HISTORY OF ART (6)

Author: PARDO FERNÁNDEZ MARÍA ANTONIA.
Year: 2006.
University: EXTREMADURA [www.unex.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS.

Summary: The thesis deals with all proceedings restauradoras undertaken in the joint historical province of Badajoz a lo largo del siglo XX. So far we did not know any study in the region in which they prosecute such works under the perspective of an art historian and in the context of the history of the restoration of monuments Spanish. A whole series of interventions undertaken under different administrations cultural policies: Franco and democratic, whereas in the case of the second work done by the central government as autonomous. This has enabled us to double check the policy of architectural restoration undertaken in each period and meet political criteria for restoration prevailing in each period: as well as the degree of transformation experienced in the eleven joint historical declared in the province of Badajoz, five under the Franco administration and six under the democratic and autonomous (Olivenza 1964, Harvest 1965, Llerena and Jerez de los Caballeros 1966, Fair 1970, Fregenal de la Sierra 1992, Magacela 1994, Azuaya, Burguillos del Cerro, Albuquerque and Source Master 1998). The deal with the figure of historical monuments and not isolated also responds to the fact boost the study of this type of real estate, because until now the norm has been dealing with this field of study analyzing the restorations carried out in Monument isolated. More than a hundred projects very different architects (Menéndez-Pidal, Carrasco Lopez, Fortea Moon, Lopez Bernal among others), as well as documentation related to the records statement monumental works and correspondence records management, have formed documentary sources this study concludes noting that the continuity maintained between different cultural administrations along, especially in the second half of the century. Continuity in terms of the declaratory process, and criteria for restorative activity mainly. At a time like the present, where we can consider that the autonomous administration has consolidated its policy of conservation and restoration of cultural property, such investigations are made public the results of those in a comprehensive manner and in the context of a discipline, the history of the Restoration Monumental, still unknown in some sectors and little studied in Extremadura. An eminently conservative attitude has been dominant in most of the cases studied, though understood in a dual, restaurateur ay consolidating respectively. In this respect, and without exception, the rehabilitations of buildings continue that trend, accentuated in the nineties by a greater respect for the monument as a historical document. Therefore the main contribution of this study is to provide the defining characteristics of the restorative practice in the province of Badajoz along delo twentieth century in the face especially their observance on the part of those directly involved on the monuments: administration and architects mostly . The process itself restorer part of the history of the property and their knowledge is paramount at the time to undertake new interventions, especially considering that many of the leftovers at present pose architectural solutions designed to eliminate overlap or interventions restauradoras rush time ago (what is known in the discipline as "restoration").

Author: MARTÍNEZ MORENO SILVIA.
Year: 2006.
University: ZARAGOZA [www.unizar.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS.

Summary: The thesis is a detailed study of all urban sculpture commemorating, beautify or ornamentan, including those of a religious nature, with public access, contemporary in La Rioja.

Author: Sanchez Cardona Luz Maria.
Year: 2006.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: Facultad de Filosofia y Letras.
Place of preparation: Facultad de Filosofia y Letras.

Summary: Survey and analysis of the six radio works undertaken by the creator irlándes SAmuel Beckett (1906-1989). The six writers were undertaken between 1956 and 1962, and its titles are "All those who fall", "Pavesas", "music and lyrics," "Astracanada radio I," "Cascando" and "Astracanada radiofónicaII." The products were analyzed by the BBC (England) between 1957 and 1976, and by Voices International (USA) between 1986 and 1989, were turned to the methodology proposed by the composer Jose Iges for analysis of the works radio art. Divided into two volumes, the first includes a chapter on the history of technology transfer and transcription, a chapter devoted to the role of sound in the arts of the twentieth century, and a chapter devoted to radio art definition ypuest aen context the art sound and electronic art. The second volume includes a chapter dedicated to the biography of Samuel Beckett, a chapter devoted to the relationship of Beckett with the transcription technology and transmission noise; a chapter devoted to the introduction particularizada of the work of Samuel Beckett radio, and ends with a a chapter on the analysis of the works mentioned radio. After analysis, and implementation contexo with work by other creators who came to the creation radio pilot, it was concluded that these six works can be considered works of art radio, and that should be considered within the history of arts mediated by electronic technology, and specific technologies audio.

Author: PLA VIVAS VICENTE.
Year: 2006.
University: VALENCIA [www.uv.es].
Place of defense: FACULTAD DE GEOGRAFIA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFIA E HISTORIA.

Summary: The individual outside: figures and spaces in the graphic illustration of the nineteenth century part of a broad cultural space the historical interpretation of the graphic illustration English, connected with the European productions of his time to verify how this genre said many gaps and discontinuities the outlines of imaginary shared with the political, technical and scientific focus of an era between the decades of 1820 and 1860. The thesis aims to restore the communicative functions and spaces in which he specialized graphic representation of the figures of the modern individuality, establishing degrees of reliance on illustrations of tragic stories regarding the speeches that coexist with verbal and pointing specific remedies arranged in the productions graphs to channel their senses, sometimes little more consistent with the stereotypical notion of modernity. To specify the areas of social utility for which spread strategies representative graphics, the thesis proposes studying the figures passer, the world upside down and popular types, which are detected procedures esquematizadores the observation of the human landscape, representation and reading images. All of them were directed towards a political end, but by indirect routes more problems identified by the previous sociological interpretations, which this thesis provides a critical review. The third part explores themes of the graphic illustration whose analysis can be particularly productive to express the great paradigms of the design and representation of the body, the life experience or the dynamic spatial and temporal perception of his time as well as the areas where confluence of various models of knowledge and representation or tried to exceed their limits. The trials have been built on investigating aspects unpublished author known as Antonio Esquivel, Leonardo Alenza or Jose Maria Avrial and other barely studied as Juan Jose Cancela, Jose Noguera, Teodoro Blasco and Salustiano Asenjo.

Author: SEMPERE SERRANO ISABEL.
Year: 2006.
University: SANTIAGO DE COMPOSTELA [www.usc.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA-UNIVERSIDAD DE SANTIAGO DE COMPOSTELA.

Summary: Study Vincent's career as a professional Sempere Shepherd of the Spanish film production. Sempere Vincent began his career as a production assistant on various producers over the years 30 of the past century. After the civil war, his career will be linked to the director's Hungarian Ladislao Vajda, being head of production and producer (with his signature Peninsular Films) for the majority of their films during the mid-Forties. In the next decade based UNINCI, being a producer and head of production Welcome Mr. Marshall!. Work as head of production and director of production Charmartín pursuing their most important projects: Marcelino bread and wine, Tarde Bulls, My uncle Jacinto, The bait… At the end of this decade, based Falcon PC with Kladislao Vajda and Fernando Palaces and will be hired by Samuel Bronston as Spanish Production Manager, coordinating Spanish participation in King of Kings (Kingo of Kings), El Cid, 55 days in Pelín (55 Days at Beijing) and the fall of the Roman Empire (The alla of the Roman Empire). During the second half of the decade to produce sixty lso Spanish films with his signature Falcon and participate in various projects of shooting aliens in Spain. His last film was wild horses (Chinese Valdez). While we look at the career of Vincent, who will explain strategies using Spanish producers for 40 years, to deal with the various constraints that affect their business: international context, economic and social situation of Spain at the time, developments in the legislation protectionist response sectors of the distribution and exhibition, development of ancillary businesses and collaborations with other producers, with particular reference to the coproduction with European firms.

Author: REPOLLÉS LLAURADÓ JAIME.
Year: 2006.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE BELLAS ARTES.
Place of preparation: FACULTAD DE BELLAS ARTES UNIVERSIDAD COMPLUTENSE DE MADRID.

Summary: This thesis aims to come up with a category aesthetics able to define what modern Fine Arts. The concept of image torn death as God incarnate (déchirure comme mort de Dieu incarnée) has been analyzed from studies on the artistic image of the philosopher and historian of French art Georges Didi-Huberman, professor at L'Ecole des Hauts Études Sociaux Sciences in Paris (EHESS). Transfer to the field of painting its conclusions on the image at the time of the reproductivilidad technique, this theory raises the desgarradura as the footprint of an absence of transcendent meaning that, ultimately, is the death of God, a direct consequence of his incarnation material in Christ, and that has affected an entire anthropology of the picture as a remembrance of being fatal. This line of thought aesthetic melancholy, in so far as it constitutes the modern experience of a substantial loss of sense, occurs whenever a symbol of eternity becomes allegory of the death of the existence or vanitas updated on the symptoms corps embodied, then threatened with death. To analyze the tearing of the painting has become necessary genealogy of the concept of incarnation, from inconografía of the Annunciation, where the transubstantiation of Christ was discovered by Didi-Huberman in bread color report Fra Angelico, but also venus by Botticelli the open or in the blood of the encajera of Vermeer. It was therefore necessary to discover this macule of Original Sin in contemporary figurative painting, which is the substance of the paintings of Francis Bacon, Lucian Freud, or Jenny Saville, and a whole school of desgarradura. Thanks to the inconografía photographic hysteria in the clinical files of the Salpetrière Didi-Huberman has made it possible to think of putting in crisis body desagarrado as figuration phantasmagoric symptom, making the new figuration connect well with the old theory of pneumatic incarnated soul .

Author: SÁNCHEZ DE ANDRÉS LETICIA.
Year: 2006.
University: COMPLUTENSE DE MADRID [www.ucm.es].
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: The purpose of this Doctoral Thesis is to conduct an analysis unit of the musical activity and the philosophical, pedagogical and social krausismo institutionalism and Spanish, demonstrating the intimate connection between them. To achieve this, covering the period 1854-1936 and the research focuses primarily in Madrid. It performs a thorough study of the aesthetic thinking of krausismo Spanish music and the application that made their budgets followers of this movement, and its subsequent continuation institutionalist, referring to the current issues of Spanish music world in the period under review, its support for the partnership of professional musicians, their practice and encouragement of a critical scientific and professional music educator as musical taste of public opinion, the importance of its influence on the study and dissemination of musical historiography nationally focused and the upgrade folklore; its position in the musical nationalism, creating an opera Spanish and a Hispanic and lied to the need to reform religious music, and his support activity for the promotion of chamber music and symphonic in our country. It examines in depth the activity of teaching krausistas and institucionistas demonstrating that all its educational initiatives music had a very prominent presence, whether intended for the training of children and adolescents (Free Educational Institution, Instituto-Escuela, and Colonies exchanges), the teacher (School Institutrices, Museum Education, Board of Studies Expanding), the professional musician (Conservatory in Madrid, Academy of St. Cecilia in Cadiz, pensions granted by the Board of Extension Studies), or the ordinary citizen urban or rural (Promotion of the Arts, Association for the Education of Women, Extension University of Oviedo, Misiones Pedagógicas). Shown on a global unity between the ideas and actions of these thinkers in the field of music, the outstanding importance, as an independent discipline, had the music on the reform plan of man and the nation designed by the krausitas and institucionistas, and scrutinize personal and professional relationships of these intellectuals with the musicians who participated actively or behind with their support its activities in the field of music, exploring the ideas shared (especially Pedrell, Barbieri, Inzenga Fernando Carnicer, Martinez Torner and Benedito ).

Author: PORRAS ROBLES FUASTINO.
Year: 2006.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: GEOGRAFÍA E HISTORIA.
Place of preparation: UNED.

Summary: The thesis is an interdisciplinary work, in which subjects such as history of art or science iconography become auxiliaries of the organology. Its basic approach collecting plastic chronology Romanesque sources containing representations of musical instruments, their comparative analysis and, from this, the planning of conclusions concerning the use, type, location and evolution of musical instruments in the environment different routes Jacobean. It consists of four chapters, grouped into three broad thematic, more dedicated to the findings, bibliography and appendix documentary. The first is situated geographically in the study: the second provides information necessary background music to any art historian who wish to venture into this work, while the third and fourth are the main focus of the investigation to locate the reasons, their origin and significance for then analyze, purchase and document it. This is a work that completes the picture organológico by studying musical families traditionally ignored, and contextualiza such demonstrations taking based on the routes Jacobeas, without forgetting that something basic is not less important, as is the collection and documentation of sources.

Author: SORLI ROJO ÁNGELA.
Year: 2006.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: GEOGRAFÍA E HISTORIA.
Place of preparation: FACULTAD DE GEOGRAFÍA E HISTORIA.

Summary: As hypotheses to be considered that the sources of information on Spanish art on the Internet is a critical element for the interpretation of the history of art. Besides contributing through its detection and analysis, to a better definition of the object of study and demonstrate their quality and usefulness in terms of allowing information to gain an overview of the situation and the level of development. Knowing that not all the information is present on the network, which is not all that much scientific value and has a price, approaching the status of the issue helps define, objectify, expose the weaknesses, shortcomings and realities. The objective of the investigaicón that arises is moving the research method artistic, through sources, wing presence of Spanish art on the Internet, demanding to establish what is this presence, what subjects, artists and organizations are more visible or what most have been studied to try to outline what is the current reality, with two key ideas: telematics identification documents and reports on its contents. It also seeks to present a transposition of the research activity in the world of Art History, in "real" life, the Internet environment, the researcher closer to the same steps that follows in its research activity to the environment network, list items and the sources of regular consultation with its current presence in the field site, becoming a sort of guide Researchers in the network. The thesis is divided into three chapters. The first brings together the works of reference and terminology, directories and portals art and Bibliographic databases of art and Doctoral. The second consists of Institutions and Companies. Within him: archives, libraries and digital libraries, museums, associations and foundations, Bookstores and publishing houses, and Market Access discount art. Chapter Three is comprised of other artistic resources including: Image Bank, works of art and artists, magazines, and various mailing lists. As a result more than 1400 resources, evaluated and commented, systematized through ad hoc classification of information sources is evidence that the site in Spain has a slow development because most of the equipment you have on a public limited budgets, progress technology is not a priority for them and there is a policy and that support or promote. The entities and private companies have a very uneven development in the form and content of their sites. The presence of Spanish art in foreign pages is very low, with a few exceptions.

Author: DURÁN MEDRAÑO JOSÉ MARÍA.
Year: 2006.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: GEOGRAFÍA E HISTORIA.
Place of preparation: UNED.

Summary: In theory has been studied the artist as modern European producer, ie, in its production model or productivity features. This analysis has been guided by the need to rebuild a theory of the value of artistic production budgets dese Marxists. It has considered the idea of art that the artist under the modern period has worked as an idea producing value, this being a productive model that makes us understand the relationship of the art market in general has experienced and still continues today experiencing. It has been observed how the artist modern period has been developing since its own settings in the interior of the art system, ie formally subdumido therein; until his emancipation from the system of art when it is projected as an artist "free" in the market subsumiéndose well, and not only in the system, but actually inside the capital. All of which has shaped the institution "artist" and "art" that we know in the contemporary world.

Author: LABORDA ORIBES LUIS.
Year: 2006.
University: AUTÓNOMA DE BARCELONA [www.uab.es].
Place of defense: UNIVERSIDAD AUTÓNOMA DE BARCELONA.
Place of preparation: UNIVERSIDAD AUTÓNOMA DE BARCELONA.

Summary: Analysis of the relationship between the American film and reconstruction of history. It entiene the term history since its broadest sense. Also, considering the nature and humanities, and therefore cross, research, the analysis is extended to the rest of humanistic disciplines, literature, philosophy and art.