Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.004
Antonio Pérez Largacha, Inmaculada Vivas Sáinz
Este trabajo pretende investigar las motivaciones del prominente papel del antiguo Egipto en la primera exposición universal de Londres (1851) y sobre todo en la posterior desarrollada en París (1867). El Crystal Palace de Londres albergó una interesante recreación de arquitectura egipcia y a la vez un conjunto de antigüedades procedentes del país del Nilo. Del mismo modo, Auguste Mariette diseñó un templo egipcio en la sede de la exposición de París de 1867, trasladando a la capital francesa la arquitectura faraónica de modo muy fiel. En ese contexto cultural se forjaron además proyectos como la estatua de Bartholdi para el canal de Suez (que inspiraría su posterior escultura colosal de la Estatua de la Libertad en Nueva York), o la escultura dedicada a Champollion. A través de las exposiciones universales decimonónicas la imagen del antiguo Egipto se hizo más veraz y exacta, aunque siguió estando impregnada de un halo de exotismo, que en cierto modo sigue presente en la actualidad en la egiptomanía, como huella de nuestra herencia cultural.
{"title":"Imágenes de Egipto en el corazón de Occidente: las exposiciones universales de Londres (1851) y París (1867)","authors":"Antonio Pérez Largacha, Inmaculada Vivas Sáinz","doi":"10.14516/fdp.2020.011.004","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.004","url":null,"abstract":"Este trabajo pretende investigar las motivaciones del prominente papel del antiguo Egipto en la primera exposición universal de Londres (1851) y sobre todo en la posterior desarrollada en París (1867). El Crystal Palace de Londres albergó una interesante recreación de arquitectura egipcia y a la vez un conjunto de antigüedades procedentes del país del Nilo. Del mismo modo, Auguste Mariette diseñó un templo egipcio en la sede de la exposición de París de 1867, trasladando a la capital francesa la arquitectura faraónica de modo muy fiel. En ese contexto cultural se forjaron además proyectos como la estatua de Bartholdi para el canal de Suez (que inspiraría su posterior escultura colosal de la Estatua de la Libertad en Nueva York), o la escultura dedicada a Champollion. A través de las exposiciones universales decimonónicas la imagen del antiguo Egipto se hizo más veraz y exacta, aunque siguió estando impregnada de un halo de exotismo, que en cierto modo sigue presente en la actualidad en la egiptomanía, como huella de nuestra herencia cultural.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45908924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.011
X. T. Flix
During the Spanish liberal period in the city of Barcelona the emergency of a new style of culture which came as a result of a complex society with historical features that set it apart. This cultural style could be seen in industrial, urban and economic growth, but also in the arts, recreational activities and also in ideology and politics. Given these circumstances and with an eye on social change and advances in production, and European policies, in Barcelona the first hygienic gymnasiums began to appear. The localisation and study of these gymnasiums is the main objective of this paper, which provides a space to be able to better interpret the emergence of physical and sports practices and their systemic and ideological relationship with other historical events. A review of the historical press deposited in the Library of Catalonia offers the possibility of more in-depth analysis and links the hermeneutic discourse to the support of other background and contextual studies. It is therefore concluded that the appearance of these gymnasiums was never associated with nationalising and patriotic ends, but with the modern, urban development of a liberal and private social framework.
{"title":"Los gimnasios de Barcelona durante el reinado de Isabel II (1837-1868)","authors":"X. T. Flix","doi":"10.14516/fdp.2020.011.011","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.011","url":null,"abstract":"During the Spanish liberal period in the city of Barcelona the emergency of a new style of culture which came as a result of a complex society with historical features that set it apart. This cultural style could be seen in industrial, urban and economic growth, but also in the arts, recreational activities and also in ideology and politics. Given these circumstances and with an eye on social change and advances in production, and European policies, in Barcelona the first hygienic gymnasiums began to appear. The localisation and study of these gymnasiums is the main objective of this paper, which provides a space to be able to better interpret the emergence of physical and sports practices and their systemic and ideological relationship with other historical events. A review of the historical press deposited in the Library of Catalonia offers the possibility of more in-depth analysis and links the hermeneutic discourse to the support of other background and contextual studies. It is therefore concluded that the appearance of these gymnasiums was never associated with nationalising and patriotic ends, but with the modern, urban development of a liberal and private social framework.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48166256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.021
Isabel Jiménez Becerra
The article exposes the results of an investigation oriented to the tracing, prototype and testing of a technosocial didactic model for the teaching of Education for Citizenship –EpC– based on social conflicts with university students. As a practical context for its teaching, digital initiatives were implemented to materialize the model through transmedia narratives articulated to technosocial settings. From the framework of the study of social conflicts, the formative action exercise examined the scope of four categories of analysis on historical thought: moral judgment of history, contextualization, interpretation and empathy. From a qualitative research, with a descriptive scope and an Action-Research design, we worked with a convenient sample of 253 students, belonging to eight of the groups led by the researcher. The results show a contribution to the development of critical-creative thinking, social empathy, cultural and ideological perspectives and the reflection of their actions as citizens to contribute to the transformation of contextual problems using for this a didactic sequence.
{"title":"Modelo didáctico tecnosocial: una experiencia de educación para la ciudadanía con jóvenes universitarios desde el estudio de los conflictos sociales","authors":"Isabel Jiménez Becerra","doi":"10.14516/fdp.2020.011.021","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.021","url":null,"abstract":"The article exposes the results of an investigation oriented to the tracing, prototype and testing of a technosocial didactic model for the teaching of Education for Citizenship –EpC– based on social conflicts with university students. As a practical context for its teaching, digital initiatives were implemented to materialize the model through transmedia narratives articulated to technosocial settings. From the framework of the study of social conflicts, the formative action exercise examined the scope of four categories of analysis on historical thought: moral judgment of history, contextualization, interpretation and empathy. From a qualitative research, with a descriptive scope and an Action-Research design, we worked with a convenient sample of 253 students, belonging to eight of the groups led by the researcher. The results show a contribution to the development of critical-creative thinking, social empathy, cultural and ideological perspectives and the reflection of their actions as citizens to contribute to the transformation of contextual problems using for this a didactic sequence.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43803687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.009
Miguel Gabriel Garí Pallicer, R. Rodríguez
El presente texto tiene como objetivo el estudio de las exequias realizadas en Mallorca por la muerte del rey Luis XIV. Para ello, se contextualizan los vinculos entre la isla y Francia durante el reinado del rey Sol, se describen las actuaciones realizadas en memoria del abuelo del nuevo rey Felipe V en la isla y se analiza el sermon funebre pronunciado en la catedral de Palma de Mallorca el 12 de diciembre de 1715.
{"title":"De la guerra al llanto: las exequias de Luis XIV en Palma de Mallorca (1715-1716)","authors":"Miguel Gabriel Garí Pallicer, R. Rodríguez","doi":"10.14516/fdp.2020.011.009","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.009","url":null,"abstract":"El presente texto tiene como objetivo el estudio de las exequias realizadas en Mallorca por la muerte del rey Luis XIV. Para ello, se contextualizan los vinculos entre la isla y Francia durante el reinado del rey Sol, se describen las actuaciones realizadas en memoria del abuelo del nuevo rey Felipe V en la isla y se analiza el sermon funebre pronunciado en la catedral de Palma de Mallorca el 12 de diciembre de 1715.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48784951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.017
S. Gómez, Llorenç Gelabert Gual
During Franco’s regime, the relationship between music and university always develops closely connected with university extension courses and cultural diffusion. From the fifties, these musical activities begin to make their way into universities through special Chairs of music. This paper focuses on the study of the creation process, regulation and operation of these Chairs and adopts an approach to the main activities developed by Francisco Salinas Chair in Salamanca during the period 1967/68 to 1974/75. The main objective pursued is whether or not these Chairs helped music return to university spaces as well as the subsequent introduction of musicology in the curriculum.
{"title":"La música como actividad de extensión universitaria durante el franquismo: la cátedra de música Francisco Salinas","authors":"S. Gómez, Llorenç Gelabert Gual","doi":"10.14516/fdp.2020.011.017","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.017","url":null,"abstract":"During Franco’s regime, the relationship between music and university always develops closely connected with university extension courses and cultural diffusion. From the fifties, these musical activities begin to make their way into universities through special Chairs of music. This paper focuses on the study of the creation process, regulation and operation of these Chairs and adopts an approach to the main activities developed by Francisco Salinas Chair in Salamanca during the period 1967/68 to 1974/75. The main objective pursued is whether or not these Chairs helped music return to university spaces as well as the subsequent introduction of musicology in the curriculum.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42514694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.006
Júlio Lopez Saco
El mito es un discurso narrativo, una «historia» y, en tal sentido, un logos. Se trata de un lenguaje practico y dialogico, un acto de habla. Un lenguaje que comunica y sirve para pensar. El lenguaje mitico, oral y simbolico, es maleable, hecho que favorece multiplicidad de reinterpretaciones. Este caracter simbolico refiere un pensamiento indirecto de fuerte carga pragmatica y pedagogica. Considerado lenguaje original, y catalogado como pensamiento linguistico metaforico, a la par que lenguaje popular-materno, es un habla elegida por la historia, no definida por su letra sino por la manera en que se dice, por su intencion. En este particular, el mito funciona como un metalenguaje con sentido de valor propio. Es tambien el mito un lenguaje emocional, que evoluciona con la naturaleza y el propio ser humano. En definitiva, es la voz colectiva, en lenguaje figurativo y metaforico, de la comunidad, a la que proporciona cohesion, identidad y un valor socio-politico.
{"title":"Hablar para decir, no para mentir: la lengua del mito","authors":"Júlio Lopez Saco","doi":"10.14516/fdp.2020.011.006","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.006","url":null,"abstract":"El mito es un discurso narrativo, una «historia» y, en tal sentido, un logos. Se trata de un lenguaje practico y dialogico, un acto de habla. Un lenguaje que comunica y sirve para pensar. El lenguaje mitico, oral y simbolico, es maleable, hecho que favorece multiplicidad de reinterpretaciones. Este caracter simbolico refiere un pensamiento indirecto de fuerte carga pragmatica y pedagogica. Considerado lenguaje original, y catalogado como pensamiento linguistico metaforico, a la par que lenguaje popular-materno, es un habla elegida por la historia, no definida por su letra sino por la manera en que se dice, por su intencion. En este particular, el mito funciona como un metalenguaje con sentido de valor propio. Es tambien el mito un lenguaje emocional, que evoluciona con la naturaleza y el propio ser humano. En definitiva, es la voz colectiva, en lenguaje figurativo y metaforico, de la comunidad, a la que proporciona cohesion, identidad y un valor socio-politico.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47899722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.010
D. M. Sáez
En este articulo presentamos tres manuscritos custodiados en la Biblioteca Nacional de Espana (BNE), relativos al auge y caida del marques de la Ensenada, identificados como Mss/5709, Mss/1962 y Mss/11038. Los tres conectan el poder del ministro con el castrato Carlo Broschi Farinelli en la epoca de Fernando VI, asegurando que ambos colaboraron a traves de la opera y el escuadron del Tajo para conseguir diversos favores. Algunos historiadores, subrayado la locura de Fernando VI, han asegurado incluso que ambos formaron parte de un «equipo terapeutico» destinado a impedir, a traves de los festejos, que los reyes obstaculizaran los proyectos de gobierno. Esto ha dado lugar a una verdadera mitologia en torno a la amistad entre Ensenada y Farinelli, pero la realidad es mucho mas compleja. Acudiendo a la correspondencia cortesana y otras fuentes –la mayoria de ellas, desconocidas hasta ahora en los estudios farinellianos–, intentaremos aclarar el alcance de esta amistad.
{"title":"La amistad entre Carlo Broschi Farinelli y el marqués de la Ensenada a través de la diplomacia europea, la iconografía, la propaganda, la historia y la literatura","authors":"D. M. Sáez","doi":"10.14516/fdp.2020.011.010","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.010","url":null,"abstract":"En este articulo presentamos tres manuscritos custodiados en la Biblioteca Nacional de Espana (BNE), relativos al auge y caida del marques de la Ensenada, identificados como Mss/5709, Mss/1962 y Mss/11038. Los tres conectan el poder del ministro con el castrato Carlo Broschi Farinelli en la epoca de Fernando VI, asegurando que ambos colaboraron a traves de la opera y el escuadron del Tajo para conseguir diversos favores. Algunos historiadores, subrayado la locura de Fernando VI, han asegurado incluso que ambos formaron parte de un «equipo terapeutico» destinado a impedir, a traves de los festejos, que los reyes obstaculizaran los proyectos de gobierno. Esto ha dado lugar a una verdadera mitologia en torno a la amistad entre Ensenada y Farinelli, pero la realidad es mucho mas compleja. Acudiendo a la correspondencia cortesana y otras fuentes –la mayoria de ellas, desconocidas hasta ahora en los estudios farinellianos–, intentaremos aclarar el alcance de esta amistad.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46076458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.003
Guillermo Juberías Gracia
A key period for the study of the history of contemporary design was the second half of the 19th century, when the Arts & Crafts movement was developed in Great Britain, promoted by William Morris. Interestingly, one of his closest collaborators, the potter William de Morgan (1839-1917), has not received much attention from researchers. Through this paper, we contribute with new visions of its pottery inspired by the Islamic tradition, contextualizing the creation of its pieces at a time of boom in Orientalism. It was precisely then that several British public and private collections were enriched with precious ceramic objects from ancient Persia, the Ottoman Empire or Spain. The existing publications on William de Morgan do not analyze how these influences determined his production, a question that we address in the present study. In order to achieve this goal, we have used documents as his discourse on lustre ware ceramics presented to the Royal Society of Arts in 1892, as well as many of his designs hoarded in the collections of the Victoria and Albert Museum in London (V&A). In this way we have been able to delve into the impact of Orientalism on nineteenth-century ceramics, highlighting the relevance that ancient Persian, Ottoman and Andalusian designs had when it came to renovating European decorative arts.
研究当代设计历史的关键时期是19世纪下半叶，当时由威廉·莫里斯(William Morris)推动的工艺美术运动在英国发展起来。有趣的是，他最亲密的合作者之一，陶工威廉·德·摩根(1839-1917)并没有受到研究人员的太多关注。通过这篇论文，我们提供了受伊斯兰传统启发的陶器的新视野，将其作品的创作置于东方主义繁荣时期的背景下。正是在那个时候，一些英国的公共和私人收藏丰富了来自古代波斯、奥斯曼帝国或西班牙的珍贵陶瓷制品。关于威廉·德·摩根的现有出版物没有分析这些影响是如何决定他的作品的，我们在本研究中解决了这个问题。为了实现这一目标，我们使用了他在1892年向英国皇家艺术学会(Royal Society of Arts)提交的关于光泽陶瓷的演讲文件，以及他在伦敦维多利亚和阿尔伯特博物馆(V&A)收藏的许多设计。通过这种方式，我们能够深入研究东方主义对19世纪陶瓷的影响，强调古代波斯、奥斯曼和安达卢西亚设计在革新欧洲装饰艺术时的相关性。
{"title":"El orientalismo en la producción cerámica de William de Morgan (1839-1917): las corrientes persa, iznik y andalusí","authors":"Guillermo Juberías Gracia","doi":"10.14516/fdp.2020.011.003","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.003","url":null,"abstract":"A key period for the study of the history of contemporary design was the second half of the 19th century, when the Arts & Crafts movement was developed in Great Britain, promoted by William Morris. Interestingly, one of his closest collaborators, the potter William de Morgan (1839-1917), has not received much attention from researchers. Through this paper, we contribute with new visions of its pottery inspired by the Islamic tradition, contextualizing the creation of its pieces at a time of boom in Orientalism. It was precisely then that several British public and private collections were enriched with precious ceramic objects from ancient Persia, the Ottoman Empire or Spain. The existing publications on William de Morgan do not analyze how these influences determined his production, a question that we address in the present study. In order to achieve this goal, we have used documents as his discourse on lustre ware ceramics presented to the Royal Society of Arts in 1892, as well as many of his designs hoarded in the collections of the Victoria and Albert Museum in London (V&A). In this way we have been able to delve into the impact of Orientalism on nineteenth-century ceramics, highlighting the relevance that ancient Persian, Ottoman and Andalusian designs had when it came to renovating European decorative arts.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48083185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.007
Javier Jara Herrero
Las relaciones entre la polis de Esparta y el santuario de Delfos eran mas que fluidas ya antes de comenzar la guerra del Peloponeso, el conflicto panhelenico que concluyo con la asuncion del control politico y militar de Grecia por parte de los lacedemonios y del cual el oraculo delfico no se mantuvo al margen. Pero ?hasta que punto Apolo se posiciono del lado espartano? ?Resultaron sus intervenciones cruciales para la victoria final de la liga del Peloponeso? Este articulo indaga en las maniobras diplomaticas delficas ejecutadas durante el transcurso de la contienda para tratar de conocer el peso que las actividades oraculares ejercieron en ambos bandos, apoyandose a tal efecto en los relatos proporcionados por diversos autores antiguos (siendo Tucidides, en tanto que relator y participante de la guerra, la fuente principal) y en los numerosos estudios de la historiografia moderna al respecto.
{"title":"El papel del santuario de Delfos durante la guerra del Peloponeso","authors":"Javier Jara Herrero","doi":"10.14516/fdp.2020.011.007","DOIUrl":"https://doi.org/10.14516/fdp.2020.011.007","url":null,"abstract":"Las relaciones entre la polis de Esparta y el santuario de Delfos eran mas que fluidas ya antes de comenzar la guerra del Peloponeso, el conflicto panhelenico que concluyo con la asuncion del control politico y militar de Grecia por parte de los lacedemonios y del cual el oraculo delfico no se mantuvo al margen. Pero ?hasta que punto Apolo se posiciono del lado espartano? ?Resultaron sus intervenciones cruciales para la victoria final de la liga del Peloponeso? Este articulo indaga en las maniobras diplomaticas delficas ejecutadas durante el transcurso de la contienda para tratar de conocer el peso que las actividades oraculares ejercieron en ambos bandos, apoyandose a tal efecto en los relatos proporcionados por diversos autores antiguos (siendo Tucidides, en tanto que relator y participante de la guerra, la fuente principal) y en los numerosos estudios de la historiografia moderna al respecto.","PeriodicalId":41620,"journal":{"name":"Futuro del Pasado-Revista Electronica de Historia","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42546951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-09DOI: 10.14516/fdp.2020.011.018
Roger Ferrer Ventosa
In this cultural study we will discuss how the cinema from the last four decades has shown the urban space dedicated to the upper classes: those are very distinctly marked spaces and the upper-lower exchange areas are strictly marked out. During late capitalism cities have been designed according to a markedly bipolar scheme, with small fenced areas reserved to the lucky elite, and large slum areas around them. The films from these years have captured this view, as this art is a diffuser of ideas among large audiences. This analysis has taken into account movies from several genres, kinds and origins: fantasy, drama, cult movies, blockbusters, Hollywood, European cinema, South American movies… The proposed part of the viewing of several movies, plus a theoretical basis of bibliographical references that sustains the discourse.
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