09false100true score desc 2gaptrue5mapcontentxmltrue50object_type_i,object_type_i_lookup,coverage_period_mt,geographic_area_mt,geographic_coordinates_mt,author_role_mt,contributor_role_mt,org_id_mt,org_role_mt,supervisor_mt,supervisor_id_mi,supervisor_id_mi_lookup,fields_of_research_mi,fields_of_research_mi_lookup,display_type_i,display_type_i_lookup,seo_code_mi,seo_code_mi_lookup,copyright_i,license_i,license_i_lookup,oa_compliance_t,oa_notes_t,grant_id_t,funding_body_t,description_of_resource_t,software_required_t,project_description_t,keywords_mt,project_name_t,project_id_t,isdatasetof_mt,isdatasetof_mt_lookup,notes_t,date_dt,xsd_display_option_mi,xsd_display_option_mi_lookup,file_downloads_i,created_date_dt,updated_date_dt,research_program_mt,title_t,depositor_i,isderivationof_mt,assigned_user_id_mt,assigned_group_id_mi,assigned_group_id_mi_lookup,isdatacomponentof_mt,isannotationof_mt,author_id_mi,author_id_mi_lookup,alternative_title_mt,pid_t,publisher_t,author_mt,contributor_mt,contributor_id_mi,contributor_id_mi_lookup,refereed_i,series_t,journal_name_t,newspaper_t,conference_name_t,book_title_t,identifier_mt,edition_t,subject_mi,subject_mi_lookup,place_of_publication_t,start_page_t,end_page_t,chapter_number_t,issue_number_t,volume_number_t,conference_dates_t,conference_location_t,patent_number_t,country_of_issue_t,description_t,date_available_dt,language_mt,phonetic_title_t,language_of_title_mt,translated_title_t,phonetic_journal_name_t,translated_journal_name_t,phonetic_book_title_t,translated_book_title_t,phonetic_newspaper_t,file_attachment_name_mt,translated_newspaper_t,phonetic_conference_name_t,translated_conference_name_t,issn_mt,isbn_mt,isi_loc_t,prn_t,output_availability_t,na_explanation_t,sensitivity_explanation_t,file_attachment_content_mt,org_unit_name_t,org_name_t,report_number_t,sequence_i,genre_t,genre_type_t,formatted_title_t,formatted_abstract_t,parent_publication_t,convener_t,ismemberof_mt,ismemberof_mt_lookup,link_mt,link_description_mt,rights_t,views_i,scopus_id_t,thomson_citation_count_i,gs_citation_count_i,gs_cited_by_link_t,scopus_citation_count_i,status_i,status_i_lookup,first_author_in_document_derived_t,first_author_in_fez_derived_t,ands_collection_type_t,start_date_dt,end_date_dt,access_conditions_t,extent_t,contact_details_email_mt,contact_details_physical_mt,loc_subject_heading_mt,depositor_affiliation_i,surrounding_features_mt,condition_mt,style_mt,period_mt,category_mt,subcategory_mt,structural_systems_mt,adt_id_t,subtype_t,language_of_parent_title_t,proceedings_title_t,file_description_mt,herdc_code_i,herdc_code_i_lookup,herdc_status_i,herdc_status_i_lookup,institutional_status_i,institutional_status_i_lookup,herdc_notes_t,follow_up_flags_i,follow_up_flags_i_lookup,follow_up_flags_imu_i,follow_up_flags_imu_i_lookup,scopus_doc_type_t,scopus_doc_type_t_lookup,wok_doc_type_t,wok_doc_type_t_lookup,conference_id_i,total_chapters_t,publisher_id_i,translated_proceedings_title_t,native_script_title_t,roman_script_title_t,native_script_book_title_t,roman_script_book_title_t,native_script_journal_name_t,roman_script_journal_name_t,native_script_conference_name_t,roman_script_conference_name_t,total_pages_t,native_script_proceedings_title_t,roman_script_proceedings_title_t,language_of_book_title_mt,language_of_journal_name_mt,language_of_proceedings_title_mt,doi_t,author_count_t,collection_year_dt,location_mt,building_materials_mt,architectural_features_mt,interior_features_mt,sherpa_colour_t,ain_detail_t,rj_2010_rank_t,rj_2010_title_t,rj_2012_rank_t,rj_2012_title_t,rc_2010_rank_t,rc_2010_title_t,herdc_code_description_t,score,citation_t1true60 (art today AND keywords_mt:(http\://udcdata.info/064676) AND status_i:(2)) 6display_type_idisplay_type_i_lookup_exactkeywords_mftdate_year_tauthor_id_miauthor_id_mi_lookup_exactauthor_mftjournal_name_t_ftsubject_misubject_mi_lookup_exactgenre_type_t_ftismemberof_mftismemberof_mt_lookup_exactsubtype_t_ftscopus_doc_type_t_ftscopus_doc_type_t_lookup_exact(_authlister_t:(1)) AND (status_i:(2)) 34232008-01-01T00:00:00Z550812010-03-06T00:18:30ZJosé Ortega y Gasset y la deshumanización del artebibliuned:ETFSerieVII2007-2008-1015El ensayo que José Ortega y Gasset
publicaba en 1925, La deshumanización
del arte, hacía su aparición en el contexto
del desarrollo de la vanguardia artística
española. La lectura que el filósofo realizó
de la problemática existente entre el arte
nuevo y su recepción polémica por parte
del público se muestra hoy en día de una
gran actualidad. En el análisis de José
Ortega y Gasset entran en juego algunos
de los factores decisivos en la gestación
del arte del siglo XX: la abstracción, la
ironía, el juego y la importancia de la
recepción pública.José Ortega y Gasset’s essay La
deshumanización del arte, published in
1925, appeared in the context of the
Spanish artistic avant-garde. The
interpretation of the Spanish philosopher
about the relation between the
contemporary art and its public
controversial reception, is a subject of
great importance today. The analysis of
José Ortega y Gasset introduces most of
basic concepts in the origin and
development of contemporary art of the
20th century: the abstraction, the irony and
the game and audience’s importance.014602<a class="citation_author_name" title="Browse by Author Name for Nieto Yusta, Constanza" href="/fez/list/author/Nieto Yusta, Constanza/">Nieto Yusta, Constanza</a> . (<span class="citation_date">2008</span>) <a class="citation_title" title="Click para ver : José Ortega y Gasset y la deshumanización del arte" href="/fez/view/bibliuned:ETFSerieVII2007-2008-1015">José Ortega y Gasset y la deshumanización del arte</a>. RecordArtículo de revistaPublishedhttp://udcdata.info/064676http://udcdata.info/068273http://udcdata.info/064754Historia del ArteUniversidad Nacional de Educación a Distancia (España). Facultad de Geografía e HistoriaNieto Yusta, Constanzabibliuned:ETFSerieVII2007-2008-1015http://e-spacio.uned.es/fez/view/bibliuned:ETFSerieVII2007-2008-1015spaDocumento.pdfbibliuned:ETFSerieVII2007-2008bibliuned:Setopenairebibliuned:SetarticuloEspacio, tiempo y forma. Serie VII, Historia del arte. Año 2007-2008, n. 20-21Set de openaireSet de artículohttp://creativecommons.org/licenses/by-nc-nd/4.0Licencia Creative CommonsNieto YustaAcceso abierto2.252457934232008-01-01T00:00:00Z23492010-03-06T00:14:49ZMemorie borboniche in terra di Calabria : le Reali Ferriere ed Officine di Mongianabibliuned:ETFSerieVII2007-2008-1011La Calabria, estremità del Regno delle
Due Sicilie, conserva ancora un ingente
patrimonio di architetture industriali; tra
queste, il piccolo paese di Mongiana,
fondato dagli operai intorno alla Reale
Fabbrica di Armi borbonica. Ancora oggi il
borgo presenta le sue caratteristiche
originarie, frutto di particolari dinamiche
evolutive.Calabria, extreme extension of the
Kingdom of the Two Sicilies, still maintains
an enormous wealth of industrial
architecture, among them, the small
country of Mongiana, founded by workers
around the establishment of the Royal
Arms Factory Bourbon. Even today the
small country presents its original
characteristics, fruit of particular
evolutionary dynamics.05312<a class="citation_author_name" title="Browse by Author Name for Gentile, Francesca" href="/fez/list/author/Gentile, Francesca/">Gentile, Francesca</a> . (<span class="citation_date">2008</span>) <a class="citation_title" title="Click para ver : Memorie borboniche in terra di Calabria : le Reali Ferriere ed Officine di Mongiana" href="/fez/view/bibliuned:ETFSerieVII2007-2008-1011">Memorie borboniche in terra di Calabria : le Reali Ferriere ed Officine di Mongiana</a>. RecordArtículo de revistaPublishedhttp://udcdata.info/064676http://udcdata.info/068273http://udcdata.info/064754Historia del ArteUniversidad Nacional de Educación a Distancia (España). Facultad de Geografía e HistoriaGentile, Francescabibliuned:ETFSerieVII2007-2008-1011http://e-spacio.uned.es/fez/view/bibliuned:ETFSerieVII2007-2008-1011itaDocumento.pdfbibliuned:ETFSerieVII2007-2008bibliuned:Setopenairebibliuned:SetarticuloEspacio, tiempo y forma. Serie VII, Historia del arte. Año 2007-2008, n. 20-21Set de openaireSet de artículohttp://creativecommons.org/licenses/by-nc-nd/4.0Licencia Creative CommonsGentileAcceso abierto2.17769934232006-01-01T00:00:00Z9002009-04-17T21:11:17ZDe Bienes de la Nación a Monumentos nacionales : Romanticismo y Patrimonio arquitectónico en Portugalbibliuned:ETFSerieVII-2005-3C617762-81EA-9A51-EE77-EB19F280EDA6Este artículo trata de la construcción de la
noción de Patrimonio Arquitectónico en
Portugal entre 1825 y 1880, período
elegido por corresponder con aquél donde
se define y consolida el proyecto de
preservación romántico.
De este modo, a partir del problema
generado por la integración en los Bienes
de la Nación de la voluminosa masa de
bienes muebles e inmuebles, los «bienes
nacionales», que hasta entonces habían
estado mayoritariamente en poder de las
Ordenes Religiosas y que incluían un
elevado porcentaje de aquello que hoy se
considera el patrimonio nacional. Se
procura no solo comprender la evolución
del cuadro patrimonial, sino también la de
los discursos sobre el tema, la legislación
promulgada y las prácticas efectivas de
definición y salvaguardia de ese conjunto
de edificios que, en este período, con el
desarrollo de la consciencia patrimonial, se
transforman en Monumentos Nacionales.This paper deals with the construction of
the notion of Architectural Heritage in
Portugal between 1825 and 1880, when
the romantic «preservation project» was
defined and consolidated.
Having as a starting point the problem
generated by the integration in the
property of the Nation of a voluminous
mass of properties, the so-called «national
properties», that had until then been in the
ownership of Religious Orders and include
a high percentage of what is today
considered our national heritage, we try
not only to understand the evolution of the
constitution of our architectural heritage,
but also the several speeches on the
subject, the promulgated legislation and
the existing practices of definition and
safeguard of this set of buildings that, at
this time and due to the development of
the consciousness of our heritage, were
turned into National Monuments.06142<a class="citation_author_name" title="Browse by Author Name for Maia, María Helena" href="/fez/list/author/Maia, María Helena/">Maia, María Helena</a> . (<span class="citation_date">2006</span>) <a class="citation_title" title="Click para ver : De Bienes de la Nación a Monumentos nacionales : Romanticismo y Patrimonio arquitectónico en Portugal" href="/fez/view/bibliuned:ETFSerieVII-2005-3C617762-81EA-9A51-EE77-EB19F280EDA6">De Bienes de la Nación a Monumentos nacionales : Romanticismo y Patrimonio arquitectónico en Portugal</a>. RecordArtículo de revistaPublishedhttp://udcdata.info/064676http://udcdata.info/068273http://udcdata.info/064754Historia del ArteUniversidad Nacional de Educación a Distancia (España). Facultad de Geografía e HistoriaMaia, María Helenabibliuned:ETFSerieVII-2005-3C617762-81EA-9A51-EE77-EB19F280EDA6http://e-spacio.uned.es/fez/view/bibliuned:ETFSerieVII-2005-3C617762-81EA-9A51-EE77-EB19F280EDA6spaDocumento.pdfbibliuned:ETFSerieVII2005bibliuned:Setopenairebibliuned:SetarticuloEspacio, tiempo y forma. Serie VII, Historia del arte. Año 2005-2006, n. 18-19Set de openaireSet de artículohttp://creativecommons.org/licenses/by-nc-nd/4.0Licencia Creative CommonsMaiaAcceso abierto2.094656534232006-01-01T00:00:00Z5552009-04-17T21:13:49ZSistemas de teorías : esquema de Modernidadesbibliuned:ETFSerieVII-2005-D7E1CB35-7E54-52B1-9D37-AB871041560BA análise das relações entre TEORIA e
HISTÓRIA, leva-nos a admitir uma nítida
distinção entre MODERNIDADES,
consideradas estas como grandes
paradigmas culturais e MODERNISMOS
que corresponderão apenas a específicas
expressões profissionais.
De qualquer maneira, umas e outras,
todas desenvolviam a ideia da
necessidade de grandes e hegemónicos
centros culturais que deveriam ser
seguros guias para a evolução da cultura
no mundo.
Contrariamente à ideia de uma geral e um
pouco arrogante noção de
GLOBALISAÇÃO cultural, defendo a ideia
de que estamos neste momento a viver
como que uma aurora de um novo
paradigma cultural —a POSTMODERNIDADE—
em que já não são
necessárias capitais da cultura, nem se
equaciona sequer a existência de culturas
dominantes.The analysis of the deep relationships
between THEORY and HISTORY, forces
us to consider a sharp distinction between
MODERNITIES, as great cultural
paradigms and MODERNISMS as specific
professional expressions.
Anyway all of them maintain the idea of
the need of great and hegemonic cultural
centres, leading the evolution of world’s
culture.
Contradicting the idea of a general and
somehow arrogant cultural
GLOBALISATION, I maintain the idea that
we live today the down of a new paradigm
—the POST MODERNITY— where no
more capitals of culture are necessary, no
more dominant cultures are considered..
Nowadays each culture assumes its own
values and particular evolution, though
keeping with total responsibility an equal
terms dialogue with all other cultures all
over the world.06592<a class="citation_author_name" title="Browse by Author Name for Vieira Da Almeida, Pedro" href="/fez/list/author/Vieira Da Almeida, Pedro/">Vieira Da Almeida, Pedro</a> . (<span class="citation_date">2006</span>) <a class="citation_title" title="Click para ver : Sistemas de teorías : esquema de Modernidades" href="/fez/view/bibliuned:ETFSerieVII-2005-D7E1CB35-7E54-52B1-9D37-AB871041560B">Sistemas de teorías : esquema de Modernidades</a>. RecordArtículo de revistaPublishedhttp://udcdata.info/064676http://udcdata.info/068273http://udcdata.info/064754Historia del ArteUniversidad Nacional de Educación a Distancia (España). Facultad de Geografía e HistoriaVieira Da Almeida, Pedrobibliuned:ETFSerieVII-2005-D7E1CB35-7E54-52B1-9D37-AB871041560Bhttp://e-spacio.uned.es/fez/view/bibliuned:ETFSerieVII-2005-D7E1CB35-7E54-52B1-9D37-AB871041560BporDocumento.pdfbibliuned:ETFSerieVII2005bibliuned:Setopenairebibliuned:SetarticuloEspacio, tiempo y forma. Serie VII, Historia del arte. Año 2005-2006, n. 18-19Set de openaireSet de artículohttp://creativecommons.org/licenses/by-nc-nd/4.0Licencia Creative CommonsVieira Da AlmeidaAcceso abierto2.09465654444442244224422