El Teatro Romano de Mérida (1752-2015)

Evolución de la representación gráfica del Teatro Romano de Mérida desde la Ilustración hasta el S. XX

Música programática en el eje narrativo fílmico. El caso V de Vendetta

Piotr Ilich Tchaikovsky composed in 1880 an overture on the occasion of the commemoration of the victory of the Russian army over the invading Napoleonic troops. 125 years later, his work is diegenetically incorporated into the cinema, specifically, the cinematographic representation of the fictional oppressed British people promoting their struggle and rebellion against the oppression of a dictatorial and totalitarian government. The objective of this article is to analyze the narrative load that a preexisting classical music, in this case programmatic, can contribute to cinematographic images. The case selected for analysis is the use of Tchaikovsky’s Obertura 1812 op.49 in 2005’s V for Vendetta movie.Piotr Ilich Tchaikovsky compuso en 1880 una obertura con motivo de la conmemoración de la victoria del ejército ruso sobre las tropas napoleónicas invasoras. 125 años después, su obra se incorpora diegéticamente al cine, en concreto, a la representación cinematográfica del ficcional pueblo británico oprimido promoviendo su lucha y rebelión contra el yugo de un gobierno dictatorial y totalitario. El objetivo del presente artículo es analizar la carga narrativa que puede aportar una música clásica preexistente, en este caso programática, a las imágenes cinematográficas. El caso seleccionado para analizar es la utilización de la Obertura 1812 op.49 de Tchaikovsky en la película V de Vendetta del año 2005

Narrative Juxtaposition through Metafiction

One of the characteristics that defines Woody Allen's cinema are the references to the seventh art. His characters are constantly seen going to cinematographic projections. Undoubtedly, the most iconic of these situations in his filmography occurs in The Purple Rose of Cairo (1985), where the reality-fiction dichotomy merges, with the characters transcending their respective narratives. Starting from the idea that Buster Keaton developed in Sherlock Jr. (1924), Allen recovers Keaton's memory by reworking the idea of ??the permeability between both narratives, allowing the director to reinterpret the Platonic allegory of the cave through the characters of the story, slaves to a script that they perform over and over again. Similarly, the fourth instalment in the Matrix saga introduces a new self-aware and metafictional world. With The Matrix Resurrections (2021) Lana Wachowski adds a twist to the fictional system of the Matrix, creating a Matrix within the Matrix.The objective of this communication is to present an approach to the use of metafiction starting from the juxtaposition between both narratives, which entails a transgression of the levels of the narrative.Una de las características que define el cine de Woody Allen son las referencias al séptimo arte. Continuamente se observa cómo sus personajes acuden a proyecciones cinematográficas. Sin duda, la más icónica de estas situaciones en su filmografía ocurre en La rosa púrpura de El Cairo (1985), donde la dicotomía realidad-ficción se fusiona traspasando los personajes sus respectivas narrativas. Partiendo de la idea que Buster Keaton desarrollara en El moderno Sherlock Holmes (1924), Allen recupera la memoria de Keaton reelaborando la idea de la permeabilidad entre ambas narrativas, permitiendo al director reinterpretar la alegoría platónica de la caverna a través de los personajes de la película, esclavos de un guion que representan una y otra vez. De un modo similar, la cuarta entrega de la saga Matrix presenta un nuevo mundo autoconsciente y metaficcional. Con Matrix Resurrections (2021) Lana Wachowski realiza una vuelta de tuerca al sistema ficcional de Matrix, creando un Matrix dentro de Matrix./nEl objetivo de esta comunicación es realizar un acercamiento a la utilización de la metaficción partiendo de la yuxtaposición entre ambas narrativas, que conllevan una transgresión de los niveles de la narración

Match point (Allen, 2005): a propósito del Tom Ripley de Patricia Highsmith

Recognized as one of the most prolific directors in the last 30 years, Woody Allen presented his movie Match Point in 2005. The main characteristic that defines it is the behavior of its protagonist, Chris Wilton, a retired professional tennis player who arrives in London with great aspirations. This upstart and amoral character seems to have emerged from the novels of Patricia Highsmith, more specifically from her most famous character, Tom Ripley. Both protagonists share common links: ambition, murders, crimes without punishment, easy to adapt to the environment, lack of morality... The aim of this article is to address the parallels and connections between Match Point and The talented Mr. Ripley (Highsmith, 1955), both in the novel and in his film adaptations, focusing mainly on the film that Anthony Minghella presented in 1999 under the homonymous title of the novel by Patricia Highsmith, highlighting the use of music as a fundamental narrative resource.Reconocido como uno de los directores más prolíficos en los últimos 30 años, Woody Allen presentó en 2005 su película Match Point. La característica principal que la define es el comportamiento de su protagonista, Chris Wilton, un tenista retirado del circuito profesional que llega a Londres con grandes aspiraciones. Este personaje arribista y amoral parece surgido de las novelas de Patricia Highsmith, más en concreto de su más famoso personaje, Tom Ripley. Ambos protagonistas comparten nexos comunes: ambición, asesinatos, crímenes sin castigo, facilidad para adaptarse al medio, falta de moralidad... El objetivo del presente artículo es abordar los paralelismos y conexiones entre Match Point y El talento de Mr. Ripley (The talented Mr. Ripley, Highsmith, 1955), tanto en la novela como en sus adaptaciones cinematográficas, centrándonos principalmente en la película que Anthony Minghella presentó en 1999 bajo el título homónimo de la novela de Patricia Highsmith, destacando el uso de la música como recurso narrativo fundamental

De las referencias e influencias musicales, literarias, pictóricas y cinematográficas en el cine de Woody Allen. El caso Match Point (2005)

El cine de Woody Allen siempre ha contado con una crítica y análisis continuado. A pesar de ello, en los análisis de sus films se suele generalizar demasiado y no se analiza con detalle minucioso y exhaustivo. En el año 2005 Allen presentó su película Match Point, que supuso un cambio en su forma de hacer cine. Se trata de una película muy diferente a lo creado hasta ahora, no es una comedia ni un drama bergminiano, sino un drama que acabará convertido en thriller. Y en ella incluyó numerosas referencias e influencias musicales, literarias, cinematográficas e incluso pictóricas, destacando entre ellas la utilización de ópera decimonónica. En la trama destaca el personaje protagonista, Chris Wilton, un arribista en la alta sociedad londinense creado al estilo del Tom Ripley de Patricia Highsmith y del Julien Sorel de Stendhal. Otras influencias destacables son las obras de Strindberg, Dostoievski, Shakespeare o Dreiser en el apartado literario y de films como Un lugar en el sol (Stevens, 1951), Un lugar en la cumbre (Clayton, 1959), El talento de Mr. Ripley (Minghella, 1999) o, incluso, de otras obras del propio director como Delitos y faltas (Allen, 1989).Woody Allen's films has always had continuous reviews and analysis. Despite this, the analysis of his films tends to generalize too much and is not analyzed in meticulous and exhaustive detail. In 2005 Allen presented his film Match Point, which marked a change in his way of making films. It is a very different film from what has been created up to now, it is not a comedy or a bergminian drama, but a drama that will end up turned into a thriller. And in it he included numerous references and musical, literary, cinematographic and even pictorial influences, highlighting among them the use of nineteenth-century opera. The main character in the plot is Chris Wilton, an upstart in London high society created in the style of Patricia Highsmith's Tom Ripley and Stendhal's Julien Sorel. Other notable influences are the works of Strindberg, Dostoevsky, Shakespeare or Dreiser in the literary part and films such as A Place in the Sun (Stevens, 1951), Roomt at the top (Clayton, 1959), The Talented Mr. Ripley (Minghella, 1999) or even other works by the director himself such as Crimes and Misdemeanors (Allen, 1989)

Itálica, cuna de emperadores romanos.

Depto. de Prehistoria, Historia Antigua y ArqueologíaFac. de Geografía e HistoriaFALSEsubmitte

Pioneros de la arqueología de Roma : Giacomo Boni

Depto. de Prehistoria, Historia Antigua y ArqueologíaFac. de Geografía e HistoriaFALSEsubmitte

Improving the barrier properties of thermoplastic corn starch-based films containing bacterial cellulose nanowhiskers by means of PHA electrospun coatings of interest in food packaging

In the present study, property enhanced thermoplastic corn starch (TPCS) nanobiocomposites containing bacterial cellulose nanowhiskers (BCNW) prepared by melt mixing were characterized in terms of morphology, mechanical, optical and barrier properties. Improved barrier to water vapour and oxygen at high relative humidity (80%) was noticed, reaching the best performance at 15 wt% BCNW loading with a maximum drop of 46% and 95% for water and oxygen permeability, respectively. In a second approach, the optimized nanobiocomposites (containing 15 wt% BCNW) were successfully hydrophobized by coating them with electrospun poly(3-hydroxybutyrate) (PHB) or electrospun PHB-BCNW fibres. To this end, hybrid electrospun PHB fibres reinforced with highly dispersed crystalline BCNW in solutions concentrations up to 15 wt% were directly electrospun onto both sides of TPCS nanobiocomposites containing 15 wt% BCNW. Similar coated structures prepared without BCNW were developed and characterized for comparative purposes. The methodology used resulted in good adhesion between the layers, also leading to enhanced barrier performance. Interestingly, the incorporation of BCNW in one of the layers led to a decrease on the oxygen permeability values showing no significant differences between multilayer films incorporating BCNW whatever the layer where the BCNW were located. However, when comparing amongst the different multilayer samples containing BCNW, the greatest reduction in the water vapour permeability values was seen for multilayer structures incorporating BCNW in both, the TPCS inner layer and the PHB coating. This study has demonstrated the potential of the combination of both technologies (nanocomposites and multilayered design) in the development of food packaging materials based on corn starch with improved barrier properties.Financial support from MINECO (AGL2015-63855-C2-1project). M.J. Fabra is recipient of a Ramon y Cajal contract (RYC-2014-158) from the Spanish Ministry of Economy and CompetitivenessPeer reviewe