project correspond to various expeditions and represent a range of regions, originators, ground condition dates, scales, and purposes.

Cologne, Germany, 1850 (Raster Image)

This layer is a georeferenced raster image of the historic paper map entitled: Plan des rues de Cologne, lith. bei D. Levy Elkan. It was published for C. A. Staudt in 1850. Scale [ca. 1:29,000]. Covers Cologne, Germany. Map in French, German and English. The image inside the map neatline is georeferenced to the surface of the earth and fit to the Deutsches Hauptdreiecksnetz (DHDN) 3-degree Gauss-Kruger Zone 2 coordinate system. All map collar and inset information is also available as part of the raster image, including any inset maps, profiles, statistical tables, directories, text, illustrations, index maps, legends, or other information associated with the principal map. This map shows features such as roads, drainage, built-up areas and selected buildings, fortification, and more. Includes also views, advertisements and index. This layer is part of a selection of digitally scanned and georeferenced historic maps from The Harvard Map Collection as part of the Imaging the Urban Environment project. Maps selected for this project represent major urban areas and cities of the world, at various time periods. These maps typically portray both natural and manmade features at a large scale. The selection represents a range of regions, originators, ground condition dates, scales, and purposes.

A ação direta da vítima contra a seguradora nos seguros facultativos de responsabilidade civil na dogmática brasileira

A investigação parte do surgimento histórico do contrato de seguro, abordando em sequencia sua teoria geral e a dogmática brasileira pertinente para, após, traçar os contornos específicos do contrato de seguro de responsabilidade civil, tanto pelo viés doutrinário quanto da legislação vigente no Brasil, dando ênfase maior ao seu conceito e finalidade social, às peculiaridades de seu sinistro, assim como à pluralidade de interesses nele albergado, afastando-se a ideia de se tratar de um seguro de reembolso, e adotando-se sua conceituação como de um seguro de garantia. Após, são fixados os conceitos básicos de processo civil aplicáveis ao objeto do estudo: jurisdição, processo, ação e seus elementos, para somente então expor o surgimento e desenvolvimento teórico da ação direta da vítima contra a seguradora na doutrina e jurisprudência francesas, passando pelas fases exegética, legalista e doutrinária de sua análise. Com base neste desenvolvimento histórico, adota-se concepção da ação direta da vítima contra a seguradora como instituto jurídico de conformação própria, oriundo dos princípios de equidade e justiça, e destinado ao afastamento dos princípios gerais de direito civil da relatividade contratual e da igualdade entre credores, constituindo meio de exercício do direito próprio da vítima contra a seguradora do causador do dano. Delimitados os conceitos em estudo, são expostas algumas experiências estrangeiras acerca do uso da ação direta e, partindo-se do embasamento teórico do seguro de responsabilidade civil e da ação direta da vítima por este protegida, ingressa-se na análise de seu desenvolvimento na dogmática brasileira. Para tanto, volta-se à ideia do seguro de responsabilidade civil como seguro de reembolso, e aos argumentos dela decorrentes para afastar o cabimento da ação direta, tais como o princípio da relatividade contratual, a ausência de previsão de solidariedade entre segurado e seguradora, e as dificuldades de exercício da ação e também de defesa por parte da seguradora e do segurado. Expostos e criticados os argumentos contrários ao cabimento da ação direta, passa-se ao estudo das tentativas doutrinárias e jurisprudenciais, no direito brasileiro, de se fornecer à vítima um meio de exercício de sua ação contra a seguradora, inicialmente por instrumentos de processo civil, e terminando por se reconhecer a possibilidade de acionamento conjunto de segurado e seguradora pelo Superior Tribunal de Justiça na sua Súmula 529. Por último, são tratados os argumentos doutrinários e legislativos favoráveis ao cabimento da ação direta da vítima contra a seguradora em qualquer seguro de responsabilidade civil, com e sem a participação inicial do segurado no processo, com destaque à função social do contrato de seguro de responsabilidade civil facultativo e ao direito próprio da vítima perante a seguradora. Conclui-se, assim, que a ação direta da vítima contra a seguradora, em qualquer seguro de responsabilidade civil, é instrumento apto e cabível na dogmática brasileira para dar vazão aos preceitos de equidade e justiça, despersonalizando a responsabilidade civil, ao levar seu foco da imputação para a indenidade, respeitando ao duplo interesse do moderno contrato de seguro de responsabilidade civil, e solucionando pela via mais apta e simples situação complexa.