The Owl, vol. 2, no. 4

Contents: Stabat mater speciosa, Admiral David Glascoe Farragut, Notes of the early mission, Napoleon musing at St. Helena, Expulsion of the Spanish Moors, A dream which was not all a dream, A voyage on a fish-bowl, Conscience, The talisman, Idle notes, Olio, Table of honorhttps://scholarcommons.scu.edu/owl/1009/thumbnail.jp

Las Relaciones Públicas en la comunicación de los Consejos Reguladores de Andalucía

La investigación trata de determinar el grado de presencia de técnicas de relaciones públicas en el seno de los Consejos Reguladores que en 2011 tutelan indicaciones geográficas en Andalucía, identificar la existencia o no de departamentos específicos y su ubicación estratégica y especificar el perfil curricular de sus responsables de comunicación. Nuestra investigación parte de las investigaciones previas existentes en torno a las indicaciones geográficas y las relaciones públicas. En primer lugar, pese a ser un fenómeno de estudio relativamente reciente, las indicaciones geográficas y los Consejos Reguladores que las tutelan han sido abordado desde la perspectiva muy específica de dos disciplinas: la economía (Barco Royo (2004, 2006 y 2007) o Jiménez Zarco, A.I. (2002)) y el derecho (Jiménez Blanco, P. (1996), López Benítez, M. (1996) y Maroño Gargallo, Mª M. (2002)). En segundo lugar, partiendo de las teorías de Bernays, Grunig y Ledingham, se realiza una aproximación teórica a importancia de las técnicas de las relaciones públicas en su planificación estratégica para, posteriormente, tomar como punto de partida para el establecimiento metodológico necesario para proceder a la fase empírica, las técnicas de relaciones públicas identificadas por Xifra (2007) y Castillo (2010). Para nuestra investigación hemos realizado diversos estudios de casos, encuestas y fuentes de datos secundarios. Por ello se ha realizado un cuestionario sobre acciones de las relaciones públicas con el cual hemos obtenidos dos datos necesarios para el estudio de la investigación

«El hombre que parecía un caballo»: la prefiguración de las técnicas de la vanguardia.

Sin resume

Invocaciones sagradas en torno al “secreto de la aldea”

En Guedi, un oasis en la orilla occidental del Mar Muerto, es uno de los más importantes yacimientos del desierto de Judea. En el periodo romano—bizantino En Guedi fue famosa par sus excelentes dátiles y por sus plantaciones de bálsamo. En la última fase de su sinagoga hay una extraña inscripción, cuya interpretación ha ocupado el interés de muchos estudiosos. El presente artículo es un intento de aproximación al correcto significado de la inscripción de En Guedi con inclusión de los últimos datos conocidos.En Guedi. an oasis on the western shore of the Dead Sea, is one of the most important archaelogical sites o the Judean Desert. In the Roman-Bizantine period En Guedi was renowned for its excellent dates and crops of basalm-producing plants. In the last phase of its synagogue there is a striking inscription, which interpretation has occuped the interest of many scholar. The present article is an up-to-day attempt to the correct meaning of the En Guedi inscription

Attila nutritus in Engadi or the knowledge of late antique historical geography in mediaeval Hungarian chronicles

The 10th chapter of the Chronica de Gestis Hungarorum written by Simon of Kéza contains a puzzling phrase: Attila (...) nutritus in Engadi. So far, no attempt has been made to explain it. According to the authors of the following article, Simon took it from the Latin translation of the Onomasticon of Eusebius of Caesarea (d. 339) by St. Jerome. In all likelihood, Simon gained access to Jerome’s codex during his trip to southern Italy. It is necessary to distinguish three stages of the rise and change of the scholarly tradition about Attila as the ancestor of the Arpad dynasty and the Huns as the ancestors of the Hungarians: 1) Attila is viewed as the ancestor of Almos and Arpad; 2) Aquila in the Hungarian-Polish Chronicle as the founder of the Hungarian state, which was an attempt at a Christian rationalization of the story of the Turul, an ethnogenetic story about the Hungarians and their dynasty; 3) the inclusion of the Huns in Hungarian history by Simon of Kéza while removing Attila from among the ancestors of the dynasty. The mention of Engaddi (attesting to Simon's knowledge of the latin topography of Palestine, ultimately derived from Eusebius of Caesarea) likens him to the biblical David showing that, like the great warrior-king of Judah and Israel, Attila was the preeminent ruler of the Huns, i.e. the Hungarians, and at the same time legitimizes him, placing him, and, not least, his people, in the horizon of the world of Mediterranean civilization.The 10th chapter of the Chronica de Gestis Hungarorum written by Simon of Kéza contains a puzzling phrase: Attila (...) nutritus in Engadi. So far, no attempt has been made to explain it. According to the authors of the following article, Simon took it from the Latin translation of the Onomasticon of Eusebius of Caesarea (d. 339) by St. Jerome. In all likelihood, Simon gained access to Jerome’s codex during his trip to southern Italy. It is necessary to distinguish three stages of the rise and change of the scholarly tradition about Attila as the ancestor of the Arpad dynasty and the Huns as the ancestors of the Hungarians: 1) Attila is viewed as the ancestor of Almos and Arpad; 2) Aquila in the Hungarian-Polish Chronicle as the founder of the Hungarian state, which was an attempt at a Christian rationalization of the story of the Turul, an ethnogenetic story about the Hungarians and their dynasty; 3) the inclusion of the Huns in Hungarian history by Simon of Kéza while removing Attila from among the ancestors of the dynasty. The mention of Engaddi (attesting to Simon's knowledge of the latin topography of Palestine, ultimately derived from Eusebius of Caesarea) likens him to the biblical David showing that, like the great warrior-king of Judah and Israel, Attila was the preeminent ruler of the Huns, i.e. the Hungarians, and at the same time legitimizes him, placing him, and, not least, his people, in the horizon of the world of Mediterranean civilization

La Arquitetura sagrada y la Naturalesa en las Cantigas de Santa María

A Idade Média foi o tempo da inserção do homem no meio natural. Mais que isso: foi, sobretudo, o tempo da conquista do espaço, dos grandes arroteamentos, das construções arquitetônicas (por vezes em meio à Natureza), das expansões à custa do meio ambiente. Os movimentos monásticos foram os impulsionadores desse avanço. Nesse sentido, os monges foram, por excelência, os desbravadores, os, dominadores, os domesticadores da Natureza, tanto sujeitos quanto objetos a induzir este processo de compreensão, de civilização. A própria Teologia assim o permitia (“Toda a natureza [...] se amansa e foi domada pela natureza humana”, Tg 3,7). A Civilização Ocidental foi filha desse processo, dessa relação, dessa simbiose, muitas vezes intempestiva, entre a Cultura e a Natureza, a Civilização e a Barbárie, o cru e o cozido. A proposta desse trabalho é analisar a iconografia das iluminuras de duas cantigas e de um louvor presentes nas Cantigas de Santa Maria, obra atribuída a Afonso X, o Sábio. Nossa metodologia consistiu em delimitar tematicamente a presença da natureza naquelas três iluminuras, quando então fixamos os seguintes topos artísticos: 1) a Natureza sagrada (Louvor 10), 2) a Natureza suplicante (Cantiga 93) e 3) a Natureza salvadora (Cantiga 7). Na ordem, da Natureza que cerca e adorna a Virgem, em uma paradoxal dualidade entre o tempo eterno da Natureza e o tempo fugaz e inconstante da Arte. Entrementes, a Natureza que suplica isola o leproso em retiro, e, por fim, a Natureza salvadora é aquela que envolve, com seu manto paradisíaco, os que pedem a intercessão da Virgem.The Middle Ages was the time of insertion of man in Natural environment. More than that: it was, mainly, the time of the conquest of space, the large land clearance, the architectural constructions (sometimes in the middle of Nature), and the expansions at the expense of the environment. The monastic movements were the drivers of this increase. In this sense, the monks were, par excellence, the pathfinders, the lords, the domesticators of Nature, both subjects as objects to induce this process of understanding, civilization. Theology itself so allowed (“For every sort of beast and bird and every living thing on earth and in the sea has been controlled by man and is under his authority”, Jas 3, 7). The Western civilization was the daughter of this process, of this relationship, of this symbiosis, often unintended, between Nature and Culture, Civilization and Barbarism, raw and cooked. The purpose of this study is to analyze the iconography of the illuminations of two songs and one praise present in the Cantigas de Santa Maria, a work attributed to Alfonso X, the Wise. Our methodology consisted of thematically define the presence of Nature in those three illuminated, so when we fix the following artistic tops: 1) The Sacred Nature (cantiga 10), 2) The Supplicant Nature (cantiga 93) and 3) The Saving Nature (cantiga 7). In order, from Nature that surrounds and adorns the Virgin to Nature, which witnesses the passage of time, in a paradoxical duality between the eternal time of Nature and the fleeting and fickle weather of Art. Meanwhile, the Nature who pleads isolates the leper in his retreat, and, ultimately, the saving Nature is one that involves with his heavenly robe who ask the intercession of the Virgin