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Aquest llibre presenta una reflexió acadèmica i professional al Campus de la Diagonal amb un ampli ventall d’idees urbanístiques que permeten establir un nou escenari universitari i millorar la relació amb la ciutat..Durant els anys seixanta i setanta del segle passat es varen realitzar diversos projectes d’edificis i recintes universitaris de gran interès (de Carlo, Candilis, Sert). També es varen publicar notables estudis sobre la relació entre la ciutat i la universitat..Feia, però, força anys que aquestes qüestions no semblaven ocupar l’agenda d’arquitectes, urbanistes i responsables universitaris. Per això sembla tan oportú l’esforç de recollir en aquestes poc més de dues-centes planes tot un seguit de riques reflexions i de projectes, tant aquells que responen a encàrrecs concrets de la UB i de la UPC, com aquells que han realitzat un conjunt d’estudiants per recosir i fer ciutat d’una munió d’edificis, sovint de caràcter abstret i poc permeable, tallats per una avinguda de grans dimensions i disposats sense cap visió de conjunt.
Covers receipts and expenditures of appropriations and other funds.
Genoa completed its transformation from a faded maritime power into a thriving banking center for Europe in the seventeenth century. The wealth accumulated by its leading families spurred investment in the visual arts on an enormous scale. This volume explores how artists both foreign and native created a singularly rich and extravagant expression of the baroque in works of extraordinary variety, sumptuousness, and exuberance. This art, however, has remained largely hidden behind the facades of the city's palaces, with few works, apart from those by the school's great expatriates, found beyond its borders. As a result, the Genoese baroque has been insufficiently considered or appreciated.0La...
Gema Pérez-Sánchez argues that the process of political and cultural transition from dictatorship to democracy in Spain can be read allegorically as a shift from a dictatorship that followed a self-loathing "homosexual" model to a democracy that identified as a pluralized "queer" body. Focusing on the urban cultural phenomenon of la movida, she offers a sustained analysis of high queer culture, as represented by novels, along with an examination of low queer culture, as represented by comic books and films. Pérez-Sánchez shows that urban queer culture played a defining role in the cultural and political processes that helped to move Spain from a premodern, fascist military dictatorship to a late-capitalist, parliamentary democracy. The book highlights the contributions of women writers Ana María Moix and Cristina Peri Rossi, as well as comic book artists Ana Juan, Victoria Martos, Ana Miralles, and Asun Balzola. Its attention to women's cultural production functions as a counterpoint to its analysis of the works of such male writers as Juan Goytisolo and Eduardo Mendicutti, comic book artists Nazario, Rubén, and Luis Pérez Ortiz, and filmmaker Pedro Almodóvar.
This book explores the cultural exchange between Italy and Spain in the seventeenth century, examining Spanish collectors’ predilection for Italian painting and its influence on Spanish painters. Focused on collecting and using a novel methodology, this volume studies how the painters of the Sevillian school, including Francisco Pacheco, Diego Velázquez, Alonso Cano and Bartolomé Esteban Murillo, perceived and were influenced by Italian painting. Through many examples, it is shown how the presence in Andalusia of various works and copies of works by artists such as Michelangelo, Caravaggio and Guido Reni inspired famous compositions by these Spanish artists. In addition, the book delves into the historical, political and social context of this period. The book will be of interest to scholars working in art history, Renaissance studies, and Italian and Spanish history.