Tier 1 Brigard Urrutia is ‘ unbeatable in the capital market space’, according to some. At the associate level, María Fernanda Sánchez and Juan Eduardo Gómez are recommended. Dual-qualified (Colombia/New York) María Fernanda Diago is well versed in advising both borrowers and lenders on cross-border transactions - as is senior partner Carlos Urrutia, who enjoys a strong international profile both due to his premier banking experience and his background as a former Ambassador of Colombia to the US. Felipe Alarcón, a former Deputy Director at the Financial Superintendence, is particularly sought after for his expertise in financial regulation. High-profile name Carlos Fradique-Méndez handles a mix of transactional and regulatory matters, with strong skill sets in banking, finance, capital markets and private equity. Rodríguez also shines in acquisition finance he notably acted as Colombian deal counsel to AT&T Services, Open Plaza Corp and the guarantor subsidiaries on a $506.1m financing from AT&T to Open Plaza, as part of the LBO of AT&T-owned Vrio Corp. Among the names to note, infrastructure specialist César Felipe Rodríguez is commended for his ‘ exceptional knowledge in project financing‘. A longstanding heavyweight in the banking and finance arena, the firm houses one of the most comprehensive practices in the market and routinely advises on the full spread of related issues, from syndicated loans and project financings, through to fintech and regulatory-related matters. (4) These females seek to learn the occult.According to satisfied clients, Brigard Urrutia ‘ focuses on providing a quality service‘. In French cyclical romance, for example, Merlin, overcome by his weakness for the ladies, does indeed teach his magical arts to two women, Morgan and Vivianne/Niviene. Cervantes alters the relationship, established in earlier traditions, between the Arthurian enchanter and those seeking his wisdom. These two paladins, Roldán and Reinaldos, fall madly in love with Angélica upon her arrival at Charlemagne's court in Act I, and the majority of the dramatic action is dedicated to Malgesí's (unsuccessful) efforts to heal the demented suitors. First, participating in the main plot, he interacts with the human magician Malgesí, the mortal sorcerer who dedicates himself to curing two crazed knights of their incapacitating and destructive passion. Instead of diminishing in stature and importance as his discarnate form would suggest, Merlin actually assumes the role of the ultimate Voice of Reason and figures in the comedia in two major ways. (3) Cervantes comes to use the absence of Merlin and his continuing powers to suggest the limits of human power, and he uses Merlin's presence (embodied in the pillar that marks his grave) to serve as a unifying force that visually provides for the spectator a sense of continuity among the primary and secondary plots throughout the entire play. But what is especially striking about the sage's participation from the afterlife in this comedia is the play's insistence on his active role as a spirit and its apparent incorporation of this being within the larger context of Renaissance magic. Thus, the idea of Merlin's continuing to make his presence known from the grave is not altogether new. Finally, he releases a loud death shriek heard throughout the land. (2) He is buried alive, and from the grave he calls out in a demonic voice to his father to save him. And the Spanish Baladro del sabio Merlín, largely based on the French Post-Vulgate, recounts an especially dark version of the wizard's final entombment. In the French Vulgate and Post-Vulgate cycles, the magician is ultimately interred at the hands of a woman. Merlin's presentation as a spirit in La casa immediately recalls his status as defunct wizard. (1) The present essay seeks to reveal how the role of the Espíritu de Merlín provides a lens through which we can interpret the various episodes of the main plot, revealing thematic unity among the seemingly unrelated elements. The plot of La casa involves many disparate subplots and characters, and critics have generally characterized the play as weak, underscoring its episodic nature and apparent lack of thematic and dramatic coherence. The human quest for knowledge and the potential for human beings to act on and affect their social environment surface as primary themes associated with this particular adaptation of the medieval wizard. The Arthurian enchanter appears as the Espíritu de Merlín in Cervantes' La casa de los celos, and a focus on this incorporeal manifestation of Merlin reveals certain philosophical issues that are often overlooked in critical discussion of the play.
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