Fotos antiguas no vistas
jueves, 6 de noviembre de 2014
Fotos antiguas no vistas
Me las manda mamá, una colección de esas que van circulando por la red—y es que son buenísimas, estas fotos antiguas no vistas (powerpoint).
—oOo—
Posicionamiento en Google Scholar
1 de noviembre de 2014
POSICIONAMIENTO EN GOOGLE SCHOLAR
En Google Scholar no salgo quizá tan bien retratado como en Academia.edu. Tiene una opción este Google, poniendo el nombre de la universidad en el buscador, que muestra de modo cruel y despiadado a todos los profesores de esa universidad ordenados por número de citas. (De las que le constan a Google).
Así que éste es el ránking de los profesores de la Universidad de Zaragoza, según Google, que es autoridad en la materia.
Ahí es ése el ránking, por citas, y no por número de visitas recientes como en Academia. Y no es que figure mal, yo—sigo el primero de mi área, si no contamos a Susana Onega, que no ha puesto su universidad y no figura por tanto en el ránking general—y en total salgo en posición 130, con más de 500 citas, que para humanidades es muchísimo, pues normalmente nos ignoramos mutuamente, y nos ignoran también. De hecho hay sólo tres o cuatro de las áreas de Letras (Javier García Marco, Juan de la Riva, Tramullas...) que salen mejor posicionados. Ahora bien, Google Scholar creo que sólo incluye a los que se dan de alta voluntariamente—como Academia, por otra parte—así que más serán los llamados y más los elegidos si atienden y se dan de alta, igual me mandan al puesto 200, por decir.
Y a ver cómo ando de índices y de bilirrubina:
Citation indices All since 2009
| Citations | 522 | 235 |
| h-index | 7 | 5 |
| i10-index | 4 | 3 |
Hace dos meses iba así la cosa:
| Citation indices | All | Since 2009 |
|---|---|---|
| Citations | 513 | 226 |
| h-index | 6 | 5 |
| i10-index | 4 | 3 |
PS: En febrero de 2015 hemos subido algo más:
| Citation indices | All | Since 2010 |
|---|---|---|
| Citations | 630 | 248 |
| h-index | 9 | 6 |
| i10-index | 9 | 3 |
—y aún más a mediados de mes:
| Citation indices | All | Since 2010 |
|---|---|---|
| Citations | 663 | 261 |
| h-index | 10 | 6 |
| i10-index | 11 | 3 |
______
A principios de abril 2015:
| Citation indices | All | Since 2010 |
|---|---|---|
| Citations | 690 | 266 |
| h-index | 11 | 6 |
| i10-index | 12 | 3 |
____
Y a finales de mayo de 2015:
| Citation indices | All | Since 2010 |
|---|---|---|
| Citations | 702 | 277 |
| h-index | 11 | 6 |
| i10-index | 12 | 3 |
See the Sea 2
Lo que era noticia
Bea en Lapamán, 4
Seguimos en la Cima de la Cima
jueves, 30 de octubre de 2014
Seguimos en la Cima de la Cima
Un día caeremos a la Sima de la Sima, pero de momento estamos, según los índices objetivables, en la cima de la cima.
La red social ACADEMIA, "el Facebook de los universitarios", tiene más de once millones de usuarios. Desde hace más de un mes estoy (según el ránking automático de esta red) en su sector superior, o sea, en el 1 por mil de entre los usuarios más visitados. Tengo este mes 3.788 visionados de documentos, y 2.709 visitantes distintos. Seguidores y consultas totales figuran en la imagen abajo. ¿Entro en más detalles sobre quién está en ese uno por mil, y quién no? Mejor no.
Deben ser éstos mis 15 minutos de popularidad, si esto cuenta como popularidad. Si no cuenta, al menos son más de 15 minutos, y de 15 días. Quede este pantallazo para acreditarlo, y la copita de píxeles como merecido premio a mi carrera.
Toma, Melpómene,
para ti la gloria ganada por mis méritos,
que yo sólo quiero que ciñas de buen grado
mi cabellera con laurel Délfico.
para ti la gloria ganada por mis méritos,
que yo sólo quiero que ciñas de buen grado
mi cabellera con laurel Délfico.
—oOo—
OTHELLO
jueves, 30 de octubre de 2014
OTHELLO
—From The Oxford Companion to English Literature, ed. Margaret Drabble.
Othello, the Moor of Venice, a tragedy by *Shakespeare, written between 1602 and 1604 when it was performed before James I at Whitehall. It was first printed in quarto in 1622, and again in a different version in the *Folio of 1623. The story is taken from *Cinthio, which Shakespeare could have read in Italian or French.
The play's first act (which *Verdi's opera Otello omits) is set in Venice. Desdemona, the daughter of Brabantio, a Venetian senator, has secretly married Othello, a Moor in the service of the state. Accused before the duke and senators of having stolen Brabantio's daughter, Othello explains and justifies his conduct, and is asked by the Senate to lead the Venetian forces against the Turks who are about to attack Cyprus.
In the middle of a storm which disperses the Turkish fleet, Othello lands in Cyprus with Desdemona, Cassio, a yhoung Florentine, who helped him court his wife and whom he has now promoted to be his lieutenant, and Iago, an older soldier, bitterly resentful of being passed over for promotion, who now plans his revenge. Iago uses Roderigo, 'a gull'd Gentleman' in love with Desdemona, to fight with Cassio after he has got him drunk, so that Othello deprives him of his new rank. He then persuades Cassio to ask Desdemona to plead in his favour with Othello, which she warmly does. At the same time he suggests to Othello that Cassio is, and has been, Desdemona's lover, finally, arranging through his wife Emilia, who is Desdemona's waiting-woman, that Othello should see Cassio in possession of a handkerchief which he had given to his bride. Othello is taken in by Iago's promptings and in frenzied jealousy smothers Desdemona in her bed. Iago sets Roderigo to murder Cassio, but when Roderigo fails to to this Iago kills him and Emilia as well, after she has proved Desdemona's innocence to Othello. Emilia's evidence and letters found on Roderigo prove Iago's guilt; he is arrested, and Othello, having tried to stab him, kills himself.
According to *Rymer one of the play's morals was 'a warning to all good wives that they look well to their linen'. *Coleridge in a famous phrase described Iago's soliloquy at the end of I. iii as 'the motive-hunting of motiveless malignity'.
Revenge Tragedy
jueves, 30 de octubre de 2014
Revenge Tragedy
From The Oxford Companion to English Literature:
revenge tragedy, a dramatic genre that flourished in the late Elizabethan and Jacobean period, sometimes known as 'the tragedy of blood'. Kyd's *The Spanish Tragedy (c. 1587), a much-quoted prototype, helped to establish a demand for this popular form; later examples are Marlowe's *The Jew of Malta, Shakespeare's *Titus Andronicus, *The Revenger's Tragedy, and, most notably, *Hamlet; there are also strong revenge elements in *Webster. Common ingredients include the hero's quest for vengeance, often at the prompting of the ghost of a murdered kinsman or loved one; scenes of real or feigned insanity; a play-within-a-play; scenes in graveyards, severed limbs, scenes of carnage and mutilation, etc. Many of these items were inherited from Senecan drama, with the difference that in revenge tragedy violence was not reported but took place on stage: as Vendice in The Revenger's Tragedy rather baldly puts it, while in the process of slowly murdering the duke, 'when the bad bleeds, then is the tragedy good.' The revenge code also produced counter-attacks, as in *The Atheist's Tragedy, in Chapman's *The Revenge of Bussy d'Ambois, and again in Hamlet, in which the heroes refuse or hesitate to follow the convention.
The Revenge of Bussy d'Ambois, a tragedy by G. *Chapman, written 1610/11, printed 1613, a sequel to *Bussy D'Ambois.
Clermont D'Ambois, brother of Bussy, described by his close friend the duc de Guise as the ideal 'Senecal [i.e. stoical] man', gentle, noble, generous, and 'fix'd in himself', is urged by his brother's ghost to avenge his murder, but will only do so by the honourable method of a duel. He sends a challenge to Muntsurry, who reads it; urged again by the ghost, he introduces himself to Montsurry's house, forces him to fight, and kills him. He then learns of the assassination of the Guise, and, refusing to live amid 'all the horrors of the vicious time' as 'the slave of power', he kills himself. The hero's reluctance to exact revenge recalls certain aspects of *Hamlet (See also REVENGE TRAGEDY.)
The Revenger's Tragedy, a tragedy published anonymously in 1607, and from 1656 ascribed to *Tourneur; its authorship has been disputed since 1891, with some scholars defending the traditional attribution and others championing the rival claims of *Middleton and others.
The central character is Vendice (or Vindice), intent on revenging the death of his mistress, poisoned by the lecherous old duke. The court is a centre of vice and intrigue; the duchess's youngest son is convicted of rape, she herself seduces Spurio, the duke's bastard, and her two older sons, the duke's stepsons, plot against each other and against Lussurioso, the duke's heir. Vendice, disguised as Plato, appears to attempt to procure his own sister Castiza for Lussurioso; she resists, but their mother Gratiana temporarily succumbs to his bribes and agrees to play the bawd. Vendice murders the duke by tricking him into kissing the poisoned skull of his mistress, and most of the remaining characters kill one another or are killed in a final masque of revengers and murderers; Vendice, who survives the bloodbath, owns up to the murder of the duke, and is promptly condemned to death with his brother and accomplice Hippolite by the duke's successor, old Antonio. He is led off to execution, content to 'die after a nest of dukes'. The play is marked by a tragic intensity of feeling, a powerfully satiric wit, and passages of great poetic richness, all combined, for example, in Vendice's address to 'the bony lady', his dead mistress: 'Does the silkworm expend her yellow labours / For thee?' (III. v. 71 ff.) (See also REVENGE TRAGEDY.)
The Duke of Milan, a tragedy by *Massinger, printed 1623, one of his earliest independent plays and a popular one. It is based on the story of Herod and Mariamne as told by Josephus.
Lodovico Sforza, duke of Milan, has, in the war between the Emperor Charles and the King of France, allied himself with the latter. On their defeat, he goes to surrender himself to Charles, but, fearing for his life, leaves a written instruction with his wicked favourite Francisco to put his beloved wife Marcella to death if he himself is killed. Francisco, seeking to corrupt Marcella in revenge for the dishonoring of his own sister Eugenia by Sforza, reveals the existence of the warrant to her, but fails to move her chastity and only incenses her against the duke, so that on his return after a reconciliation with Charles she receives him coldly. This, coupled with accusations from various quarters of his wife's intmacy with Francisco, makes the duke suspicious of her. Francisco now tells Sforza that Marcella made amorous advances to him, which so inflames the duke with anger that he stabs her to death; dying, she reveals the truth, leaving her husband distracted with remorse. Francisco flees, then returns to court diguised as a Jewish doctor and undertakes to restore Marcella to life. He is discovered and tortured, but not before he succeeds in poisoning the duke.