HISTORY OF ART (3)

Author: PEREZ RODRIGUEZ MERCEDES.
Year: 2004.
University: OVIEDO [www.uniovi.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: Study of public works in Asturias financed by the State in the mid-nineteenth century, during the Jose Francisco Uría and Irrigation (1819-1862) at the head of the General Directorate of Public Works (July 1858-diciembre 1861) , preceded by research on the same character. As for public works, such as analysis methodology follows the established order in the Proceedings of the State of the Public Works presented by the directors of the branch to the Minister for Development: roads, rail, water, ports, lights, telegraph constructions and civilians. Conclusions As the significant progress of public works in Asturias in the mid-nineteenth century, and the importance of their consideration as part of their cultural heritage in order to avoid mass destruction.

Author: FERNÁNDEZ GASALLA LEOPOLDO.
Year: 2004.
University: SANTIAGO DE COMPOSTELA [www.usc.es].
Place of defense: FAULTADE DE XEOGRAFÍA E HISTORIA.
Place of preparation: FACULTADE DE XEOGARAFÍA E HISTORIA.

Summary: This thesis is structured in four parts, divided into three volumes, a total of 17000 print, plus another 1000 in computerized form. The first section includes chapters devoted to preliminary introductions historical and cultural analysis of the state of affairs and description of the methodology followed. The second deals with the sociological environment in which the activity takes place in Galicia architecture of the period, both from the point of view of the artist as their customers, addressing issues pertaining to vocational training (workshops, libraries artist, etc.) and the behavior of architects and their collaborators as a social group (marriage, residence, social progress, personal relationships, etc.) ideological conception of architecture among its clientele, objectives of the promoters, etc.. The third part is a study of the work of architects and master builders, as well as the main retablistas of time (Sunday Andrade, Diego Romay, Fray Gabriel Homes, Bernardo Cabrera, Pedro de Monteagudo, among others ). The last part consists of an appendix in computerized documentary, which includes transcipción complete or extracted from more than a thousand documents made from the originals.

Author: KANELIADOU VASILIKI.
Year: 2004.
University: CÁDIZ [www.uca.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS. DEPARTAMENTO DE HISTORIA DEL ARTE..
Place of preparation: UNIVERSIDAD DE GRANADA.

Summary: This thesis examines themes and motifs of classical mythology in the works of Spanish painters who have developed their careers along the twentieth century. We present the works and their creators are analyzing images iconographic themes and motifs. It presents the mythological sources and is the route of the themes and motifs in the painting from the antigà ¼ age until the twentieth century.

Author: NOGALES CÁRDENAS PEDRO.
Year: 2004.
University: ROVIRA I VIRGILI [www.urv.cat].
Place of defense: FACULTAD DE LETRAS.
Place of preparation: ROVIRA I VIRGILI.

Summary: OBJECTIVE The study film unprofessional to see its usefulness as a primary document in history. From this starting point derived different issues: * Do you Cinema used to do more than a simple history of art? Â * What kind of history can we do with the movies: socially, economically, of daily life, politics, etc..? Â * What information we can extract from a film? Â * How can we obtain this information? Â * How useful or specific function can have film in history? * Do you If that is? * Â Can you use film in local history? Â * What kind of film can be used for research of local history? Â * What information we can get from the different types of film (professional, amateur, family, semi-professional)? * Â Can we treat equally and get the same information in historical research local movie career that unprofessional? * Do you both professional and non-professional film can be analyzed like? * Do you use these kinds of films as historic document is equal to all territorial levels: local, regional or national? CONTENT To arrive at the final outcome, to provide answers to all these questions has been made in this work the following way, 1-began to justify the theme and explain the basic approach of the investigation. 2, - explaining the limitations and problems that arose from the research and the solutions to these problems. 3, - defining the different types of movies that could be used in local history (professional, semi-professional, amateur and relatives) and the footsteps of films (35 mm, 16 mm, 9.5 mm, 8 mm and Super 8 mm), which explained its features and constraints. 4-Searched analysis methodology best suited to this research. To that end, raised a series of basic questions about the use of theater history and theory on reality and fiction in the movies. After this first step will study the different theories and analysis methodologies film (ontological theories, theories culturalistas, feminismos and film, visual anthropology, ideological theories, theories and sociological theories of analysis histórico-contextual). The study of these theories allowed to observe the difficulties of implementing these certain kinds of films unprofessional and I choose to propose a methodology for analysis, based primarily on the analysis of textual criticism and contextual documentary films, allowing analyze everything type of films and a vast amount numerically. 5-In order to apply this methodology to the case of Reus, previously had to make a story film unprofessional Reus, before his absence. A story that ranged from 1897 to 1989. 6 - The investigation uncovered the existence of 690 films unprofessional or images on Reus, which is visionaron 437. They applied the methodology and analysis was conducted of the items. Given the length of a detailed analysis of 7 proposed themes that could be explored with this footage was ópto by studying two cases: historical events Reus films collected by professional and non-professional and geographic vision that these materials offer of film the city and the environment (near or far). One of the key findings is the importance of these materials for the study of specific topics, with certain conditions and with a basic premise: its urgent recovery before its final demise.

Author: VAZQUEZ ASTORGA MONICA.
Year: 2004.
University: ZARAGOZA [www.unizar.es].
Place of defense: FACULTAD DE FILOSOFIA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFIA Y LETRAS.

Summary: This doctoral thesis devoted to the architect zaragozano Jose Borobio Ojeda (1907-1984) not only focuses on his face as an architect but also in many other designer of the humorist, illustrator, painter and designer of extensive wall decorations, cartelista and journalist, photographer , a designer with varied interests, maquetista or creator escenografías ceremonial political apparatus. This work comprises two main blocks: the first study, which deals with all graphic production of Joseph Borobio and its architectural activity until the end of the Civil War, and the second catalog, which inventaría and analyzes all his artwork 'family kept in the archive (Pillar Borobio). Specifically, the study is divided into two sections that cover the two major facets artistic: Joseph Borobio cartoonist (throughout its development life, from 1910 to 1984) and Jose Borobio architect (his first collaboration with his brother Regino in the Study of Architecture Borobio being a student, since 1924, and until the end of the Civil War). This work has been inventoried and cataloged his complete works as a designer (consisting of 2,100 drawings preserved in the archive family), has been located and collected for his entire study i artwork in periodicals, such as magazines humor Good Humor and Gutierrez, as well as their participation in the salons Humoristas Madrileños and Aragoneses, has been investigated his student years of Architecture in Madrid (1923-1931), recreating the atmosphere cultural, architectural and artistic in which moved; has been revised so complete the Archives and the Library Study Borobio to know the architecture there and planned choose between her works that show the evolution suffered and how architectural Jose, differentiating it from his brother Regino, among all this the early works of the greatest of Borobio (1919) ylas made until fm of the Spanish Civil War, and thus its contribution has been analyzed as an architect at the stage that we understand was the largest and most modern Study Borobio, those between the twenties and the end of the Civil War I (1919-1939). Production graphical Jose Borobio shows a personality with great skills of observation, which always participated in modernity, and its study becomes indispensable tool to cover the subsequent analysis and valuation of its architectural activity. For his part, following an analysis of the joint work of Borobio, there is Jose Borobio as the true innovator of Study and hence the architecture of Zaragoza time since it was he who was formed in Madrid, in an atmosphere vanguard, with architects belonging to the generation of 1925, whose shared approaches and materialized in many projects. Therefore, if Fernando Garcia Mercadal is the introducer, the initiator of the new language rationalist in Aragon, Jose Borobio is in engargó of shared.

Author: SÁNCEZ PORCEL JUAN CARLOS.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA.
Place of preparation: ETSAB, EDIFICI A SEC. GEOMETRÍA DESCRIPTIVA CAMPUS SUD.

Author: CANCER MATINERO JOSE RAMON.
Year: 2005.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAD DE GEOGRAFIA E HSITORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: This research work has been raised as an approximation of the historical photographic portrait and the retratistas Valencians in the nineteenth century. Indeed, it has been made taking into account that the study of the photograph must not only adhere to the formal contents of the images, but should also include the study of the tools, since the end result of the photographic image in a particular chronology , it depends exactly the level of sophistication and the kind of tools available at that instant and good or misuse of them that make the photographer. The work is structured into two main blocks: the first provides an overall vision poliédrica and on the future of photographic portrait from 1839 to 1900 and the second was studying specifically retratistas who worked in Valencia in that period, according to the documentary traces that have left us and the physical works are preserved. Particular emphasis is placed on the fact that, in this case, events are narrated no distinction between large and small figures participating in this story, following the advice of philosopher Walter Benjamin, because nothing has happened to be by lost for the historicity. Finally, after the mandatory findings and a glossary of terms advisable photographic, detailed bibliographic references that have served to structure the text, citándolas in separate blocks, according to the sources. The basic objective of this research was therefore to contribute to the historiography of art and Spanish Valencia nineteenth century, from the fact photographic.

Author: FONTESTAD PILES ANA.
Year: 2005.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTOARA.

Summary: This thesis investigates the precedents, the creation, operation and impact of the Conservatory of Music in Valencia from 1850 to 1910. Therefore, it also offers an overview of the music in the educational framework Valencia from 1850 to the founding of the institution in 1879. It consists of three sections, each consisting of two chapters, which meet three objectives: 1Â º. Consider the expansion of music education in the plot until the founding of the conservatory Valencian. 2 Â °. Analyzing the inner workings of this institution from its inception until 1910. 3 Â °. To investigate its outreach during the period cited. The first two chapters are designed to study the distribution of music in education to discover the reasons that prompted the founding of the Conservatory. The first chapter describes the status of teaching music privately and publicly until 1879. In the second, special attention is given to Pascual Perez Gascon, in pushing the musical instruction in general education and protect us do this to the Royal Economic Society of Friends of the Country, the main promoter of the Conservatory. In the third and fourth chapters, after knowing the motives that prompted the Economic, City Hall and the County Council to form the Conservatory, he examines its internal workings to take stock of the educational activity. It shows their headquarters and in particular, the linking of its local manufacturer of pianos Pedro Gomez, which contributed effectively to prevent its closure in times of economic crunch. In the last two chapters are investigating its outreach to show the interaction between his work educativa-musical and society from 1879 to 1910, when the Economic leaves the center to the two agencies co-founders so that he could get the official. It explains how regulated the operation of municipal schools and its main musical activities. We analyze the portfolio and interpreters, many international status.

Author: PALACIOS ALBANDEA MARIA CARMEN.
Year: 2005.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA.

Summary: The school, as educational agency that receives from early age to children after the family provides the new members who can only gain a place in which to acquire habits, skills, values, which will be developed in time . According are providing different teachings consistent with the educational graduation from infantile stage, will extend to Primary Education, Secondary Education Mandatory or Baccalaureate, the museum becomes an educational support to enhance cultural knowledge essential. Thus, the school can appreciate and take into account the origin of the culture in which they have grown, or aprehenderán it, the intrinsic characteristics that can make them more respectful, more sympathetic, more understanding, and thus reach some citizens of the future be committed to cultural diversity, which he saw as a generator of ideas, resources, harmony and sieve through which to get to know and understand the rich diversity of human beings. This research examines the knowledge offered by the various disciplines of knowledge of education as it relates to teaching in the History of Art, with the intention of proposing in a reasoned way the minimum criteria required to serve a model to be presented from the Education and the Art History, and to produce findings that will facilitate the process of teaching the history of art, following the guidelines set by the Spanish educational system from education to child Baccalaureate. With regard to content, research has been structured in four chapters. After a first chapter methodological, in the second chapter has raised the Art History's main objective is to study the works of art carried out by men, while discipline is valued as a member of the Social Sciences and if the purpose of these is the knowledge of human beings in society, the history of art is a part of the history of that society. Subsequently, explained in a reasoned that the Art is a discipline whose autonomous peculiarity focuses on the study of historical facts artistic. It continues with a discussion and possible methodological approaches which include various contents and interpretations, depending on the plural flows of the investigation, to obtain the study of art as much information as possible. The third chapter deals with formal education and the teaching of the history of art. The considerations on the construction of an educational model and an exhibition of the academic management following the Spanish educational system, leading to develop pedagogical aspects priority project to develop a curriculum for middle and the corresponding programming teaching units always referring to the area of East Physical and Social Educational Child, and the area of Knowledge of the Environment, Social and Cultural Education in the Elementary and Secondary Education Mandatory for being in their midst, where he taught learning content directly related to the history of art. In undertaking a project for the high school curriculum, are established on a specific subjects of this discipline. It is a practical model, which allows to develop highlight the presence of Art History at the school regulated, and therefore the need to ensure that the contents are linked to impart as closely as possible with the offer that museums performed in the field of teaching. In the fourth and final chapter, discusses the features educational museums of Fine Arts and Art offers, then to treat the specific teaching resources, such as educational context where there is a learning must offer teachers and 8 discent 328 en. It pays special attention to the educational visits to proceed with the design of possible activities to be carried out in the museum spaces and their evaluation.

Author: RAMON MARQUES LUISA NURIA.
Year: 2005.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: This dissertation focuses his study in the world of lighting at Valencia medieval manuscripts. This part of the studies conducted by Dr. Villalba Davalos (1964), whose doctoral dissertation was one of the few studies on this subject. This research provides an overview of the production libraria, from the point of view codicológico as artistic. To carry out this study with an annex part documentary that takes a total of 644 archival documents from the year 1290 to 1458. With all this material, we set some assumptions by which we try to demonstrate various aspects. First, the fundamental role of the main foci of miniature European as were France and Italy, which along with Catalonia favored the emergence of an artistic manifestation hitherto unknown in our land. Secondly, we emphasize the importance of the promoters of the copy and illumination of manuscripts -Monarquía, City Church crucial for the emergence and development of miniature medieval Valencia in a moment after the conquest of new territory, favoring the emergence of miniature art book started with the workshop from Sunday Crespí, during the last third of the fourteenth century and the first third of the fifteenth century. From this thumbnail craftsman Valencian take some parameters that stand in a privileged place within the artistic scene of medieval Valencian. Based on the documents we have been able to establish a series of biographies by publicizing new artists as well as bring new stories that reinforce the role of artisans. We also propose a division of the miniature Valencia in three periods: The relevant to the origins of the medieval miniature Valencia from the background more direct. In a second stage includes the miniature Valencian between 1370-1430, according opportune split subperiodos; of assimilation in which the shop is located Crespí Sunday and the splendor, in which figures like Sunday Adzuara or Pere Soler, among others, constitute a solid school illuminators Valencians. At this stage we have included major manuscripts preserved conducting its review and assumptions about their authors. Finally, in the third period for the miniature Valencian of 1430 until the death of Alfonso V Magnánimo analyze the figure of Leonardo Crespí as the culmination of the tradition of manuscript painting.

Author: SEBASTIAN LOZANO JORGE.
Year: 2005.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: This thesis deals with a number of women who occupied places in the central court of the Spanish Hapsburg between 1530 and 1610. His personal involvement in building his image was limited but significant. Basic Principles of female representation (as a portrait of court) were the beauty and virtue. Also decoration palace or architectures ephemeral allowed disseminate the image of the queen and femininity ideal that the monarchy of Charles V and Philip II advocated. The collection of portraits, paintings, sculpture, tapestries, costumes, jewelry, exotic objects, and so on. Allowed these women involved in the visual culture of the moment. Failing queens owners as Isabella the Catholic, the most important of the group were Mary of Hungary and Princess Joan of Portugal, both widows regents, achieved prominence through the patronage culture (Titian, Antonio Moro or Sanchez Coello among others) The collecting and architectural firms. The Empress Elizabeth of Portugal, Isabel de Valois and Anne of Austria emphasized their personal appearance as a means to bring his eminent position within the monarchy. Infanta Isabel Clara Eugenia, Mary of Austria, or Margaret of Austria roles exercised more modest but with input personal interest. Closures real (as Discalced or the Incarnation) were major centers of action (religious, cultural and political) for all these women. New approaches derived from feminism and gender studies provide clarifications to the debate on the public and private sectors in the dynasty of the Hapsburgs. For example, by the peculiar position of Sofonisba Anguissola, painter and lady of the queen, or through the palatial space, the separation between the two Houses in the former Royal Palace in Madrid or Pardo, studied through labels regal.

Author: TARANILLA ANTÓN MARTA ELENA.
Year: 2005.
University: LEÓN [www.unileon.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS.

Summary: This Ph.D. thesis aims to research the manuscripts illuminated datables in the fifteenth century and the first third of the centura sixteenth currently preserved in the cathedrals of Leon, Palencia and Zamora. Although there are multiple references to some of these manuscripts, had not yet been the subject of an exhaustive study, why this paper attempts to grasp the scale of production libraria handwritten in these venues, noting that many of its copies were not conser ford, and establish the relationship between them with the artistic context in which gestaron, its links with other parts centers and lighting mainland peers, the artists involved in its preparation and its timing. The body of manuscripts has been shaped by the Missal leonés, codex constituted by 7 volumes of between numbers 43 and 49 of the Archive of the Cathedral of Leon, copies of the choir at headquarters palentina cataloged with the figures 1, 2, 5, 7, 8, 9, 12, 13 and 15, and cantoral 12 of the Cathedral of Zamora. The Missal leonés, consideradoerróneamente work by the middle of the fifteenth century, has suffered sustración many pages which has meant the loss of most of its miniatures, having retained a single illustration, a number orlas and a large number of initial decorated. From the aesthetic point of view their orlas adhere to the proposals of the Flemish school of Ghent and Bruges, while the initial incorporate language decorative Renaissance. The documentation puts his achievement between 1508 and 1530, can identify with the Missal Rico developed for the high altar in that period, why that henceforth be called with this expression. The cantorales palentinos, dating wrongly early sixteenth codicológicas contain three units under one encuaderanción: Sector A mid-fifteenth Sector B of the early sixteenth and Sector C of the early XVII. The miniatures Sector To show a clear stylistic connection with the same issues that Juan Carrion performed in a few cantorales abulenses between 1470 and 1472, why it is attributed to their preparation workshop carrionesco. The lighting Sector B was commissioned by the Cabildo to illuminator from Valladolid Alonso de Tapia in 1502. The cantoral 12 Zamoran codicológicas consists of two units: Area A at the beginning of S. XVI and Sector B of 1578. The illustrations Sector To participate in the aesthetics hispanoflamenca in types of composition, and personages of folded clothes, as well as Renaissance in spatial concepts. The codices studied in this thesis should entederse works sponsored by the town.

Author: GALLINARO Laurence.
Year: 2005.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: Université Michel de Montaigne - Bourdeaux 3.
Place of preparation: Universitat Autònoma de Barcelona - Université Michel de Montaigne Bordeaux 3.

Summary: This thesis, which consists of four volumes and two appendices in CD-ROM format, develops a comprehensive study on the baroque altarpieces in the province of Gerona. After making a statement of the issue literature (especially the Catalan literature) and observe the dispersion of the work done and gaps remain conditional an analysis of the whole, there has been a systematic inventory of the diocese and part of Girona the Vic. This inventory encapsulates production preserved and perform a production estimate destroyed in the course of the various conflicts that plagued the Principality of Catalonia. The war was the most destructive in the years 1936-1939, during which a high percentage of baroque altarpieces was incenciado or destroyed. The evolution of the Catalan Baroque altarpiece runs a period that begins with the post-conciliar phase at the end of the sixteenth century, and ends in the last quarter of the eighteenth century in his later phase, and mixed with the neoclassical style. The general approach that links all of the works discussed during this long period is characterized by the continued presence of a predisposition classicist, pronounced since the advent of Felipe V, the Bourbon monarch who imposed gradually trends classic French style in architecture and, therefore, in the structure of the altarpiece. In this context evolutionary style, the architectural and sculptural production in Catalonia presents a complete cycle in the manufacture of the altarpiece. It is a trend of post-conciliar whose classical architectural criteria emanating from the Renaissance overlap with the beginning of the Baroque, missing never lost the spirit classic. The formal analysis of altarpieces gerundenses be observed at different evolutionary stages, and the morphological changes that the altarpiece Catalan experienced. The first presents works remnants of Renaissance classicism, altarpieces post-conciliares that, gradually and under the invluencia of new aesthetic criteria that are beginning to emerge, evolved into a second phase where the works, we call pre-barrocas, characterized by the presence of precursors of the style architectural elements. The third phase corresponds to the height of the Baroque period Catalan, a stage during which the altarpiece presents a dynamic architectural aesthetics and much more intense and extensive. This trend, in its last phase, derived toward more traditional aesthetic canons. In Catalonia, the influences aesthetic impustas by various monarchs are identifiable, although with certain characteristics. The professional context in which the artist has been analyzed through a variety of archival documentation, and particularly to trevés of contracts that are usually hidden in the archives of protocols. This documentation shows how far the universe of professional artists was exclusively governed by the corporate system that is based on the medieval period. Parishes sometimes. Agrupadas-, brotherhoods, municipal agencies or certain individuals were the leading advocates for the construction of the baroque altarpieces. The altarpiece in the church became an instrument for the dissemination dogmatic, estí 8 mule pair 5cf the collective memory and a decorated to control consciences. The main subjects executed in Catalonia, and particularly in the altarpieces of comarcar gerundenses are presented under three aspects: the Marian cult with their local variants, the Christological cult, especially the issue of passion, and finally the cult hagiográfico . This last reason is subdivided into three groups that are represented by the Catalan saints, the saints and the saints promoted by the Counter-Reformation. Programs iconographic represented in the baroque altarpieces Catalans are fully in line with the guidelines post-conciliares wisely combined with the traditional, popular piety and the advocaciones premises.

Author: SÁNCHEZ DAVID MARIA LUISA.
Year: 2005.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: FACULTAD DE LETRAS, DEPARTAMENTO DE ARTE.
Place of preparation: UNIVERSIDAD AUTÓNOMA DE BARCELONA, FACULTAD DE LETRAS, DEPARTAMENTO DE ARTE.

Summary: Through the analysis of some iconographic pottery Mochica of MNAAHP Lima, and based on information relating to other disciplines, a categorization of shamanic role on the northern coast of Peru for the time Mochica. This thesis, using a speech multidiciplinar, seeks to open new avenues of research with the aim to obtain a better understanding of the ideology force for the development of this society, where consumption enteógenos was instrumental in the creation of their ideology, with its particular way of understanding the world, as embodied through the symbolism of his pottery.

Author: MAIXENCHS AGUSTÍ JOSEP.
Year: 2005.
University: BARCELONA [www.ub.es].

Author: GRANT PETRELLA JORGE CARLOS.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAT DE GEOGRAFÍA I HISTÒRIA.
Place of preparation: FACULTAT DE GEOGRAFIA I HISTÒRIA.

Summary: This thesis is incorporated into the current historical research film with a distinctive approach. The involvement of the viewer / observer in the history of cinema. The issue provides for the change of times in the arts through the changes that has experienced and is experiencing cinema. Seha proceeded to investigate whether it is evolution or development, or whether we are dealing with genuine mutation. In case of a mutation that involves the death of cinema, the assumption is that this would be happening as a result of a war of all the arts that runs through the law of inheritance. The scope of this thesis includes:  what? Cinema Hollywood, in an eighty percent. With an encyclopedic references to the cinema in Europe and worldwide (20%). The  when? Period half a century, in the forties to the nineties. The  where? With regard to popular mythology and folklore, Barcelona and Buenos Aires. The hypothesis is the cardinal mutation (as cultural conflict, death in the artistic), which is deployed along the seven chapters and an appendix. For the treatment of the hypothesis of the existence of a war raised three conceptual tools are used: the shape of a collective dream, the dream box and the saga of neighborhood (SB). In its development explains how it was done and how it got rid latter. It is not considered necessary to go through how high the arts were nutritious with the cinema to get whether the film has left him face the alliance with television. That argument believed to have rescued an area unconscious, a certain "out of area" of popular mythology, presenting the conherencia a chronic. It has sought alternative "congola epic" in the rescue of the Boards of the neighborhood, both in Buenos Aires as barcelonesas. It has highlighted coninsistencia the common substrate in which cinema, literature and painting are concluded, as it has done also Francesco Casetti in Theories of cinema. The motive of this thesis has been the desire to reintegrate the historical tide of art which synthesizes the people, the neighbors who tailor, which transmits chronicler.

Author: CREIXELL CABEZA ROSA M..
Year: 2005.
University: BARCELONA [www.ub.es].
Place of preparation: FACULTAT DE GEOGRAFIA E HISTORIA. UNIVERSIDAD DE BARCELONA.

Summary: SUMMARY: The tesi addresses the particular architectures of the nobility established in Barcelona in the period between 1739 - 1761 to show an overall picture of that reality. Starting with an outline of ten chapters, where the latter represents a comprehensive review of existing studies and sources, from structured in three parts: work on architecture, on the period and on the material culture, the author goes aproximadose and drawing relations between the nobility and the rest of the population. In the third chapter, also divided into three sections is an approximation to the city of Barcelona. First discusses family relationships of the noble subjects studied (84 nobles) and their characteristics as a social group. The second plan family ties, ideosincracia of their heritage and their occupations. Finally, it sets out how and the areas in the urban fabric they inhabit. In the fourth chapter discusses the configuration of the city, differentiating between ímagen daily in the city, -estableciendo intervention I'administración local features in the construction of private houses, an approximation to the offices of construction and the type of clients - and the transformation of the image of the city when the visits were off as authentic. In the fifth chapter, once known image of the city of Barcelona, is undertaking the model shelter itself from the Barcelona nobility of the period known as the "big house", exploring its device space, and their characteristics. This topology is regarding urban and opposed to the topology called "tower house" of the house itself outside the city, centrándoos analysis in a concrete example. The sixth chapter reveals the evolution of thinking, focusing on the theme of the mask of representation, establishing parallels with the French model. It discusses the role of pragmatic against luxury, praise to the contrived and ornamentation of the body, (the symbolic meaning of fishing, makeup, clothes, joias and afeites and furniture for the settlement personaL). In the latter part of the chapter sets forth the times and social rites considering the house as a theater to receive at home, providing meals and drinks, not forgetting the most important family ceremonies as weddings, the entrance to a convent or burial rites . In the seventh chapter, the analysis focuses on knowing the inner spaces of these noble family, focusing on the theme color on the domestic art, household utensils (fabrics, furniture, paint and com images of devotion. Owing to the ideosincracia the city itself, with a port and a very active commercial life very intense, b next chapter discusses the origin of manufacturing, establishing zones and models estrangeros and reisando manufactures luxury Barcelona. in the study to workshops craftsmen from the city establishing or topics such as specialization I'artesanado, the survival of the guilds and their power, the concept of autografia in the design of furniture, as well as shown a tour of the most important and your organization labor. Approximation part of the workshops devoted to the work of wood, the offices of color, smaller stores or contructores carriage. Chapter nine, and are pointing detailing the expenses of the noble clientele focusing on some of the families making up the sample survey. Finally, the last chapter reviews the aspecteos largest evidenced along the doctoral thesis.

Author: CAÑIZARES SEVILLA ANA BELEN.
Year: 2005.
University: CÓRDOBA [www.uco.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS.

Summary: Labor research in which a study has been made along the lines Cordovan Peter Lavirgen Gil Bujalance born in 1930 and retired from the stage in 1993. As we analyzed biography in its context histórico-musical highlights various aspects related to the environment of the operetta and opera in Spain hitherto unknown: the role of institutions in the field of music, theaters , seasons, the public and critics, schedules and the figure of solista-divo. Also keeps track of the repertoire of singer lírico-dramático (specializing in Verdi, Puccini and Bizet Carmen), audiovisual recordings made, as well as international action. It has been divided into seven parts. The first dedicated to the description of the historical environment that develops the character's life between 1930-1961, with an overview of the music scene with Spain which has paved the way for the subsequent breakdown dela investigation, organized following the chronological thread of events. The second part examines the years 1962-1965, the third 1966-1970: Fourth 1971-1976; the fifth 1977-1981, with a new study on the social and cultural reality that has been created in Spain after the establishment of democracy. The sixth part keeps track of the latest stage professional tenor, 1982-1993. In the seventh various testimonies are collected on Lavirgen and, after a critical literature, presents the findings. Finally after the forced bibliográfia were introduced four appendices: a Table of dramatic representations, the audiovisual business records, 218 documents and a list of fragments collected on a CD with those who have shown the evolution of the tenor voice. The originality of this item meets the need to recover the Andalusian lyric interpreter, poryección international, the most important of the second half of the twentieth century and who for the first time provides a comprehensive study.

Author: MARÍN HERNÁNDEZ ELIZABETH.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: UNIVERSIDAD DE BARCELONA (FACULTAD DE GEOGRAFÍA E HISTORIA).

Summary: The presence of contemporary Latin American art in the contemporary world, is jointly designed and mobilized through the existence of a diaspora that has lost every attachment in their territorial definition. The languages they show tend to consolidate has a taste for simultaneity, by the complexity, so marginal, so hidden, and the relativizaciones of a reality that is constantly asked by the sense of his being. The diasporas artistic locate their proposals in a number of positions, in an attempt to narrate the stories and situations, which has started to emerge in the moment in which establishing a dominant epocal, observer and tolerant of diversity of margins . The art delas diasporas seemed set a new space of representation, worthy of being caught or explained in new positions, theoretical, signifying why some of these expressions, often impossible to translate to the loss of the sense of Western cultural monopoly delas arts in the field. Hence, they are made in the contemporary world tardocapitalista and postindustrial, theoretical positions that inclusive and scholars of otherness, of the differences, the otherness of Subalternity. For from those contained fragmentary and displayed by multiple theories multiculturalistas and Criticism Poscolonial. An attempt to give meaning to a global reality, which has lost borders. Here, the theoretical spectrum studying the diversity of cultures notes, its pollution and movements from different perspectives, which have incido in the art world contempmoráneo in the formulation of a New Interncionalimo inclusive representations of the other . The Latin American art in this context is called, invited to legitimize the staging of some realities that purport to be close and turn away, because of the tensions caused by the proposals discourse of multiculturalism and poscolonialismo in their readings on as opposed cultures and not as an integral part of an overall metaculture. The diasporas are located from the deconstruction of the major tenets of these new theoretical trends, to highlight their locality from the particularity of their legacies and stories. Area in which artists belonging to the contemporary diaspora, have shown respond with alacrity to the number of situations presented in the midst of a reality interconnected from earlier times and now says the exacerbation delas relations with the goal differently.

Author: CARRILLO LISTA M. DEL PILAR.
Year: 2005.
University: SANTIAGO DE COMPOSTELA [www.usc.es].
Place of defense: FACULTADE DE XEOGRAFÍA E HISTORIA.
Place of preparation: FAUCLTADA DE XEOGRAFÍA E HISTORIA.

Summary: The Romanesque in the eastern province of A. Corunna, a dividing line drawn from the surrounding countryside Herculean until the district of Terra Melide, is the study for the first time from the point of view of the History of Art, fleeing the simple catalogs churches. The aim is to go further: to conduct a comprehensive, thorough and detailed analysis of the architecture and everything that surrounds it, this is the origins delas different constructions and their vicissitudes of history, typology, constructive campaigns and all aspects of his construction, furnishing, and planned influences, schools and workshops. This can trace the existence of roving workshops conducted its work in specific areas, which reveals the richness that the Romanesque presented in this area.