How Can Local Manufacturing Improve Economic Sustainability? Saint Brissant: a case study of local manufacturing in Spain

Fast-fashion retailers and mass production dominate the fashion and apparel industry. Increased globalization, labor intensity and outsourcing to developing countries are fostering the interest in sustainability within the industry. There is a growth of a new movement attempting to offset the demand for fast fashion, "Slow Fashion" movement. Slow fashion is not time-based but quality-based approach in which designers, buyers, retailers and consumers are more aware of the impacts on workers, communities and ecosystems (Fletcher 2007). European Union has also some critical targets to reach by 2020. Spain, specifically, has to meet some requirements in terms of economy and sustainability. This exploratory study analyzed how slow fashion concept, precisely manufacturing locally, could improve economic development. Local manufacturing, its impact on economic development and the challenges of Spanish market are illustrated through a case study of one Spanish fashion brand, Saint Brissant.

Estudio acústico y electroacústico para la realización de un musical en el teatro Rialto de Madrid

El propósito de este Proyecto Fin de Carrera es el estudio acústico y electroacústico de la realización del musical “Hoy no me puedo levantar” en el Teatro Rialto de Madrid en 2005. En primer lugar, se realiza una breve introducción histórica, citando sus remodelaciones y comentando la situación actual del recinto. Posteriormente, es analizado el equipo de sonido empleado en el espectáculo a partir de cada uno de los distintos controles de sonido: FOH (Front of Hause), monitores y microfonía inalámbrica. De cada uno de ellos se explican sus principales funciones y los sistemas que los conforman. También se describe la utilización de las cabinas insonorizadas. A continuación, se detallan los sistemas electroacústicos (empleados en el diseño) de la sonorización de dicho musical, que se consideran divididos en las siguientes partes: sistema principal, refuerzos y retardos, efectos y monitores. Además, se detalla el software RMS (Remote Monitoring System), que aporta información del funcionamiento de estos sistemas en tiempo real. Seguidamente, se exponen el equipo, procedimiento y resultados de la medida in situ en el Teatro, aplicando la Norma UNE-EN ISO 3382-2/2008 para obtener el tiempo de reverberación y ruido de fondo. Con el objeto de inicializar la simulación por ordenador, primero se exportan los planos originales de AutoCAD a EASE 4.4, donde se finaliza el proceso de modelar el recinto. Posteriormente, se asignan materiales, áreas de audiencia, puntos de escucha y se ubican los sistemas electroacústicos. Se afina el tiempo de reverberación obtenido en la medida in situ mediante materiales de la base de datos del propio software. También se ajustan los sistemas electroacústicos en el recinto para obtener la ecualización empleada y los niveles de presión sonora directo y total para distintas frecuencias. Una vez finalizados los pasos anteriores, se procede a realizar estudios psicoacústicos para comprobar posibles ecos y el efecto precedencia (empleando retardos electrónicos o delays). Finalmente, se realizan estudios de inteligibilidad, en los que se justifica la Claridad de Voz (C50) y Claridad Musical (C80); el Índice de inteligibilidad del habla (SII), la Pérdida de articulación de consonantes (Alcons) y el Índice de transmisión del habla (STI). Por último se expone el presupuesto del proyecto y del alquiler del equipo de sonido del musical y se exponen las conclusiones del Proyecto Final de Carrera. ABSTRACT. The purpose of this Final Degree Project is the acoustic and electro-acoustic study of the musical “Hoy No Me Puedo Levantar” at Teatro Rialto in 2005 (Madrid, Spain). First of all, a brief review of its history is made, quoting its refurbishments and discussing the current situation of this enclosure. Later, the sound equipment of the show is analyzed through every different sound controls: FOH (Front Of House), monitors and wireless microphones. There is also an explanation about their principal functions and systems, as well as a description of the soundproof cabins. Then, the electro-acoustic systems are detailed and divided in the following parts: main system, boosters and delays, effects and monitors. The RMS software (Remote Monitoring System) is described too, since it gives relevant information of the systems operations in real time. Afterwards, equipment, procedures and results of the measurements are exposed, applying the UNE-EN ISO 3382-2/2008 regulation in order to obtain the reverberation time and background noise of the theatre. With the purpose of initialize the computer simulation, original plans are exported from AutoCad to EASE 4.4., where its modeling process is ended. Materials, audience areas, hearing points and electro-acoustic locations are assigned below. At the same time, reverberation time is tuned up using database materials of the software itself. Also, electro-acoustic systems of the enclosure are adjusted to get the equalization and pressure sound levels of the different frequencies. Once previous steps are finished, psycho-acoustic studies are made to check possible echoes and the precedence effect - using electronic delays -. Finally, intelligibility studies are detailed, where the Voice and Musical Clarities are justified: The Speech Intelligibility Index, the Loss of Consonants Articulation and the Talk Transmission Index. This Final Degree Project ends describing the budget and rent of the sound equipment and the final conclusions.

El teatro del uruguayo Florencio Sánchez.

[t. 1] M'hijo el dotor. Los muertos. Nuestros hijos.--t. 2 Los derechos de la salud. En familia. Moneda falsa.--t. 3. Barranca abajo. La gringa. El desalojo.

El retrato de Miguel de Cervantes,

Mode of access: Internet.

Elogio de Cervantes; discurso leido en la junta pública y solemne de 24 de abril de 1916 para conmemorar el tercer centenario de la muerte de Miguel de Cervantes,

At head of title: Real academia de la historia.

La novela en el teatro,

Mode of access: Internet.

Glorias mundanas : drama de costumbres en tres actos y en verso /

Staged at the Teatro de Granada.

Los invencibles hechos de don Quijote de la Manc primera obra en que aparece llevada al teatro, 1617,

Mode of access: Internet.

Obras escogidas de Miguel de Cervantes

Vol. 1: Vida de Cervantes y análisis del Quijote. - Vol. 2-6: Ingenioso hidalgo don Quijote de la Mancha. - Vol. 7: Novelas ejemplares. - Vol. 10: Teatro.

Los dos camaradas : primera parte del drama póstumo Miguel de Cervantes /

Ambas obras han sido puestas en escena por primera vez en el teatro de Jovellanos la noche del 21 de abril de 1867

La soledad laureada por San Benito y sus hijos, en las Iglesias de España y Teatro monastico de la provincia Cartaginense /

Mode of access: Internet.

Historia de Granada : comprendiendo la de sus cuatro provincias Almería, Jaén, Granada y Málaga, desde remotos tiempos hasta nuestros días /

Mode of access: Internet.

Eminent literary and scientific men of Italy, Spain, and Portugal ...

By J. Montgomery, Mrs. Shelley and others.

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^

The origins of the foreign language press in Málaga

The settlement of foreign residents in Spain has led since the mid- nineteenth century the creation of a foreign language press in order to inform and serve as a vehicle for social cohesion in these communities. This article studies Málaga because it is one of the provinces with the highest current number of foreign language press in Spain. This research has focused on analyzing two of the first newspapers written in English at the beginning of XX century: British Colony Gazette and the English section of La Union Mercantil, Weekly English News.