Eduardo Chillida, arquitecto

Es sabido que tras abandonar la carrera de arquitectura Chillida marcha a Paris a comenzar su carrera como escultor. De vuelta al País Vasco el hierro es el material en el que encuentra un camino propio. Toda la obra de su primera década está muy alejada en el aspecto formal de la arquitectura. Sin embargo, las líneas de fuerza que los hierros configuran muestran un interés espacial que queda manifiesto en una obra de 1953 denominada Consejo al espacio I. A partir de aquí su obra gira en torno al vacío. Las formas cambiarán con los materiales pero no el propósito. En sus dibujos, las manos expresan, más allá de su condición figurativa, la búsqueda del espacio cóncavo que los dedos encierran. El espacio que encuentra en la palma de la mano es equivalente al que construye con dedos gigantes de madera u hormigón. Chillida observa sus obras con una mirada cuya idea de escala se distancia del concepto de dimensión. Adquieren así una posibilidad de crecer que facilita imaginar sus espacios como arquitectura. Tras el hierro, el trabajo en madera y alabastro aproxima -en el aspecto formal- la obra de Chillida a la arquitectura. Los títulos de numerosas obras hacen referencia a ella o a conceptos con ella relacionados. Elogio de la arquitectura, Homenaje a la arquitectura, Arquitectura heterodoxa, Modulación del espacio, construcción heterodoxa, Alrededor del vacío, Mesa del arquitecto o Casa de luz, son algunos de ellos. La introducción del vacío en el alabastro da comienzo a un proceso tendente a que el espacio interior tenga una importancia inversamente proporcional a su presencia en la forma exterior. Un proceso de progresivo hermetismo donde pequeños espacios interiores son expresados mediante grandes masas envolventes. El espacio interior es el principal motivo por el que vemos la obra de Eduardo Chillida como arquitectura. La condición de interior, apreciable igualmente en sus grandes obras en el espacio público, hace que estas no constituyan únicamente hitos visuales sino espacios de protección con los que cuerpo interactúa estableciendo una nueva relación con el paisaje, el horizonte o el cosmos. La búsqueda de un interior vacío tiene como consecuencia la evolución hacia la desaparición de la forma exterior. Tal evolución comienza con el diálogo entre el bolo natural de alabastro y el vacío tallado de Homenaje a Goethe, y, como muestra de la inter-escalabilidad de la obra de Chillida, concluye con la introducción de un vacío oculto en la montaña sagrada de Tindaya. El gran vacío de Tindaya nos hace mirar la obra de pequeño formato a través de su filtro de aumento. Nos permite entender que el límite entre arquitectura y escultura es difuso en la obra del escultor vasco. Que la arquitectura puede estar en el origen de su escultura. Que su escultura puede ser el germen de muchas arquitecturas. ABSTRACT It is well known that after leaving his architectural studies Chillida went to Paris in order to begin his career as a sculptor. Back again to the Basque Country, iron is the material in which he finds his own way. In terms of form, his work from the very first ten years is far away from architecture. However, the strength lines set by the iron show a spatial will that is clearly evident in a 1953 piece called Advice to space I. From there on, his work focuses on void. Different materials will set different forms but the purpose will remain the same. In his drawings, hands are expressing, beyond its figurative condition, the search of the concave space that fingers are enclosing. The space founded in the palm of the hand is equivalent to the one built with giant wood or concrete fingers. Chillida faces his work with a look where the idea of scale takes distance to the concept of dimension. His works gets then a possibility to grow that allow us to imagine his spaces as architecture. Following iron, wood and alabaster pieces, in the formal aspect, approaches Chillida´s work to architecture. The titles of many sculptures are referred to it or to the concept related to it. In praise of architecture, Homage to architecture, Heterodox architecture, Modulation of space, Heterodox construction, Around the void, Architect’s table, or House of light, are some of them. The introduction of void in alabaster begins a process leading to the interior space has a presence inversely proportional to its importance in the external form. A process of progressive secrecy where small interior spaces are expressed through large enveloping masses. The interior space is the main reason why we see the work of Eduardo Chillida as architecture. The condition of inner space, equally noticeable in his great works in public space, makes this not only constitute visual landmarks, but protection spaces that body interacts with establishing a new relationship with the landscape, the horizon or the cosmos. The search of an inner void leads to an evolution towards the disappearance of the external form. The evolution begins in the dialogue between the natural bolus of alabaster and the carved void of Homage to Goethe, and as a sign of inter-scalability of the work of Chillida, it concludes with the introduction of a hidden void in the sacred mountain of Tindaya. The great void of Tindaya makes us look at a small format work trough the filter of his increase filter. It allows us to understand that the boundary between architecture and sculpture is diffuse in the work of the Basque sculptor. That architecture can be at the origin of his sculpture. That his sculpture may be the seed of many architectures.

Desmaterialización de la envolvente estructural contemporánea : una secuencia de estrategias arquitectónicas en Toyo Ito, Herzog&de Meuron y Sanaa

La Tesis investiga aquellas obras en las que se ha producido un desplazamiento de la estructura portante hacia el perímetro del edificio para alcanzar su posterior desvanecimiento aplicando ciertos mecanismos arquitectónicos. En el proceso de la investigación se ha detectado cómo la rotundidad e inmediatez de la huella de lo estructural percibida en la arquitectura tradicional, tiende a desvanecerse, su desmaterialización queda patente en ciertas obras de la arquitectura contemporánea. La investigación comienza con la concordancia hallada entre tres edificios contemporáneos cuyo perímetro lo conforma una Envolvente Estructural: la tienda TODS, de Toyo Ito (2003); PRADA, de Herzog&de Meuron (2000) y DIOR, de SANAA (2001). Tres obras de fechas consecutivas, que, aun respondiendo a las mismas condiciones de ubicación, Omotesando (Tokio), uso, volumetría, altura y superficie, su Envolvente se configura de modo muy diverso, produciendo soluciones estructurales diferenciadas y heterogéneas. De estos tres modos de configurarse la envolvente, se desprenden las tres estrategias arquitectónicas empleadas en el desarrollo de la Tesis: figuración, abstracción y desmaterialización. Así pues, la investigación descubre, por una parte, un procedimiento figurativo que pone el acento en valores expresivos empleando códigos de significado como son los objetos de la naturaleza; por otra parte, un procedimiento abstracto, priorizando las reglas de construcción formal del propio objeto; y por último, como continuación de los anteriores, se descubre un procedimiento de desmaterialización planteado desde la delgadez de los muros, los materiales efímeros o una semitransparencia que pretende mayor conexión con el mundo exterior. Con el análisis de estas tres categorías secuenciales desveladas por los edificios citados de Omotesando, se han identificado otras obras clarividentes de Toyo Ito, Herzog&de Meuron y SANAA, por ser representativos de dichas nociones. Así pues, se han seleccionado veinticuatro casos de estudio y se han ordenado formando una colección de obras capaz de llegar a formular por sí misma un enunciado conclusivo sobre los procedimientos arquitectónicos capaces de velar la estructura mecánica. En la actualidad, el planteamiento de la Envolvente Estructural recurre a un nuevo modo de abordar la arquitectura. Esta ya no consiste en el juego sabio, correcto y magnífico, sino que adquiere una nueva dimensión poética desde la ausencia de la esencia resistente. Efectivamente, por un lado, se ha afirmado que ‘sin estructura no hay arquitectura’; y por otro lado, se trata de hacerla desaparecer. Así queda expresado en palabras de SANAA: “Para nosotros la estructura es muy importante, incluso su desaparición lo es”. Por otro lado, la Envolvente Estructural analizada en la Tesis recoge el legado de la historia, lo interpreta y se manifiesta con el lenguaje contemporáneo manteniendo aquella unidad entre las disciplinas de arquitectura e ingeniería comenzada en el siglo XIX. El contorno edilicio, conformado en un único elemento compacto e indiferenciado, resuelve diversas funciones habitualmente asignadas a otros elementos específicos: Encierra en un reducido espesor el cerramiento, la estructura resistente, el ornamento y el acondicionamiento térmico (en algunos casos); configura la forma arquitectónica y envuelve el espacio arquitectónico mostrando una libertad formal (cáscaras esculturales) y un lenguaje de liviandad (muros de espesores reducidos) sin precedentes. La tipología planteada condensa todo aquello que le permite expresar el enunciado más inmaterial de la estructura mecánica. Concluyendo, la Tesis verifica que una parte de la arquitectura contemporánea ya ha pasado del límite denso, corporeizado y mecánico tradicional, a un límite borroso, que se ha erosionado, se ha transmutado hasta su desmaterialización, su desvanecimiento o incluso su desaparición. ABSTRACT This thesis researches those buildings where the bearing structure has been moved towards the perimeter in order to reach its fading by means of architectural strategies. In the research development it has been detected how the clearness and immediacy of the footprint of the structure as noticed in the traditional architecture, tends to vanish, its dematerialization remains patent in certain contemporary architecture works. The research begins with the agreement found in three contemporary buildings whose perimeter is shaped by a structural envelope: TODS shop, by Toyo Ito (2003); PRADA, by Herzog&de Meuron (2000) and DIOR, by SANAA (2001). Three works in consecutive dates, that share the placement conditions, Omotesando (Tokio), use, volume, height and area, but its envelope is shaped in various ways, generating different and heterogeneous structural solutions. From these three ways of the envelope shape are deduced the three architectural strategies studied during the Thesis development: figuration, abstraction and dematerialization. Thus, the research discovers, on one hand, a figurative procedure that highlights the expressive values by using meaning codes such as the nature objects; on the other hand, an abstract procedure, prioritizing the formal construction rules typical of the object; at last, as a continuation of the others, a dematerialization procedure is shown, set out from the wall thinness, the ephemeral materials or the semitransparency that tries to increase the connection with the world around. With the analysis of these three categories in a sequence, shown in the Ometesando buildings, other works from Toyo Ito, Herzog&de Meuron and SANNAA have been identified because of being representative of those concepts. Therefore, twenty four case studies have been selected and have been ordered to set a collection of works that are able to formulate by themselves a conclusive statement about the architectural procedures that are able to veil the mechanical structure. Nowadays, the Structural envelope approach leads to a new way of dealing with architecture. This is not any more a wise game, correct and magnificent, but it acquires a new poetic dimension from the absence of the resistant essence. Indeed, on the one hand, it has been stated that ‘without structure there is no architecture’; and on the other hand, it tries to make it disappear. It is so stated in SANAA words: ‘The structure is very important for us, and even its disappearance” On the other hand, the Structural envelope analysed in this Thesis gathers the legacy of history, interprets it and it is expressed with a contemporary language, by keeping that unity between disciplines of architecture and engineering already started in the XIX century. The building boundary, shaped as a compacted and undifferentiated single element, solves several functions commonly assigned to other specific elements: keeps in a small thickness the envelope, the bearing structure, the ornament and the thermal conditioning (in same cases); it shapes the architectural form and envelopes the architectural space by showing a formal freedom (sculptural shells) and a lightness language (small thickness walls) with no precedents. This typology gathers all what lets to express the most immaterial statement of the mechanical structure. As a conclusion, the Thesis verifies that a part of the contemporary architecture has already gone over the dense limit, shaped and mechanical traditional to a blur limit that has been eroded, it has been changed until its dematerialization, its fading or event its disappearance.

Discursive constructions of social and environmental accounting in Brazil: the case of Petrobras.

In the 29 years following \"Our Common Future\" by the United Nations, there is considerable debate among governments, civil society, interest groups and business organisations about what constitutes sustainable development, which constitutes evidence for a contested discourse concerning sustainability. The purpose of this study is to understand this debate in the developing economic context of Brazil, and in particular, to understand and critique the social and environmental accounting [SEA] discursive constructions relating to the State-owned, Petrobras as well as to understand the Brazilian literature on SEA. The discourse theory [DT]-based analysis employs rhetorical redescription to analyse twenty-two reports from Petrobras from 2004-2013. I investigate the political notions by employing the methodological framework of the Logics of Critical Explanation [LCE]. LCE engenders five methodological steps: problematisation, retroduction, logics (social, political and fantasmatic), articulation and critique. The empirical discussion suggests that the hegemony of economic development operates to obfuscate, rhetorically, the development of sustainability, so as to maintain the core business of Petrobras conceived as capital accumulation. Equally, these articulations also illustrate how the constructions of SEA operate to serve the company\'s purpose with few (none) profound changes in integration of sustainability. The Brazilian literature on SEA sustains the status quo of neo-liberal market policies that operate to protect the dominant business case approach to maintain an agenda of wealth-creation in relation to social and environmental needs. The articulations of the case manifested in policies regarding, for example, corruption, which involved over-payments for contracts and unsustainable practices relating to the use of fossil fuels and demonstrated that there was antagonism between action and disclosure. The corruption scandal that emerged after SEA disclosures highlighted the rhetorical nature of disclosure when financial resources were subtracted from the company for political parties and engineering contractors hid facts through incomplete disclosures. The articulations of SEA misrepresent a broader context of the meanings associated with sustainability, which restricted the constructions of SEA to principally serve and represent the intention of the most powerful groups. The significance of SEA, then is narrowed to represent particular interests. The study argues for more critical studies as limited Brazilian literature concerning SEA kept a \'safe distance\' from substantively critiquing the constructions of SEA and its articulations in the Brazilian context. The literature review and the Petrobras\' case illustrate a variety of naming, instituting and articulatory practices that endeavour to maintain the current hegemony of development in an emerging economy, which allows Petrobras to continue to exercise significant profit at the expense of the social and environmental. The constructed idea of development in Petrobras\' discourses emphasises a rhetoric of wider development, but, in reality, these discourses were the antithesis of political, social and ethical developmental issues. These constructions aim to hide struggles between social inequalities and exploitation of natural resources and constitute excuses about a fanciful notion of rhetorical and hegemonic neo-liberal development. In summary, this thesis contributes to the prior literature in five ways: (i) the addition of DT to the analysis of SEA enhances the discussion of political elements such as hegemony, antagonism, logic of equivalence/difference, ideology and articulation; (ii) the analysis of an emerging economy such as Brazil incorporates a new perspective of the discussion of the discourses of SEA and development; (iii) this thesis includes a focus on rhetoric to discuss the maintenance of the status quo; (iv) the holistic structure of the LCE approach enlarges the understanding of the social, political and fantasmatic logics of SEA studies and; (v) this thesis combines an analysis of the literature and the case of Petrobras to characterise and critique the state of the Brazilian academy and its impacts and reflections on the significance of SEA. This thesis, therefore, argues for more critical studies in the Brazilian academy due to the persistence of idea of SEA and development that takes-for-granted deep exclusions and contradictions and provide little space for critiques.

A Divine Round Trip: the Literary and Christological Function of the Descent/Ascent Leitmotif in the Gospel of John

The thesis of this dissertation is that the Descent/Ascent Leitmotif, which includes the language of not only descending and ascending, but also going, coming, and being sent, performs a significant literary and christological function in the Gospel of John. The Evangelist's Descent/Ascent Leitmotif becomes the Gospel's organizing principal, drawing together a constellation of verbs and a number of themes, including Jesus-Son's origin, identity, relationship to God, authority, signs and works, life, and glory. In the introductory chapter, after providing a layout of the dissertation, the discussion turns to the spacial dimensions and christological importance of the vertical and horizontal depictions of the descending, ascending, coming, going, and being sent verbs. The focus of chapter two is to explain and illustrate, using a version of the Cinderella story, a method that serves to identify the Leitmotif and the verbs, motifs, and themes the Leitmotif draws within its constellation. This approach, titled a thematic structural method, integrates works from thematic scholars Horst Daemmrich and Eugene Falk with works from literary structural scholars A. J Greimas and Roland Barthes, and is a tool to analyze the influence of the Leitmotif as the Gospel's organizing principal on the relationships between the Leitmotif and numerous themes from which John's Christology emerges. The task of chapter three is to explain the rationale for the selection of the Leitmotif's verbs of descending, ascending, coming, going, and being sent. Chapters four and five investigate how the Evangelist, with the repetition of the Leitmotif, constructs his narrative to tell the story of the historical Jesus and shape the Evangelist's Christology. Additionally, the focus is to analyze the transforming influences of the Descent/Ascent Leitmotif on the themes of Jesus-Son's origin, identity, relationship to the Father, and authority, through his signs and works, life, and glory. The Descent/Ascent Leitmotif depicts a divine round trip, and the emphasis of chapter six is to examine the role of the Leitmotif in Jesus-Son's departure from the world and return to God. The Evangelist's use of the Leitmotif in Jesus' prayer to the Father (John 17) and the promise of the Paraclete are included in this chapter. Due to the Descent/Ascent Leitmotif's inherent spatial overtones, elements related to Jesus' return, including heaven, world, the hour, and his form after his resurrection, are explored from a cosmological and ontological perspective.

Contradicciones del significado de la actividad físico-deportiva en las identidades corporales de las chicas adolescentes

Dentro de la estructura de género que impone la construcción social del cuerpo femenino, el sentimiento de inadecuación del propio cuerpo parece caracterizar la configuración de las identidades corporales femeninas en la adolescencia, motivando que la relación que establecen muchas chicas jóvenes con la actividad físico-deportiva sea compleja y a menudo problemática. Siguiendo un enfoque feminista post-estructuralista, este trabajo se centra en tres conflictos: 1) La actividad física para perder peso, instrumentalizada dentro de los discursos para alcanzar el ideal de belleza o luchar contra la obesidad; 2) El límite socialmente construido para las chicas deportistas entre lo que se considera un tono muscular atractivo y un cuerpo excesivamente musculoso; 3) Los procesos de sexualización y ansiedad física social debido a la exposición del cuerpo a una mirada masculina no deseada en diferentes contextos de práctica físico-deportiva.

Aspectos constructivos y decorativos de la villa romana de Puente de la Olmilla (Albaladejo, Ciudad Real)

El esquema constructivo de esta villa responde al modelo típico romano: una serie de estancias distribuidas alrededor de un patio central, que las ilumina y desde el que se accede a ellas mediante los pasillos circundantes, cubiertos con pisos de mosaico, al igual que varias habitaciones (dos de ellas adornadas con mosaicos figurativos). Puente de la Olmilla tenía un pórtico en la fachada, combinación que corresponde a un tipo de construcción poco común en Hispania. Esta villa es un claro testimonio del profundo proceso romanizador sufrido por el medio rural en este territorio. Sin duda, este ámbito de la Meseta Sur tenía para los romanos un carácter estratégico por su privilegiado emplazamiento geográfico dentro de la Península Ibérica y esa fue una de las causas de que lo incluyeran en su red viaria.

On terminological figurativeness: From theory to practice

Terminologists’ interest in studying the role of metaphor and metaphorical terms in specialized communication has proliferated since the first papers addressing this issue appeared in the 1990s. However, we believe that some facets of terminological meaning still remain overlooked or merit further analysis. This paper attempts to contribute to the study of one of these facets: the figurative meaning of some compound terms used in the domain of luxury marketing and business. In order to present a systematized view of this phenomenon we will adopt some theoretical tools from the Conventional Figurative Language Theory, in order to confirm the validity of some of its postulates for compound term analysis. Next, a contrastive approach between English, Spanish and Russian compound terms will put the theoretical ideas into practice with the aim of illustrating their applied and metalinguistic potential. Some basic conclusions will be offered at the end of the paper.

Ideación gráfica revertida

Este artículo continúa la investigación de una propuesta de innovación docente, parcialmente abordada en el último Congreso EGA bajo el planteamiento de un ‘viaje imaginario a la mente del diseñador´. Se pretende desarrollar mecanismos vinculados al pensamiento gráfico y fomentar un dibujo desinhibido, eficaz y de respuesta rápida como recurso característico de la ideación. Desde hace años la ideación protagoniza diferentes propuestas docentes en el ámbito académico de E.G.A. generalmente vinculadas al dibujo inespecífico. Intencionalmente, se trata aquí de revertir el proceso de ideación, de ponerse en la piel de quien diseñó un edificio y, a partir de lo edificado –referente directo– tratar de reconstruir los bosquejos de ideación que debieron realizarse para concebirlo y darle forma. En esta nueva investigación hemos confrontado los dibujos originales de los arquitectos –muchos inéditos– con dibujos de indudable atractivo e innegable desparpajo de estudiantes sobre dichos edificios, analizándolos dialécticamente para validar la pertinencia del enfoque pedagógico.

The European Court of Justice and process-oriented review. Research Paper in Law, 01/2012

Structuralism is a theory of U.S. constitutional adjudication according to which courts should seek to improve the decision-making process of the political branches of government so as to render it more democratic.1 In words of John Hart Ely, courts should exercise their judicial-review powers as a ‘representation-reinforcing’ mechanism.2 Structuralism advocates that courts must eliminate the elements of the political decision-making process that are at odds with the structure set out by the authors of the U.S. Constitution. The advantage of this approach, U.S. scholars posit, lies in the fact that it does not require courts to second-guess the policy decisions adopted by the political branches of government. Instead, they limit themselves to enforcing the constitutional structure within which those decisions must be adopted. Of course, this theory of constitutional adjudication, like all theories, has its shortcomings. For example, detractors of structuralism argue that it is difficult, if not impossible, to draw the dividing line between ‘substantive’ and ‘structural’ matters.3 In particular, they claim that, when identifying the ‘structure’ set out by the authors of the U.S. Constitution, courts necessarily base their determinations not on purely structural principles, but on a set of substantive values, evaluating concepts such as democracy, liberty and equality. 4 Without claiming that structuralism should be embraced by the ECJ as the leading theory of judicial review, the purpose of my contribution is to explore how recent case-law reveals that the ECJ has also striven to develop guiding principles which aim to improve the way in which the political institutions of the EU adopt their decisions. In those cases, the ECJ decided not to second-guess the appropriateness of the policy choices made by the EU legislator. Instead, it preferred to examine whether, in reaching an outcome, the EU political institutions had followed the procedural steps mandated by the authors of the Treaties. Stated simply, I argue that judicial deference in relation to ‘substantive outcomes’ has been counterbalanced by a strict ‘process review’. To that effect, I would like to discuss three recent rulings of the ECJ, delivered after the entry into force of the Treaty of Lisbon, where an EU policy measure was challenged indirectly, i.e. via the preliminary reference procedure, namely Vodafone, Volker und Markus Schecke and Test-Achats.5 Whilst in the former case the ECJ ruled that the questions raised by the referring court disclosed no factor of such a kind as to affect the validity of the challenged act, in the latter cases the challenged provisions of an EU act were declared invalid.

A Coleção de azulejaria antiga da Faculdade de Belas Artes da Universidade de Lisboa : processo de inventário

This thesis presents the process of conducting the inventory of the old tiles collection of the Faculty of Fine Arts, University of Lisbon (FBAUL). This set can be divided into two major groups: the first is integrated in the building, the second consists of a set 2036 loose tiles with a pattern of decorative, ornamental and figuratively, some of which form panels of great value. Due to the existence of a wide variety of unknown provenance tile, stored at random, we feel the need to develop an inventory process, intended to safeguard and preserve these he-ritage objects whose existence was virtually unknown until the beginning of this work. This process continued working methodology started with the identification, photographic survey and labeling, with subsequent filling an inventory sheet. To obtain information about the loose tiles, it was essential to have a previous cleaning the mortar that prevented the reading of existing information in masonry, a process developed with the support of un-dergraduate students. After completion of the above process, we make the assembly of panels existing mostly very fragmented to give some iconographic references. In this process we identified 21 types of patterns belonging to the seventeenth and eighteenth centuries and 30 figurative and orna-mental panels. We realized then interconnections between them and the sets placed in situ around the building, and some of its tiles have been used to fill spaces or gaps. At the same time, we have created the inventory records, diagnosis and intervention, as well as a database for internal consultation - Excel - organized by a filtering system to allow quick search of all the tiles present in FBAUL. Finally, we will show a room to house the collection of loose tiles, making references to the ideal conditions of the outdoor environment and its packaging. Also we propose a very punc-tual removing some tiles embedded in the walls of the building which form part of panels composed of loose tiles, indicating a proposal to replace the other coherent and complete element belonging to the collection, preferably with a standard reason

Pensar las ciencias sociales desde América Latina ante el cambio de época

Herederas de propuestas disciplinarias originales, como la teoría de la dependencia -y sus posteriores críticas desde el marxismo-, o del pensamiento socioeconómico de la CEPAL, las ciencias sociales latinoamericanas toman distancia de enfoques anglo-euro-céntricos, para avanzar en una línea crítica del pensamiento y de las prácticas neocolonialistas. El desafío para el pensamiento es ser cosmopolita y simultáneamente latinoamericano. En este proceso, el pensamiento social latinoamericano está logrando recuperar su originalidad y vigor, gracias a un rico diálogo Sur-Sur que no pierde de vista el carácter global de sus reflexiones y de sus referentes universales. Aunque ni el marxismo clásico ni el occidental son hegemónicos dentro de la teoría crítica, el (neo)marxismo enriquecido con la crítica a la colonialidad del poder, la teoría del Sistema-mundo, la geopolítica crítica y la ecología política recuperan el campo de la teoría crítica en clave fundadora de un pensamiento de época. Sus debates epistemológicos con el post-estructuralismo y diversos enfoques posmodernos configuran los desarrollos recientes de la teoría crítica.

Michelangelo e Dante : e altri brevi saggi /

Bibliography: p. 439-444.

Report of the United States delegation to the Vienna Diplomatic Conference on Industrial Property : Vienna, Austria, May 17 to June 12, 1973 /

"Within the framework of the Diplomatic Conference, there were three Conferences: (a) the Conference on the Trademark Registration Treaty; (b) the Conference on the Protection to Type Faces and their International Deposit; and (c) the Conference on the International Classification of the Figurative Elements of Marks."

Sublima ristningar : Sökandet efter bronsåldersideologi i hällristningsområden kring Enköping, Norrköping och Skåne

The aim of this study has been to revaluate Bronze Age society using rock art as an archaeological material. It has also sought to question certain prevailing interpretative trends within the research of rock art; ascribing it as ritual practices, expression of a social elite and the adoption of symbols from cultures along the Mediterranean Sea. This has chiefly been made possible through the application of Slavoj Žižeks ideas about the ideological fantasy and the sublime object of ideology. The thesis proposes a connection between art and ideology. A selected sampling of rock carvings from three areas in Sweden has been made in order to further investigate the relationship between different figurative motives both at a regional level, as well as a local. This study claims that rather than having been under the control of an elite, rock art has been accessible for the majority of the population both to produce and view. The depiction of human representation as rock carving does not depict a clear social stratification. It is also argued that the idea of images displayed on the rocks having roots in the imagery of Mediterranean civilizations is a construct of current western ideology, as the symbolic connection between the cultures is tenable at best, according to this study.