Series

American TV shows have existed since the birth of this mass media in the United States. These fictions have evolved along with the American society for 60 years. As commercial and artistic works produced for an increasingly competitive market, they are witnesses but also ...

Partimos  de  que  las  series  televisivas  que  representan a  las  familias premodernas, modernas y posmodernas proponen un único modelo de familia hipermoderno. Las series  como  microrrelatos nos  plantean una forma  de  personalización en  una  sociedad posmoderna, hipermoderna o líquida.  El objetivo de  este trabajo es  develar cuáles  son  los valores que  refuerzan las series.  Para ello hemos tomado la representación de la familia en el discurso televisivo.
·  Premodernidad: Game of  Thrones, producida por  HBO de
2011 a la fecha,  6 temporadas.
  Modernidad: Modern family, realizada por ABC de  2009  a la
fecha,  7 temporadas.
    Posmodernidad: Braking  Bad,  producida por  Sony  Pictures
Television de 2008 a 2013,  5 temporadas.
Después de  haber realizado el análisis, podemos afirmar que  no importa que  época histórica  se represente, todas tienen una visión del presente, nos  ofrecen modelos de  familias  hipermodernos. Aunque las  tres  series  analizadas representan  diferentes épocas,  todas  nos muestran los valores  de  la hipermodernidad. En las representaciones de  las  familias,  observamos  los  siguientes aspectos  en  las  series televisivas:
El concepto de  familia y los roles  de  los protagonistas son fragmentados  y  diversos.  Se  da  una  transformación del individualismo  al  individualismo extremo,  los  valores  son relativos,  cada  sujeto lucha  por  su  propia  autonomía  sin importar la colectividad.
· Consumismo, la individualidad está  dada por  las  opciones de  consumo. No  hay fe en  el futuro.  No  hay compromiso o lealtades más que  con uno  mismo.  No hay metarrelato, sólo microrrelatos que  explican  el mundo.
· Las series  tienen estructura y lenguaje propio que  ofrece  un inmenso menú  de  plataformas y horarios  para  su consumo, reafirmando el individualismo.
Palabras clave: familia, microrrelato, series,  rol.
*  Profesora-investigadora del Área de Comunicación y Estructuras de Poder, Departamento de Educación y
Comunicación, Universidad Autónoma Metropolitana, Unidad  Xochimilco, mjerre@yahoo.com.mx.

Game of Thrones series that has become one of the most widely discussed TV shows of our time, is analyzed from the perspective of art history and cultural studies. Its popularity is connected with the fact that it represents not just fantasy, but an archetypal situation, "deciding the fates"-in the style of a "baroque", picturesque, dynamic screen show. This is an artistic statement on a number of highly relevant topics. The series is devoted to problems of management strategies, interstate policy, updated gender relations. The last season shows the emergence of an era of quick intelligence and unemotional, non-repressive governance. The image of Bran Stark-the new king, unable to walk but able to move in the space of the past and the future-embodies the features of an out-of-body, supra-personal mind, super-intelligence akin to an electronic one. Game of Thrones is analyzed as a phenomenon of synthetic art in which cinematic, theatrical and dramatic aesthetic elements coexist. In different episodes of the eighth, final season these aesthetic elements are combined in various proportions. The third episode is the most cinematic one-the culmination of the battle between humans and White Walkers. The last episode, on the contrary, contains almost “on-stage” scenes and dialogues.
Until the last season, the adventurous cinematic narration dominated,
continuing the tradition of the adventure novel. And the last season
includes more vivid features of a dramatic plot internally correlated with
Shakespeare’s chronicles and tragedies and Penthesilea, a romantic tragedy by Kleist. However, in spite of the similarities with Shakespeare’s “state-ofthe-world tragedies”, there are no characters in Game of Thrones who are completely similar to Renaissance playwright’s personae in their structure.
One of the reasons is the rejection of a multi-faceted, “synthetic” character in the popular visual art of the Modern era, when the personality’s complexity and unique originality are replaced with the system of distinct “stage types” with a simpler inner world. The series contains a veiled appeal to adapt to the imperfection of the world, but also expresses serious concern about the continuously high value of brute force and power in the human society.

В статье с позиций искусствоведения и культурологии рас-
сматривается сериал «Игра престолов», ставший одним из самых обсуждаемых экранных произведений наших дней. Его популярность связана с тем, что он представляет не просто фэнтези, а архетипическую ситуацию «решения судеб» — в стилистике по-барочному живописного, полного динамики зрелища. Данный сериал являет художественное высказывание на ряд высоко актуальных тем. Сериал посвящен проблемам
управленческих стратегий, межгосударственной политике, обновлению межгендерных отношений. В последнем сезоне показано наступление эпохи быстрого интеллекта, неэмоционального и нерепрессивного управления. В образе Брана Старка — нового короля, не способного ходить, но умеющего передвигаться в пространстве прошлого и будущего, — просматриваются черты внетелесного, надличностного разума,
сверхинтеллекта, родственного электронному.
«Игра престолов» анализируется как явление синтетического искусства, в котором кинематографическое и театрально-драматическое начала сосуществуют. В разных сериях восьмого, заключительного сезона эти начала находятся в различных пропорциях. Наиболее кинематографична третья серия — кульминация битвы людей с белыми ходоками. Последняя серия, напротив, содержит почти сценические мизансцены и
диалоги. До последнего сезона в сериале доминировало авантюрное киноповествование, продолжающее традиции авантюрного романа.
В последнем сезоне ярче проявляются черты драматургического сюжета, внутренне соотносимого с хрониками и трагедиями Шекспира, с трагедией «Пентесилея» Клейста. Однако, при всем сходстве с шекспировскими трагедиями «состояния мира», в «Игре престолов» отсутствуют герои, полностью аналогичные в своей структуре героям ренессансного драматурга. Это связано с отказом от многогранного, «синтетического» героя в игровом искусстве Нового времени, когда на смену сложности и
неповторимому своеобразию личности приходит деление персонажей на амплуа. Сериал содержит завуалированный призыв адаптироваться к несовершенству мира, но также выражает серьезное беспокойство по поводу сохранения высокой ценности силы и власти в человеческом
обществе.

In the early calculus mathematicians used convergent series to represent geometrical quantities and solve geometrical problems. However, series were also manipulated formally using procedures that were the infinitary extension of finite procedures. By the 1720s results were being published that could not be reduced to the original conceptions of convergence and geometrical representation. This situation led Euler to develop explicitly a more formal approach which generalized the early theory. Formal analysis, which was predominant during the second half of the 18th century despite criticisms of it by some researchers, contributed to the enlargement of mathematics and even led to a new branch of analysis: the calculus of operations. However, formal methods could not give an adequate treatment of trigonometric series and series that were not the expansions of elementary functions. The need to use trigonometric series and introduce nonelementary functions led Fourier and Gauss to reject the formal concept of series and adopt a different, purely quantitative notion of series.Nella prima fase del calcolo, i matematici usavano serie convergenti per rappresentare quantità geometriche e risolvere problemi geometrici. Tuttavia le serie erano manipolate formalmente, cioè per mezzo di procedure che erano l'estensione infinitaria di procedure finite. Dagli anni venti del diciottesimo secolo, furono trovati molti nuovi risultati che non potevano essere ridotti alla nozione originale. Di fronte a tale situazione Euler forni` una nuova e più formale interpretazione del concetto di serie che permetteva di generalizzare la teoria originaria. Tale più formale approccio, nonostante alcune critiche, dominò la seconda parte del secolo. Esso contribui` alla crescita della conoscenze matematiche e, perfino, condusse alla nascita di una nuova teoria: il calcolo delle operazioni. Tuttavia, esso non fu in grado di fornire un adeguato trattamento delle serie trigonometriche e delle serie che non erano lo sviluppo di funzioni elementari. Cosi` la necessità di usare le serie trigonometriche e di introdurre non elementari funzioni in analisi condusse Fourier e Gauss a rifiutare l'approccio formale e a sostenere una differente, puramente quantitativa concezione di serie.

American TV shows have existed since the birth of this mass media in the United States. These fictions have evolved along with the American society for 60 years. As commercial and artistic works produced for an increasingly competitive market, they are witnesses but also mirrors of the changes of “the American mind” and public opinion. Television in America has given common cultural references and common memories to a very diverse population, scattered over half a continent. This article traces back the history of American TV shows, concentrating on how some major series have portrayed America.

The non-trivial zeros of the Riemann zeta function and the prime numbers can be plotted by a modified von Mangoldt function. The series of non-trivial zeta zeros and prime numbers can be given explicitly by superposition of harmonic waves. The Fourier transform of the modified von Mangoldt functions shows interesting connections between the series. The Hilbert-Pólya conjecture predicts that the Riemann hypothesis is true, because the zeros of the zeta function correspond to eigen values of a positive operator and this idea encouraged to investigate the eigenvalues itself in a series. The Fourier transform computations is verifying the Riemann hypothesis and give evidence for additional conjecture that those zeros and prime numbers arranged in series that lie in the critical, 1/2. positive upper half plane and over the positive integers, respectively.

The Economic Policy Research Centre (EPRC) is an autonomous not-for-profit organization established in 1993 with a mission to foster sustainable growth and development in Uganda through advancement of research –based knowledge and policy analysis. Since its inception, the EPRC has made significant contributions to national and regional policy formulation and implementation in the Republic of Uganda and throughout East Africa. The Centre has also contributed to national and international development processes through intellectual policy discourse and capacity strengthening for policy analysis, design and management. The EPRC envisions itself as a Centre of excellence that is capable of maintaining a competitive edge in providing national leadership in intellectual economic policy discourse, through timely research-based contribution to policy processes. Disclaimer: The views expressed in this publication are those of the authors and do not necessarily represent the views of the Econo...

The presence of organized crime is a pervasive feature of many developed and developing countries. Even if ‘mafia’ organizations have greatly enlarged the geographical scope of their activities, as in the past they are still deeply rooted in specific territories where their presence generates a host of influences on socio-economic performances (perverse social capital). In this paper we analyse the

Beyond its oft-praised "realism", The Wire (HBO, 2002-2008) – precisely because of its closeness to non-fiction – explores the modalities and functionalities of fiction and investigates what fiction is and what fiction can do. The series above all reflects on the ethical stakes of fiction-making. In the game it establishes with its non-fiction antecedents, and in its meta-narrative story arc in season 5, the show reflects on the fictional process and on the different media which filter reality to try and represent it. This article analyzes how The Wire explores the moral implications of fiction-making and the different meanings of the term, from fiction as counter-fact, or counter-truth, to fiction as experimentation. Through the case study of the final season, we see how the series plays out its ambivalence toward fictional codes and advocates a mode of critical fictional representation as an alternative to the current, devious modes of safety policy and journalism. This ...

This study reports the results of a survey conducted in Summer 2005 to assess the prevalence and degree of discrimination reported by recent migrants. The survey measures perceived discrimination in a range of different situations - in the workplace, in public places, in shops/restaurants, ...