scholarly journals LOS CUATRO ASES DE LA BARAJA: UN TRÍO DE EDICIONES PRODUCIDAS EN CARACAS DEL LIBRO ELEMENTOS DE GEOMETRÍA DE LEGENDRE MÁS … UNA(S) EXTRAVIADA(S)

PARADIGMA ◽  
2020 ◽  
pp. 979-1003
Author(s):  
Walter Otto Beyer Kessler
Keyword(s):  
20Th Century ◽  
Spanish American ◽  
National Library ◽  
Historical Method ◽  
Historical Texts ◽  
The One ◽  
The Comparative Study ◽  
Constituent Elements ◽  
Siglo Xx ◽  
Made In

Esta investigación tiene como centro el estudio comparativo de tres ediciones venezolanas de los Elementos de Geometría de André Marie Legendre, libro ampliamente usado en Venezuela. La indagación se realizó siguiendo el método histórico y la metodología de análisis de textos históricos. Se dispuso de la existencia de ejemplares de estas ediciones accesibles en las Bibliotecas Nacional de Venezuela, de la Universidad Central de Venezuela y en la personal del investigador. Se hace una descripción del ejemplar de la obra de cada edición, considerando y comparando entre sí diversos elementos constitutivos del texto. Se detalla lo referido a la traducción del impreso, determinándose qué componente nacional estuvo presente y el papel jugado en ello por el ingeniero Jesús Muñoz Tébar. Entre los resultados destacables están: la obra circuló en Venezuela al menos desde 1841 prolongando su presencia hasta bien entrado el siglo XX; la primera edición venezolana disponible es la de 1854: una impresión (sin las notas) de la traducida por Gilmán publicada en París en 1827. La de 1854 es la edición hispanoamericana más antigua hallada hasta ahora; la parte de geometría y la de trigonometría se publicaron en las ediciones analizadas en un solo volumen, siguiendo el patrón de la francesa; en las ediciones consultadas, posteriores a la de 1854, las partes de geometría y de trigonometría tienen diferentes fechas de edición; la edición de 1908/1895 tiene las figuras intercaladas en el texto. Desde 1873 se ha vinculado a Muñoz Tébar con la traducción, pudiendo determinarse qué él es efectivamente el traductor de esta edición del texto y de las subsiguientes tiradas que se hicieron en Venezuela.Palabras clave: Enseñanza de la Geometría, Legendre, Libros de geometría, Elementos de GeometríaOs quatro ases do baralho: um trio de edições produzidas em Caracas do livro Elementos de Geometría de Legendre e mais ... várias que estão perdidasResumoEsta pesquisa enfoca o estudo comparativo de três edições venezuelanas dos Elementos de Geometria de André Marie Legendre, um livro amplamente usado na Venezuela. A investigação foi realizada seguindo o método histórico e a metodologia de análise de textos históricos. Havia cópias disponíveis dessas edições acessíveis na Biblioteca Nacional da Venezuela, na Universidade Central da Venezuela e na pessoal do pesquisador. É feita uma descrição da cópia do trabalho de cada edição, considerando e comparando entre si vários elementos constituintes do texto. É detalhado o que se refere ao a tradução do impresso, sendo determinado qual componente nacional estava presente e o papel desempenhado pelo engenheiro Jesús Muñoz Tébar. Entre os resultados notáveis estão: a obra circulou na Venezuela pelo menos desde 1841, prolongando sua presença até o início do século XX; a primeira edição venezuelana disponível é a de 1854: uma impressão (sem as notas) da traduzida por Gilmán publicada em Paris em 1827, sendo a da 1854 a mais antiga edição hispano-americana encontrada até agora; a parte da geometria e a parte da trigonometria foram publicados nas edições analisadas em um único volume, seguindo o padrão francês; nas edições consultadas, subseqüentes à de 1854, as partes da geometria e da trigonometria têm datas de edição diferentes; a edição de 1908/1895 tem as figuras intercaladas no texto. Desde  1873, Muñoz Tébar está vinculado à tradução, e pode-se determinar que ele é realmente o tradutor desta edição do texto e das edições subsequentes que foram feitas na Venezuela. Palavras chave: Ensino de geometria, Legendre, Livros de geometria, Elementos de GeometriaThe Four Aces of the Deck of Card: a Trio of Caracas´s Editions of the Legendre´s book Geometry Elements plus ... several that are lostAbstractThis research focuses on the comparative study of three Venezuelan editions of the Elements of Geometry by André Marie Legendre, a book widely used in Venezuela. The investigation was carried out following the historical method and the methodology of analysis of historical texts. There were available copies of these editions accessible in the National Library of Venezuela, the library of the Central University of Venezuela and a copy of the researcher. Adescription of the copy of the book of each edition is made, considering and comparing among themselves various constituent elements of the text. Details regarding the translation of the book are discussed, determining which national component was present and the role played in it by the engineer Jesús Muñoz Tébar. Among the notable results are: the work circulated in Venezuela at least since 1841, prolonging its presence until the beginning of the 20th century; the first Venezuelan edition available is that of 1854: a print (without the notes) of the one translated by Gilman published in Paris in 1827. The 1854 printing is the oldest Spanish-American edition found so far; the geometry part and the trigonometry part in the editions analyzed were published in a single volume following the French pattern; in the consulted editions, subsequent to that of 1854, the parts of geometry and trigonometry have differentedition dates; the 1908/1895 edition has the figures interspersed in the text. Since 1873 Muñoz Tébar has been linked to translation, and it can be determined that he is indeed the translator of this edition of the text and of the subsequent editions that were made in Venezuela.Keywords: Geometry Teaching, Legendre, books of Geometry, Elements of Geometry

scholarly journals LA TRADICIÓN CLÁSICA EN LA OBRA DE FERNANDO PESSOA

2004 ◽  
Vol 64 ◽  
Author(s):  
Liliana Swiderski
Keyword(s):  
Classical Tradition ◽  
20Th Century ◽  
The Other ◽  
Formal Models ◽  
Fernando Pessoa ◽  
The One ◽  
Siglo Xx

O regresso de Pessoa às fontes clássicas seguiu duas direções, que neste artigo procuro identificar e analisar. De um lado, foi uma das bases de suas utopias estéticas e políticas, que expressou através de revistas, movimentos e profecias de regeneração; de outro, é relevante na produção do seu heterônimo Ricardo Reis, quem, em pleno século XX, recupera nas Odes os moldes formais e os temas de Horácio. Resumen El regreso a las fuentes clásicas que Pessoa impulsó siguió dos direcciones, que en este artículo intento identificar y analizar. Por un lado, fue una de las bases de sus utopías estéticas y políticas, que expresó a través de revistas, movimientos y profecías de regeneración; por otro, es fundamental en la producción de su heterónimo Ricardo Reis, quien, en pleno siglo XX, recupera en sus Odes los moldes formales y temáticos de Horacio. Classical tradition in Fernando Pessoa’s works Abstract This article attempts to identify and analyze the influence of classical tradition in Pessoa in two ways. On the one hand, it functions as one of the bases for his aesthetic and political utopias revealed in magazines, movements, and regeneration prophecies. On the other, it is relevant to the production under the pseudonym Ricardo Reis who, in the 20th century, restores the formal models and Horace’s themes through the Odes.

scholarly journals Las intervenciones arquitectónicas en el Palacio del Almirante de Aragón en Valencia (principios del siglo XX)

2020 ◽  
Vol 11 (22) ◽  
pp. 116
Author(s):  
Antonio Gómez Gil
Keyword(s):  
3D Models ◽  
Singular Element ◽  
Ground Floor ◽  
Main Research ◽  
Crown Of Aragon ◽  
Intervention Treatment ◽  
The One ◽  
Siglo Xx ◽  
The City ◽  
Made In

<p>The Palace of the Admirals of Aragón is in the city of Valencia, Spain. It was built in the Gothic style of the Valencian self-governing period, and has always been an “architectonic type” reference of this era. Referring to the building itself, there are two elements to highlight because of their interest. The first is its courtyard, which fits into the developed standards in all states of the old Crown of Aragón, talking about either the ones currently in Spain or those existing in France or Italy. Because of that, researchers came up with the term “Mediterranean Gothic” to define this style, since there are currently different geographic regions belonging to different countries. This courtyard will be the main research objective of this paper; it was designed before the ground floor, first floor and small attic interventions. The second element which makes this building unique is its ceilings of carved painted woodwork. Until the present day, this Palace has only been refurbishment once (in 1987), according to written records. The aim of this paper is to show that even though the courtyard has always been used as the best way to show the Valencian Gothic style, many of its elements were added in the first half of the 20th Century. In this research, it can be deduced that there were at least three technicians in the period between 1902 and the late 30s. Surveyor Salvador Furió, who simply put some order into interior partitions where a Gothic spiral staircase was demolished, carried out the first intervention. In the late 1920s, the work was taken over by architect Joaquín Rieta Sister, who was responsible for the restoration of the original state of the courtyard, whose ground floor arcs had been blinded before Rieta’s intervention. He opened these arcs by creating new wall gaps and installing regular windows there. This architect also removed some of the closed rooms on the ground floor, which were used for storage. Finally, he demolished the upper floor façade, turning the attic into a balcony using metallic handrails. After Rieta, architect Antonio Gómez Davó took charge of the work. He kept working on the courtyard, removing the last storage room left, and making three new gaps in the east façade, inspired by existing Neogothic doors. He demolished Rieta’s balconies and turned the upper floor into a useful space that met the requirements of the building to be used as a school. Gómez Davó increased the building’s height by turning this upper floor into a closed space and reconstructed the ashlar wall adding bilobed Gothic windows. From that moment, the courtyard was composed of a ground floor and two full upper floors. Both Rieta’s interventions, as well as the one carried out by Gómez, can be considered “in style”, as it was the ruling fashion at that moment to refurbish historic buildings, at least in Spain.</p><p>It is interesting to highlight the new or refurbished works by Gómez due to the treatment given to the edges, so the new can be identified against the old. After the intervention by Rieta that turned the attic into a balcony, and after its demolition, there was a horizontal joint left which clearly crosses all the way through the patio’s perimeter. This part also shows a modern intervention treatment for its horizontality and by using new and lighter colour stone in the new attic enclosure, so both areas can be distinguishable.</p><p>The intervention carried out by Gómez was not only focused on the courtyard as Rieta did. In his archives, there is plenty of written and graphic material to approximate his interventions in this monument. Although the main objective of this research is to show the courtyard’s modern changes as the Palace’s singular element, it has attempted to reflect these interventions briefly, in the attached appendix. For this reason, 3D models of the patio and building have been built to give the most accurate idea of what happened to the building over time. The modelling of the courtyard includes three historical moments: before the intervention of Rieta, after the intervention of Rieta, and after the intervention of Gómez. The modelling of the building includes prior to the intervention of Gómez, after his intervention, before the 1987 intervention, and after its completion. The text also reflects on the danger of interventions “in style”, since these elements have been mistaken for the original ones and therefore may have caused confusion among researchers. Today, progress has been made in favour of historical truthfulness thanks to the participation of archaeologists, restorers to the traditional teams of architects and surveyors, who were dedicated exclusively to these works. Now we may have a different and perhaps more specialized vision in some aspects, thus ensuring a better result of the work.</p>

scholarly journals El bandolerismo social revisitado. El caso del Norte del Tolima (Colombia)

2012 ◽  
Vol 4 (7) ◽  
pp. 271-309 ◽  
Author(s):  
Armando Moreno Sandoval
Keyword(s):  
Case Studies ◽  
20Th Century ◽  
The Social ◽  
The One ◽  
Siglo Xx ◽  
The Way

Se trata de retomar un planteamiento que había hecho el historiador inglés Eric Hobsbawm, en el sentido de reelaborar la tipología del bandolero social. Según él, para reelaborarlo era necesario contar con muchos más estudios de casos. A partir de algunos de ellos, el artículo se centra en dar cuenta del debate que ha generado el modelo del bandolerismo de Hobsbwm desde mediados del siglo XX. En primer lugar, doy cuenta, cómo sus discípulos y críticos han interpretado su modelo, principalmente el del bandolero social. Un segundo aspecto tiene que ver con algunos casos de bandolerismo mediterráneo, principalmente el catalán, el que se ha dado en el Magreb y el itálico. Por último, doy cuenta de un caso particular de bandolerismo social en el Tolima, Colombia: el del “Palomo” Aguirre.Palabras clave: historia, bandolerismo social, Colombia, Tolima.Social Banditry. The Case of Northen Tolima (Colombia)AbstractThis paper is about retaking an approach made by the English historian Eric Hobsbawm, in the sense of reworking social bandit’s typology. According to him, in order to rework it, many more case studies were needed. Based on some of them, this paper focuses on accounting for the debate generated by Hobsbwm banditry’s model since mid-20th century. First, I account for the way his disciples and critics have interpreted his model, mainly that  of  the social bandit. A second aspect deals with some cases of Mediterranean banditry, especially the Catalan, the Italic and the one that took place in Maghreb. Finally, I account for a particular case of social banditry in Tolima, Colombia: the one of “Palomo Aguirre”.Keywords: history, social banditry, Colombia, Tolima.

scholarly journals La visión responsable de Javier Marías: una narrativa entre el pensamiento literario de Julián Marías y la literatura como reconocimiento de Marcel Proust

2020 ◽  
pp. 215-244
Author(s):  
Santiago Bertrán
Keyword(s):  
Creative Writing ◽  
20Th Century ◽  
Marcel Proust ◽  
The Other ◽  
Jose Ortega Y Gasset ◽  
Visual Poetics ◽  
Ethical Implications ◽  
The World ◽  
The One ◽  
Siglo Xx

Este artículo explora los aspectos filosóficos y éticos de la literatura de Javier Marías a la luz de la filosofía de Julián Marías y la literatura de Marcel Proust. Las ficciones de Javier Marías nos presentan una serie de personajes que se demuestran como agudos observadores que interpretan el mundo para entenderlo mejor y para orientarse en él. Este artículo defiende el argumento que esta tarea hermenéutica se extiende también a la propia poética de Javier Marías, la cual refleja dos conceptos esenciales no del todo bien estudiados hasta la fecha: por una parte, lo que Marías, tomando prestado un término de su padre, Julián Marías, denomina "pensamiento literario", un concepto que entiende la escritura como una de las herramientas más poderosas que tiene el autor de explorar y entender la realidad; por otra parte, el concepto de "reconocimiento", una noción muy próxima a la poética de Marcel Proust que describe la experiencia cognitiva por la cual el lector 'se ve' o 'se reconoce' a sí mismo en la narración. Al investigar estas poéticas visuales y sus implicaciones éticas se descubre el contexto metafísico y ontológico al cual se aproxima la obra mariesca, que no es otro que el paradigma filosófico de la "realidad radical" establecido por Ortega y Gasset a comienzos del siglo XX.   This article examines the ethical and philosophical aspects of Javier Marías’s literature in light of the philosophy of Julián Marías and the poetics of Marcel Proust. Javier Marías’s fictions famously present us with a series of characters that prove to be acute observers, interpreting the world both to understand it better and to orientate themselves within it. I argue that this hermeneutical approach extends to Marías’s poetics, which reflect two main concepts not yet well studied: on the one hand, what Marías, borrowing a term from his father, the philosopher Julián Marías, calls ‘pensamiento literario’, which describes creative writing as one of the most powerful tools the author has to explore and understand reality; and on the other, his idea of ‘reconocimiento’, a concept which echoes Marcel Proust’s poetics and which defines the sympathetic process by which the reader ‘sees’ or ‘recognises’ him or herself in the narrative. In investigating these ‘visual’ poetics and their ethical implications, we will discover the metaphysical and ontological context intrinsic to Marías’s narrative, which is based on the philosophical paradigm of the ‘realidad radical’ established by José Ortega y Gasset at the beginning of the 20th Century.

scholarly journals Cholera.

1995 ◽  
Vol 8 (1) ◽  
pp. 48-86 ◽  
Author(s):  
J B Kaper ◽  
J G Morris ◽  
M M Levine
Keyword(s):  
United States ◽  
South America ◽  
Vibrio Cholerae ◽  
20Th Century ◽  
Clinical Features ◽  
Clinical Microbiology ◽  
The United States ◽  
History Of ◽  
The One ◽  
Made In

Despite more than a century of study, cholera still presents challenges and surprises to us. Throughout most of the 20th century, cholera was caused by Vibrio cholerae of the O1 serogroup and the disease was largely confined to Asia and Africa. However, the last decade of the 20th century has witnessed two major developments in the history of this disease. In 1991, a massive outbreak of cholera started in South America, the one continent previously untouched by cholera in this century. In 1992, an apparently new pandemic caused by a previously unknown serogroup of V. cholerae (O139) began in India and Bangladesh. The O139 epidemic has been occurring in populations assumed to be largely immune to V. cholerae O1 and has rapidly spread to many countries including the United States. In this review, we discuss all aspects of cholera, including the clinical microbiology, epidemiology, pathogenesis, and clinical features of the disease. Special attention will be paid to the extraordinary advances that have been made in recent years in unravelling the molecular pathogenesis of this infection and in the development of new generations of vaccines to prevent it.

scholarly journals Ciała pozbawiane powierzchni. Imago

Schulz/Forum ◽  
2019 ◽  
pp. 3-4
Author(s):  
Stanisław Rosiek
Keyword(s):  
20Th Century ◽  
The Body ◽  
The Other ◽  
Outer Side ◽  
Psychological Study ◽  
Artistic Activity ◽  
Individual Traits ◽  
The One ◽  
Two Stages ◽  
Made In

Both drawings (the one from the first page of the fascicle and the other from the outer side of the cover) show two degrees, two stages of the decomposition of form. In the same process, bodies lose their integrity. They were shown by Schulz as a series of leaping aspects which are disconnected, hence discontinuous. The drawings were made in the 1930s. The beginning of the draughtsman’s development did not anticipate such a great catastrophe of bodily forms. In his works from the second and in part also third decade of the 20th century Schulz defined human figures precisely and unambiguously. Then, however, the proud poses which he took when drawing himself (e. g., in his narcissistic Lvov portrait) or other figures (Budracka or Weingarten) probably could not be repeated. In the final decade of his life (and artistic activity) Schulz was drawing differently, perhaps because he perceived himself and the others in a different way. The body? The draughtsman presents it as just a cluster of vibrating lines. A self-portrait? It is possible only as a psychological study, an exaggerated caricature that stresses individual traits or an icon of oneself (the big head with a hat on top, a small size). In hundreds of compulsive sketches drawn in the 1930s even those principles were not respected any more. The bodies that Schulz drew then, no matter if it was his own body or someone else’s, often approach a boundary behind which there is only trembling. Displacement and movement. Schulz’s sketches do not search for form. They are testimonies of its destruction or maybe better, its palpitation, solution and scattering. For the eye, the body is a phenomenon of the surface. It is only the reduction of distance in an act of love (or aggression) or even a common handshake that change that state. Perhaps then the problem of Schulz’s representation of the body is reduced to perception. The drawn body has no smell or weight (or taste – it is not “meaty”). One cannot even touch it. A hand that makes an attempt to touch naked women, who in Schulz’s drawings take majestic and provocative poses, touches only a sheet of paper. The drawn body exists just for the eye. Thus the last chance for the existing body is keeping its surface. Why is it then that the body from Schulz’s late drawings loses its integrity, why does it so often fall apart under our eyes? What is the body for Schulz-the draughtsman and Schulz-the writer? How does he experience his own corporeality? How does he see himself? How do others see him?

scholarly journals Boris Valkh and the development of zoology and museology in the East of Ukraine

2018 ◽  
Keyword(s):  
20Th Century ◽  
Plant Protection ◽  
Type Locality ◽  
Main Attention ◽  
The Family ◽  
History Of ◽  
The One ◽  
Ancient Maps ◽  
Made In

The details of biography and scientific works of Boris Valkh (1876–1942), one of the leading zoologists who worked in eastern Ukraine in the first half of the 20th century, were analysed. Boris Valkh worked at the interface of zoology, plant protection, and epidemiology and he was a leading specialist in controlling the abundance of economically important groups of rodents and insects (plant protection stations) and an epidemiologist (studying zoonoses). At the same time, he was a nature protector, one of the key organizers of nature reserves in the southeast of Ukraine (Kamiani Mohyly, Bilosaraiska Kosa). The main attention in this review is paid to Valkh's research into zoology (ornithology, entomology, and theriology), and his work upon creation of zoological collections, including the one in the Bakhmut Museum of Local Lore, which was organized with his participation. All of these developments made by the scientist are considered along with details of his biography analysed using family archives and by conversations with Valkh’s descendents, including his grandson Boris Valkh, granddaughter Olympiada Gryshchenko, and great-grandson Sergei Valkh. Significant clarifications and important additions to the biography of Boris Valkh have been made, in particular regarding his education (once in Pavlohrad Gymnasium and twice in Kharkiv University), wife and children, as well as his long-term trips to Turkestan and Azerbaijan. The location of "Hory-Mohyly hamlet", from which most of the zoological samples collected by the Valkhs are derived, is clarified and determined as the same place that was marked on ancient maps as "Horemohylove" The history of the species Mus sergii described by Boris Valkh and its type locality were analysed. The information about the history of accumulation and further fate of his and his son Sergey’s zoological collections including mammal specimens from Hory-Mohyly is summarized. Unique original photographs from the family archives have been used, for most of which the dates and places of taking were determined. Pictures of collections and original zoological labels are also presented.

scholarly journals Gorgoneia from Suzdal and Przemyśl: The Prayer and the Spell

2021 ◽  
Vol 1 ◽  
pp. 30-61
Author(s):  
Nadezhda I. Milutenko ◽  
Keyword(s):  
Small Group ◽  
Fourteenth Century ◽  
National Library ◽  
Magic Formula ◽  
Sick Person ◽  
The One ◽  
Made In

The hematite Suzdal zmeevik (gorgoneion) belongs to the small group of Byzantine engraved gems (intaglios) with a Gorgon’s head (hystera) and a magic formula, which are usually found on metal medallions and pendants. The Seven Sleepers of Ephesus depicted on the obverse and two-line Slavonic inscriptions on both sides make the Suzdal gorgoneion quite unique even for that group. The Slavonic inscriptions carved on the gorgoneion are an abridged version of the “Prayer when a sick person does not sleep” addressed to the Sleepers. The Prayer is known from the Russian Euchologia of the 15th – 16th centuries. The article argues that, save for the names of the Sleepers, the inscription on the gorgoneion has the closest relationship to the earliest copy of the Prayer found in the fourteenth-century Slavonic Serbian Euchologion in the collection of the Russian National Library (Q. p. I. 24). The reverse of the hematite gorgoneion from Przemyśl bears the image of the Mother of God surrounded by an unusual Greek hystera formula, and the obverse contains a depiction of a Gorgon’s head (hystera) that is almost identical to the one found on the Suzdal gorgoneion. Going beyond V. Zalesskaya’s suggestion that both gorgoneia were made in one Greek workshop, this article argues that the inscriptions on the two objects were carved following the same principles and that both objects can be attributed to the same master, who was likely of South Russian origin. The unique poetics of the Przemyśl Gorgoneion spell was a result of the versatility of the hystera formula, while the Slavonic Euchologia developed a stable text of the “Prayer when a sick person does not sleep”. When the hystera formula was substituted with the Prayer on the Suzdal Gorgoneion, the magic amulet was transformed into a Christian icon.

scholarly journals CURRENT STATE AND DEVELOPMENT OF THE CITY PARK IN SKOPJE

2020 ◽  
Vol 1 (28) ◽  
Author(s):  
Jasminka Rizovska Atanasovska ◽  
Iskra Apostolovska ◽  
Nikolčo Velkovski ◽  
Vlatko Andonovski ◽  
Divna Penčić
Keyword(s):  
20Th Century ◽  
Recent Period ◽  
Current State ◽  
Green Area ◽  
Green Areas ◽  
The One ◽  
Intensive Work ◽  
The City ◽  
City Park ◽  
Made In

The City Park in Skopje was established in the early 20th century. There are not many historical dataabout its establishment. Only modest documentation could be found, for the period between the twoworld wars.At the beginning of the 20th century in Skopje a couple of avenues and green areas have been built. Thebigger green area was the one on the location where today’s City Park is built. It was called “Islahane”,after the craft school around which it was established. Its establishment is connected with Hafiz MehmedPasha and the period of Ottomans domination in Macedonia. Built in 1905, it spread out over 16 000m2 and was organized in a classical, geometric style, with trees, shrubs, floral elements and pathways.It was founded on where today’s City Park is located.Through the years it has changed until it got today’s dimensions and borders. The biggest change inits structure was made in the ‘70s of the 20th century when the basic main project for the City Parkwas made. In the last ten years intensive work on its reconstruction has been done, so there is morerelevant data for the Park for this recent period of time.Besides its establishment, this paper presents the current state of the Park, its main characteristics andfunctions. It gives a review of the vegetation and other park elements, as well the state of its overallarea and the changes that have occurred to date.

scholarly journals INICIATIVAS PARA DAR VALOR A LA HUERTA DEL BAJO SEGURA. ANÁLISIS DEL PROYECTO “LA VEGA BAJA INTERIOR DE LA COSTA BLANCA” (ALICANTE)

2020 ◽  
pp. 395-421
Author(s):  
Gregorio Canales Martínez ◽  
Gregorio Castejón Porcel
Keyword(s):  
Real Estate ◽  
20Th Century ◽  
Economic Crisis ◽  
The Other ◽  
Real Estate Development ◽  
Direct Impact ◽  
The One ◽  
Vega Baja ◽  
Agricultural Areas ◽  
Siglo Xx

Las zonas regadas del Bajo Segura, y más concretamente el espacio emblemático de Huerta, fue objeto de una promoción urbanístico-inmobiliaria hasta la irrupción de la crisis económica de inicios del siglo XX. Un territorio con una marcada dualidad turística, por cuanto presenta un espacio litoral y prelitoral muy consolidado y dinámico, frente a un interior en el que la agricultura tiene un peso destacado y donde sus municipios, desde hace años, intentan acceder a este mercado. Objetivo perseguido mediante el desarrollo de políticas contrapuestas, ya que, por un lado, fomentan los enclaves turístico-residenciales y, por otro, apuestan por la promoción cultural de su paisaje de regadío más característico. El estudio aborda este último planteamiento y analiza el intento fallido de creación de un producto con incidencia directa en las áreas agrícolas de la comarca basado, fundamentalmente, en el conocimiento y la experiencia. The irrigated areas of Bajo Segura, and more specifically the emblematic area of ​​Huerta, have been the object of urban-real estate development until the onset of the economic crisis at the beginning of the 20th century. A territory with a marked tourist duality, inasmuch as it presents a very consolidated and dynamic coastal and pre-territorial space, compared to an interior in which agriculture has a prominent weight and where its municipalities, for years, have tried to access this market. Objective pursued through the development of opposing policies, since, on the one hand, they promote tourist-residential enclaves and, on the other, they bet on the cultural promotion of its most characteristic irrigated landscape. The study addresses this last approach and analyzes the failed attempt to create a product with a direct impact on the agricultural areas of the region based, fundamentally, on knowledge and experience.

Sign in / Sign up

Export Citation Format

Share Document