The 'capacitació', the barrier that prevents the Valencian professors from returning to teach in their land

 the barrier that prevents the Valencian professors from returning to teach in their land

Every two years the General Contest of Transfers (CGT) of state officials is convened so that teachers can change their autonomous community. Mariano Serrano , professor of Economics at an institute in Barcelona , asked for a place in a center in Elche, his hometown, to return after nine years practicing in Catalonia. His surprise – now transformed into outrage – was capitalized when he saw that he had not obtained final destination despite having almost 40 points; Another teacher did obtain a place in one of the institutes that Mariano requested with 0 points. The reason? That does not have the Certificat de Capacitació per a l’Ensenyament de Valencià .

Popularly known as the Capacitació , the People’s Party implemented it in 2013 with the theory that teachers not only knew Valencian – something already certified by the level examinations, for example, of the Qualification Board of Coneixements de Valencià-, but that they were able also to apply it to teaching. A twist that does not exist in any other territory of the common linguistic area, neither in Catalonia nor in the Balearic Islands.

As the Capacitació does not exist in Catalonia or in the Balearic Islands, it is not validated by anything

As the Capacitació does not exist in Catalonia or in the Balearic Islands, it is not validated by anything

In practice, the Capacitació is a barrier that hinders the transfer of Catalan and Balearic teachers to the south, but also of Valencians who have studied at universities outside Valencià Country or who were previously qualified to the Order that regulates it, and They marched for lack of offer of places in their territory.

It is the case that Mariano, in addition to having an experience of 9 years teaching classes in Valencian , has the certificate of Grau Superior, equivalent to the C2 level of the European framework. For this professor, the Capacitació is an “exclusive title” and he assures that he is shocked to be told that he does not have the competence to teach in his language: “It’s like doubling or tripling things that I’ve had to do at some point. I took out the CAP in its day, I have passed some exams in Catalonia in Catalan and I am a career officer. Also, to be a teacher in Secondary, they ask for the C1 from Valencian and I have the C2 “.

The Capacitació is issued in Valencian universities for having studied at least four subjects in this language; those who have studied in Catalonia, can not prove it

The people who have studied in Valencian universities after the entry into force of the Order have the Capacitació by the simple fact of having studied in Valencian subjects of the race equivalent to 24 credits. A circumstance that produces incomprehension among Valencians who decided to study, for example, in Catalonia, where most subjects are taught in Catalan and are not granted the Capacitació for it.

Begoña Martínez is another affected. Primary teacher in a school also in Barcelona, ​​is a native of Almussafes and went to Catalunya to study. Now he has been working in different schools in the territory for eight years, always teaching in Catalan. “There are many people who have the certificate and then do not know how to speak it. What is known there as Capacitació, here we have it multiplied by ten. We have not studied four subjects in Valencian, but the whole career, and now we use it in our day to day, “he says.

The course, which was previously only face-to-face, is now also offered online

The course, which was previously only face-to-face, is now also offered online

The certificate in question, essential for teaching in the Valencià Country, until now could only be obtained through a classroom course. With Vicent Marzà (Compromís) at the head of the Ministry of Education, it has been extended to an online course taught by some Valencian universities to facilitate their acquisition to people who have been ‘trapped’ outside the territory.

However, Mariano complains that the seats are scarce and run out “in a few hours.” Begoña observes the “business” that these universities require for issuing these linguistic certificates: they do not go below 300 euros in the cheapest university (in Alicante) and reach almost 1,000 euros in private schools.

For Mariano, “there has been an abusive use” of the Capacitació and “has violated various rights as a worker and State official”. For this reason, he has already contacted the Ombudsman and the Ombudsman of València and is receiving advice from lawyers because he does not rule out starting a judicial process.

“I understand that people from outside have to prove it, but not those of us who come from a common linguistic territory and we teach every day in Valencian,” he argues. Remember that a recent decree of the Valencian Ministry approved the linguistic titles of Catalonia, the Balearic Islands and País Valencià, but “as the Capacitació does not exist” in other territories, “it is not validated by anything”.

I understand that people from outside have to prove it, but not those who come from a common linguistic territory and we give classes every day in Valencian “

From the Ministry of Education say that it is already working on the matter to solve a problem that, according to Begoña calculates, could affect a score of people. The director of Linguistic Policy, Rubén Trenzano , has declared for La Vanguardia that they are already preparing a new decree of professional training that they will present before 2018 to “accommodate all those anomalies” they have detected, as in the case of teachers in Catalonia and the Balearics.

However, the General Transfer Contest was definitively resolved on May 10, 2017, so that Valencians, Catalans or Balearics who wish to work in País Valencià will have to wait at least two more years.


Ingres, the artist of harmony who looked at the past and was ahead of his time

the artist of harmony who looked at the past and was ahead of his time

 Rafael was his god and the imprint of his work is present in Picasso, to which he fascinated. Ingres looked at the past but started the modern adventure with a painting of a special originality that is exhibited in the Prado Museum, in the first monograph organized in Spain about the French artist.

With masterpieces that have rarely left France, such as “La gran odalisca” or “The dream of Ossian”, or icons of the portrait genre such as “La countess de Haussonville” or “La señora Moitessier”, the exhibition organized with the collaboration of the AXA Foundation has been possible thanks to important loans from the Louvre Museum and the participation of the Ingres Museum in Montauban.

The exhibition, which will open next Monday Queen Letizia, is composed of more than sixty works that bring the visitor “to one of the highest levels of European painting of the nineteenth,” according to Prado director, Miguel Zugaza, who in his speech had a few words of solidarity with France “in such difficult days for Europeans”.

Vincent Pomarède, of the Louvre Museum and curator of the exhibition together with Carlos G. Navarro, wanted with his selection of works “to discover the public to this immense French artist” and to do it with an idea that is based on insisting that Ingres ” He is not an academic artist. “

He passed through the Academy “but he is not an academicist, he is a passionate who seeks novelty”, who approached in an original way the currents of his time and who recreated in the same way the romantics, realists or classics. “But he is not the neoclassical master who has wanted to present himself in the history of art.”

Ingres was opposed to Delacroix, “both hated each other”, and his reference is Rafael, “who was his god”, although he had a strong relationship with the neoclassical current of Jacques-Louis David. An example of his neoclassical practice is his youthful work “Aquiles receives the ambassadors of Agamemnon”.

From a young age Ingres dedicated himself to making portraits. “He has orders from the big Parisian bourgeoisie”, such as the portrait of “Mrs. Riviere”, in which the perfect and detailed drawing of the jewels and furniture stands out.

But also from a young age he received commissions of power. Examples are “Napoleon Bonaparte, first Consul” and the impressive portrait of “Napoleon I on his imperial throne”, which was not very well received by critics.

“Due to these criticisms that he considered too bold, he decided in the 1930s not to exhibit again at the Paris Salon”, recalled Pomarède.

Another of the masterpieces that are contemplated in the tour is “Oedipus and the Sphinx”, in which the artist wants to modernize the great male nude “and goes beyond the currents and their usual image” in a work in which the main figure is presented in relief, as if it were a frieze, anticipating the symbolism.

Along the route there is also an important selection of drawings that place Ingres “as one of the best cartoonists in the history of 19th century painting”, according to the French curator. Many of these drawings show the process of creating his great paintings, as in the case of “La gran Odalisca”, whose painting received important criticism.

“This work allows us to understand another of the key themes for Ingres as it was to renew the gender of the female nude, with works full of light and movement, with these nudes I wanted to create melodies.”

Dialogue with the Odalisque is “Ruggiero liberates Angelica”, a painting “of an extraordinary sensuality”. 

The section “Troubadour” shows works in which the artist takes from the romanticism the so-called troubadour painting, small paintings in which he reflects stories of emotional rather than historical interest, set in the courts of the Middle Ages, such as “Rafael and la Fornarina “or” Francisco I attends the last breath of Leonardo da Vinci “.

“One of his most famous masterpieces, the portrait of Louis-Francois Bertin, in which he shows the great personality of the person portrayed through his attitude, stands out”.

Ingres also addressed religious painting, but not in a traditional way, but tried to modernize the way he painted the virgins Rafael, as in “The Virgin Adoring the Sacred Form”.

In the section “Sumptuous nudity” is contemplated the mythical picture par excellence of Ingres, “The Turkish Bath”. According to the curator, the artist worked all his life to do this work, in which he shows “a very refined work of light, with some music, I wanted to paint something beautiful”.

And he does it with a song to the beauty of the nude female body in a work in which harmony stands out and that had a fundamental importance in artists like Matisse and Picasso. “Ingres looks to the past but begins to venture into the future, creating works with a very special originality

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