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Dissertations / Theses on the topic 'Alhambra'
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Sewell, Frankie. "Extending the Alhambra : four modern Irish poets." Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267793.
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De, Klerk Marianne Magdalena 1970. "Historicizing the landscape : recovering the aesthetics of the Alhambra." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/65725.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture; and, (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2001.Includes bibliographical references (leaves 123-126).
The thesis explores the conception and evolution of the Alhambra as a monument during the 19th and 20th centuries. The contemporary monument encompasses a vast landscape complex saturated by nine hundred years of continuous occupation. The fragmented form of the palace complex, adapted and reconstructed for centuries, achieved coherence through the reification of tropes celebrating the landscape in 19th century travel literature. Travel was a contemplative practice of decomposing and recomposing the landscape through literature and visual representation. Travelers attempted to recapture and reconstruct a coherent image of the palace complex through the documentation and reconstruction of an imagined original. The aesthetic revival of the mythical productive landscape that once enfolded the Alhambra dominated the experience, hence the desire to recapture - and if necessary reconstruct - the landscape of the past is always present in the literature and the restoration and conservation projects of the last two centuries. Conservation projects were accompanied by the restoration of historic gardens, the design of new gardens, the symbolic revival of the famed irrigation system of the Muslims and the spatial organization of the monumental complex to accommodate its new central function as one of the world's primary tourist destinations.
by Marianne Magdalena de Klerk.
M.C.P.
S.M.
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Makki, Farah. "L'épigraphie de l'Alhambra : de l'usage fonctionnel à la réception esthétique." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0114.
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Cette recherche contribue à un discours dans l'art, rarement abordé, sur les qualités spatiales et sensibles enclines à surgir de l'emploi architectural des belles écritures. L'étude des palais de l'Alhambra expose une véritable expérience physique où la curiosité des visiteurs s'attise devant une mise en scène graphique qui recouvre programme social et mécanisme de mise à l'épreuve visuelle. Considérant des fonctions méconnues (calliphore, métaphore, formant ou agent), l'expérience esthétique de la belle écriture arabe, sa forme et sa raison d'être sont étudiées au prisme de l'histoire sociale, de la phénoménologie esthétique et du domaine des ambiances. L'approche traditionnelle de la simple utilité textuelle est ainsi reléguée pour inscrire la pratique ornementale de l'écrit au sein d'un réseau de relations entre agents et récepteurs. Le travail élucide un ancrage social ainsi qu'une métaphorisation des compositions graphiques renvoyant à l'héritage matériel et immatériel de l'Islam médiéval. L'analyse formelle de ces signes d'identité culturelle livre une approche artistique inédite de la représentation du réel, qui échappe aux restrictions d'une culture méprisant la figuration, et qui construit un champ d'expérimentation visuelle motivant l'engagement esthétique. Une expérience par laquelle le sujet percevant, arabophone ou non arabophone, saisirait le « Genius loci » relatif à l'onirisme de la résidence princière. L'étude défend ainsi l'existence d'une intentionnalité nasride qui œuvrerait à l'élévation d'une architecture susceptible de « faire histoire ». Un récit dont le sens se renouvelle à travers la perception, où l'épigraphie agirait comme intermédiaireThis research contributes to a rarely broached discourse in the history of art on the spatial and perceptible qualities that stem from the architectural use of calligraphy. The study of the Alhambra palaces describes a real physical experience in which visitors' curiosity is stimulated by the writings' scenography originally conceived as a social program and a tool for visual experimentation. Highlighting underestimated functions, such as metaphor, phenomenological texture or agent, the aesthetic experience of the Arabic epigraphy, its patterns and concepts arc studied in the light of social history, aesthetic phenomenology, and ambiance studies. An emphasis on the place that ornamental practice of writing occupies within a network of relations between agents and perceivers is preferred to the traditional approach centered on a strict textual function. The work argues for a social inscription as well as a metaphorization of the graphic compositions in reference to the material and immaterial heritage of Medieval Islam. The visual analysis of these signs of cultural identity opens a new artistic approach that bypasses the limitations of a culture disadvantaging figurative representation. Nasrid practice creates, rather, a field of visual experience motivating the aesthetic engagement of beholders, Arabs or foreigners: a process, which supports the perception of the residence's "Genius loci ". The study advocates, therefore, the existence of a Nasrid ambition to build a narrative architecture that favors the renewal of key concepts through the visitors' perceptions, by the means of epigraphy's aesthetic mediation
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Roelle, Jenna Rose. ""That romantic fortress" : British depictions of the Alhambra, 1815-1837 /." Thesis, Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/10025.
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Noujaim-Le, Garrec Souraya. "Poétique des palais nasrides de l’Alhambra : parcours, lecture, symboles." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100021.
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A la fin du XIIIème et au XIVème siècle, s’est développé, sur les murs des palais nasrides de l’Alhambra de Grenade, un art de l’épigraphie d’une variété extrême, combinant virtuosité plastique, qualités visuelles, message poétique et politique. Bandeaux, frises et médaillons inscrits, structurent le programme ornemental des palais. Aux inscriptions votives se mêlent des calligrammes dont les lettres, adossées à un fin réseau sculpté d’entrelacs végétaux, génèrent des silhouettes architecturées. S’y ajoutent des poèmes, sculptés sur les murs, indissociables du pouvoir qu’ils soutiennent.A l’Alhambra la parole devient construction, les mots eux-mêmes se transforment en structures imaginaires : façonnant le mythe, ils constituent le socle d’une dynastie culturellement brillante mais en perte de puissance. Œuvres de trois vizirs poètes, Ibn al-Jayyab, Ibn al-Khatib et Ibn Zamrak, ces poésies sultanesques, qasa’id sultaniya, exaltent, sous la forme de panégyriques, la grandeur de la dynastie nasride. Ils affirment la mission des souverains et célèbrent en images exaltées la majesté du lieu : c’est un exemple unique dans l’art ornemental arabo-islamique. Ils rassemblent, de manière synthétique, des renseignements sur les problématiques soulevées par le corpus épigraphique. Pour autant, ce travail ne prétend pas être exhaustif. Il veut plutôt explorer et présenter, sous la forme de bilan analytique, le programme ornemental des palais, suivre le fil conducteur d’une approche contextuelle historique et artistique, voire psychologique, contribuer à l’analyse des liens qui unissent données littéraires et poétiques, symbolisme décoratif et leurs antécédents préislamiquesFrom the late thirteenth and especially fourteenth century, grew on the walls of the Nasrid palaces of the Alhambra of Granada, a scriptural art of great variety, combining plastic virtuosity, visual qualities, poetic and political messages. Bands, epigraphic friezes and medallions underline the ornamental program of the palaces. The votive inscriptions are mingled with calligrams whose letters, backed by a fine carved network, generate architected silhouettes of plant-like interlacing Added to this poems, carved into the walls, closely linked to the power it underlines. Thus speech becomes construction and the words themselves also become imaginary buildings: therefore constituting the basis for a dynasty culturally brilliant while politically in decline.Works of three viziers poets of the end of the Nazari dynasty, Ibn al-Jayyab, Ibn al-Khatib and Ibn Zamese “sultanistic” poems qasa'id Sultaniya exalt in form of eulogies the greatness of the dynasty. They claim the religious mission of Nasrid sovereigns and celebrate through exalted images the majesty of the place representing a unique example in the Arab-Islamic ornamental art.Inseparable from the architecture they adorn, thirty poems were specially written and inscribed on the walls of the Alhambra with certain texts tracing the origin to now extinct palaces of the XIth century. They bring together, in summary form, information on the issues raised by the epigraphic corpus. However, this work does not claim to be exhaustive. It rather wants to explore and expose, in the form of an analytical assessment, the decorative program of the palace, following the thread of a historical and artistic, even psychological, contextual approach, contribute to the analysis of the links between literary and poetic facts, decorative symbolism and their pre-Islamic origins
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Perez, Avendano Carlos L. "Meaning in Islamic architecture : an analysis of the Alhambra at Granada." Thesis, University of Portsmouth, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384889.
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Ibn, al-H̲aṭīb Muḥammad ibn ʻAbd Allâh Casciaro Ramírez José María Molina López Emilio. "Historia de los reyes de la Alhambra : El resplandor de la luna llena /." Granada : Universidad de Granada, 1998. http://catalogue.bnf.fr/ark:/12148/cb37696402g.
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Texte remanié de: Tesis doctoral--Universidad de Madrid, 1949 de José María Casciaro Ramírez.Mention parallèle de titre ou de responsabilité : Al-lamḥa al-badriyya. Trad. espagnole seule. Bibliogr. p. 151-155. Index.
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Eggleton, Lara Eve. "Re-envisioning the Alhambra : readings of architecture and ornament from medieval to modern." Thesis, University of Leeds, 2011. http://etheses.whiterose.ac.uk/1736/.
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The Alhambra, a medieval Islamic palatine city located in Granada, Spain, is examined in this thesis as the product of material transformations and changing visual perceptions over time. Selected areas of the Nasrid palatial complex (1238-1492) are explored within the context of their production, their later alterations under Christian rule, and in relation to the interpretations of British travellers, historians, designers and enthusiasts throughout the long nineteenth century. Through the formation of individual and collective identities, responses to cultural difference, and an active engagement with the past, the Alhambra grew to become a commemorative monument of multiple and interrelated histories. In addressing the overlapping structural and ornamental layers which make up its form, this study challenges the historiographic limitations of categories such as 'medieval' and 'modern', as well as formal categories such as 'ornament' and 'architecture', which render some art histories more visible than others. A series of case studies examine the conditions that allowed for its reshaping, and the variety of ways its hybrid spaces have been re-envisioned. Chapters one and two focus on the visual manifestations of political agendas across both Muslim and Christian periods of rule, and challenge the application of binary models of influence and conflict to the periods leading up to and following the conquest of Granada in 1492. Subsequent chapters address nineteenth-century perspectives, revealing the perceptual frameworks that informed different impressions of the monument for popular and critical audiences. Descriptions and representations are discussed in accordance with Romantic visualising tropes such as the Gothic and the Sublime, and the Alhambra is situated within debates over national identity and technological progress during the Great Exhibitions of the mid-century. The Alhambra is thus understood both in terms of its cumulative value, and its individual layers of meaning that belong to plural histories and trajectories of influence.
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Decléty, Lorraine. "L'Alhambra : le rêve de l'Europe : étude comparée de l'orientalisme en France et en Allemagne au XIXe siècle." Technische Universität (Dresde, Allemagne). Philosophische Fakultät, 2008. http://www.theses.fr/2008EPHE4016.
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Ce travail entreprend l'étude de l'architecture orientaliste, genre architectural européen qui plonge ses racines dans l'exotisme du XVIIIe siècle et s'en émancipe au cours du XIXe siècle. La comparaison de ses manifestations architecturales en France et en Allemagne, pays dont les histoires politiques, économique, sociale et plus encore coloniale diffèrent grandement, permet de saisir la sémantique polysémique de ce style. Cette recherche s'efforce de reconstituer, de façon chronologique, les conditions de l'élaboration, les modalités de l'épanouissement de ce style et la diversité des fonctions sociales et symboliques qui lui sont attribués par les contemporains. Pour cela, l'étude des discours discurifs et visuels produits tout au long du XIXe siècle sur l'architecture islamique, source de l'orientalisme, constitue le point de départ du travail. Elle révèle l'existence d'un imaginaire européen de ces architectures étrangères peu à peu dévoilées au public qui marque profondément la définition de l'orientalisme. L'orientalisme apparaît ainsi comme l'association de deux conceptions de l'Orient: un Orient rêvé, fantasmagorique, identique dans les deux pays et se nourrissant des formes de l'Alhambra; et un Orient présent, connu et convoité, étroitement lié à l'impérialisme européen et revêtant des formes distinctes en France et en Allemagne. Ce style s'apparente enfin à un instrument culturel élaboré par différents groupes sociaux (d'abord l'aristocratie puis, de façon croissante la bourgeoisie des deux pays) en réaction aux grandes mutations du siècleThis research aims to examine the orientalist architecture as a european architectural style, which style is rooted in the exotism of the 18th century and has flourished in the 19th century. The comparison of its architectural outputs in France and Germany - countries with very different political, economic, social and colonial histories - allows to capture the polysemic semantics of this style. This thesis endeavours to relate, in a chronological manner, the conditions of development and blooming of this style, as well as the range of its social and symbolic functions that contemporaries have attributed. The starting point of the research looks at the study of discursive and visual discussions about islamic architecture - the foreign architectures, slowly unveiled to the public, which strongly influences and inspires the definition of Orientalism. Therefore, orientalism represents the connection of two conceptions of Orient: a dream orient, fantasmagoric, identical in both countries and shaped by the features of the Alhambra; and a real orient, known and desired, linked to the european imperialism and displaying different characteristics in France and Germany. Finally, this style is a cultural means, elaborated by different social groups first aristocracy, then bourgeoisie in both countries) in response to the century's changes and mutations
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Carter, Alexandra. "'Winged and shivering' : images of dancers in the Alhambra and Empire ballets, 1884-1915." Thesis, University of Surrey, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335637.
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Ramírez, E. Verónica. "LA ALHAMBRA, COMO ESPACIO NARRADO EN LA LITERATURA EPISTOLAR DE TRES VIAJEROS ROMÁNTICOS DEL SIGLO XIX." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/108507.
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Después de haber conocido a un gran número de viajeros del siglo XIX, nos pareció interesante estudiar a Prosper Mérimée, a Joséphine de Brinckmann y a Albert Edelfelt. Al primero, por ser un conocido autor francés, y por ende, sumamente estudiado en varias de las clasificaciones que conocimos; a Mme. de Brinckmann, por pertenecer a una minoría femenina entre la abundante masa de viajeros de la época; y a Albert Edelfelt, por provenir de un país lejano, Finlandia, y porque apenas aparece mencionado en los estudios de viajeros por el sur de España de ese tiempo. Intentamos con esta elección, evitar cualquier tipo de categorización, y comenzar nuestro estudio con un acercamiento individual respecto a cada obra. Aún así, no pudimos desprendernos de algunas coincidencias entre los tres viajeros, como que todos ellos eran franceses o estaban sumamente ligados a Francia, como el caso de Edelfelt; además, los tres vivieron en un período de la historia europea, en que imperaba un cierto “estado de ánimo” que todos compartieron en diferentes grados: el Romanticismo. Por último, estos tres autores expresaron sus ideas en una serie de cartas. Por lo tanto, nuestros viajeros se enfrentarían al mundo, y expresarían éste, desde una perspectiva más o menos común. De allí, entonces, el título de esta investigación, el cual no se pudo librar de una de las tantas clasificaciones; en este caso: la de “Viajeros románticos del siglo XIX”.
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Vicente, Beaufils Bénédicte. "L'expression de la culture de l'eau dans l' Alhambra : poids de la réalité et pouvoir de l'imaginaire." Phd thesis, Université Rennes 2, 2008. http://tel.archives-ouvertes.fr/tel-00401425.
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A Grenade comme dans toute la Péninsule, l'Alhambra se révèle, incontestablement, comme l'expression la plus aboutie de la culture musulmane de l'eau. Inspirés des plus grandes civilisations antérieures, les Nasrides sont effectivement parvenus à compléter ce legs ancestral pour le transformer en une véritable culture de l'eau en Espagne ; il leur fallait pour cela non seulement une implication dans la vie quotidienne et religieuse des habitants, mais également au niveau architectural, par le biais de l'esthétisme et du ludisme. Ce fait étant établi, il est intéressant de se pencher plus avant sur l'héritage de cette culture au sein de l'Alhambra. Car force est de constater que ce legs, aujourd'hui, revêt deux aspects distincts. Bien entendu, il nous faut le considérer en termes matériels puisque cette culture s'exprime encore de nos jours pleinement dans l'architecture même des palais et jardins du joyau nasride de Grenade. Mais nous ne pouvons ni ne devons oublier que cette culture s'est également longtemps exprimée à travers le domaine de l'imaginaire, parfois même en dehors et au détriment de cette réalité matérielle et historique du monument. En ce sens, il nous semble important de nous interroger sur le pouvoir de ces deux héritages de la culture nasride de l'eau aujourd'hui, et leur dimension respective dans les mentalités actuelles concernant l'Alhambra.
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Ibn-al-Jaṭīb, Mohammed Casciaro Ramírez José Maria Molina López Emilio. "Historia de los reyes de la Alhambra : el resplandor de la luna llena (Al-Lamḥa al-badriyya) /." Granada : Ed. Univ. de Granada y Legado Andalusí, 1998. http://www.gbv.de/dms/sub-hamburg/252659104.pdf.
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Johnson, Andrea M. "Incongruous Conceptions| Owen Jones's "Plans, Elevations, Sections and Details of the Alhambra" and British Views of Spain." Thesis, University of South Florida, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076071.
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This thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives.
Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.
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Johnson, Andrea Marie. "Incongruous Conceptions: Owen Jones’s Plans, Elevations, Sections and Details of the Alhambra and British Views of Spain." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6101.
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This thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives.
Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.
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Zamarchi, Alice. "Proposta di traduzione dell’albo illustrato Cuento de la Alhambra di Carmen Gil: Al-Ándalus raccontata ai bambini e alle bambine." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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Il presente elaborato presenta la proposta di traduzione dell’albo illustrato Cuento de la Alhambra (2010) scritto da Carmen Gil e illustrato da Víctor Escandell. Il primo capitolo propone una riflessione sulla letteratura per l’infanzia, in particolare sull’albo illustrato e sulla creazione di una traduzione priva di stereotipi. Nel secondo capitolo, si analizza il testo originale per quanto riguarda forma, contenuto e riferimenti culturali, come l’Alhambra, il Sultanato di Granada e la figura peculiare del duende nella cultura spagnola. Il terzo capitolo è la traduzione vera e propria dell’albo in italiano con testo originale a fronte. Il quarto capitolo propone un commento al processo e alle strategie traduttivi: in esso, si elencano le soluzioni alle difficoltà traslative date dai riferimenti culturali, come i nomi propri dei luoghi dell’Alhambra, gli elementi della cultura islamica e il personaggio del duende. L’elaborato si conclude con alcune indicazioni per chi si approccia alla traduzione di un albo illustrato per bambini e bambine.
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Badenhorst, Ursula. "The language of gardens: Ibn al-‘Arabi’s barzakh, the courtyard gardens of the Alhambra, and the production of sacred space." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13083.
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Includes bibliographical references.The aim of this thesis is to propose a multi-layered and interdisciplinary understanding of space by focussing on the courtyard gardens of the Alhambra. By presenting a theoretical conversation on the Sufi notion of the barzakh (an intermediary and relational space) between the premodern Muslim mystic Ibn al-Arabi and contemporary western theorists concerned with space, movement and aesthetics, such as Louis Marin, Henri Lefebvre, Tim Ingold and Martin Seel, this thesis offers an original contribution to the spatial analysis of religion as embodied in the architecture, gardens, and imagination of the Alhambra. Emphasising the barzakh’s role in the interplay between presence and meaning this thesis also draws attention to the dialogue between self as spectator and the garden as spectacle. Through this dialogue, Ibn al-Arabi‘s concept of the barzakh , which he developed in terms of ontology, epistemology and hermeneutics, is investigated and analysed in order to identify a theory of knowledge that relies on the synthesis between experience and imagination. The union of meaning and presence afforded by the intermediary quality of the barzakh is further demonstrated in the physical, imaginative and virtual worlds of the courtyard gardens of the Alhambra. Viewing the Alhambra palaces and gardens in terms of Ibn al-Arabi‘s barzakh, they produce their own language, a showing ‖ of their outer and inner movements, which prompts and provokes the spectator to participate in a poetical and creative encounter. Seen as a barzakh, these gardens put space into movement.
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Smith, Ferrer Marjorie. "Seducciones narrativas: la Alhambra como un Paraíso Terrenal. El Monumento Escritural de Washington Irving: Apreciaciones de un Contemplador y Explorador Socio Cultural." Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/108973.
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Tesis para optar al grado de Magíster en Literatura mención Literatura generalEl presente trabajo tiene por objetivo ahondar en la narrativa de Washington Irving, en la obra Cuentos de la Alhambra para observar cómo la narración busca reconstruir una imagen cultural, social e histórica que surge de la contemplación de otra imagen: la Alhambra. Ahora bien, esta imagen socio-cultural e histórica, que emerge del acto de exploración que Irving realiza en la Alhambra, se concretiza como un tejido de imágenes, es decir, como imágenes textuales.
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Wall, Navarro Simonne. "Evocación transcultural : el palacio La Alhambra de Santiago como ícono del alhambrismo neoárabe en la arquitectura chilena en la década de 1860." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/172726.
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Riggi, Simona. "Un approccio etnomatematico alla didattica: i gruppi cristallografici dell’Alhambra." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15897/.
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Obiettivo di questo lavoro è indagare gli effetti dell’etnomatematica sull’apprendimento della matematica in contesto scolastico e il valore formativo di tale approccio. L’etnomatematica studia le pratiche matematiche, come ad esempio contare, misurare e rappresentare la realtà, utilizzate dai diversi gruppi socio-culturali. Una didattica della matematica basata sull'approccio proposto in questa tesi crea momenti di riflessione sulla natura della matematica e sullo sviluppo di tale disciplina in relazione alla storia. Fondamentale in una società sempre più multietnica è inoltre ragionare sulla cultura, costituita in parte dalle pratiche matematiche, e sulla diversità.
Nella prima parte della tesi si descrivono i principi alla base dell'etnomatematica e si danno alcuni esempi di ricerche di tipo etnomatematico. Nella parte centrale si analizzano nel dettaglio i gruppi cristallografici presenti nei mosaici dell’Alhambra di Granada, in Spagna. Questo è un caso in cui i concetti matematici sono intrinsecamente presenti nell'arte. Tra le splendide decorazioni di questo monumento, frutto della cultura araba, sono stati infatti realizzati tutti e diciassette i gruppi cristallografici piani. Dopo un approfondimento sui concetti matematici, viene proposto un progetto didattico multidisciplinare, pensato per il Liceo scientifico, che ruota attorno all'Alhambra. Segue la descrizione dettagliata dei contenuti della parte matematica e della realizzazione effettuata di tale parte in quattro classi (due seconde, una terza e una quinta). Durante la lezione è stato utilizzato un'approccio etnomatematico: i concetti matematici sono stati introdotti dopo aver parlato del contesto storico. La tesi si conclude con l'analisi dei risultati di due questionari somministrati in aula (prima e dopo l'attività) al fine di indagare le concezioni degli studenti sulla matematica, in particolare riguardo alla sua natura e al suo rapporto con la cultura.
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Moosa, Mustaq H. "Light as the manifestation of the concept of unity in the sacred built form of Islam : a study with reference to the Alhambra, Granada, Spain." Kansas State University, 1995. http://hdl.handle.net/2097/36117.
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Law, Peter Z. "Traveling Theater." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/31774.
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This thesis proposes that architecture has the potential to organize experience through its sensory effects and that the body is the fundamental link between experience and the imagination.
The project in this thesis is a traveling theater. It was inspired by an interest in the intersection between architecture and contemporary theater. The theater borrows elements from traditional theaters and street theater in an effort to establish a separation between actor and spectator while also encouraging exploration of that basic theatrical relationship. There were three fundamental moves in the theater: the cubic volume; the siting and decision to travel; and the separation of the structure and skin. Each of these was a starting point for sensory effects explored in the theater.Master of Architecture
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Vicente, Beaufils Bénédicte. "L’expression de la culture de l’eau dans l’Alhambra : poids de la réalité et pouvoir de l’imaginaire." Rennes 2, 2008. http://tel.archives-ouvertes.fr/tel-00401425/fr/.
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A Grenade comme dans toute la Péninsule, l’Alhambra se révèle, incontestablement, comme l’expression la plus aboutie de la culture musulmane de l’eau. Inspirés des plus grandes civilisations antérieures, les Nasrides sont effectivement parvenus à compléter ce legs ancestral pour le transformer en une véritable culture de l’eau en Espagne ; il leur fallait pour cela non seulement une implication dans la vie quotidienne et religieuse des habitants, mais également au niveau architectural, par le biais de l’esthétisme et du ludisme. Ce fait étant établi, il est intéressant de se pencher plus avant sur l’héritage de cette culture au sein de l’Alhambra. Car force est de constater que ce legs, aujourd’hui, revêt deux aspects distincts. Bien entendu, il nous faut le considérer en termes matériels puisque cette culture s’exprime encore de nos jours pleinement dans l’architecture même des palais et jardins du joyau nasride de Grenade. Mais nous ne pouvons ni ne devons oublier que cette culture s’est également longtemps exprimée à travers le domaine de l’imaginaire, parfois même en dehors et au détriment de cette réalité matérielle et historique du monument. En ce sens, il nous semble important de nous interroger sur le pouvoir de ces deux héritages de la culture nasride de l’eau aujourd’hui, et leur dimension respective dans les mentalités actuelles concernant l’AlhambraIn Granada, just like in the whole peninsula, Alhambra is definitaly the most advanced expression of Muslim water culture heritage. Inspired by previous generations, the Nasride people has modified this tradition into a real Spanish water culture tradition. To do so, it had to penetrate inhabitants everyday and religious life, as well as to influence architecture through estheticism and fun. That being said, one should take a closer look into the heritage of that culture within Alhambra, as this heritage has nowadays two different aspects. On the one hand, those should be considered from a material point of view, as the study of the architecture of the palaces and gardens of nasride jewel of Granada will reveal its influence. But on the other hand, one can not and one should not forget that that culture has strongly expressed itself in the imaginary of the local people, sometimes even against its contemporary material and historical reality. With those two aspects in mind, it is important to us to question not only the power of both of those heritages on today’s nasrid culture of water, but also the influence of each heritage in contemporary people relationship with Alhambra
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Raya, Retamero Salvador. "La ciudad de Alhama de Granada y sus alquerias : Arenas, Cacín, Fornes, Játar y Jayena en los siglos XV-XVIII /." Benalmádena (Málaga) : Caligrama, 2001. http://catalogue.bnf.fr/ark:/12148/cb388864409.
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Texte en parti issu de: Tesis doctoral--Faculdad de filosofía y letras--Universidad de Granada. Titre de soutenance : la configuración de una ciudad castellana en el reino de Granada. Alhama (siglos XV-XVII).Bibliogr. p. 534-558.
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Arjona, Esteban Alhama [Verfasser], and Frank [Gutachter] Würthner. "Merocyanine Dyes as Organic Semiconductors for Vacuum-processed Solar Cell and Transistor Devices / Alhama Arjona Esteban ; Gutachter: Frank Würthner." Würzburg : Universität Würzburg, 2016. http://d-nb.info/1127528750/34.
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Gómez, Novell Octavi. "Paleoseismic transect across the Alhama de Murcia Fault and implications of a fault-based seismic hazard assessment for the Eastern Betics." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/673628.
Full textAbstract:
The Eastern Betics Shear Zone (EBSZ) is one of the most active fault systems in SE Spain. It has caused damaging earthquakes in historical times, including the 2011 Lorca earthquake, which evidenced that the regional hazard estimations needed revision. In this context, the available fault data is usually too local and, for some faults, reliable and representative parameters are still lacking. Such heterogeneity has usually hampered seismic hazard models based on geological data.
This thesis aims to be a comprehensive study allowing to: i) complete the paleoseismic record and parameters of one of the most active faults in the EBSZ, the Alhama de Murcia Fault (AMF), and
ii) include fault data in a probabilistic seismic hazard assessment (PSHA). The study is thus divided in two main parts. (A) a local study presenting a structural characterization and integral paleoseismic study in four sites across a complete transect of the AMF. (B) a regional fault-based PSHA of the EBSZ with the main faults as inputs to define complex fault rupture scenarios using the SHERIFS code.
A) The structural characterization has been carried out in the two central segments of the AMF, Lorca-Totana and Totana-Alhama. In the former, five fault branches are identified with partitioning of the deformation. From N to S: N1-AMF (lateral), N2a and b-AMF (dip slip), S-AMF (lateral) and F-AMF (dip slip). The Totana-Alhama segment shows more diffuse deformation, where the most prominent structure is the Amarguillo Fault (AF), a N-S transtensional ramification. The paleoseismic survey has been carried out in eight paleoseismic trenches across four fault branches of the Lorca-Totana segment. We obtained one of the completest paleoearthquake records in Iberia with seventeen events for the last ~100 ka in S-AMF. The recurrence varies from 5.7±1.7 to 3.1±1.4 kyr for the last 73-18 ka in S-AMF and F-AMF. The time compatibility of the last five events in these branches suggests that they could rupture synchronously. The total net slip rate of the segment since 18 ka is 1.55 +0.14/-0.18 mm/yr, considerably higher than previous estimations. The slip rate evolution shows fluctuations over time
(super-cycles), some of which coincide with patterns identified in nearby faults, inferring possible activity synchronicities.
B) The fault-based PSHA suggests that multi-fault ruptures involving lengths of single to several whole faults of the EBSZ are feasible, contrary to the rupture of the whole system (~400 km). The hazard shows a clear control of the EBSZ faults, increasing the accelerations close to their traces with respect to area source PSHAs. The seismic hazard is dependent on the slip rates, as lower slip rate faults (Palomares fault; PF, or NE end of AMF) have negligible contribution. Our results for the 475-year return period are also more consistent with the accelerations reached in the 2011 Lorca event than the building code or national hazard map. For some faults, the lack of detailed paleoseismic studies can compromise the reliability of the hazard. This is a key discussion in the present study, marking the need for better constrained and reliable slip rates in the EBSZ.
The integral paleoseismic study of the AMF has revealed to be a crucial step towards a more representative characterization of its paleoseismic parameters (slip rates, recurrence), and thus, of the EBSZ. Acquiring refined and reviewed paleoseismic data is key to improve seismic hazard evaluations. Hereby, further research should focus on poorly researched faults and on performing integrative studies in other EBSZ faults. The comprehensive approach followed, from paleoseismic data collection to PSHA, contributes to perform more critical interpretations of the seismic hazard, and aims to serve as a case example for other low-to-moderate seismicity regions.La Zona de Cisalla de les Bètiques Orientals (ZCBO) és un dels sistemes de falles més actius del SE d’Espanya. Malgrat això, en aquesta zona les estimacions de perillositat sísmica rarament utilitzen dades de falles degut a que aquestes son sovint massa locals i poc acotades. En aquest context, la present tesi pretén ser un estudi exhaustiu que A) completi el registre paleosísmic i la representativitat dels paràmetres sísmics de la falla d’Alhama de Murcia (FAM), una de les més actives de la ZCBO, i B) porti a terme una avaluació probabilista de la perillositat sísmica (PSHA) de la ZCBO basada en dades geològiques de falles. A) La caracterització de la FAM ha permès obtenir dades paleosísmiques en quatre de cinc branques de falla que conformen un transsecte gairebé complet del segment central (Lorca- Totana). S’ha identificat un dels registres paleosísmics més complets de la Península Ibèrica amb disset paleoterratrèmols pels últims 100 ka. La recurrència d’aquests varia de 5.7±1.7 a 3.1±1.4 ka pels últims 73-18 ka i la seva compatibilitat temporal entre branques suggereix que les ruptures conjuntes son factibles. La velocitat de desplaçament neta total és de 1.55 +0.14/-0.18 mm/any pels últims 18 ka, malgrat aquesta ha presentat variacions cícliques almenys des del Pleistocè Superior també observades en d’altres falles de la ZCBO. B) El PSHA suggereix que les ruptures multi-falla que impliquen longituds d’una o varies falles completes son factibles a la ZCBO. En base a això, l’anàlisi portat a terme indica que les falles de la ZCBO dominen la perillositat a les àrees properes, incrementant considerablement els valors d’acceleració respecte a estudis previs que no consideren falles. Tot i això, les acceleracions son altament dependents de la velocitat de desplaçament de les falles, i en alguns casos, la manca d’estudis paleosísmics detallats por comprometre la fiabilitat dels models de perillositat. Cal doncs, focalitzar la futura recerca en aquestes falles menys estudiades. L’enfocament integral que s’ha seguit aqui, des de la recopilació de dades paleosísmiques fins al PSHA, contribueix a realitzar interpretacions més crítiques de la perillositat sísmica i pretén servir d’exemple per d’altres regions de sismicitat baixa-moderada.
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Tseng, Mei-chi, and 曾美琪. "The Influence of Bilingual Education on American Ethnic Groups- Case Study: Alhambra District." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/87237337309936691328.
Full textAbstract:
碩士淡江大學
美國研究所
85
It has been almost thirty years since the first Bilingual Education Act set up in 1968. The original purpose of the bilingual education is to help ethnicgroup students whose English are linited-proficient (LEP students) to keep schooling while learning English. Some scholars admire that the bilingual education is the best way to help LEP students get knowledge and learn English,but some scholars regard it as the obstacle to the ethnic groups'' assimilation. This thesis analyzes the real situation the bilingual education practiced in the US, and the arguments and problems it has. With these discussions we can know what makes this program get the two opposite comments, and then give some suggestions to improve this program. Chapter One is the introducation in this study. Chapter Two introduces thedefinition of American bilingual education, the programs and the arguments theyhave in the US. Chapter Three analyzes the importance schooling and English areto ethnic group students. Chapter Four is a case study of Alhambra District. Chapter Five analyzes why the bilingual education is in a difficult position. Chapter Six is the conclusion.
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Krulová, Tereza. "Propojení žánrů společenského románu a fantazy na příkladu tvorby Kirsten Boie. Didaktická adaptace románu "Alhambra"." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-349455.
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Thesis covering topic of Linking social novel and fantasy on an example of Kirsten Boie. Didactic adaptation of the novel "Alhambra" deals with the use of literature in foreign language teaching. The theoretical part discusses its overall contribution to the development of key skills of mastering a foreign language for a student, on the conditions and rules for its use in class. Literature used in class may represent a new source of information about the target language and society that uses it, so it can be used also for multicultural education and with cross-subject projects. The second part deals with the personality of Kirsten Boie and her art, especially the novel "Alhambra" and its theoretical and practical specifics, including a possible contribution to the lesson. In this part an alternative educational material was created, which alone represents a new impetus and a change in the method of teaching for pupils and teachers. Theme and stylistic style of social novel "Alhambra" with historical and fantasy elements doesn't resemble a classic-sounding articles in textbooks, it is thematically attractive for students and arouses curiosity and motivation to read it. Work with the alternative material will deepen not only their foreign language knowledge and skills, but it will gain a new...
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Santos, Maria Sofia Teixeira Gomes dos. "Porta Nova da Alhambra: Das razões profundas do projecto no tempo longo do processo de criação arquitectónica." Doctoral thesis, 2018. https://repositorio-aberto.up.pt/handle/10216/117512.
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No âmbito do Concurso internacional de ideias para o novo Átrio da Alhambra, organizado entre2010 e 2011 pelo Patronato de la Alhambra y Generalife, Álvaro Siza e Juan Domingo Santosdesenvolveram o projecto para a Porta Nova. O projecto e o processo criativo constituem oobjecto de estudo e o tema da presente tese de Doutoramento. A escolha do caso seguiu aintuição de que um projecto elaborado para um lugar como a Alhambra de Granada, cidadepalatina absolutamente densa de referências e construída num tempo longo de confrontos, detransições e de síntese de duas culturas distintas como a ocidental e a islâmica, e desenvolvidopor Arquitectos como Álvaro Siza e como Juan Domingo Santos, também eles de densasmemórias de experiências profissionais e sobretudo de vida, se caracterizaria por ser exaustivo esugestivo. Propusemo-nos desenvolver uma tese de Doutoramento em Arquitectura sobre umprojecto e sobre o seu processo criativo, sem enquadramentos teóricos que deturpassem ospensamentos sobre ele construídos. Depois de levantados desenhos, memórias descritivas eregistos de maquetes, construímos um puzzle que nos contasse da metamorfose das ideias e dasformas no tempo. Animámos o processo, seguimos as suas pistas e aprendemos a ouvir a voz doprojecto. Do período de tempo que lhe corresponde fomos levados a um período de temporeferente a uma formação anterior baseada em memórias de experiências relacionadas com aAlhambra, memórias essas que nos permitissem pensar, e nunca explicar ou definir, o projecto.Relacionando dados concretos de um tempo longo, percebemos que nos primeiros desenhos quedefinem a identidade da Porta Nova convergem sobretudo temas advindos dos lugares daAlhambra e que nos restantes desenhos que ajudam ao aprofundamento da proposta convergemreferências de outros projectos dos autores. E se o projecto para a Porta Nova é uma síntese deexperiências anteriores na relação com um lugar e com um programa, é também ele temacontinuado em projectos posteriores, sendo daí possível retirar uma leitura de continuidade. Aeste método empírico de projectar, sempre diferente e sempre igual de circunstância paracircunstância, associamos um tempo longo de conhecimento acumulado.In scope of the International Competition of ideas for the Atrium of Alhambra, organized in between2010 and 2011 by the Council of the Alhambra and the Generalife, Álvaro Siza and Juan DomingoSantos developed a project named New Gate. The project and the creative process correspond tothe study object and to the subject of our PhD final thesis. The choice of the case followed theintuition that a project thought for a place like the Alhambra of Granada, palatine cityabsolutely dense of references and built in a long time of tensions, of transitions and synthesis oftwo different cultures as the occidental and as the islamic, and developed by Architects likeÁlvaro Siza and like Juan Domingo Santos, also them formed by dense memories of life and ofprofessional experiences, would be exhaustive and extremely suggestive. We proposedourselves to develop a PhD final thesis in Architecture about a project and its creative process,without theoretical frameworks that could change the thoughts around it. After the analysis ofthe drawings, of the texts and of the models, we built a puzzle that could tell us about themetamorphosis of the ideas and shapes through the time. We gave life to the process followingits tracks and we learnt to listen the voice of the project. Starting from the time thatcorresponds to the project in itself, we arrived in a time that corresponds to a previousformation based on memories of experiences of the Alhambra, memories that allows us tothink, but never explain neither define, the project. Relating precise information of the longtime of the project, we understand that in the first drawings that define the identity of the NewGate are arriving themes that belong mainly to the places of the Alhambra and that in the laterdrawings that study the proposal in deep are arriving references from other projects of theauthors. And if the project for the New Gate of the Alhambra is a synthesis of previousexperiences in relation with the place and with the programme, it represents also a continuedtheme for the projects done after, being possible to built an idea of continuity. To this empiricalmethod of design, at the same time always different and always equal, we associate a knowledgeaccumulated through a long time.
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Conceição, Tiago Filipe dos Santos 1993. "A arquitetura islâmica na Alhambra e a contemporaneidade : os casos de Álvaro Siza Vieira e Aires Mateus." Master's thesis, 2017. http://hdl.handle.net/11067/3588.
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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2017.Exame público realizado em 30 de Outubro de 2017.
A presente dissertação propõe a leitura e uma sensibilização da cultura Islâmica, e a sua influência e íntima relação com a definição da cultura arquitetónica ibérica, através do estudo e análise, da cidade palatina da Alhambra. A abordagem deste trabalho é desenvolvida com base na configuração da cidade palatina da Alhambra, no entendimento urbanístico e evolutivo desta, e ainda nas suas características arquitetónicas, tipológicas e simbólicas. Através dos argumentos reunidos, fundamentados por obras literárias, fotografias, e desenhos, pretendemos estabelecer uma relação particular entre a cidade palatina da Alhambra, e as propostas contemporâneas dos arquitetos Álvaro Siza Vieira e Aires Mateus para o concurso internacional de ideias para o átrio da Alhambra. Para além da aproximação projetual entre as propostas mencionadas e o monumento, iremos também analisar as suas características, sobretudo a nível morfológico, funcional, e as materialidades utilizadas, que sob uma perspetiva orgânica entre a arquitetura e o meio envolvente, salientam a contemporaneidade das mesmas. A escolha destas duas propostas, entre as cinco candidatas, deve-se ao facto de estas pertencerem a arquitetos de elite portuguesa e de renome no contexto da arte arquitetónica sendo por isto, o nosso especial interesse em analisá-las. Por esta razão, o desenvolvimento do tema proposto, leva-nos a acreditar que, a Alhambra embora continue a celebrar uma identidade islâmica, pelo seu carácter monumental consegue adaptar-se à contemporaneidade preservando as suas características basilares. Perante este conjunto arquitetónico, classificado, considerasse que de algum modo estamos a par de um espaço que nos remonta à arquitetura islâmica do Norte de África.
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Santos, Maria Sofia Teixeira Gomes dos. "Porta Nova da Alhambra: Das razões profundas do projecto no tempo longo do processo de criação arquitectónica." Tese, 2018. https://repositorio-aberto.up.pt/handle/10216/117512.
Full textAbstract:
No âmbito do Concurso internacional de ideias para o novo Átrio da Alhambra, organizado entre2010 e 2011 pelo Patronato de la Alhambra y Generalife, Álvaro Siza e Juan Domingo Santosdesenvolveram o projecto para a Porta Nova. O projecto e o processo criativo constituem oobjecto de estudo e o tema da presente tese de Doutoramento. A escolha do caso seguiu aintuição de que um projecto elaborado para um lugar como a Alhambra de Granada, cidadepalatina absolutamente densa de referências e construída num tempo longo de confrontos, detransições e de síntese de duas culturas distintas como a ocidental e a islâmica, e desenvolvidopor Arquitectos como Álvaro Siza e como Juan Domingo Santos, também eles de densasmemórias de experiências profissionais e sobretudo de vida, se caracterizaria por ser exaustivo esugestivo. Propusemo-nos desenvolver uma tese de Doutoramento em Arquitectura sobre umprojecto e sobre o seu processo criativo, sem enquadramentos teóricos que deturpassem ospensamentos sobre ele construídos. Depois de levantados desenhos, memórias descritivas eregistos de maquetes, construímos um puzzle que nos contasse da metamorfose das ideias e dasformas no tempo. Animámos o processo, seguimos as suas pistas e aprendemos a ouvir a voz doprojecto. Do período de tempo que lhe corresponde fomos levados a um período de temporeferente a uma formação anterior baseada em memórias de experiências relacionadas com aAlhambra, memórias essas que nos permitissem pensar, e nunca explicar ou definir, o projecto.Relacionando dados concretos de um tempo longo, percebemos que nos primeiros desenhos quedefinem a identidade da Porta Nova convergem sobretudo temas advindos dos lugares daAlhambra e que nos restantes desenhos que ajudam ao aprofundamento da proposta convergemreferências de outros projectos dos autores. E se o projecto para a Porta Nova é uma síntese deexperiências anteriores na relação com um lugar e com um programa, é também ele temacontinuado em projectos posteriores, sendo daí possível retirar uma leitura de continuidade. Aeste método empírico de projectar, sempre diferente e sempre igual de circunstância paracircunstância, associamos um tempo longo de conhecimento acumulado.In scope of the International Competition of ideas for the Atrium of Alhambra, organized in between2010 and 2011 by the Council of the Alhambra and the Generalife, Álvaro Siza and Juan DomingoSantos developed a project named New Gate. The project and the creative process correspond tothe study object and to the subject of our PhD final thesis. The choice of the case followed theintuition that a project thought for a place like the Alhambra of Granada, palatine cityabsolutely dense of references and built in a long time of tensions, of transitions and synthesis oftwo different cultures as the occidental and as the islamic, and developed by Architects likeÁlvaro Siza and like Juan Domingo Santos, also them formed by dense memories of life and ofprofessional experiences, would be exhaustive and extremely suggestive. We proposedourselves to develop a PhD final thesis in Architecture about a project and its creative process,without theoretical frameworks that could change the thoughts around it. After the analysis ofthe drawings, of the texts and of the models, we built a puzzle that could tell us about themetamorphosis of the ideas and shapes through the time. We gave life to the process followingits tracks and we learnt to listen the voice of the project. Starting from the time thatcorresponds to the project in itself, we arrived in a time that corresponds to a previousformation based on memories of experiences of the Alhambra, memories that allows us tothink, but never explain neither define, the project. Relating precise information of the longtime of the project, we understand that in the first drawings that define the identity of the NewGate are arriving themes that belong mainly to the places of the Alhambra and that in the laterdrawings that study the proposal in deep are arriving references from other projects of theauthors. And if the project for the New Gate of the Alhambra is a synthesis of previousexperiences in relation with the place and with the programme, it represents also a continuedtheme for the projects done after, being possible to built an idea of continuity. To this empiricalmethod of design, at the same time always different and always equal, we associate a knowledgeaccumulated through a long time.
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Lourenço, Mariana Adubeiro 1991. "Pátio como modo de organizar." Master's thesis, 2018. http://hdl.handle.net/11067/3779.
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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2017Exame público realizado em 8 de Março de 2018
O percurso do pátio até aos tempos modernos, constitui o tema central desta dissertação. A investigação focou-se na influência dos pátios da arquitetura clássica, na arquitetura moderna; e na sua compreensão, enquanto prolongamento de uma narrativa espacial geradora de uma relação com o exterior. O pátio compromete-se a responder à inevitável correlação entre os espaços e as condições sociais, culturais e funcionais que, ao longo do tempo, vão sofrendo mutações originando reinterpretações da sua ideia base. A ideia essencial é a de um espaço com carácter distinto e identidade própria, de acordo com os seus princípios, materializações e desempenho conceptual e bioclimático no objeto arquitetónico. O pátio é mais que um simples vazio no meio do edificado, é um vazio nuclear, um espaço, um lugar.
The path of the courtyard through the modern times, is the central theme of this dissertation. The research focuses on the influences of classical architecture courtyards in the modern architecture; and in its comprehension, as an extension of a spatial narrative that generates a relation with the outside. The courtyard compromises to respond to the inevitable correlation between spaces and social, cultural, and functional conditions that, over time, undergo mutations leading to reinterpretations of its basic idea. The essential idea is one space with distinct character and own identity, according to its principles, materializations and conceptual and bioclimatic performance in the architectural object. The courtyard is more than a simple emptiness in the middle of the building, it is a nuclear emptiness, a space, a place.
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TSAI, SZU-FAN, and 蔡思凡. "An Analysis and Performance Pratice of Recuerdos de la Alhambra by Francisco Tárrega, Fantasia Arabe and Punta y Tacón by Sabicas." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/3et5fj.
Full textAbstract:
碩士國立臺灣藝術大學
音樂學系
107
It is widely known that Tárrega composed many famous classical guitar songs during his lifetime, and Sabicas wrote a lot of beautiful pieces for Flamenco guitar music for his whole life. Both were outstanding guitarists who left a valuable legacy for later generations. In Recuerdos de la Alhambra, Tárrega used classical guitar to create a sorrowful tone, whereas Sabicas exhibited his finesse on Flamenco guitar in Punta y Tacón and Fantasia Arabe. The aim of this paper was to explore the three pieces of music. Motivation is conceptualized in Chapter 1. Chapter 2 provides an introduction to the history of the classical guitar and a variety of its skills, along with an interpretation of Tárrega’s Recuerdos de la Alhambra. Chapter 3-4 deals with the playing techniques that were employed in Punta y Tacón and Fantasia Arabe, and proffers an analysis of them. In Chapter 5, a comparison is made between classical guitar and Flamenco guitar, including their playing skills and musical styles. Conclusions summarize the main points of this paper in Chapter 6.
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Garcia, Margarida Maria Ferreira Florêncio Prieto Soares. "A escultura pública de Cristóbal Gabarrón e a experiência curatorial das exposições: Los Silêncios de Colón (2008) e Las Torres de la Alhambra (2009)." Master's thesis, 2010. http://hdl.handle.net/10071/3623.
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Fernandes, Eduardo Roberto da Silva 1987. "A poética construída : podium como palco da ideia." Master's thesis, 2015. http://hdl.handle.net/11067/1755.
Full textAbstract:
Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2015Exame público realizado em 2 de Dezembro de 2015
O presente trabalho investiga a reciprocidade entre a poética arquitectónica e as suas determinações construtivas. Esta premissa recíproca estabelece-se pelo diálogo entre expressividade e materialidade que são intrínsecas à Arquitectura, bem como, a toda a Arte. Para a concepção da Arquitectura é necessário harmonizar o conceito da técnica e os aspectos construtivos necessários à concepção da estrutura formal do objecto arquitectónico. O estudo desta reciprocidade baseia-se no conceito tectónico segundo o entendimento de Kenneth Frampton. Entendimento que se refere à poética de construção, que conjuga o estético e o simbólico ao técnico. O carácter tectónico não pretende negar o carácter volumétrico da forma arquitectónica, mas procura, o sentir do espaço pelo Homem. Este argumento está associado a uma ideia de arquitectura que vai para além da simples representação cénica. Deste modo, o acto de construir é encarado como algo que tem um “sentido de ser”, pressupondo algo produzido pelo Homem, a arte de construir. Lisboa é a cidade que se constitui como palco do projecto e sustenta as premissas contidas ao longo de toda a reflexão.
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Gozzi, Andrea. "Luoghi della spettacolarità a Firenze tra passato e futuro: spazi da comporre, spazi per comporre." Doctoral thesis, 2023. https://hdl.handle.net/2158/1300059.
Full textAbstract:
Lo spazio destinato alla performance musicale costituisce la cornice e il contenuto dell'esperienza degli ascoltatori. L'ambiente acustico impone continue negoziazioni che differiscono in base al ruolo e alla posizione dell'ascoltatore come compositore, esecutore o membro del pubblico. Obiettivo della mia ricerca è indagare l'acustica di uno spazio performativo, il Teatro del Maggio Musicale Fiorentino di Firenze, seguendo due percorsi complementari, entrambi basati su un modello digitale interattivo. Il primo offre un’esperienza audiovisiva in cui l'utente può esplorare virtualmente la sala grande del teatro scegliendo tra le riproduzioni binaurali di 13 diverse posizioni di ascolto. Il secondo riguarda la percezione sonora e visiva di un'esecuzione della romanza “Una furtiva lagrima” dall'opera di Donizetti L'elisir d'amore. L'utente, attraverso l’utilizzo di ambisonics, video a 360 ° e realtà virtuale, può fruire questa performance e il contributo acustico della sala da tre diverse posizioni nel teatro: sul palco, nella buca dell'orchestra e in platea.
Per la realizzazione di tali esperienze di virtual acoustics si è svolto uno studio interdisciplinare afferente alle Digital Humanities che ha riguardato: la percezione sonora; l’acustica; l’architettura; il contesto storico-spettacolare dei luoghi della performance musicale attraverso un’indagine musicologica del rapporto tra opere e spazio; e le pratiche di restituzione digitale in contesti immersivi del patrimonio culturale immateriale.