La academia poética Musa Musae

La academia poética Musa Musae, primera tertulia cultural de calado formada tras la guerra civil española, pues abrió sus puertas el 17 de enero de 1940, diez meses y medio después de finalizada oficialmente la contienda (1 de abril de 1939), fue un tímido y frustrado intento por sentar las bases de una futura reconciliación nacional sobre utópicos y románticos presupuestos literarios y artísticos. Denostada por sus críticos, en este artículo se fija y contextualiza su aparición y participantes, se reúnen diferentes testimonios de asistentes, algunos de ellos inéditos o poco conocidos, y se definen sus principales características como la pionera iniciativa literaria de los sectores más aperturistas y conciliadores del régimen, sucediéndole la revista Escorial, las tertulias del Café Gijón y el suplemento cultural del diario Arriba en una España destruida y con sus heridas bélicas aún abiertas, pues su exilio percibía todos estos movimientos con bastante escepticismo.Musa Musae poetic academy, probably the first great cultural gathering formed after the Spanish civil war, since it opened its doors on January 17, 1940, ten months and a half after the war officially ended (April 1, 1939), was a shy and unsuccessful attempt for laying the groundworks of a future national reconciliation on utopian and romantic literary and artistic bases. Reviled by his critics, this article specifies and contextualizes its appearance, gathers different testimonies of assistants and participants, and defines his principal characteristics as the initiatory literary pioneer of the sectors more progress and conciliators of the Franco´s regime, which was followed by the magazine Escorial, the gatherings at the Café Gijón and the cultural supplement of the newspaper Arriba in a destroyed Spain and with its warlike wounds still opened, since his exile perceived all these movements with enough skepticism

García Lorca visto por Bardem

Tant la vida com I'obra de Federico García Lorca foren tabús per a la cinematografia franquista. L'etapa democratica ha significat una revalorització que ha estat reflectida pel cinema nacional. L'obra de Juan Antonio Bardem, Lorca, muerte de un poeta, biografia del dramaturg granadí, constitueix el més significatiu document audiovisual creat pel cinema i la televisió espanyols sobre el personatge. En aquest treball s'aborden les dues variants existents, tant la serie televisiva com el Ilargmetratge, amb la finalitat de valorar I'enfocament de que ha estat objecte aquest andalus universal, i analitzar les coordenades temporals i espacials utilitzades, la reconstrucció de I'epoca, els ingredients historics i literaris en joc, I'estructura seqüencial i la seva disposició, la resolució de moments oblidats per la historiografia, la reconstrucció de la mort i la personificació dels responsables, així comel resso que se'n va fer la premsa. L'article proposa un apropament als elements que componen un biopicde destacat interes literari, realitzat per la televisió i el cinema espanyol dels vuitanta.Both the life and the work of Federico García Lorca were considered taboo by the cinema under Franco's regime. Democracy has meant a revaluation of both elements, which have been utilized generously by the nation's cinema. The work of Juan Antonio Bardem, Lorca, muerte de un poeta, a biography of the playwright from Granada, is one of the most significant audiovisual documents created by the Spanish TV and cinema on this illustrious personality. This paper analyzes both versions, a television series and a full-length film, with the aim of evaluating both the portrayal of this literary figure, of this universal Andalusian. We also attempt to evaluate the way the period is reconstructed, the historical and literary ingredients, the sequential structure and its arrangement, the resolution of moments that are not confirmed by written history, the reconstruction of his death and the personification of those responsible and the response of the contemporary press. We have attempted to perform a brief study of the elements that constitute a biopic of singular literary interest, which was created with the technical means available to the Spanish TV and cinema in the eighties

Impacto y efecto de "Un perro andaluz" en la poética de Lorca y Alberti

La película de Buñuel y Dalí Un perro andaluz se convirtió en símbolo del cine surrealista y en icono de la vanguardia plástica. Algunos poetas, entre ellos García Lorca y Alberti, de modo directo o indirecto, la tomaron como elemento motivador de algunos de sus escritos aunque, en ambos casos, de manera distinta según la sensibilidad de cada uno.The Buñuel and Dali’s film An Andalusian Dog became a symbol of the surreal film and plastic icon of the avant-garde. Some poets, including Garcia Lorca and Alberti, directly or indirectly, took it as a motivator of some of his writings, although in both cases differently depending on the sensitivity of each

Calibration of shrinkage estimators for portfolio optimization

Shrinkage estimators is an area widely studied in statistics. In this paper, we contemplate the role of shrinkage estimators on the construction of the investor's portfolio. We study the performance of shrinking the sample moments to estimate portfolio weights as well as the performance of shrinking the naive sample portfolio weights themselves. We provide a theoretical and empirical analysis of different new methods to calibrate shrinkage estimators within portfolio optimizationPortfolio choice, Estimation error, Shrinkage estimators, Smoothed bootstrap

Apuntes sobre la Teoría de los derechos fundamentales de R. Alexy

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