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Over the past decade scholars have begun to examine in greater depth the pivotal role that foreigners played in the development of the Early Modern European city. In Rome foreign communities had a major part in shaping the urban landscape, more permanently with national churches, hospitals, chapels, neighborhoods, and temporarily through public processions and festivals. This dissertation examines the Spanish National Church, San Giacomo and San Ildefonso degli Spagnoli, founded in 1450 to provide a religious and charitable center for the growing Castilian expatriate community and their many co-nationals visiting on pilgrimage. When San Giacomo opened its doors it was a small, unpretentious space, with a hospital attached, facing the medieval street of Via del Sapienza. Over the next hundred years, the church expanded significantly and a second, statelier entrance was added opening onto the Piazza Navona, which had become a locus for grand secular and religious celebrations in the city. Significantly, these changes at San Giacomo coincide with the growing prestige and influence of the Spanish community on the European stage. This dissertation will provide the first art historical monograph produced since the 1950s of San Giacomo from its origins through the 1560s. In contrast to previous studies, I will set my discussion of the architecture and art within the historical context. In this way I will demonstrate that the Spanish used the most common languages available in Roman culture--the visual and spatial--as a rhetorical device to set forth their political aspirations and religious values and promote their nation in Rome. I also connect this project to other Spanish commissions in Rome, which has not previously been undertaken, and illustrate that they shared characteristics by which the nascent Spanish nation sought to define itself. Reexamining the church within the historical background allows for a thorough iconographic reading, not previously attempted, of the most well known chapel in the church, that of Cardinal Jaime Serra, designed by Antonio da Sangallo and decorated by Pellegrino da Modena and Jacopo Sansovino. I provide an explanation for the patron's choice of content, taking into consideration both Spanish ambitions and the pressing political concerns of both the Pope and the curia. My analysis will also take into account recently discovered archival evidence that the Sangallo architectural ornamentation was actually designed and constructed two decades after the chapel was decorated. This is the first lengthy discussion of the architecture based on the new date. Moreover I use it as a base on which to reconsider the patron's motivations for refurbishing the architecture of the chapel. Finally, this study proposes that national churches in Rome, as a group, should be recognized for the vital role they played in society. Within their community they provided a safe haven and a space from which foreign nationals could deal with the rest of society. Simultaneously, they were a primary means for the public recognition of a nation within this cosmopolitan city. Consequently, tracking the art and architecture of these churches, and the changes made over time, offers a unique opportunity to gauge the way an Early Modern European country saw itself, and the way they wanted to be perceived. / Art History

This dissertation argues that the just transition policy framework may not vivify labor internationalism or erode support for right-wing populists if just transitions are not part of left-wing populist projects. Labor internationalism, which involves labor unions cooperating across borders to pursue common goals, is increasingly important as unions strive to work with their foreign counterparts to influence the international community's urgent efforts to address climate change. Right-wing populism is a growing threat to organized labor and climate protection efforts. Some labor activists hope that advocacy for the just transition policy framework, a set of guidelines for compensating workers in polluting industries who are laid-off as a result of environmental protections, will unite labor organizations from around the world and improve their approaches to international solidarity. Progressives hope that just transition policies will discourage voters from supporting right-wing populist candidates, who are often climate skeptics, out of fear of the job losses that accompany environmentalist reforms. However, I question the assumption that just transition policies, in and of themselves, can serve as solutions to the challenges posed by right-wing populism or overcome divisions within the global labor movement. It is possible for economic nationalism at the expense of global solidarity to continue and for right-wing populists to maintain support in decarbonizing areas where policy makers have indemnified laid-off fossil fuel workers. Integrating just transition policies into left-wing populist politics could potentially make just transitions more useful for countering the far-right and promoting labor internationalism. This dissertation looks to the political theorist Antonio Gramsci's thoughts regarding the "national popular," which Gramsci's readers often associate with left-wing populism. The national popular entails intellectuals from different fields (such as the academy, journalism, and manufacturing) coming together to modernize patriotism and strip it of chauvinistic nationalism. I point out that the original proposals for just transitions prioritized providing free higher education for the workers laid-off from polluting industries. The just transition framework's stress on higher education has populistic implications. Educators, particularly members of teachers' unions, may practice populism throughout the implementation of a just transition for laid-off coal workers by encouraging the displaced workers to cooperate with knowledge workers to rethink nationalism. If workers displaced from polluting industries rethink nationalism in university settings while maintaining their connections to the labor movement, then these workers may in turn reject far-right politicians and discourage organized labor from supporting trade nationalism. / Doctor of Philosophy / This dissertation argues that the just transition policy framework may not vivify labor internationalism or erode support for right-wing populists if just transitions are not part of left-wing populist projects. Labor internationalism, which involves labor unions cooperating across borders to pursue common goals, is increasingly important as unions strive to work with their foreign counterparts to influence the international community's urgent efforts to address climate change. Right-wing populism is a growing threat to organized labor and climate protection efforts. Some labor activists hope that advocacy for the just transition policy framework, a set of guidelines for compensating workers in polluting industries who are laid-off as a result of environmental protections, will unite labor organizations from around the world and improve their approaches to international solidarity. Progressives hope that just transition policies will discourage voters from supporting right-wing populist candidates, who are often climate skeptics, out of fear of the job losses that accompany environmentalist reforms. However, I question the assumption that just transition policies, in and of themselves, can serve as solutions to the challenges posed by right-wing populism or overcome divisions within the global labor movement. It is possible for economic nationalism at the expense of global solidarity to continue and for right-wing populists to maintain support in decarbonizing areas where policy makers have indemnified laid-off fossil fuel workers. Integrating just transition policies into left-wing populist politics could potentially make just transitions more useful for countering the far-right and promoting labor internationalism. This dissertation looks to the political theorist Antonio Gramsci's thoughts regarding the "national popular," which Gramsci's readers often associate with left-wing populism. The national popular entails intellectuals from different fields (such as the academy, journalism, and manufacturing) coming together to modernize patriotism and strip it of chauvinistic nationalism. I point out that the original proposals for just transitions prioritized providing free higher education for the workers laid-off from polluting industries. The just transition framework's stress on higher education has populistic implications. Educators, particularly members of teachers' unions, may practice populism throughout the implementation of a just transition for laid-off coal workers by encouraging the displaced workers to cooperate with knowledge workers to rethink nationalism. If workers displaced from polluting industries rethink nationalism in university settings while maintaining their connections to the labor movement, then these workers may in turn reject far-right politicians and discourage organized labor from supporting trade nationalism.

[EN] This thesis deals with the study of one of the latest hieronymite monasteries built, the San Pedro de la Ñora monastery (Murcia, Spain). It is focused on two aspects, knowledge of historical events, some of them unknown until now, from its founding to the secularization and the analysis of its baroque architecture and construction as well as the study of the architects involved in it or that worked for this hieronymite community. And among them, especially Fray Antonio de San Joseph and Fray Pedro de San Agustín, hieronymite monks that were architects involved in its construction and in many others. / [ES] Aborda esta tesis el estudio de uno de los últimos monasterios Jerónimos construidos, el de San Pedro de la Ñora (Murcia), centrado este en dos aspectos, el conocimiento de los hechos históricos, algunos de los cuales hasta ahora no conocidos, desde su fundación hasta la exclaustración, y el análisis de su arquitectura barroca, y su construcción, así como el estudio de los artífices que en él intervinieron, o para esta comunidad jerónima trabajaron. Y de ellos en especial fray Antonio de San Joseph y Fray Pedro de San Agustín monjes arquitectos, de la Orden Jerónima que intervinieron en su construcción y en otras muchas. / [CA] Aborda esta tesi l'estudi d'un dels últims monestirs Jerónimos construïts, el de Sant Pere de la Ñora (Múrcia), centrat este en dos aspectes, el coneixement dels fets històrics, alguns dels quals fins ara no coneguts, des de la seua fundació fins a l'exclaustració, i l'anàlisi de la seua arquitectura barroca, i la seua construcció, així com l'estudi dels artífexs que en ell van intervindre, o per a esta comunitat jerònima van treballar. I d'ells en especial fra Antonio de Sant Joseph i Fra Pere de Sant Agustí monjos arquitectes, de l'Orde Jerònima que van intervindre en la seua construcció i en moltes altres / Maestre Meroño, JA. (2016). El Monasterio Jerónimo de San Pedro de La Ñora. Aspectos Históricos y Arquitectónicos [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63667

The aim of the present work, "Archaeology of the found object", is to study and analyze what we know as "objet trouvé". In our way through Art History we will take a pause to see what avant-gardes from the twentieth century and which artists have recovered disused objects and have given them a second life by turning them into works of art. We will analyze their precedents to see how they could have influenced later artistic processes. This journey will inevitably lead us to the beginning of the small museums, and to think about what collectionism means. We will emphasize in the change of value of objects as they become works of art. Across examples of exhibitions of the last recent years and of museums devoted of hosting this type of collections, we will see how found objects are still being used currently for the elaboration of artistic discourses and works. All this will be done from a poetically archaeological look at findings that will conclude in a plastic proposal. An interdisciplinary research Through an almost detective process of that Umberto Eco called "abductive semiosis", our research will seek to elaborate a story, in order to include as an hypothesis the origin and the supposed purpose of an object or a fragment of a found object ¿as it happens in the logical mental process followed by Sherlock Holmes¿ we will see the reasons that have guided my decision to look for, not only the presence of three Ph. D. advisors, but fundamentally their different disciplinary approach, necessary to give coherence to the epistemological thread that sustains my own work. Being an interdisciplinary research I sought the help of three acquaintances specialists in the main topics that are developed in the dissertation. The archaeological and paleontological perspective that is in the basis of the process of looking for, finding, analyzing, and writing / creating from what has been found, that is present throughout the work, has taken as referent both the bibliography and the fieldwork of Professor in Paleontology Juan Luis Arsuaga. The rhetoric of painting as a way of understanding the discipline owes its intellectual position to the book Rhetoric of painting by Alberto Carrere and the director of this research, painter and painting Professor José Saborit. Finally, and to explain the object as a sign within Art History and the importance of the changes of value the contributions of the semiotician and Professor of Theory of Languages and Communication Jenaro Talens have been very important . The three disciplinary fields of my three advisors, articulated among them, have made possible the development of "Archaeology of the found object". / El objetivo del presente trabajo, "Arqueología del objeto encontrado", es estudiar y analizar en qué consiste lo que conocemos como "objet trouvé". Mediante un recorrido por la Historia del Arte nos detendremos para ver qué vanguardias del siglo XX y qué artistas han recuperado objetos en desuso y les han dado una segunda vida para convertirlos en obras de arte. Analizaremos sus precedentes para ver cómo han podido influir en los procesos artísticos posteriores. Este trayecto nos llevará inevitablemente al inicio de los pequeños museos, y a hacer una reflexión sobre lo que supone el coleccionismo. Se hará especial hincapié en el cambio de valor de los objetos al convertirse en obras de arte. A través de ejemplos de exposiciones de los últimos años y museos destinados a albergar colecciones de esta índole, veremos cómo en la actualidad se siguen empleando los objetos encontrados para la elaboración de discursos artísticos y obras. Todo esto se hará a partir de una mirada poéticamente arqueológica en cuanto a hallazgos se refiere que concluirá en una propuesta plástica. Una investigación interdisciplinar Mediante un proceso casi detectivesco de lo que Umberto Eco llamaba "semiosis abductiva" que busca, mediante la elaboración de un relato, que incluya como hipótesis el origen y supuesta finalidad de un objeto o fragmento de objeto encontrado ¿como sucede en el proceso lógico del pensamiento de Sherlock Holmes, veremos la razón que ha guiado, no sólo la presencia de tres directores de tesis, sino fundamentalmente su distinta adscripción disciplinar, necesaria para dar coherencia al hilo epistemológico que sustenta nuestra reflexión. Al tratarse de una investigación interdisciplinar busqué la ayuda de tres conocidos especialistas en los temas principales que se desarrollan en la tesis. La parte general de la mirada arqueológica y paleontológica que se le ha querido dar a la investigación y que forma parte de ese proceso de búsqueda, encuentro y análisis y escribir/crear a partir del hallazgo que, está presente a lo largo de todo el trabajo viene estudiada tras las lecturas que ha aportado tanto la bibliografía como el trabajo de campo del catedrático en Paleontología Juan Luis Arsuaga. La retórica de la pintura viene planteada como forma de entender esta disciplina a partir del libro Retórica de la pintura de Alberto Carrere y el director de esta tesis, pintor y catedrático de Pintura José Saborit. Finalmente, y para explicar el objeto como signo dentro de la Historia del Arte y la importancia de los cambios de valor han sido imprescindibles las aportaciones del semiótico y catedrático en Teoría de los lenguajes y Ciencias de la comunicación Jenaro Talens. Los tres campos disciplinares de mis directores, articulándose entre sí, han hecho posible el desarrollo de "Arqueología del objeto encontrado". / L'objectiu del present treball, "Arqueologia de l'objecte trobat", és estudiar i analitzar en què consisteix allò el que coneixem com "objet trouvé". Mitjançant un recorregut a través de la Història de l'Art ens aturarem per veure quines avantguardes del segle XX i quins artistes han recuperat objectes en desús i els han donat una segona vida per convertir-los en obres d'art. Analitzarem els seus precedents per veure com han pogut influir en els processos artístics posteriors. Aquest trajecte ens portarà inevitablement a l'inici dels petits museus, i a fer una reflexió sobre allò que suposa el col¿leccionisme. Es farà especial èmfasi en el canvi de valor dels objectes en convertir-se en obres d'art. A través d'exemples d'exposicions dels últims anys i museus destinats a albirar col¿leccions d'aquesta mena, veurem com en l'actualitat se segueixen emprant els objectes trobats per a l'elaboració de les obres i els discursos artístics. Tot això es farà a partir d'una mirada poèticament arqueològica pel que es refereix a troballes, que conclourà en una proposta plàstica. Una investigació interdisciplinària Mitjançant un procés gairebé detectivesc que Umberto Eco anomenava "semiosi abductiva", que cerca l'elaboració d'un relat, que incloga com a hipòtesi l'origen i suposada finalitat d'un objecte o fragment d'objecte trobat ¿com succeeix en el procés lògic del pensament de Sherlock Holmes¿; veurem la raó que ha guiat, no només la presència de tres directors de tesi, sinó fonamentalment la seua diferent adscripció disciplinar, necessària per donar coherència al fil epistemològic que sustenta la nostra reflexió. En tractar-se d'una investigació interdisciplinària vaig buscar l'ajuda de tres coneguts especialistes en els temes principals que es desenvolupen a la tesi. La part general de la mirada arqueològica i paleontològica que se li ha volgut donar a la investigació i que forma part d'aquest procés de recerca, trobada i anàlisi i escriure / crear a partir de la troballa, que està present al llarg de tot el treball ve estudiada després de les lectures que ha aportat tant la bibliografia com el treball de camp del catedràtic en Paleontologia Juan Luis Arsuaga. La retòrica de la pintura ve plantejada com a forma d'entendre aquesta disciplina a partir del llibre Retòrica de la pintura d'Alberto Carrere i el director d'aquesta tesi, pintor i catedràtic de Pintura José Saborit. Finalment, i per explicar l'objecte com a signe dins de la Història de l'Art i la importància dels canvis de valor han estat imprescindibles les aportacions del semiòtic i catedràtic en Teoria dels llenguatges i Ciències de la comunicació Jenaro Talens. Els tres camps disciplinaris dels meus directors, articulant-se entre si, han fet possible el desenvolupament de "Arqueologia de l'objecte trobat". / Alvar Beltrán, C. (2017). Arqueología del objeto encontrado [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/86150

This research has wanted to put in value a large artistic production, in Teruel's lands, of the baroque artist Valencian Antonio Bisquert. For it, a total of twelve works, eleven canvases and an altarpiece, have undergone a technical study through the use of historical-artistic study, radiographic analysis, Optical Microscopy and Scanning Electron Microscopy with X-ray Microanalysis. All of this in a moment where the immediacy in obtaining digital radiographs can offer, or also the precision that analytical exams can give us, are the base for historical study interpretation. Through the methodology of study that we wanted to apply, we offer a compendium of images of unpublished character, where we leave the whole creative process and the works genesis to the naked. In this way, the results achieved reveal contrasted attributions and the use of subsequent non-original retouching executed by the same hand in a later period. This is data of great interest for the recognition of the work of this forgotten painter. This deep knowledge of a part of our heritage is a solid base to foster the effort to win, to watch over and to preserve the future. / Esta investigación ha querido poner en valor toda la producción artística, en Teruel, del artista barroco valenciano Antonio Bisquert. Para ello se ha seleccionado un conjunto de doce obras compuesto por once lienzos y un retablo. Todas ellas, se han sometido a un estudio histórico-artístico a través del empleo del estudio técnico, análisis radiográfico, Microscopía Óptica y Microscopía Electrónica de Barrido con Microanálisis de Rayos X. Todo ello en un momento en el que, la inmediatez en la obtención de las radiografías digitales puede ofrecer una visión más profunda de la obra o la precisión que los exámenes analíticos nos dan, que en esta tesis se convierten en base para la interpretación de su estudio histórico-artístico. A través de la metodología de estudio que hemos querido aplicar, ofrecemos un compendio de imágenes de carácter inédito, en que dejamos al desnudo todo el proceso creativo y la génesis de las obras. De esta forma, los resultados alcanzados revelan atribuciones contrastadas y el empleo de posteriores retoques no originales. Estos fueron ejecutados por una misma mano, pero de forma posterior. Todo ello de sumo interés para el reconocimiento de la obra de este olvidado pintor, del cual hemos querido hacer una puesta en valor de la obra encontrada. Este conocimiento profundo de una parte de nuestro patrimonio se convierte en una base sólida para fomentar el esfuerzo por ganar, velar y conservar el futuro. / Aquesta investigació ha volgut posar en valor la producció artística, a la província de Terol, de l'artista barroc valencià Antonio Bisquert. Per a això s'ha assignat un conjunt de dotze obres, compost per onze llenços i un retaule. Totes elles, s'han sotmès a un estudi tècnic a través de l'ús de l'estudi històric-artístic, anàlisi radiogràfic, Microscòpia Òptica i microscòpia electrònica de rastreig amb Microanàlisi de Raigs X. Concretament en un moment en què la immediatesa en l'obtenció de les radiografies digitals o la precisió dels resultats obtinguts amb els exàmens analítics són base per a un coneixement més profund de l'obra estudiada. A través de la metodologia d'estudi que hem aplicat, oferim un compendi d'imatges inèdites, en què deixem al descobert tot el procés creatiu i la gènesi de les obres. D'aquesta manera, els resultats assolits revelen atribucions contrastades i l'ús de posteriors retocs no originals. Aquests van ser executats per una mateixa mà en època però de forma posterior. En general és de gran interès per al coneixement de l'obra d'aquest oblidat pintor. Aquest coneixement profund d'una part del nostre patrimoni es converteix en una base sòlida per a fomentar l'esforç per guanyar, vetllar i conservar el futur. / Díez Atienza, B. (2017). ESTUDIO TÉCNICO DE LA PRODUCCIÓN PICTÓRICA DE ANTONIO BISQUERT EN TERUEL [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90521

Le travail de recherche que voici est composé de deux parties : dans une première partie, nous prétendons avancer quelques éléments susceptibles de servir de base à l'élaboration d'un modèle d'analyse du texte dramatique; dans une seconde partie, nous nous proposons de mettre à l'épreuve ledit modèle en l'appliquant à "El sueño de la razón" d'Antonio Buero Vallejo. La viabilité du modèle ci-dessus trouve ses fondements, premièrement dans le postulat voulant que la représentation d'une pièce de théâtre peut être conçue comme la mise en marche coordonnée d'un réseau de systèmes sémiotiques dont l'élément agglutinant serait le texte dramatique. En prenant ceci pour point d'appui, nous passons à légitimer l'étude de la seule textualité de la pièce, en réfutant par là le présupposé selon lequel celle-ci aurait une forme d'existence quelque peu "déficiente" par rapport è son éventuel déploiement scénique. Deuxièmement, et en prenant pour point de départ le principe qui pose qu'au niveau du contenu le texte dramatique aurait la structure d'un 'récit', nous nous proposons de lui appliquer -après y avoir opéré les modifications nécessaires- quelques unes des catégories élaborées par la sémiotique dans ce domaine. Par la suite, et ayant fait au préalable la synthèse des fondements et de la méthodologie de celle-ci, nous développons les procédés nécessaires pour réduire le texte a ce qui, idéalement, serait son contenu pur. Finalement, après avoir soumis ce 'simulacre' aux critères déjà mentionnés, nous avançons quelques stratégies nous permettant d'interpréter les résultats du processus analytique en vue de l'objectivation du contenu idéal de la pièce qui nous occupe. À l'intérieur de la mise en œuvre de cette ébauche de modèle sur "El sueño de la razón" nous pouvons distinguer les étapes suivantes : une fois établies les 'perspectives' è étudier, nous procédons è faire la synthèse des événements que chaque 'acteur' doit assumer dans son rôle d’Actant-Sujet. Nous examinons par la suite chacune des 'perspectives' pour en déterminer les 'Objets-Valeur' et les 'programmes narratifs' générés par ceux-ci. Finalement, nous tentons d'interpréter les résultats de la description en ayant recours à une sorte de superposition des différentes 'perspectives'.

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Although emotions are a frequent and common attribute shared by all of humanity little consensus exists among theorists who set out to understand and explain what this phenomena is all about. René Descartes set the tone about 360 years ago with his dichotomous interpretation that separated body from mind and therefore left little room for the influence that emotions actually could have upon the mind. Many contemporary authors speak of emotions in terms of desires and beliefs but do so by dismissing physiology altogether. A new and promising approach seen as a continuation of the physiological understanding as initiated by William James seeks out to understand emotions and related phenomena by carefully using neurobiological evidence in order to develop a new theory for understanding them. This approach used by Antonio Damasio is the main focus of this thesis. Damasio combines neurobiological evidence from patients who have suffered damage to specific parts of the brain along with philosophical insight. l will explain how he uses this method in order to describe emotions in terms of the influence they have upon reason and decision making as well as their role in the creation and development of consciousness and the self. / Bien que les émotions constituent un attribut partagé par l'ensemble des humains, on s'étonnera de constater qu'il existe peu de consensus chez les théoriciens qui tentent de comprendre ce phénomène. René Descartes fut probablement celui qui aura le plus influencé notre compréhension des émotions, il y a environ 360 ans, en élaborant son interprétation dichotomique qui séparait le corps et l’esprit. Toutefois, on peut reprocher à cette approche d ' avoir accordé peu d ' attention à l’influence réelle des émotions sur l’esprit. De même, plusieurs auteurs contemporains abordent les émotions en termes de désirs et croyances mais négligent souvent l’aspect physiologique du sujet. Une approche neurobiologique nouvelle et prometteuse constituant une suite logique de la compréhension physiologique des émotions telle qu'initiée par William James tente de comprendre les émotions et les phénomènes apparentés en utilisant méticuleusement des preuves neurobiologiques dans le but de développer une nouvelle théorie. C'est sur cette approche, due à Antonio Damasio, que se concentre ce mémoire. Damasio fait la combinaison de données scientifiques issues de cas de patients ayant subi des dommages à des régions spécifiques du cerveau et d'intuitions philosophiques. Je montrerai comment il tente ainsi d'expliquer l'influence des émotions sur la raison et sur la prise de décision, ainsi que leur rôle dans la création et le développement de la conscience et du soi.