No description available.

Tesis doctoral--Historia del arte--Madrid--Universidad Complutense, 199? / Bibliogr. p. 481-502.

Texte remanié de: Thèse de doctorat--Histoire--Grenoble 2, 2000. Titre de soutenance : L'Apocalypse des ducs de Savoie : spiritualité et pouvoirs princiers dans l'art gothique. / Bibliogr. p. 334-362. Index. CTHS = Comité des travaux historiques et scientifiques.

No description available.

Tesis Doct.--Madrid--Universidad Autónoma, 1977.

No description available.

No description available.

Durante a Idade Moderna, na Espanha governada pela dinastia dos Habsburgos, religião e política se fundiam em muitos aspectos para criar a expressão característica da forma de governo desses monarcas, sobretudo durante o reinado de Felipe II (1556-1598). Junto a esse rei, importantes colaboradores criaram a imagem de seu governo. Nesta dissertação, chamamos a atenção para a atuação de Juan de Herrera, arquiteto de Felipe II, finalizador da obra emblemática do Monastério de San Lorenzo el Real del Escorial. Ao estudar a trajetória desse nobre, percebemos como a arquitetura ganha importância dentro da burocracia real, assim como as matemáticas. Herrera contribuiu para um projeto mais amplo do que a expressão estética e arquitetônica de um período, um projeto que expressava as inquietações políticas e religiosas da monarquia. / During the Modern Age, in Spain governed by the dynasty of the Habsburgs, religion and politics were fused in many aspects to create the characteristic expression of the form of government of these monarchs, especially during the reign of Philip II (1556-1598). Close to this king, important collaborators created the image of his government. In this thesis, we call attention to the work of Juan de Herrera, architect of Philip II, who completed the emblematic work of the Monastery of San Lorenzo El Real Del Escorial. Studying the trajectory of this noble, we realize how the architecture won importance within the royal bureaucracy, as well as mathematics. Herrera contributed to a more extensive project than the aesthetic expression and architectural design of a period, a project that expressed the political and religious inquietudes of the monarchy.

Durante a Idade Moderna, na Espanha governada pela dinastia dos Habsburgos, religião e política se fundiam em muitos aspectos para criar a expressão característica da forma de governo desses monarcas, sobretudo durante o reinado de Felipe II (1556-1598). Junto a esse rei, importantes colaboradores criaram a imagem de seu governo. Nesta dissertação, chamamos a atenção para a atuação de Juan de Herrera, arquiteto de Felipe II, finalizador da obra emblemática do Monastério de San Lorenzo el Real del Escorial. Ao estudar a trajetória desse nobre, percebemos como a arquitetura ganha importância dentro da burocracia real, assim como as matemáticas. Herrera contribuiu para um projeto mais amplo do que a expressão estética e arquitetônica de um período, um projeto que expressava as inquietações políticas e religiosas da monarquia. / During the Modern Age, in Spain governed by the dynasty of the Habsburgs, religion and politics were fused in many aspects to create the characteristic expression of the form of government of these monarchs, especially during the reign of Philip II (1556-1598). Close to this king, important collaborators created the image of his government. In this thesis, we call attention to the work of Juan de Herrera, architect of Philip II, who completed the emblematic work of the Monastery of San Lorenzo El Real Del Escorial. Studying the trajectory of this noble, we realize how the architecture won importance within the royal bureaucracy, as well as mathematics. Herrera contributed to a more extensive project than the aesthetic expression and architectural design of a period, a project that expressed the political and religious inquietudes of the monarchy.

Gonzalo Torrente Ballester (1910-1999), une des figures de proue de la littérature espagnole du XXème siècle, est surtout connu pour ses narrations. Le théâtre constitue pourtant sa grande passion –la première aussi– car il y consacre les vingt premières années de sa carrière littéraire. L’activité théâtrale de l’auteur galicien au cours des décennies 1930 et 1940, intense et soutenue, nous livre un témoignage de choix sur la situation de la scène espagnole pendant la Seconde République : la coexistence d’un théâtre bourgeois et commercial qui jouit de la faveur du public depuis la fin du XXème siècle et d’un théâtre d’avant-garde, minoritaire, qui ambitionne de rénover la scène théâtrale à grand renfort d’innovations formelles. Les deux premières pièces de Torrente Ballester s’inscrivent dans cette dernière démarche mais un événement historique, la Guerre d’Espagne, entraîne un changement esthétique et thématique majeur. Torrente rejoint un groupe d’intellectuels Phalangistes, le Grupo de Escorial, où se mêlent littérature et politique, un amalgame qui conditionne les pièces –mais aussi les essais et les articles– de notre auteur au tout début des années 1940. Le rêve d’une société idéale éduquée par le théâtre tourne court en 1943 et don Gonzalo se détourne vite du dogmatisme qui caractérise la période 1937-1942. L’auteur galicien retrouve alors une liberté créatrice qui lui permet de composer ses meilleures pièces juste au moment où, faute de mise en scène, il décide d’abandonner l’écriture dramatique pour se consacrer exclusivement à la narration. L’aventure théâtrale de Torrente s’arrête à la fin des années 1940 mais l’expérience –littéraire, politique et humaine– accumulée au cours de cette étape se révèle essentielle pour la brillante carrière de romancier qu’il connaît ensuite. / Gonzalo Torrente Ballester (1910-1999), one of the main figures of the Spanish literature of the 20th century, is best known for his narrative. However, theatre is his greatest passion – and also the very first one – since he devoted the first twenty years of his literary career to theatre. The theatrical activity of the Galician author during the 1930s and the 1940s, hectic and steady, gives us an outstanding account of the Spanish stage during the Second Republic: the coexistence of a commercial and bourgeois theatre appreciated by the public since the end of the 19th century, and a minor avant-garde theatre aspiring to reform the theatrical stage with extensive innovations in the form. The two first plays of Torrente Ballester are in the line of this latest approach but a historical event, the war of Spain, leads to a major thematic and aesthetic change. The playwright meets up with a group of intellectuals of the Spanish Phalanx, the Grupo de Escorial, where literature mingles with politics, a mixture which determines the plays – but also the essays and articles – of our author at the very beginning of the 1940s. The dream of an ideal society educated by theatre ends up in 1943 and Torrente turns away from the dogmatism characteristic of the 1937-1942 period. The Galician author recovers then a creative freedom which allows him to compose his best plays just when, in the absence of staging, he decides to give up dramatic writing to dedicate himself exclusively to narrative. The theatrical adventure of Torrente stops at the end of the 1940s but the literary, political and human experience collected during this stage turns out to be essential to his later brilliant career as a novelist.