Turismo religioso y espacios sagrados: una propuesta para los santuarios de Catalunya

Con el presente trabajo se intenta conceptualizar el turismo religioso, a nivel de similitudes y diferencias con otras tipologías de visitantes como turistas, turistas culturales o peregrinos. El objetivo de dicha distinción es identificar algunos aspectos de la gestión de estos espacios sagrados a tener en cuenta para evitar posibles tensiones entre visitantes y devotos, mediante la aplicación a una tipología concreta de espacios sagrados (los santuarios) y una zona geográfica concreta (Cataluña)

Retórica y diálogo contra el Sirio

Como suele suceder con las obras de Luciano, el primer problema que nos plantea la Doble Acusación es cómo clasificarla. Desde el punto de vista estrictamente formal, se trata, como en muchos otros casos, de un diálogo, uno de esos diálogos mímico-cómicos, cercano a los Diálogos de los dioses del mismo autor. Efectivamente, al empezar a leer la Doble Acusación, tenemos exactamente la misma sensación que al leer cualquiera de los diálogos entre dos o más dioses que recoge aquella obra, una de las más conocidas de Luciano...

El diálogo entre Caronte y el ánima de Pedro Luis Farnesio: un libro abierto.

En septiembre de 1547 asesinaron a Pedro Luis Farnesio, duque de Parma y de Piacenza, hijo del papa Paulo III...

Retórica, comedia, diálogo. La fusión de géneros en la literatura griega del s. II d.C.

Lucien de Samosate est sans doute un écrivain difficile a classer. Certains en font le roi du pastiche. Pour nous il s'agit. par contre, d'un écrivain lucide et intelligent qui cherche dans la tradition les éléments qui peuvent l'aider a comprendre le présent et a en faire une critique parfois féroce.

Standardisation of elemental analytical techniques applied to provenance studies of archaeological ceramics: an inter laboratory calibration study

Chemical analysis is a well-established procedure for the provenancing of archaeological ceramics. Various analytical techniques are routinely used and large amounts of data have been accumulated so far in data banks. However, in order to exchange results obtained by different laboratories, the respective analytical procedures need to be tested in terms of their inter-comparability. In this study, the schemes of analysis used in four laboratories that are involved in archaeological pottery studies on a routine basis were compared. The techniques investigated were neutron activation analysis (NAA), X-ray fluorescence analysis (XRF), inductively coupled plasma optical emission spectrometry (ICP-OES) and inductively coupled plasma mass spectrometry (ICP-MS). For this comparison series of measurements on different geological standard reference materials (SRM) were carried out and the results were statistically evaluated. An attempt was also made towards the establishment of calibration factors between pairs of analytical setups in order to smooth the systematic differences among the results.

Serlianas durante el Renacimiento italiano y español: del triunfo de la religión católica al lenguaje imperial

This article presents a panoramic view of the development of the so-called serliana or Serlian motif throughout the Italian Renaissance, focusing on the most relevant examples in the architecture of that period. The use of this motif during the Early Renaissance was pioneered by Filippo Brunelleschi in religious buildings. As its employment become widespread in a range of different settings, architects frequently incorporated local building traditions. It was only during the last twenty years of the Quattrocento that Giuliano da Sangallo and Leonardo da Vinci adopted the Serlian arch in residential architecture designed for the ruling elites. Thanks to Bramante and other artists such as Raphael, Baldassare Peruzzi, Antonio da Sangallo the Younger and Giulio Romano, the motif was extraordinarily popular during the High Renaissance period. Ever-increasingly complex and monumental compositions eased the adaptation of the serliana to both exterior and interior spaces, and in works such as the design by Galeazzo Alessi in Genoa, the imperial connotation of the motif is clear. This process illustrates the progressive transfer from the religious to the courtly sphere, and, at the same time, the permeability between the sacred and the profane. During the sixteenth century, Spain too was at the European avant-garde, due to its contacts with Italy and the latest fashions, such as the employment of the serliana in residential architecture, were followed in the fortified palace at La Calahorra, the Vich palace in Valencia, or the palace of Charles V in Granada, as part of a complex iconography of power. Throughout the sixteenth century, the serliana featured in that specifically-Spanish typology, the monumental altarpiece or retablo, as well as in monumental tombs. Italy was certainly the leading force in the process and had an indisputable influence on Spanish art, but the latter would develop its own original solutions in the sixteenth century, which matched the innovative character of Italian creations.