Conrad’s Horror in Eliot’s Waste Land

Decenes Jornades de Foment de la Investigació de la FCHS (Any 2004-2005

T.S. Eliot’s Four Quartets and Salvador Espriu’s Final del Laberint: Ways to Transcend

Sisenes Jornades de Foment de la Investigació de la FCHS (Any 2000-2001

The analysis of poetic imagery

Novenes Jornades de Foment de la Investigació de la FCHS (Any 2003-2004

El régimen económico de las sociedades cooperativas: situación actual y apuntes para una reforma

The transitional situation of accounting in the European Union, assuming that an international approach exists, involves highly significant changes in Spain’s legislation on companies and accounting. In fact, reforms have been drawn up that affect accounting aspects of the Code of Commerce and therefore the General Accounting Plan, which will have a bearing on the relatively recently approved adaptation of accounting to the cooperative sector in the form of Order 3614 / 2003 issued by the Ministry of Economy on 16 December. From the economic, financial and accounting point of view it can be seen that there are discrepancies in the criteria of the laws governing cooperatives, which in some cases are suitable and respond to the specific nature of each Autonomous Region, but in other cases are not justified and can therefore not be rationally assumed. The magnitude of these future changes and the minimum cohesion that must be achieved by the complex specific legislation on cooperatives require experts to work closely together on legal and economic issues to achieve coherent and satisfactory goals.IAS/IFRS, assets, liabilities, cooperatives, accounting reform, legislation on cooperatives.

Reseña: hijas de un sueño. Gerardo Rodríguez Salas

Reseña del libro de relatos "Hijas de un sueño" (2017), de Gerardo Rodríguez Salas

Thought, Sound, Silence, Music: "The Turn of the Screw" from Henry James to Benjamin Britten

Although Henry James was always alert to speech and dialogue, his achievement derives largely from the study of human psychology and character, and he is often perceived as a “writer of thought.” The essence of Jamesian style has found an apt correlative in musical discourse and, more specifically, in the language and conventions of opera. James’ The Turn of the Screw evidences an interest in the physical qualities of characters’ speech and recurrently resorts to musical or performative imagery. Silence, however, is at the heart of the novella: Victorian sexual taboo, secrecry shrouding past events, the firstperson narrator’s self-censorship and above all, the soundless presence of the ghostly. Benjamin Britten’s opera adaptation is faithful to James’ text, yet introducing fascinating elements: the definite musical character of the ghosts of Quint and Miss Jessel; their presence on stage frees them from the constraint of the Governess’ narrative filter in the source text; the opera’s focus on Quint, rather than the Governess, sets the homoerotic theme into relief and even suggests the ghost as the origin of the narration

Memoria prospectiva infantil: Revisión y propuestas

Decenes Jornades de Foment de la Investigació de la FCHS (Any 2004-2005)En la investigación psicológica, hablar de memoria en niños (y en adultos) ha sido sinónimo de hablar de memoria retrospectiva, es decir, de cómo los niños (y los adultos) recuerdan información sobre su pasado. Sin embargo, curiosamente, no se ha prestado tanta atención al estudio de otro tipo de memoria muy necesaria en nuestras vidas cotidianas, la memoria prospectiva. La memoria prospectiva hace referencia a cómo recordamos llevar a cabo alguna acción intencionada en algún momento del futuro (e.g., tomarse una pastilla después del desayuno). En este trabajo, se presenta en primer lugar una breve revisión de las investigaciones evolutivas sobre la memoria prospectiva en los niños. En segundo lugar, se proponen algunos ámbitos de investigación interesantes cara al futuro inmediato

The voice of the cypresses. Cyrus Cassells and the poetry of Salvador Espriu

“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker identifiable with Cassells shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition