Re-deconstruyendo la balada: "Atharratze jauregian"

The narrative ballad "Atharratze jauregian" ("La fiancé de Tardets", "La palaciana de Tardets") is known via several versions collected from the oral tradition throughout a century (1847-1947). It is one of the most outstanding "Ballad-Types" of the Basque corpus, but also one of the most problematic ones. This article proposes a method to analyse its central subject and its variations, both formal and of content, that have developed in the course of its oral transmission. Starting from the complete corpus of versions that is currently known, the article differentiates the valid testimonies from the useless, as redundant or partially uncertain ones due to textual manipulations of different degrees.With no aim at a textual ¿reconstruction¿ of the ballad¿s archetype, the article advances the thesis that its origin does not lie in a historical fact of the end of the 16th century, i. e. the marriage between Charles de Luxe and Marie d¿Ossès in 1587 and the couple¿s subsequent exile to Navarre due to its opposition to the Protestant Reformation by Jeanne d¿Albret, (J. Jaurgain), nor in a medieval ballad that in its subsequent evolution would have converged with that historical fact (J. B. Orpustan). The ballad would rather constitute a reflection, endowed with general validity, about the real conflict of exogamy and the dialectics between uxorilocality and virilocality, subjects that also appear in other ancient ballads of the Basque repertoire, where the conflict is usually sorted out by the wife¿s death.Despite the deficiencies of the available corpus, it can be concluded that some particular innovations and developments existed in a central, Low-Navarre area, which are characterized by the personification and novelization of the option contrary to exogamy.In reality, these innovations only make explicit what was already present in the primitive, Souletin, model of the ballad. The article maintains that the polysemous virtuality of the term ¿Sala¿, which originally designated the main character¿s native home, and so the sphere of endogamy, achieved later a new sense: that of a concrete, ¿domestic¿ suitor (¿Sala of Tardets¿), desired by the main character (¿Santa Klara¿), who is opposed to the exogamous husband (¿The King of Hungary¿). In the Low-Navarre reinterpretation, a fully individualized ¿Sala¿, that constitutes a third dramatis persona, receives the exiled woman¿s last message and takes charge of the suicide¿s corpse. However, even in this innovative, novelized model, other reading possibilities still remain latent, closer to the primary, original sense, as postulated here, of the ballad.Along a proposition of sequential division of the story, the article analyses the details of the most significant variants in the corpus of the versions. The variation mechanisms constitute punctual lexical alternations, amplifications of motives and scenes, or "corruptions" by other ballad subjects ("Andre Milia", "Ursua") and probably by independent lyrical short folk songs resemanticized in the context of the ballad. But it is argued that the most important alterations arise from the different realignments caused by the move of some stanzas from some sequences to others. The article includes the edition of the global corpus of the complete primary versions, made of the most reliable, or unique hand-written and printed textual testimonies at our disposal

La balada "Urthubiako alhaba": problemas y conjeturas

The oral ballad Urthubiako Alhaba was published by Julien Vinson in 1884, from an original manuscript. The text, which could date back to a c. 1830 recitation, was considered unauthentic by Vinson, an opinion that has remained in the studies regarding Basque ballads till nowadays. This negative opinion has been strengthened during the last two decades (1990 and 2000), since it has been included among the falsifications attributed to Garay de Monglave, an author known for his falsifications. This last judgement is, no doubt, erroneous: we can be sure that the text comes from Jean Baptiste Archu, a well-known translator and grammarian in Basque studies, besides being a reliable collector of folksongs.The personality of the collector and the internal analysis of the text (expressions, style, metrics) allow us to argue that Urthubiako Alhaba is an authentic traditional ballad, thus invalidating Vinson's opinion, an opinion based on his prejudice regarding the lack of 'originality' in Basque culture, and by the generalized suspicion due to the long amount of fake historical songs spread throughout the XIXth century.The ballad is particularly valuable, since it would be the earliest attested in Basque popular tradition; it also would represent an archaic model of oral narrative poem, which became extinct between XVIII and XIX centuries and was characterized by a run of monorhyme tirades and anisosyllabism.The tragic content of the ballad seems to have its basis in a legend about the lineage of the lords of Urthubia; more precisely, in a shady incident which happened in 1564: the imprisionment and death of Juan de Alzate and his wife, Ana de Ezpeleta, accused of the crime of lese majesty, and taken to Paris by order of King Henry II of France

Metamorfosis parnasianas de Atharratze Jauregian: Albert Glatigny, 1868

The ballad "The lady of the palace of Tardets" was employed and rewritten by the poet and theatrical author Albert Glatigny, in a historical drama that was published in Bayonne in 1866. We examine the circumstances in which the work, never produced, was composed, within the context of the peculiar nature of the author's trajectory. The plot is based in the story of the major Pés de Puyanne and the confrontation of the city of Bayonne with the nobility of Labourd during the XIVth century, a story that Glatigny knew from H. Taine's Voyage aux Pyrénés (1858). The text of the ballad is based in the French translation by Francisque Michel in Le Pays Basque (1857), freely adapted by Glatigny in the classical stanza of alexandrine quatrains, very much in use among the parnasian poets of the time, and employed here in masterly fashion

Re-deconstruyendo la balada: "Atharratze jauregian"

The narrative ballad "Atharratze jauregian" ("La fiancé de Tardets", "La palaciana de Tardets") is known via several versions collected from the oral tradition throughout a century (1847-1947). It is one of the most outstanding "Ballad-Types" of the Basque corpus, but also one of the most problematic ones. This article proposes a method to analyse its central subject and its variations, both formal and of content, that have developed in the course of its oral transmission. Starting from the complete corpus of versions that is currently known, the article differentiates the valid testimonies from the useless, as redundant or partially uncertain ones due to textual manipulations of different degrees.With no aim at a textual ¿reconstruction¿ of the ballad¿s archetype, the article advances the thesis that its origin does not lie in a historical fact of the end of the 16th century, i. e. the marriage between Charles de Luxe and Marie d¿Ossès in 1587 and the couple¿s subsequent exile to Navarre due to its opposition to the Protestant Reformation by Jeanne d¿Albret, (J. Jaurgain), nor in a medieval ballad that in its subsequent evolution would have converged with that historical fact (J. B. Orpustan). The ballad would rather constitute a reflection, endowed with general validity, about the real conflict of exogamy and the dialectics between uxorilocality and virilocality, subjects that also appear in other ancient ballads of the Basque repertoire, where the conflict is usually sorted out by the wife¿s death.Despite the deficiencies of the available corpus, it can be concluded that some particular innovations and developments existed in a central, Low-Navarre area, which are characterized by the personification and novelization of the option contrary to exogamy.In reality, these innovations only make explicit what was already present in the primitive, Souletin, model of the ballad. The article maintains that the polysemous virtuality of the term ¿Sala¿, which originally designated the main character¿s native home, and so the sphere of endogamy, achieved later a new sense: that of a concrete, ¿domestic¿ suitor (¿Sala of Tardets¿), desired by the main character (¿Santa Klara¿), who is opposed to the exogamous husband (¿The King of Hungary¿). In the Low-Navarre reinterpretation, a fully individualized ¿Sala¿, that constitutes a third dramatis persona, receives the exiled woman¿s last message and takes charge of the suicide¿s corpse. However, even in this innovative, novelized model, other reading possibilities still remain latent, closer to the primary, original sense, as postulated here, of the ballad.Along a proposition of sequential division of the story, the article analyses the details of the most significant variants in the corpus of the versions. The variation mechanisms constitute punctual lexical alternations, amplifications of motives and scenes, or "corruptions" by other ballad subjects ("Andre Milia", "Ursua") and probably by independent lyrical short folk songs resemanticized in the context of the ballad. But it is argued that the most important alterations arise from the different realignments caused by the move of some stanzas from some sequences to others. The article includes the edition of the global corpus of the complete primary versions, made of the most reliable, or unique hand-written and printed textual testimonies at our disposal

Metamorfosis parnasianas de Atharratze Jauregian: Albert Glatigny, 1868

The ballad "The lady of the palace of Tardets" was employed and rewritten by the poet and theatrical author Albert Glatigny, in a historical drama that was published in Bayonne in 1866. We examine the circumstances in which the work, never produced, was composed, within the context of the peculiar nature of the author's trajectory. The plot is based in the story of the major Pés de Puyanne and the confrontation of the city of Bayonne with the nobility of Labourd during the XIVth century, a story that Glatigny knew from H. Taine's Voyage aux Pyrénés (1858). The text of the ballad is based in the French translation by Francisque Michel in Le Pays Basque (1857), freely adapted by Glatigny in the classical stanza of alexandrine quatrains, very much in use among the parnasian poets of the time, and employed here in masterly fashion

Optimized Update/Prediction Assignment for Lifting Transforms on Graphs

Transformations on graphs can provide compact representations of signals with many applications in denoising, feature extraction or compression. In particular, lifting transforms have the advantage of being critically sampled and invertible by construction, but the efficiency of the transform depends on the choice of a good bipartition of the graph into update (U) and prediction (P) nodes. This is the update/prediction (U=P) assignment problem, which is the focus of this paper. We analyze this problem theoretically and derive an optimal U=P assignment under assumptions about signal model and filters. Furthermore, we prove that the best U=P partition is related to the correlation between nodes on the graph and is not the one that minimizes the number of conflicts (connections between nodes of same label) or maximizes the weight of the cut. We also provide experimental results in randomly generated graph signals and real data from image and video signals that validate our theoretical conclusions, demonstrating improved performance over state of the art solutions for this problem.This work was supported in part by NSF under Grant CCF-1018977 and in part by the Spanish Ministry of Economy and Competitiveness under Grants TEC2014-53390-P, TEC2014-52289-R, TEC2016-81900-REDT/AEI and TEC2017-83838-RPublicad

Directional Transforms for Video Coding Based on Lifting on Graphs

In this work we describe and optimize a general scheme based on lifting transforms on graphs for video coding. A graph is constructed to represent the video signal. Each pixel becomes a node in the graph and links between nodes represent similarity between them. Therefore, spatial neighbors and temporal motion-related pixels can be linked, while nonsimilar pixels (e.g., pixels across an edge) may not be. Then, a lifting-based transform, in which filterin operations are performed using linked nodes, is applied to this graph, leading to a 3-dimensional (spatio-temporal) directional transform which can be viewed as an extension of wavelet transforms for video. The design of the proposed scheme requires four main steps: (i) graph construction, (ii) graph splitting, (iii) filte design, and (iv) extension of the transform to different levels of decomposition. We focus on the optimization of these steps in order to obtain an effective transform for video coding. Furthermore, based on this scheme, we propose a coefficien reordering method and an entropy coder leading to a complete video encoder that achieves better coding performance than a motion compensated temporal filterin wavelet-based encoder and a simple encoder derived from H.264/AVC that makes use of similar tools as our proposed encoder (reference software JM15.1 configu ed to use 1 reference frame, no subpixel motion estimation, 16 × 16 inter and 4 × 4 intra modes).This work was supported in part by NSF under grant CCF-1018977 and by Spanish Ministry of Economy and Competitiveness under grants TEC2014-53390-P and TEC2014-52289-R.Publicad

Novos estudos sobre o romanceiro

UIDB/00657/2020 UIDP/00657/2020 UIDB/00759/2020 UIDB/04019/2020publishersversionpublishe

Curso de Especialización en Tecnología GPS y Sensores Remotos para Proyectos de Ingeniería Civil

Se realizó el levantamiento topográfico y fotogramétrico de un área de la Facultad de Ingeniería y Arquitectura, mediante el vuelo de dron, levantando puntos de control con metodología RTK mediante un GPS de doble frecuencia y su posterior procesamiento de dato

Practical application of brief cognitive tests

RESUMEN Introducción.- Los test cognitivos breves (TCB) pueden ayudar a detectar el deterioro cognitivo (DC) en el ámbito asistencial. Se han desarrollado y/o validado varios TCB en nuestro país, pero no existen recomendaciones específicas para su uso. Desarrollo.- Revisión de estudios de rendimiento diagnóstico llevados a cabo en España con TCB que requieran menos de 20 minutos. Recomendaciones de uso consensuadas por expertos sobre la base de las características de los TCB y de los estudios disponibles. Conclusión.- El Fototest, el Memory Impairment Screen (MIS) y el Mini-Mental State Examination (MMSE) son las opciones más recomendables para el primer nivel asistencial, pudiendo añadirse otros test (Test del Reloj [TR], test de fluidez verbal [TFV]) en caso de resultado negativo y queja o sospecha persistente (aproximación escalonada). En el segundo nivel asistencial es conveniente una evaluación sistemática de las distintas áreas cognitivas, que puede llevarse a cabo con instrumentos como el Montreal Cognitive Assessment, MMSE, Rowland Universal Dementia Assessment o Addenbrooke's Cognitive Examination, o bien mediante el uso escalonado o combinado de herramientas más simples (TR, TFV, Fototest, MIS, Test de Alteración de la Memoria, Eurotest). El uso asociado de cuestionarios cumplimentados por un informador (CCI) aporta valor añadido a los TCB en la detección del DC. La elección de los instrumentos vendrá condicionada por las características del paciente, la experiencia del clínico y el tiempo disponible. Los TCB y CCI deben reforzar -pero nunca suplantar- el juicio clínico, la comunicación con el paciente y el diálogo interprofesional