Memorándum sobre el proceso del Archiduque Fernando Maximiliano de Austria

UANL

Boletum medicatum : la seta que mató al emperador Claudio.

Resumen en inglés

Leopoldo el ratón de biblioteca o unas cartas especiales.

Se basa en la realización de actividades de lectura y escritura y de uso de la biblioteca como laboratorio de aprendizaje. Para ello, se utiliza como hilo conductor común la mascota del proyecto, el ratón Leopoldo, que deja cartas a los alumnos de los cursos de Infantil y Primaria y les propone pruebas y juegos que tendrán que superar. Se plantean como objetivos utilizar las nuevas tecnologías en los procesos de enseñanza-aprendizaje; potenciar el trabajo en equipo entre los docentes; desarrollar una coordinación vertical en el área de lengua a lo largo de todos los niveles y etapas; mejorar la competencia de los alumnos en el área de lengua; e implicar a las familias en el aprendizaje de la lectoescritura en sus hijos. Se realizan actividades como representaciones de teatro; teatro de sombras; realización de un concurso de lectura; intercambio de libros entre los alumnos; elaboración de fichas resumen de los libros leídos durante el curso; utilización de software específico para mejorar la lectura y escritura; elaboración de cajas de letras y cajas de palabras; elaboración de marionetas; juegos en la biblioteca; visita a la biblioteca municipal; o elaboración de libros para la biblioteca. Todas ellas tienen como nexo común el ratón Leopoldo, para lograr una mayor motivación de los alumnos. Se adjuntan fichas realizadas para las actividades, materiales realizados por los alumnos, un dossier fotográfico, evaluaciones y ejemplos.

Fiestas nupciales en el Madrid de Felipe II.

Material no publicado

II Jornadas de Experiencias Docentes EGB y EEMM : 11, 12, 13 septiembre 1989

Subt??tulo tomado de la cubierta

Bibliotecas escolares : ideas y buenas prácticas II.

Resumen tomado de la publicación

A história do ensino de física no Brasil n o século XIX: as academias militares e o colégio Pedro II

Pós-graduação em Educação para a Ciência - FC

Las joyas y el calzado en las cartas dotales de Lanzarote durante el reinado del último austria

[ES] El siguiente artículo es un extracto de la tesis doctoral titulada ?Las dotes matrimoniales en las Canarias Orientales bajo el reinado del último Austria (1665-1700)? que en la actualidad se encuentra en elaboración. Este proyecto fue dotado con una beca de la Fundación Universitaria y patrocinada por Nogal Metal, empresa sin la cual no hubiese sido posible su elaboración. En esta ocasión hemos decidido centrarnos en las joyas y el calzado de las cartas dotales de la isla de Lanzarote a lo largo de 12 años del reinado de Carlos II. No descubriríamos nada relevante al declarar que la dote matrimonial es un documento de extraordinaria riqueza. Supone la unión de patrimonios y, por tanto, una especie de seguro material para financiar una nueva célula familiar. A la vez, es un elemento vital para refrendar el sacramento del matrimonio. De esta forma, lo sacro y lo profano quedan indisolublemente unidos.

Printed Narrative: The Festival Books for Archduke Ernest of Austria from Brussels and Antwerp 1594

Workshop „The Narrative in Eastern and Western Art“, Graduate School of Letters, Kyoto, 2-5 December 2013 Abstract by Ivo Raband, University of Berne Printed Narrative: The Festival Books for Ernest of Austria from Brussels and Antwerp 1594 During the early modern period the medium of the festival book became increasingly more important as an object of ‘political narration’ throughout Europe. Focusing on Netherlandish examples from the sixteenth and seventeenth centuries, my talk will focus on the festival books printed for the Joyous Entries of Archduke Ernest of Austria (1553–1595). Ernest was appointed Governor General of the Netherlands by King Philipp II in 1593, being the first Habsburg Prince to reside in Brussels since 30 years. In Brussels and Antwerp, the Archduke was greeted with the traditional Blijde Imkomst, Joyous Entry, which dates back to the fourteenth century and was a necessity to actually become the sovereign of Brabant and Antwerp and to uphold the privileges of the cities. Decorated with ephemeral triumphal arches, stages, and tableaux vivants, both cities welcomed Ernest and, at the same time, demonstrated their civic self-assurance and negotiated their statuses. In honor of these events of civic power, the city magistrates commissioned festival books. These books combine a Latin text with a description of the events and the ephemeral structures, including circa 30 engravings and etchings. Being the only visual manifestation of the Joyous Entries, the books became important representational objects. The prints featured in festival books will be my point of departure for discussing the importance of narrative political prints and the concept of the early modern festival book as a ‘political object’. By comparing the prints from Ernest’s entries with others from the period between 1549 and 1635, I will show how the prints became as important as the event itself. Thus, I want to pose the question of whether it would have been possible to substitute a printed version of the event for the actual ceremony.

Collecting the Painted Netherlands: The Art Collection of Ernest of Austria in Brussels

The (art) collection of Archduke Ernest of Austria (1553-1595) is widely unknown when it comes to early-modern Habsburg collections. Ernest, younger brother of Emperor Rudolf II (b. 1552) and educated at the Madrid court, was appointed Governor-General of the Netherlands by King Philip II of Spain, his uncle, in summer 1593. Ernest relocated his court from Vienna to Brussels in early 1594 and was welcomed there with lavish festivities: the traditional Blijde Inkomst, Joyous Entry, of the new sovereign. Unfortunately, the archduke died in February 1595 after residing in Brussels for a mere thirteen months. This investigation aims to shed new light on the archduke and his short-lived collecting ambitions in the Low Countries, taking into account that he had the mercantile and artistic metropolis Antwerp in his immediate reach. I argue, that his collecting ambitions can be traced back to one specific occasion: Ernest’s Joyous Entry into Antwerp in June 1594. There the archduke received a series of six paintings of Pieter Bruegel the Elder (1525/30-1569) known as The Months (painted in 1565), hanging today in separate locations in Vienna, New York and Prague. These works of art triggered Ernest’s collecting ambitions and prompted him to focus mainly on works of art and artefacts manufactured at or traded within the Netherlands during the last eight months of his lifetime. Additionally, it will be shown that the archduke was inspired by the paintings’ motifs and therefore concentrated on acquiring works of art depicting nature and landscape scenes from the 1560s and 1590s. On the basis of the archduke’s recently published account book (Kassabuch) and of the partially published inventory of his belongings, it becomes clear that Ernest of Austria must be seen in line with the better-known Habsburg collectors and that his specific collection of “the painted Netherlands” can be linked directly to his self-fashioning as a rightful sovereign of the Low Countries.

The Forgotten Archduke: The Funeral Monument for Ernest of Austria in Brussels

Archduke Ernest of Austria (1553–1595), second son of Emperor Maximilian II and younger brother of Emperor Rudolf II, was in his youth a possible candidate for the thrones of the Empire or the Spanish Kingdom. Instead, he became Governor-General of the Netherlands in 1593 and relocated to Brussels in 1594 where he was welcomed with lavish festivities as the bearer of hope and prosperity. Unfortunately, Ernest died only thirteen months later without having achieved any political success. His brother and successor Albert of Austria commissioned the funeral monument for Ernest in 1600 after it was settled that he would be buried in Brussels and not Vienna. Focusing on this monument, which draws stylistically from various dynasty-related models, it will be shown that Albert intended to use this monument – and thus his brother’s memoria – to make the Brussels Cathedral the primary location of Habsburg dynastic memory in the Low Countries.

Digital surface model, hillshade and Lambertian reflectance model of the rock glaciers Oelgrube and Aeusseres Hochebenkar (Oetztal Alps, Tyrol, Austria)

With full-waveform (FWF) lidar systems becoming increasingly available from different commercial manufacturers, the possibility for extracting physical parameters of the scanned surfaces in an area-wide sense, as addendum to their geometric representation, has risen as well. The mentioned FWF systems digitize the temporal profiles of the transmitted laser pulse and of its backscattered echoes, allowing for a reliable determination of the target distance to the instrument and of physical target quantities by means of radiometric calibration, one of such quantities being the diffuse Lambertian reflectance. The delineation of glaciers is a time-consuming task, commonly performed manually by experts and involving field trips as well as image interpretation of orthophotos, digital terrain models and shaded reliefs. In this study, the diffuse Lambertian reflectance was compared to the glacier outlines mapped by experts. We start the presentation with the workflow for analysis of FWF data, their direct georeferencing and the calculation of the diffuse Lambertian reflectance by radiometric calibration; this workflow is illustrated for a large FWF lidar campaign in the Ötztal Alps (Tyrol, Austria), operated with an Optech ALTM 3100 system. The geometric performance of the presented procedure was evaluated by means of a relative and an absolute accuracy assessment using strip differences and orthophotos, resp. The diffuse Lambertian reflectance was evaluated at two rock glaciers within the mentioned lidar campaign. This feature showed good performance for the delineation of the rock glacier boundaries, especially at their lower parts.