Found 204 result(s)
Found 21 page(s)

Miti modern i identitetit

  • Kastrati, Diana
Congreso celebrado en la Universidad de Tirana (Albania), los días 2-3 de abril de 2012, Casa de España en Tirana. Universidad de Tirana. Universidad Rey Juan Carlos. Banco Santader., Filología II

Orientalizmat në rrjedhën e italianizmave në gjuhën shqipe

  • Derjaj, Adriatik
  • Kaba, Flavia
Congreso celebrado en la Universidad de Tirana (Albania), los días 2-3 de abril de 2012, Casa de España en Tirana. Universidad de Tirana. Universidad Rey Juan Carlos. Banco Santader., Filología II

University training on entrepreneurship in communication and journalism business projects

  • Aceituno-Aceituno, Pedro
  • Casero-Ripollés, Andreu
  • Escudero-Garzás, José-Joaquín
  • Bousoño-Calzón, Carlos
The current scenario of crisis and change has prompted the idea of entrepreneurship as a way to develop new media business models that can be promoted by university training. In this study, we aim to assess the effects of such training. A qualitative study was conducted using in-depth interviews of Spanish journalism and communication entrepreneurs who have undergone university training in business creation and management. Our results show the positive effects of this training on entrepreneurship both in general and on specific aspects of entrepreneurial projects such as organization, business plan/model, marketing, innovation, social aspects and quality of life. Different patterns between the effects of university training on new initiatives and advanced projects were also observed. In this respect, the training supported the creation of new businesses and the development of existing ones. Finally, the suggestions for improving training and the limitations to entrepreneurship have revealed the importance of providing this type of education with a more practical, up-to-date approach that is interconnected with the business and university world. Therefore, examples of this work can be of vital importance in opening up new opportunities for sector development to enable future generations of journalists to fulfill their important social function.

«La vida es sueño» en televisión o de un auto sacramental sin sacramento

  • González, Horacio
This article analyses the Spanish television adaptation of Calderón’s sacramental play La vida es sueño by Alberto González Vergel (1965), focusing on changes such as the elimination of certain parts of the text, the addition of images to illustrate the scenes, or the alteration of verses. It also examines the scenography, the wardrobe and the scenic music and compares these to Calderón’s vision and to the staging of Federico García Lorca. It will be confirmed that Spain, in the mid-60’s, returned to a thinking of Enlightenment which rejected sacramental plays, a return that introduced Spain to Modernity but avoided the correct understanding of our Golden Age and so left our cultural heritage helpless in the face of powers like the omnipotent TV. 

La influencia de «El príncipe constante» de Grotowski en la puesta en escena de Calderón en España

  • Rufo, Sergio
The performance of The Constant Prince by Grotowski’s Teatr Laboratorium was a turning point for the history of Western theatre, but tradicionally its infl uence on the 20th century Spanish stage has been considered not really relevant, at least as far as it concerns the restauration of Calderón plays onstage. The aim of this paper is to report the reception of Calderón’s spiritual dramas in Spain. First of all we will remind the history of the performance of his religious plays from his death till the 60’s; then we will focus on Spanish first reactions to Grotowski’s show inspired by the comedy about Ferdinand the Holy Prince, and finally we will analyze the presence of ritual in the contemporary Spanish staging of Calderón.

El pensamiento vestido de loco. Escritura e inspiración en la obra de Calderón

  • Aichinger, Wolfram
In Calderón’s plays, the act of writing is often viewed as a battle between reason and passion, the result left on the paper therefore being unforeseeable. Calderón’s ideas about the creative process, the transformation of nocturnal visions into works of art, the power of dreams and visions which confront the dreamer with his double, take him into another sphere of time and can heal him from evil powers are of astounding modernity and can be found in passages of all dramatic genres that he worked in.

«Verdaderos y fingidos papeles» en «farsas de noche». Los momentos más calderonianos de Calderón

  • Aichinger, Wolfram
Taking up ideas forwarded by Henry W. Sullivan or Karl Vossler, we propose a study of Calderón’s comedies focused on moments of highest dramatic intensity and an analysis of the ways in which the steady growth of energy leads up to these great scenes. Many of them share a set of features and could be related to the poet’s lifelong existential concerns and philosophical obsessions. Whereas the end of the second jornada frequently shows the main character(s) in a state of epoché (an incapacity to discern truth from illusion) the third act takes them to a point where roles and false identities imposed by time and chance merge with the social roles assigned by the surrounding social world in accordance with a higher divine order. 

Secrets and Secrecy in Calderón's Comedies and in Spanish Golden Age Culture. Outline of a New Research Focus in Calderonian Studies

  • Aichinger, Wolfram
  • Kroll, Simon
The public enactment of secrecy is part of the Spanish Golden Age culture. This article presents a research project, which pursues three objectives: 
A study of secrecy as a core characteristic of Spanish Golden Age culture, on the basis of historiographical studies, sources and cultural theories of secrecy.
 A study of Calderonian comedies of secrecy in the context of Golden Age theatre.
 A case study of the comedy El secreto a voces, including a critical edition that also explores the aesthetics of secrecy and the history of early staging in Madrid and Vienna.
 With this threefold approach we aim at a deeper understanding of both Calderón’s originality and of the secret patterns of Baroque culture.

Advanced search