Guía práctica para el manejo de la cámara Handycam Sony

Es un documento ágil de consulta para el alumnado que recoge las funciones principales de la cámara y su manejo. Está pensado para ser utilizado una vez que el alumno ha atendido a las explicaciones del profesor, siendo así una "guía rápida" de recuerdo de esas explicaciones

"Leodum Lidost on Lofgeornost". La poesía épica de "Beowulf" en nuevos formatos gráficos y visuales

The new formats we have nowadays for the transmission of knowledge are heavily modifying our relationship with the products of our culture. They al so give us new possibilities to deal with literary texts, which constitutes a very important step in the transmission of medieval literature through popular culture. In its age, Beowulf entertained the audience of the meadhall. lt was the best-seller of the day, the successful potboiler movie of Anglo-Saxon England. In our time its story of men and monsters has again attracted the attention of many talented graphic and visual artists that want to put the Beowulf tale back in its oral context, though these days that context belongs to the new visual orality of our early 21st Century mass culture. One of those artists, Gareth Hinds (2003), has faithfully followed the narrative content of Beowulf in his graphic novel The Collected Beowulf, a very interesting case of adaptation. The main aim of this article is to analyse the three features that turn this adaptation into the best graphic version published up till now: a) the text used in its narrative script; b) its narrative structure and plot development; and c) its conceptual design. If we relate these aspects to the structure of Beowulf as a literary text, we'll see how these new formats -out of which graphic novels constitute outstanding examples- maintain the new generations' interest in old literary texts and serve as proper vehicles to carry out the retelling of an old story for a new audience

Gr/edigne Gudhafoc and d/et Gr/ege Deor: Una revisión del tema de las Bestias dela Guerra (57-65h) en las traducciones de la Batalla de Brunanburi

The annal for the year 937 of the Anglo-Saxon Chronicle narrates the events which took place with a poem that constitutes one of the main pieces of Anglo-Saxon heroic epic poetry: The Battle of Brunanburh. The verses contained in this annal are important because those lines fall into the rhythmical units of OE verse and have diction and imagery associated with heroic poetry. This poem, as many others in OE literature(Bueno 2003), uses history as a narrative device to build the inner story of the text experimenting with the topics (style, diction, imagery) of heroic poetry: alliterative style,formulaic vocabulary, the beasts-of-battle topos, phrases taken from the stock of the heroic corpus, etc. It seems most evident that a careful consideration of these topics has to be made when translating the text into other languages. In a previous work I revised three different groups of translations –and translators– that considered the poem a) in isolation, b) in the context of the Anglo-Saxon Chronicle, or c) as an excuse for poetic inspiration. In this article I want to concentrate only in texts from category a), and within them, I will exclusively revise the so-called beasts-of-battle topos (57-56a), a very interesting topic from the point of view of poetic translation studies. My aim will be then to revisit how this topos (57-65a) has been dealt with in several important English (Treharne 2004, Hamer 1970, Rodrigues 1996, Crossley-Holland 1982 as revised and edited by Barber 2008) and Spanish (Lerate & Lerate 2000, Bravo 1998, Bueno 2007) translations. As a complement, a version in Asturian (Santori 1999) will be briefl y discussed.La entrada correspondiente al año 937 de la Crónica Anglosajona narra los hechos que tuvieron lugar en dicha fecha mediante una interpolación poética que constituye una de las piezas más importantes de la poesía heroica del inglés antiguo: La Batalla de Brunanburh. Los versos contenidos en esta entrada son importantes pues su condición y disposición poética nos permite clasifi carlos como poesía heroica del inglés antiguo tanto en la forma (unidades métricas) como en el contenido (imaginería, dicción). Este poema, como tantos otros dentro de la literatura del inglés antiguo (Bueno 2003),usa los hechos históricos como mecanismo narrativo para construir la historia interna del poema experimentando cono los temas (estilo, dicción, imaginería) de la poesía heroica: estilo aliterativo, vocabulario formulaico, el tema de las “bestias de la guerra”,frases sacadas del corpus heroico anglosajón, etc, etc. Parece evidente que estos temas se tendrán que tener en cuenta cuidadosamente cuando se traduzca el texto a otras lenguas. En un trabajo anterior revisé tres grupos diferentes de traducciones y de traductores que consideraron el poema a) de modo aislado, b) en el contexto de la Crónica Anglosajona, y c) como excusa para la creación poética. En este artículo quiero centrarme únicamente en textos de la categoría a) y dentro de ellos analizaré exclusivamente el llamado tema de las “bestias de la guerra” (57-65a), un asunto de gran interés desde el punto de vista de los estudios en traducción poética. Este artículo tiene como objetivo revisar el poema y ver cómo se ha analizado este tema en algunas traducciones importantes, tanto al inglés (Treharne 2004, Hamer 1970, Rodrigues 1996, Crossley-Holland 1982 as revised and edited by Barber 2008) como al español (Lerate & Lerate 2000, Bravo 1998, Bueno 2007). Como complemento se discutirá de modo breve una poco conocida versión del texto en asturiano (Santori 1999)

“Scealcas of sceaðum scirmæled swyrd”: Analysing Judith’s Language and style in translation through a key sample case (161b-166a) and a twin coda (23 & 230)

Among the extant texts from the Old English poetic corpus that have survived up till now –Beowulf aside–, Judith constitutes a poem in which the poet “wrinkles up” the text outstandingly in order to, as Griffith (1997: 85) stated, show a new purpose for commonplace aspects of Old English poetic style. By considering a key sample case (lines 161b-166a) and a further two specific examples (lines 23 & 230), the aim of this article is to revise and analyze how Judith’s poetic and textual wrinkles –especially those affecting language and style, so important to explain the poem’s singular status– have been dealt with in several translations into English that cover a wide array of translation types: pioneer/philological [Cook 1889, through Barber 2008, and Gordon 1926], classic/academic [Hamer 1970 & Bradley 1982], recent/updated both complete [North, Allard and Gillies 2011 & Treharne 2010] and fragmentary [Constantine 2011]. I will always offer my own solutions to the problems raised by the text as presented in my alliterative verse translation into Spanish (Bueno & Torrado 2012).This research was funded by the Spanish Ministerio de Ciencia e Innovación, grant number FFI2009-11274/FILO and by the Galician Autonomous Govement (Plan de Axudas para a consolidación e estruturación de unidades de investigación competitivas do Sistema Universitario Galego, grant number CN-2012/294)

Justice and just price in Francisco de Vitoria's Commentary on Summa Theologica II-II q77.

Following Thomas Aquinas, Francisco de Vitoria’s analysis of justice in exchanges takes place by commenting on the corresponding questions of the Summa Theologica. The identification of the just price with that of common estimation occurs under a sufficient concurrence of sellers and buyers. A high level of concurrence limits the ability to take advantage of the need on the other side of the market. This fact guaranties a full consent of the parties involved in trading. Under conditions of market power or when some authority fixes a legal price, just price should also be taken as a normative ideal.pre-print355 K

Economics, chrematistics, oikos and polis in Aristotle and St. Thomas Aquinas

In Aristotle’s thought, economic activity refers to a kind of praxis consisting in allocating the human and material means that constitute the oikos –the domestic community- to fulfil its natural ends: ensure both life and the means of life. By means of natural chrematistics -acquisitive art- families acquire the necessary means for this, which come from production and exchange. Families group together in the political community (polis) whose end is living well, according to virtues, among which justice is highlighted as the ‘complete virtue’. For its part, the Christian êthos regards every human act, internal and external, of this complete system (polis, oikos and chrematistics) as tending towards its ultimate purpose (beatitudo). In St. Thomas’s view, eternal law harmonizes necessity of irrational beings, loving God’s action (divine law), natural law, and the contingency of ‘human things’ where the economy is included. Trading activity is lawful if it is at the service of the oikos or polis and according to how is exercised, by following commutative justice. The family, political and religious character of human nature establishes what the natural-necessary consists of, embracing, apart from bodily goods, others derived from considering social status and the life chosen (civil, religious, active or contemplative). Economic activity based on this anthropological root has a specific place as a part of an ordered natural-legal totality that provides the economy with meaning and sufficient moral guidance