Estado de Shock (Ficción) (Spanish Edition)

English Ebooks Download Estado De Shock Ficción Spanish Edition By Rosa Jové B00a6dc6fs Mobi

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Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Kindle Edition Verified Purchase. El tema es muy bueno y pocas se a escrito sobre el mismo. I was expecting more. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Learn more about Amazon Giveaway. Set up a giveaway. There's a problem loading this menu right now. Learn more about Amazon Prime. Get fast, free shipping with Amazon Prime.

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English Choose a language for shopping. And if you are in an environment with very intelligent colleagues and collaborators you are going to be obliged, to keep your job but also your personal dignity, to ask yourself more. And if you ask yourself more you will probably do more.

Do you think then that it would be a good move to have at schools some classes for smart kids and others for not so smart ones? Would Wikipedia be a good example? It is a wonderful example, of course it is. In fact, common intelligence and collective intelligence exists in many forms, but the most important one is connected intelligence. Take any of these extraordinary web 2.

Wikipedia is something where everybody, anonymously, contributes to a general common encyclopedia. The anonymousness is very interesting, because it allows people to contribute without having to compete. They do it for the sake of it. Innocentive would be another example. When they have time, they read the questions others have posted and, if they know, the answer, they post it. Twitter is an extraordinary system of expanding intelligence.

In Spain we have a big issue with piracy and the downloads. The famous Sinde law was approved but some people says it leads to censorship.

I had never tries to put it together like that. You cannot possibly stop that kind of thing. Rather than apply big forms of control over that, let that be parallel to another economy to support the creation of music. Not the artist, very rarely. You have to be really cool if you want to be a musical band to make enough to pay your guys and your own promotion. So these kids are putting it all together online, getting their own online support system, create things like crowdfunding.

I was at the library of Congress in The copyright was invented by Benjamin Franklin , invented or at least codified and organized. So I like copyleft and Creative Commons, I do find these things absolutely delicious. Radio was the main medium of communication for around 40 years, until TV was invented. What can we expect for ? I cannot answer this question but I can give you an example of one of the most interesting things that I have seen in art and technology in the recent years.

One of my compatriots, David Rokeby , set up an installation from Rotterdam to Toronto: In each of these cities there was a square area with four speakers, and it is so good that you can hear the breathing of the person in Toronto. So you close your eyes in that space and you just follow the breathing.

It feels as if you are in touch. It is an amazingly intimate thing. It is such an amazing experience to do that you have to try it. You can be told, but you have to try it because you feel that you are right there. It is not like the phone, it is not like Skype, it touches you. You are talking about next media… it could be that. This one is a big joke, but it is a joke.

And it is a joke that works. It is made by Cristophe Bruno , who says that he is an engineer, but he is a really good artist. You put on your neck a plaster and the you go to a website and you key in ten nasty words, like torture, prosecution, war… ten words. As we know, search engines work using key words. So every time the search engine finds one of those words a certain number of times in the news feeds you get shocked. Why is it so good? It is really amazing because it is the new version of the scourge. It is a big joke, but a profound joke.

It is another tactile thing. There was the case of this girl in the States, Angie Varona , who took some pictures of herself in a bikini and became a huge success in internet. Sometime later she said that she had destroyed her own life, because everybody was looking for her. That points to cultural and social tolerance. I think it is probably not wrong and it is probably inspired by the fact that we are globalized. We cannot consider our own immediate surrounding as the end of the world, it is not. The end of the world is much further than that and full of people.

Wikileaks has big problems now. Of course Wikileaks has big problems, but I hope Wikileaks is not the only time we are going to see something like that, because it is a very important thing. In addition to Sheridan or the teacher Manzi, we find other iconic personalities of the period who appear on the Ferrucci family television such as Sophia Loren, Abebe Bikila — the Ethiopian athlete famous for running marathons barefoot in the Rome Olympics —, the singer and hostess Mina or Domenico Modugno, the famous Italian singer-songwriter who won the Festival di Sanremo in Of course, one also comes across personalities linked to the Catholic world, such as the Pope or Don Milani S2E13 'Il viaggio' that are founding elements of the collective Italian identity Buonanno There are also multiple important references to Italian television programs in Raccontami like the famous television game show Lascia o raddoppia?

In addition to these entertainment programs, we have the famous s ceneggiati all'italiana that represented both television and theater —usually adaptations of great literary operas or classics such as David Copperfield Charles Dickens, —, that we find in episodes like 'Il processo' S1E To represent the era, Raccontami also looks to international television content and makes the Ferruccis watch live historical events which contrast with their reality, such as the construction of the Berlin Wall in 'Muri' S1E11 , the events of Bahia Cochinos in 'La bomba' S1E22 or references to Franco's dictatorial Spain in 'Come mi pare e piace' S1E The cultural and social climate of the era is what is truly relevant in the plots of the Ferrucci family; this consequently resulted in rare appearances of politicians and references to the historical conflict during the fascist regime on television.

The only instances we find are: The characters' fascination with audiovisual content also extends to cinema, both Hollywood and Italian productions, and is part of the connection Raccontami establishes with existing cultural memory. This gives the viewer the opportunity to connect with cultural models and classic icons by creating a mix of cross references that influence the representation of society in the 60s.

In this media context the radio occupies a prominent place in the life of the Ferrucci family who listen to radio-news and broadcasts of football matches and serials. In the same way, music plays a fundamental role in the reconstruction of collective imagery, beginning with the theme music: Tempera created different versions of popular Italian songs of the time for different episodes of the series like It should not be forgotten that the series also makes use of the RAI music archive which is used to illustrate the era through footage of the Sanremo Festival or different Saturday night television shows such as Canzonissima RAI, and Studio Uno RAI, For Casilio, both series build a unique audiovisual memory, leaving aside multiple and unsettling memories while offering the new generations a historical audiovisual product that, despite working from memory, moves away from the evolution of historiographical reflection and thus adapts to the demands dictated by dominant thought Conta-me como foi has five seasons, in total episodes that were well received by critics and the public.

In this case, the middle class representatives of the late 60s are the Lopes, a Lisbon family similar to the Alcantaras from the Spanish version: The Lopes thus become a mimetic family and social model contextualized in an age of conflict: This attempt to translate the feeling of national pride brought on by Massiel's victory in Franco's Spain to the Portuguese context feels forced since the significance it had to the original plot belongs to a different historical reality.

That is to say that Portugal in was not the same as Spain. This is how the process of dramatic repetition begins and continues in Conta-me como foi throughout its seasons as it creates an audiovisual, domestic and vintage past, which until now had been overlooked in the Portuguese prime time and that, without any point of reference, is shown as an original representation of Portuguese reality. This fact could be defined as a conscious process of indigenization Buonanno, With awareness of this prevailing flow of content, it becomes interesting to look at some of the exercises in transtextuality —according to Genette: In this way, the audiovisual adaptation feels like the result of a production process through a single mold, that is, like a structural mechanism for generating texts Calabrese, This standardization and creation of artistic prototypes also involve the transfer of storylines from one series to another, some of them directly related to the influence of foreign audiovisual content in Spain and Portugal.

For example, in the first episode of the Portuguese version 'O novo Fugitivo', Carlos Lopes escapes from home and dreams that he has to flee like Dr. Beyond the purposes of story, these simple exercises in transtextuality have a double function: Through the seasons of Conta-me como foi we can find other types of more subtle translations based on a set of cross references that are already present in the Spanish version and that involve small plot variations in the episodes they are part of.

Samuel, a Jewish man who saved Antonio Lopes from drowning in a river when he was a child. The man narrates the tragic life of his family in Europe. That is to say, the real dramatic meaning of the plot disappears in the adaptation process. In this case, his family had considered him dead after he fought in the Spanish war with the International Brigades.

While in the Spanish version the drama of the national conflict is met with silence in the sequence, in Conta-me como foi the Spanish civil war is openly spoken about. The Portuguese militant communist character ideologically justifies his will to fight Franco and fascism. This verbalization provokes a reality-shock that makes Antonio Lopes come to terms with his lack of courage and political commitment, not only with regard to the Spanish situation, but also the Portuguese.

Thus, the adaptation of the plot becomes an excuse for the characters to reflect and have historical awareness. As part of the plot, Teodoro goes for a walk in the city. In contrast, in the Portuguese case, the discovery of the modern city is simply a nostalgic walk through the streets of Lisbon to the rhythm of fado.

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Dictatorship implies authoritarianism, fear and a lack of freedom in the lives of both the Alcantaras and the Lopes; it represents a fear of politics, communism, Marxism, underground militancy and most of all, war. Curiously, these conflicts that affect the protagonists in their day-to-day life, sometimes tragically, do not have a direct relation to the representation of dictators and their surroundings.

In both, the domestic plot is connected to the historical one through the use of a lice infection. Carlos' lice infection is linked to this plot in such a way that the child infects the father and the father in turn infects Franco. Through this contact and lice infection, the dictator ends up becoming more of a character and breaks through the barrier of archive footage.

Instead, while adapting this episode in Conta-me como foi , Antonio Lopes goes on a hunt with the President of the Republic, Admiral Americo Tomas passing on the lice to a delegate of the Estado Novo and the National Union, and not to the Salazarist head, who is retired at that moment from political and public life owing to health problems. This fact makes us think of a fragmented and shared representation of Salazarism.

That is why, in the examples we have described, the spectacularization of the television moment through the use of archive footage has less of an impact due to the distribution of antagonistic roles. Put another way, Salazar occupies the ideological space of the series and the life of the Portuguese, but paradoxically no one infects him with lice because he isn't really the person who is present in the day-to-day life of the Lopes.

In addition to local historical news such as the academic crisis of Coimbra, the earthquake or the television programs such as Conversas com familia by Caetano himself, the only times Conta-me como foi diverges from the original version is when the Portuguese colonies in Africa linked to the nationalist idea of the Salazar dictatorship, appear in the story. Through this theme, the series shows its own historical reality represented by the Portuguese who traveled to do business in Africa —like Antonio and his boss in 'Angola e Nossa' S4E18 —; the citizens of Angola, Guinea or Mozambique who spent time in Portugal visiting relatives or for work and, finally, soldiers sent to war.

Caetano's efforts to continue the war and his speeches at the National Assembly asserting that Portugal is "a nation dispersed across several continents" is shown as a direct reason for which Toni —the eldest Lopes son— is sent to fight in Mozambique in the last episodes of the series, coinciding with the days before the Carnation Revolution.

Although Conta-me como foi was considered a television blockbuster in the Portuguese context, due to the narrative style it is likely that the plot limitations had to do with the budget. In addition to dramatically focusing the story and establishing the point of view in the review of Portugal's past, we begin to find archive footage from its second season without the characteristic voice of the adult Carlos Lopes at the beginning and end of the episode.

The absence of the narrator influences the series discourse, which was initially set out as a post-memory exercise, and the representation of the historical world takes on new forms.

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