THEORY ANALYSIS AND CRITIQUE OF THE FINE ARTS, 3

Author: VELASCO ESTEBAN M. JOSE.
Year: 2005.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE CIENCIAS DE LA INFORMACIÓN.
Place of preparation: FACULTAD CIENCIAS DE LA INFORMACIÓN.

Summary: This thesis is an analysis as has been constructed as a historical personage is you fictional character in film, television, theater and opera of S. XX. An analytical look on the changes that have suffered if its image and personality to be turned into a fictional character. The aim of the thesis is to find the reasons for these changes among the historic character and per fictional character, focusing the search in the creative process of the character.

Author: SUÁREZ ÁLVAREZ JORGE IVÁN.
Year: 2005.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: This research work on the one hand analyze aspects of the term virtual its constant updating and their involvement in various activities today, and others refer their technique and technology, and then, through an analysis of the stage , imbricarla and relate it to the fact contemporary theater from their theoretical possibilities. Finally, there is a proposal to keep theatrical space in a way faithful to the needs of the Italian theater to make it possible spectacle of the so-called "virtual theater".

Author: DÍEZ DEL CORRAL PÉREZ-SOBA PILAR.
Year: 2005.
University: COMPLUTENSE DE MADRID.
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES.

Summary: It is a research defined by the search for essential links between arts education and Human Development, which links may be operating in areas of common action. The research is divided into two main parts, the first is known as the theoretical framework of reference and documentation consists of large areas that are intended to link from an analysis that contextualiza in the current reality. It has been divided into large sections: Background, The Human Development, Education for Development, the Education for global citizenship, Arts Education. The second part is the method, or the proposal which, in turn, is divided into two main areas: Linking essentialist and linking contextualista. With the method essentialist relates to the artistic learning paradigm of human development. The result of this method is summarized confirming that the critical linkages between arts education and Human Development are present in some common areas where Arts Education and Human Development inherently operate. These areas or shared spaces are defined as: creativity, intelligence and qualitative attitude representative. The method of analysis contextualistas a way of discernment based on the location of the components of the Human Development in the different currents of art education. The Human Development is determined from its components -concebidos as contextualized respect to the reality shown in the theoretical framework of reference are four components: Empowerment, equity, productivity and sustainability. The arts education was discussed agrupándola into three main currents: the flow expressionist, the flow rationalist cinetífica and flow reconstruccionista. Having identified the two blocks of relationship we define the powers that materialized each component of Human Development and the transfer to the different aspects that make up the teaching of each current artistic aims, content, methods, evaluation and curriculum development.

Author: MARTÍNEZ GARCÍA GONZALO JAVIER.
Year: 2005.
University: AUTÓNOMA DE MADRID.
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFIA Y LETRAS.

Summary: Applying the theory and methodology of stylistic analysis of LBMeyer, explores strategies movement tonal large-scale music late lutoslawski. Before it conducts an investigation addressing aspects allowing substantiate an analytical approach music on which to base the analysis. The thesis consists of four parts as well: as a theoretical basis for the analysis, the study found models (facts that are repeated in several works) and the strategies compositivas declared by Lutoslawski, assumptions, and verification of the hypothesis. Chapter 1 is the introduction. Chapter 2 corresponds to the phase of theoretical study, addressing issues such as the concept and the concept of structure, extension, linear analysis, and concludes with the description of the analytical method. Chapter 3, corresponding to the description of models and the study of the statements by the composer on melody, harmony, form and position aesthetics. Chapter 4 presents the hypothesis that explains the presence of the models studied. Subsequently, in Chapters 5, 6 and 7 are analyzed two symphonic works and chamber respectively verifying the hypothesis raised. The thesis concludes in chapter 8 presenting the findings.

Author: RODRÍGUEZ CALATAYUD NURIA.
Year: 2006.
University: POLITÉCNICA DE VALENCIA.
Place of defense: Departamento de Pintura. U.P.V..
Place of preparation: Universidad Politécnica de Valencia.

Summary: Archiving and memory female is a project that wants to provide space eclectic art, the written voice of women artists, from the interest and fascination that have always attracted us to certify these testimonies, on the one hand, the existence and prestige that elicited some of them at different times and on the other hand, and thanks to them, get first-hand information about the thoughts that generates artistic practice from the voice actor for farmers and producers. The structure of work in three parts has enabled us to introduce in the first place, an approach to the context of the absence of women in public, analyzing the female stereotype and dwell on the forerunners who began the task of explaining through written language and the visual language. The second part entitled: The texts of women artists during the first vanguards, is a still unpublished in English anthology of the writings of women artists, and finally we have created a section on literature incorporating an extensive list of the texts translated into castellano. This collection has enabled us to take a tour through the types of texts and learn about the ideas and concepts of 21 women artists of the early twentieth century avant-garde art: Maria Blanchard, Sonia Delaunay, Gabrièle Münter, Marianne von Werefkin, Käthe Kollwitz, Natalia Goncharova, Varvara Stepanova, Olga Rozanova, Nadezda Udaltsova, Alexandra Exter, Liubov Popova, Hannah Höch, Unica Zurn, Meret Oppenheim, Claude Cahun, Frida Kalho, Leonora Carrington, Remedios Varo, Maruja Mallo, Georgia O'Keefe and Anni Albers.

Author: AGUILERA JURADO BEATRIZ BELEN.
Year: 2006.
University: CÓRDOBA.
Place of defense: FACULTAD DE FILOSOFIA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFIA Y LETRAS.

Summary: The genesis of this work, which is presented as a doctoral thesis, has been built on the need to submit to the scholars interested in the literature and music of the baroque Spanish a new analytical perspective, based on the relationship música-literatura. Another main basement of this work is in the essential upgrading of a musical repertoire, which deserve to be rescued from the clutches of forgetfulness, both for its aesthetic value, and its historical value. This represents an era, the seventeenth and eighteenth centuries, full of change and external influences geographic, and the curd fruitful work of authors such as known in the Spanish music drama, which will give rise to the birth of Rococo and Classicism Spanish, whose peculiarities and qualities have not so far been sufficiently appreciated. The essential purpose of this dissertation is the comparative study of two works of musical theater Spanish Baroque and Rococo: The statue of Prometheus and Echo and Narcissus, two comedies mythological late Calderon. The core issue on which this dissertation was elected pair deepen the analysis on the relationship between music and literature dramatic Spanish cited the centuries. Thus, were taken as concrete objects of study two works mythological music Calderon de la Barca: The statue of Prometheus and Echo and Narcissus. We have studied this matter from an organizational perspective that tends towards a more systematic approach to the employee usually in the Spanish traditional musicology. It has tried to do this work through an analytical method and of course, to get into the systematic breakdown of the elements that make up the Art dramático-musical aurisecular, a better understanding of the phenomenon músico-teatral as a whole, and the Under its socio-cultural and historical context. This comparison has been instrumental in building this argument for two reasons. On the one hand, the confrontation between two comedies belonging to the call by the Calderon mythological genre, it is almost imperative to observe the dichotomies and concomitanacias that exist in dealing with a common issue, as is classical mythology and the particular that interpretation makes the classic Calderon, in addition to the variations in the use of certain types of characters or characters, with respect to personajes-tipo theater classic Spanish, the use of remarks implied, and many other traits embodied by elements of comedy calderoniana. This thesis was ready in three key blocks. First, it delves into key aspects of the music in the Spanish Baroque, which conducts a tour of the scene of the Spanish Baroque practice, and its relations with the baroque dramático-musical Europe. As a second major block appears a comprehensive approach to relations literario-musicales in Art calderoniana. The third part is the backbone of this dissertation, showing a literary and musical depth analysis of the two works calderonianas under investigation. The purpose of this innovative research is reflected primarily in its core structural, which has been a result of the combination of different areas and subjects. Similarly, its originality can be seen reinforced by the attempt to point out the importance of a new perception of literature through music, and the method used, which will participate as interveners elements Systems signs literary, musical and pictográfico .