The problem of the Sexta parte de comedias escogidas

La bibliografía del Siglo de Oro se complica por culpa de las ediciones piratas que pueden resultar engañosas. Después de analizar las técnicas de impresión por los profesionales y los fraudulentos del Siglo de Oro, el autor analiza la conocidísima problemática de la existencia de diferentes copias de la 'Sexta parte de comedias escogidas'. El objetivo final del artículo es plantear una hipótesis sobre dónde y cuándo fueron impresas las sueltas de la Sexta parte de comedias, además del lugar y la fecha de composición de los volúmenes. The bibliography of the Golden Age is complicated by pirated editions which can be deceptive. After analyzing different printing techniques used by professionals and pirates in the Golden Age, the author takes up the well-known problematic existence of several varying copies of the 'Sexta parte de comedias escogidas'. This paper tries to make hypotheses about where and when the sueltas of the 'Sexta parte de comedias escogidas' were produced, as well as about the place and date of assembly of the volumes

El Templo de Palas» by Francisco de Avellaneda

Francisco de Avellaneda is one of the less famous dramatists of the seventeenth century: he acted as a censor, and is best known as an entremesista, but he also wrote a zarzuela, El templo de Palas. One of the British Library’s collected volumes of Spanish plays (T.1737) contains a copy of the only known edition (Naples, 1675) of the play, premiered in July 1675, probably in the Coliseo del Buen Retiro. The suelta provides the only known details of this performance, naming the actors who took part in the loa, entremés and mojiganga, and includes a letter from Calderón to Avellaneda, apologising for missing the performance because of his «poor health», thanking Avellaneda for lending him the borrador to read, and assuring him that he was able to imagine the performance from the written text. Avellaneda wrote one of the approbations for Calderón’s Cuarte parte in 1672, but the extent of his friendship with the dramatist is not clear

The myExperiment Open Repository for Scientific Workflows

4th International Conference on Open RepositoriesThis presentation was part of the session : Conference PresentationsDate: 2009-05-19 10:00 AM – 11:30 AMmyExperiment is an open repository solution for the born-digital items arising in contemporary research practice, in particular scientific workflows and experiment plans. Launched in November 2007, the public repository (myexperiment.org) has established a significant collection of scientific workflows, spanning multiple disciplines and multiple workflow systems, which has been accessed by over 16,000 users worldwide. Built according to Web 2.0 design principles, myExperiment demonstrates the success of blending modern social curation methods with the demands of researchers sharing hard-won intellectual assets and research works within a scholarly communication lifecycle. myExperiment is an important component in the revolution in creating, sharing and publishing scientific results, and has already established itself as a valuable and unique repository with a growing international presence.JISC; EPSRC; Microsoft Corporatio

Algunos hitos en la evolución de lo cómico en Calderón

A primera vista, Calderón es un escritor mucho menos «autobiográfico» que Lope: no tiene, por ejemplo, un personaje como el Belardo lopiano para darnos el punto de vista del autor. Es evidente, sin embargo, que se refiere en algunas obras a su propia situación, y a la de los miembros de su familia. Es evidente también que le interesaban mucho los personajes femeninos inteligentes y resueltos, aunque no podemos identificar sus modelos no históricos para éstos, si los hubo. Tampoco es fácil saber por qué comenzó a realizar experimentos con las «comedias grises» al final de la década de 1630, aunque su actitud crítica para con los hombres que tratan mal a las mujeres todavía se encuentra en obras tardías como ‘Fieras afemina amor’ (1671) y ‘Las armas de la hermosura’ (1676).------------------------------------------------------At first sight, Calderón is a much less «autobiographical» writer than Lope: for example, he has no character like Lope’s Belardo to give us the author’s point of view. It is clear, however, that he refers in some works to his own situation and to that of members of his family. It is also clear that he was very interested in intelligent and determined female characters, although we cannot identify his non-historical models for these, if there were any. Nor is it easy to know why he began to experiment with dark comedies in the late 1630s, although his critical attitude towards men who ill-treat women is still found in late works such as ‘Fieras afemina amor’ (1671) and ‘Las armas de la hermosura’ (1676)

Una carta casi desconocida de Calderón de la Barca, y “El Templo de Palas” de Francisco de Avellaneda

Francisco de Avellaneda es uno de los dramaturgos menos famosos del siglo XVII: actuó como censor de comedias, y tiene fama de entremesista, pero también escribió una zarzuela, “El templo de Palas”. Uno de los tomos colectivos de la British Library (T.1737) contiene un ejemplar de la única edición conocida de la obra (Nápoles, 1675), estrenada en julio de 1675, probablemente en el Coliseo del Buen Retiro. Esta edición suelta facilita los únicos detalles conocidos del estreno, y nombra a los actores que actuaron en la loa, el entremés y la mojiganga; también incluye una carta de Calderón a Avellaneda, lamentando haber perdido la representación a causa de su «poca salud», dándole las gracias por prestarle el borrador para que lo leyese, y asegurándole que pudo imaginarse la representación por medio del texto escrito. Avellaneda escribió una de las aprobaciones para la “Cuarte parte” de don Pedro en 1672, pero se desconoce el grado de amistad que existía entre él y el dramaturgo.Francisco de Avellaneda is one of the less famous dramatists of the seventeenth century: he acted as a censor, and is best known as an entremesista, but he also wrote a zarzuela, “El templo de Palas” One of the British Library’s collected volumes of Spanish plays (T.1737) contains a copy of the only known edition (Naples, 1675) of the play, premiered in July 1675, probably in the Coliseo del Buen Retiro. The suelta provides the only known details of this performance, naming the actors who took part in the loa, entremés and mojiganga, and includes a letter from Calderón to Avellaneda, apologising for missing the performance because of his «poor health», thanking Avellaneda for lending him the borrador to read, and assuring him that he was able to imagine the performance from the written text. Avellaneda wrote one of the approbations for Calderón’s “Cuarte parte” in 1672, but the extent of his friendship with the dramatist is not clear

A Reusable, Extensible Infrastructure for Augmented Field Trips

This paper describes a reusable pervasive information infrastructure developed as part of the Equator IRC, designed to allow the construction of literacy based eLearning activities on top of material created as part of a more traditional visitors system. The architecture of the system is described along with details of the creation of the curated material and the subsequent adaption of the system by local primary school teachers to create a literacy experiences. Results of the first trials of the system are presented with conclusions drawn and discussion of future directions

The Literacy Fieldtrip: Using UbiComp to Support Children's Creative Writing

Fieldtrips, traditionally associated with science, history and geography teaching, have long been used to support children’s learning by allowing them to engage with environments first-hand. Recently, ubiquitous computing (UbiComp) has been used to enhance fieldtrips in these educational areas by augmenting environments with a range of instruments, devices and sensors. However, the sorts of interaction design that UbiComp makes possible have the potential not just to enhance the value of educational techniques in known application areas, but also to expand the application of those techniques into new areas of curriculum. We report on a UbiComp-supported fieldtrip to support creative writing, associated with the learning of literacy skills. We discuss how the fieldtrip, designed and run in the grounds of a historic English country house with Year 5 UK schoolchildren, engendered interactions which changed both the processes and products of creative writing, with benefits for both teachers and children

UbiComp in Opportunity Spaces: Challenges for Participatory Design

The rise of ubiquitous computing (UbiComp), where pervasive, wireless and disappearing technologies offer hitherto unavailable means of supporting activity, increasingly opens up ‘opportunity spaces’. These are spaces where there is no urgent problem to be solved, but much potential to augment and enhance practice in new ways. Based on our experience of co-designing novel user experiences for visitors to an English country estate, we discuss challenges for PD in such an opportunity space. Key amongst these are how to build a working relationship of value when there are no urgent requirements; how to understand and scope the space of opportunities; and how to leave users with new resources of value to them

A persistent infrastructure for augmented field trips

This paper describes an approach to the provision of pervasive field trips where a persistent infrastructure is provided, upon which teachers can easily create novel pervasive experiences for children. The physical infrastructure is briefly described along with the underlying information infrastructure, which enables the tools for authoring the content and designing the orchestration of the experience to be placed in the hands of teachers. A literacy experience and initial trials of the system are discussed, conclusions drawn, and future directions outlined