Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, Programa de Pós-Graduação em História, 2015. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2015-11-03T13:50:03Z No. of bitstreams: 1 2015_DirceuMarchiniNeto.pdf: 1868395 bytes, checksum: 7e07a9c927448b1f37ce8c55963498d1 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-03-28T22:57:24Z (GMT) No. of bitstreams: 1 2015_DirceuMarchiniNeto.pdf: 1868395 bytes, checksum: 7e07a9c927448b1f37ce8c55963498d1 (MD5) / Made available in DSpace on 2016-03-28T22:57:24Z (GMT). No. of bitstreams: 1 2015_DirceuMarchiniNeto.pdf: 1868395 bytes, checksum: 7e07a9c927448b1f37ce8c55963498d1 (MD5) / Esta tese de doutoramento apresenta uma análise sobre o Priorado do Crato da Ordem do Hospital, desde a instalação dos hospitalários no Condado Portucalense até o fim da gestão do Prior D. Vasco de Ataíde, com foco principal no período compreendido entre os anos de 1453 e 1491. Foi analisada a relação entre a relíquia do Santo Lenho, a Batalha do Salado e a transferência da sede portuguesa hospitalária de Leça do Balio para a comenda do Crato. Foi apresentada uma pesquisa acerca da Família Ataíde e sua vinculação com a Coroa de Portugal, enfocando principalmente João e Vasco de Ataíde, irmãos que ocuparam o cargo de prior do Crato. Ao longo da tese também são analisadas as redes de relações sociais do prior do Crato, destacando a relação deste com o monarca português, com o Grão-Mestre da Ordem do Hospital, com o Papa e com as pessoas que compõem a casa prioral, os clientes. Por fim, vale ressaltar que foi ainda pesquisado o papel da Ordem do Hospital nos planos militares da Coroa Portuguesa e sua aliança nas conquistas de Arzila e Tânger (1471), e na Batalha de Toro (1476). _______________________________________________________________________________________________ ABSTRACT / This doctoral thesis presents an analysis of the Priory of Crato of the Order of the Hospital of Saint John, since the installation of the Hospitallers in the Condado Portucalense by the end of the mandate Prior Vasco de Ataide, with main focus on the period between the years 1453 and 1491. It analyzed the relation of the Holy Cross relic with the Battle of Salado and the transfer of the Hospitaller Portuguese headquarters from Leça do Balio to Crato. Was presented a research on the Ataide Family and their relationship to the Crown of Portugal, focusing mainly John and Vasco de Ataide, brothers who occupied the post of Prior of Crato. In the thesis are also analyzed the social networks of the prior of Crato, highlighting its relationship with the Portuguese monarch, with the Grand Master, with the Pope and with the people who are part of the priory. We also analyze the performance of the Order in the military plans of the Portuguese Crown. Finally, we studied the alliance between the Priory and the monarchy, in the conquests of Asilah and Tangier (1471), and the Battle of Toro (1476).

Submitted by Marta Toyoda (1144061@mackenzie.br) on 2017-05-13T13:23:02Z No. of bitstreams: 2 Sandra Maalouli Hajli.pdf: 44083309 bytes, checksum: d681e07312d212be64be6db026653eb2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2017-05-23T15:09:04Z (GMT) No. of bitstreams: 2 Sandra Maalouli Hajli.pdf: 44083309 bytes, checksum: d681e07312d212be64be6db026653eb2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-23T15:09:04Z (GMT). No. of bitstreams: 2 Sandra Maalouli Hajli.pdf: 44083309 bytes, checksum: d681e07312d212be64be6db026653eb2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The aim of this research is to record the work of architect Vasco de Mello and to identify the characteristics of his architecture between the years of 1960 and 2016. This dissertation seeks to fill a gap on the work of this important architect from São Paulo towards the knowledge of his little studied work. The dissertation is organized in three chapters. Chapter 1, entitled Trajectory, presents the timeline of the architect in three periods: A New Vision from 1960-1975; Collective Production from 1975-1999 and The Current Phase, 1999 -2016. In the second chapter called Research Method and Procedures, the research steps are presented and the whole process of surveying, organizing and classifying the iconographic material of the architect's collection is highlighted. Documentation is one of the primary functions of this research, through the identification of the object of study, organization, classification of the works and their main characteristics, culminating in the discussion about the relevance of this object within the framework of São Paulo's architecture. In the third chapter, Panorama and Analysis, the Chronological Panorama of his Work and the reading of architect's Vasco de Mello work are mapped out. Followed by the definition of the Criteria for the Analysis Items and the Selection of the Case Studied. Taking these criteria into consideration, the objects of study were defined, consisting of seven projects that contribute to understanding the formal, functional and constructive aspects amongst the proposals. Finally, the characteristics of the architecture of Vasco de Mello, extracted from the reading of his work, are discussed. The original contribution of the present research is to catalog the whole of his work, highlighting its characteristics and pointing out aspects that demonstrate his uneasiness and his challenge to the rigid dogmas of modern architecture, starting from the 1960s. The research allowed to identify a lack of pattern in his production, which does not point to a categorization or to the evolution of a coherent language. On the contrary, his work covers a sequence of the most diverse themes, based on the plurality of experiences and freedom of expression, faced in a singular way. / A presente pesquisa tem como objetivo, registrar o conjunto da obra do arquiteto Vasco de Mello e identificar as características da sua arquitetura entre os anos de 1960 até 2016. Esta dissertação visa preencher uma lacuna sobre a obra desse importante arquiteto paulista, em direção ao conhecimento de sua obra pouco estudada. A dissertação está organizada em três capítulos. O capítulo 1 denominado Percurso apresenta a trajetória do arquiteto em três períodos: A Formação de um Novo Olhar de 1960-1975; Produção Coletiva de 1975-1999 e A Fase Atual, 1999 -2016. No segundo capítulo denominado, Método e Procedimentos da Pesquisa, são apresentadas as etapas da pesquisa e são destacados todo o processo de levantamento, organização e classificação do material iconográfico do acervo do arquiteto. A documentação constitui-se em uma das funções primordiais desta pesquisa, por meio da identificação do objeto de estudo, organização, classificação das obras e de suas principais características, culminando na discussão sobre a relevância deste objeto no quadro da arquitetura paulista. No terceiro capítulo denominado, Panorama e Análise, é traçado o Panorama Cronológico de sua Obra e a leitura do conjunto da obra do arquiteto Vasco de Mello. Na sequencia são definidos os Critérios para os Itens de Análise e a Seleção dos Estudos de Caso. A partir desses critérios foi definido o objeto de estudos, constituídos de sete projetos que contribuem para compreensão dos aspectos formais, funcionais e construtivos presentes nas propostas. Por fim, são discutidas as Características da Arquitetura de Vasco de Mello, extraídas da leitura do conjunto de sua obra. A contribuição original da presente pesquisa é catalogar o conjunto da sua obra, destacando suas características e apontar aspectos que demonstram a sua inquietude e a sua contestação aos rígidos dogmas da arquitetura moderna, a partir dos anos 60. A pesquisa desenvolvida permitiu identificar que, o conjunto de sua produção não aponta para uma categorização ou para a evolução de uma linguagem coerente, pelo contrario, seus trabalhos abrangem uma sequência de temas dos mais diversificados, pautado na pluralidade de experiências e liberdade de expressão, enfrentada de maneira singular.

Thesis (doctoral)--Universidad del País Vasco, San Sebastián, 1984.

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2008 Sep 13

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-09-01T20:50:57Z No. of bitstreams: 2 Tese - Geraldo Witeze Junior - 2016.pdf: 2351835 bytes, checksum: 4f398ad614937944786b8d04934cf5f9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-05T13:23:44Z (GMT) No. of bitstreams: 2 Tese - Geraldo Witeze Junior - 2016.pdf: 2351835 bytes, checksum: 4f398ad614937944786b8d04934cf5f9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-09-05T13:23:44Z (GMT). No. of bitstreams: 2 Tese - Geraldo Witeze Junior - 2016.pdf: 2351835 bytes, checksum: 4f398ad614937944786b8d04934cf5f9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-15 / Outro / This thesis presents the work of Vasco de Quiroga and discusses his utopian project for the colonization of New Spain. It begins with a historiographical review, recovering the main interpretative lines developed over the last century; then addresses the subjects involved in quiroguian project, namely, the Spanish settlers and the Native Americans; then comes the topics that lead to utopia: just war, slavery and evangelization; finally, examines the references to Utopia to elucidate how the Quiroga understood this book and tried to apply it among the Indians, in order to build a renewed church from that new man found in America. The focus is on a careful analysis of the texts, putting the reader in direct contact with the sources, which is very different from the usual historiography. It also highlights the Utopia of Thomas More as the main inspiration through a thorough comparison between the morian text and Quiroga’s writings. Other influences are also highlighted, such as the Bible and the Philosophia Christi of Erasmus. Anyway, it aims to show the importance of knowing Vasco de Quiroga to understand the polyphonic movement of America's colonization and the development of utopian thinking as a key to the constitution of modernity. It presents a critical view of the simplistic interpretations that have created a historiographical common sense, showing that the colonial sources still has much to reveal. / Esta tese apresenta a obra de Vasco de Quiroga e discute o seu projeto utópico para a colonização da Nova Espanha. Para tanto, parte de uma revisão historiográfica, recuperando as principais linhas interpretativas desenvolvidas ao longo do último século; em seguida, aborda os sujeitos envolvidos no projeto quiroguiano, a saber, os colonos espanhóis e os nativos americanos; trata então dos temas que conduzem à utopia, a guerra justa, a escravidão e a evangelização; finalmente, analisa as referências feitas à Utopia para elucidar a forma como Quiroga a entendeu e tentou aplicá-la entre os indígenas, a fim de construir uma igreja renovada a partir do novo homem que encontrado na América. O enfoque está na análise criteriosa dos textos, pondo o leitor em contato direto com as fontes, diferente do que faz a maior parte da historiografia. Também evidencia a Utopia de Thomas Morus enquanto principal inspiração através de uma comparação exaustiva entre o texto moriano e o de Quiroga. Outras influências também são destacadas, como a Bíblia e a Philosophia Christi de Erasmo. Enfim, pretende mostrar a importância de conhecer Vasco de Quiroga para compreender o movimento polifônico de colonização da América e o desenvolvimento do pensamento utópico, chaves para a constituição da modernidade. Apresenta uma visão crítica das interpretações simplificadoras que criaram um senso comum historiográfico, mostrando que as fontes coloniais ainda tem muito a revelar.

In Spain, the era of political transition to democracy known as La Transición during the 1970s and 1980s led to changes in Spanish popular music (i.e., pop, rock, punk) which became the musical representation of the new democracy’s social and political changes. Two different musical movements of that period, La Movida Madrileña and Rock Radical Vasco, established boundaries between official mainstream music and its musical counterculture counterpart, underground, and subversive musical practices within Spanish democracy. This thesis examines the nature of those musical practices, their song lyrics, and their social and political interpretations, including their influence on current musical practices.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-05-16T10:37:59Z No. of bitstreams: 1 rhuanfernandesgomes.pdf: 2497778 bytes, checksum: 7e42ada3d455c53b8449c67fc5d60457 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-16T15:57:54Z (GMT) No. of bitstreams: 1 rhuanfernandesgomes.pdf: 2497778 bytes, checksum: 7e42ada3d455c53b8449c67fc5d60457 (MD5) / Made available in DSpace on 2017-05-16T15:57:54Z (GMT). No. of bitstreams: 1 rhuanfernandesgomes.pdf: 2497778 bytes, checksum: 7e42ada3d455c53b8449c67fc5d60457 (MD5) Previous issue date: 2015-08-31 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Este trabalho se debruça sobre a recepção das pinturas do Grão Vasco na historiografia da arte de Luís Reis Santos (1898-1967). Crítico, connoisseur e colecionador, escreveria duas obras sobre Vasco Fernandes, publicadas em 1946 e 1962, que sucessivamente citadas até nossos dias, praticamente pacificam o tema. Estes textos são aqui abordados a partir da compreensão de que uma operação historiográfica pode ser entendida por meio da combinação do lugar social do historiador, das práticas científicas de seu meio e de sua escrita, repletos de experiências e expectativas. O objetivo principal é compreender como, e também por que, para que, para quem, Luís Reis Santos, em seu contexto bastante específico – político, social ou intelectual – construiu seu próprio entendimento da pintura do Grão Vasco, desconstruindo um mito e criando um novo. / This dissertation focuses on the reception of the Grão Vasco’s paintings in the Luís Reis Santos’s (1898-1967) historiography of art. Critic, connoisseur and collector, Reis Santos wrote two works about this painter, published in 1946 and 1962, successively cited until our days, that virtually pacify the subject. These texts are addressed here based on the comprehension that a historiographical operation can be understood through a combination of the social historian place, with their scientific practices and his writing, full of experiences and expectations. The main objective is to realize how, and also why, for what, to whom, Luís Reis Santos, in his very specific context - political, social or intellectual - built his own understanding of the Grão Vasco’s paintings, deconstructing a myth and raising a new on.

El objetivo de la presente investigación responde a la voluntad de abordar un acercamiento al pensamiento unamuniano desde una doble perspectiva, la literaria y artística, desvelando cómo las ideas estéticas se integran en su discurso hasta configurar un todo indisoluble. He establecido cinco períodos: La primera etapa, que comprende de 1888 a 1895, se inicia con el artículo “Madrid y Bilbao. Reflexiones de un bilbaíno en la corte” de marzo de 1888, en el cual expresa por primera vez inquietud por la cultura artística. Al cabo de un año, en “Alcalá de Henares. Castilla y Vizcaya” de 1899, Unamuno sienta las bases de su credo estético al plantear la existencia del arte vascongado, la búsqueda intrahistórica que desarrollará en los ensayos de En torno al casticismo de 1895 y los valores estéticos del paisaje. La segunda etapa, que oscila de 1896 a 1900 al ser nombrado Rector de la Universidad de Salamanca, continúa con el planteamiento intrahistórico, cuya premisa resume en que hay que buscar en el pueblo la materia prima del arte (“Sobre el cultivo de la demótica”, 1896). Otro de los pilares sobre el que entreteje su discurso enlaza con la visión de un arte plenairista que entronca con Beruete y Francisco Giner de los Ríos, Miguel de Unamuno se asoma al nuevo siglo como espectador reticente a las nuevas vanguardias que irrumpen en el panorama artístico. La tercera etapa, la más extensa, abarca de 1901 a 1914, resulta crucial para adentrarnos en el juicio estético de Unamuno ya que es cuando ejerce propiamente de crítico de arte y desarrolla todas las concepciones estéticas gestadas en los anteriores años. Se inmiscuye en el ámbito de la crítica teniendo como referente la Estética de Hegel, El Breviario de estética de Benedetto Croce y la Historia de las ideas estéticas de Marcelino Menéndez Pelayo y vierte las bases de su crítica pictórica en “De arte pictótica I y II” de 1912. No obstante la principal aportación es la de erigirse en estandarte de la escuela vasca con Zuloaga a la cabeza, escribió: “Zuloaga el vasco” de 1908, “Nemesio Mogrobejo” de 1910, “Darío de Regoyos” de 1913 y “La escultura honrada” de 1913. La cuarta etapa se extiende de 1915 a 1924, año del exilio a Fuerteventura. Se ratifica a favor de la libertad de expresión y se posiciona contra el estilo grandilocuente del arte germánico. En el contexto de la Primera Guerra Mundial la implicación periodística del escritor es esencialmente política, a excepción de varios artículos dedicados a artistas vascos como: “La labor patriótica de Zuloaga” de 1917, “La obra de arte de Adolfo Guiard”, de 1918 y “En el Museo del Prado” de 1919. La quinta y última etapa, de 1925 a 1936, marcada por el destierro voluntario en París y Hendaya, por la inestabilidad política y por la emergente Guerra Civil. Todo ello sume al escritor en un estado de desaliento que le aleja de las inquietudes artísticas, a excepción de “Mis santas campañas. Paco Iturrino”. Datan de esta época algunos de los retratos más sobresalientes del escritor, como el de Zuloaga de 1925, los de Juan de Echevarría, y el de Daniel Vázquez Díaz de 1936. Del Unamuno dibujante, al Unamuno retratado; el escritor convertido en asunto pictórico, motivo que le lleva a relacionarse fraternalmente con los pintores coetáneos hasta el punto de compartir con los artistas de la vertiente cántabra no sólo una confesada amistad sino también un mismo credo estético, tal y como se analiza a lo largo del presente estudio "Unamuno y las artes". / This research aims to reveal the possible links that existed between the paradigmatic thinker, Miguel de Unamuno, and art, according to their particularities and various forms of expression, artists, concepts and aesthetic preferences. However the facet of Unamuno seen in some biographies (perhaps Colette and Jean - Claude Rabaté along with Jon Juaristi have delved deeper into the subject), his relationship with art remains known but not studied in depth. Some authors have explored this direction with valuable contributions and many of them have highlighted the ideological-plastic understanding between Unamuno and Zuloaga as Tellechea Idígoras, Calvo Serraller, José Carlos Mainer, F. Garín, F. Tomás and Miguel Zuzaga. It is essential to consult catalogs as El Greco: La seva revaloració pel modernisme català, Sorolla y la Hispanic Society – Una visión de la España de entre siglos -, Sorolla - Zuloaga. Dos visiones para un cambio de siglo, and above all: La huella del 98 en la pintura española contemporánea. From his beginnings as an artist in the garret of the painter Lecuona, recognition of his drawing skills and his confession of longing to be a painter, has drawn a line of permanent contact with the arts that has been strengthened by regular treatment with contemporary painters. His incursion in arts as an art critic, as did also Valle-Inclán and Azorín, the interest generated by almost all the artistic intellectuality of end of century, Cossio's monograph on El Greco, the Historia de las ideas estéticas en España by Marcelino Menéndez Pelayo, and the Breviario de estética by Benedetto Croce, all favored the gestation of a culture broth which acquired consistency early in the century with the emergence of the avant-garde and the theoretical background of the manifestos. By philosophical-artistic compenetration Unamuno polls reality and extracts from it the intrahistorical formula. Both Velazquez and Zuloaga rose up the genuinely “castizo” reveling the essence of being. The writer oscillates between tradition and progress to enrich his speech with the visual art component, while claims for the humanizing role and drives with Giner de los Ríos the aesthetic appreciation of landscape. From a social conception of art, Unamuno becomes chronicler and critic to establish the basis of creed aesthetic that will be described in the following pages.

Pour l’extrême ouest eurasiatique, le problème demeure de savoir selon quelles modalités anthropologiques Neandertal et l’Homme d’Anatomie Moderne (HAM) se sont succédés, lors d’une sous-époque artificiellement qualifiée de « Transition ». Une solution pourrait selon nous venir d’une approche globale du système techno-économique nomade, là où l’approche technologique des industries lithiques, mise en oeuvre de façon privilégiée jusqu’à aujourd’hui, a montré ses limites. Notre thèse applique cette échelle systémique aux industries lithiques châtelperroniennes,depuis le nord de la France jusque dans la corniche vasco-cantabrique. Le Châtelperronien est pa railleurs une culture emblématique du problème évoqué. Nous avons placé la tracéologie lithiqueainsi que l’expérimentation au coeur de notre méthodologie analytique, afin de cerner à la fois les stratégies industrielles et les activités outillées des communautés châtelperroniennes. Tandis que nous nous sommes basé sur des modèles théoriques explicites pour appréhender plus généralement leur système de fonctionnement économique relativement à leur mode de nomadisme. Nous avons également utilisé la tracéologie afin d’éclaircir la problématique taphonomique spécifique au Châtelperronien.Nos observations sur l’état de surface des collections nous pousse finalement à suggérer que la dichotomie entre «sites à indices de passage » et « sites à dépôt archéologique » ne serait pas le résultat taphonomique d’évènements climatiques induisant une érosion à géométrie variable(i.e. intersites et/ou intrasites), comme nos prédécesseurs concevaient habituellement cette problématique spécifique. Au contraire, elles témoigneraient bien d’un mode d’occupation très contrasté du territoire. L’analyse fonctionnelle des industries, de son côté, abonde également dans ce sens en révélant que les stratégies industrielles reflètent une double partition, à la fois humaine et économique.En effet, d’une part, le « support de Châtelperron » équipe notamment des individus missionnés sur des sites logistiques tels que des haltes de chasse, afin qu’ils fabriquent et utilisent tour à tour des armatures de sagaie ou des couteaux de boucherie. D’autre part, d’autres haltes logistiques sont conçues comme la conjonction entre le renouvellement de l’industrie lithique et la réalisation d’activités spécialisées à caractère vivrier (boucherie) et artisanal (peausserie, et très probablement industrie osseuse). Quant aux campements résidentiels, manifestement très rares et alors sous abris rocheux, ils accueillent l’ensemble du groupe et sont le lieu où sont mis en oeuvre l’ensemble des industries lithique et osseuse, ainsi que la parure, reflétant le panel probablement complet des activités de ces communautés.En somme, il ressort une spécialisation des outils au Châtelperronien, et plus généralement une spécialisation cynégétique du système technique lithique, couplées à un mode logistique de nomadisme sur de vastes territoires. Ceci pourrait refléter une segmentation du groupe par spécialistes, et notamment une partition sociologique dans laquelle la figure du chasseur occupe une place majeure.Enfin, la confrontation de notre modèle châtelperronien spécifique avec les principales cultures de la Transition sur notre aire géographique fait ressortir une définition restrictive du Paléolithique supérieur. En effet, la spécialisation cynégétique du système technique lithique et, corrélativement,celle du statut de chasseur parmi les membres du groupe, représentent selon nous deux traits singularisant les communautés du Paléolithique supérieur. / At the far west of Eurasia, questions persist regarding what factors led anatomically modernhuman groups to succeed Neanderthals during the so called “Middle to Upper PaleolithicTransition.” Technological approaches to lithic analysis, which have until recently been the principal mean used to investigate these questions, have now shown their limitations. Instead, we suggest amore global approach, which examines both techno-economic and settlement systems.Here, we apply this mode of analysis to the Châtelperronian industry, which is found from northernFrance to the Vasco-Cantabrian region of northern Spain and is emblematic of the above-mentionedproblems. Methodologically, we approach this lithic industry by way of use wear analysis andexperimental archaeology. Our aim is to understand both overarching industry strategies and theways in which specific tools were used. We use theoretical models to investigate the relationshipbetween Châtelperronian functional economy and their mode of nomadism, and use traceology to clarify taphonomic problems specific to the Châtelperronian.We observed, using different levels of magnification, that the natural texture of most lithic artifacts appears to be surprisingly well preserved. This leads us to the conclusion that contrary to previous understandings, the perceived dichotomy between “sites à indices de passage” (i.e. coarse grained assemblages) and “sites à dépôt archéologique” (i.e. fine grained assemblages), cannot be the resultof climatic events resulting in different degrees of intersite and/or intrasite erosion. Instead, we suggest that this be the result of different pattern of movement of Châtelperronian groups. Additionally,the results of our use wear analysis suggest that Châtelperronian industrial strategies were the resultof a division in both human and economic terms.We hypothesize that individuals carried lithic blanks to logistical sites (e.g. hunting camps), manufactured so called “Châtelperronian points”, and used these tools as both projectile points and knives for butchery. This type of specialized activity hints at segmentation within a given group. Different type of logistical sites can be associated with different combinations of activities performed at them including the rejuvenation of lithic tools (i.e. flint knapping), the production of food (i.e.butchery), and other craft activities (i.e. hide working and the production of bone and antler tools).In contrast, residential sites were likely home to entire groups. These are rare in the archaeological record, and are always associated with rock shelters. These sites contain lithic and bone tools, as well as personal ornaments, which were manufactured on site. These residential sites can be considered good representations of the Châtelperronian industry as a whole, and likely reflect nearly the entire range of daily activities performed.In sum, Châtelperronian tools were specialized elements of a lithic industry focused on hunting within a system of logistical mobility spanning vast territories. This could reflect a social division of Châtelperronian groups into specialists, with the role of the hunter occupying a primary position. Finally, a comparison of our model of the Châtelperronian to that of other “transitional” cultures of western Eurasia leads us to propose a more restrictive definition of the Upper Paleolithic. We posit that hunting specialization, both in terms of lithic technology and the status of the hunter relativeto other members of the group, represent the only traits which set apart Upper Paleolithic societies. / En el caso del extremo occidental de Eurasia, la cuestión reside en establecer los factores antropológicos que llevaron a la sucesión Neanderthal-“Humanos Anatómicamente Modernos”durante la transición entre el Paleolítico Medio y el Superior. Estimamos que una vía de acercamiento puede derivar de un análisis más global del sistema tecnoeconómico nómada, alejándose deuna perspectiva tecnológica sobre la industria lítica demasiado restringida.Nuestra perspectiva se ha aplicado al estudio de una cultura característica del periodo, el Chatelperroniense,introduciendo un énfasis particular en el análisis funcional de los utillajes líticos y en elestudio de los patrones territoriales de los asentamientos. Para abordar los patrones territoriales,hemos recurrido a modelos teóricos explícitos que los relacionan con sistemas económicos específicos.En el caso del análisis funcional, hemos situado la observación de las huellas de uso y unimportante referencial experimental como núcleo de la metodología desarrollada. En este caso el objetivo es doble ya que se trata de reconocer las estrategias técnicas aplicadas a los propios utillajesde piedra y de reconocer también estas estrategias en los procesos técnicos en los que estos utillajeshan participado. El estudio traceológico ha servido asimismo para abordar cuestiones tafonómicasrelativas a la conservación de los yacimientos estudiados gracias a la lectura de las alteraciones sufridas por las superficies de los utillajes de piedra. Estas evidencias sugieren una conservación inesperadamente buena de los contextos arqueológicos. Ello viene a demostrar que las diferencias entre tipos de yacimientos que se habían observado –que se atribuían a alteraciones tafonómicas diferenciales- son en realidad el resultado de comportamientos y modos de ocupación diferentes ybien contrastados en cada uno de ellos.Por otra parte, los resultados generales del análisis funcional redundan en esta percepción, la deuna partición doble –humana y económica- en el seno de las estrategias técnicas. Nuestros resultadossugieren que existe una primera estrategia que implica una circulación en el territorio depuntas-cuchillos de chatelperron, probablemente transportados por individuos que se desplazana ocupaciones especializadas, como los campamentos de caza; estos instrumentos se utilizarían como cuchillos de carnicería y también como parte de elementos de proyectil. Algunas de estas ocupaciones especializadas reunirían un conjunto algo más complejo de funciones incluyendo larenovación del utillaje lítico agotado y algunos trabajos especializados relacionados con la subsistencia–carnicería- o actividades de elaboración de algunos productos (en piel y materias óseas). Los campamentos residenciales son muy escasos, casi siempre en abrigos y cuevas, y en ellos se llevarían a cabo el conjunto de tareas necesarias para estas comunidades y, en este sentido, puedenconsiderarse representativas de los comportamientos generales durante el periodo.En conjunto, se aprecia una especialización del utillaje durante el Chatelperroniense, muy orientada hacia las actividades cazadores en el marco de un sistema territorial que implica una gran movilidad logística. Ello podría reflejar una segmentación social interna de las comunidades con la apariciónde especialistas entre los que jugaría un papel importante la figura del cazador.Como conclusión, la comparación del modelo que emerge acerca de los comportamientos chatelperronienses con los propios de otras culturas de este periodo de transición en torno al 40.000nos lleva a proponer una definición más restrictiva para caracterizar al conjunto del Paleolítico Superior.En este sentido, planteamos que la especialización cazadora, tanto en lo que afecta al sistema técnico lítico como al estatus del cazador respecto a los otros miembros del grupo, representa el rasgo diferencial esencial que define a las comunidades humanas del Paleolítico superior.

This thesis describes the cross-matching software solution lying at thecore of the computational infrastructure for the VASCO project. The VASCO project has a goal to mine historical all-sky surveys to find astronomical anomalies. It aims to give new clues to either SETI research or in theoretical astrophysics, and serves as a starting point for observational followup and/or new theoretical developments. Cross-matching throughout the thesis refers to comparing billions of astronomical objects recorded in the historical USNO and PanSTARRS allskysurveys. This thesis describes how to approach this huge computational challenge using methods of big data and cloud computing. The techniques described in this thesis resulted in a list of about 400 thousand objects which are usable in further analysis in the machine learning tool called ML-Blink.