{"id":57824,"date":"2018-03-09T22:45:40","date_gmt":"2018-03-09T22:45:40","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/arte-publica-e-as-institua%c2%a7oes-do-estado-novo-1933-1974\/"},"modified":"2018-03-09T22:45:40","modified_gmt":"2018-03-09T22:45:40","slug":"arte-publica-e-as-institua%c2%a7oes-do-estado-novo-1933-1974","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/barcelona\/arte-publica-e-as-institua%c2%a7oes-do-estado-novo-1933-1974\/","title":{"rendered":"Arte publica e as institu\u00c1\u00a7oes do estado novo (1933-1974)"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Lebre Elias Helena Catarina Silva <\/strong><\/h2>\n<p>El r\u00e9gimen pol\u00edtico anti-democr\u00e1tico, auto denominado estado novo, salido del golpe militar ocurrido el 28 de mayo de 1926, busc\u00f3 limitar el encargo de arte p\u00fablico de los organismos de la administraci\u00f3n p\u00fablica. en lisboa, la cml y el mopc\/mop hab\u00edan pasado a tener la casi totalidad del encargo de arte p\u00fablico, asegurando los procedimientos necesarios a la concreci\u00f3n del trabajo en los espacios p\u00fablicos. Al conjunto de procedimientos llevados a cabo por los servicios de la administraci\u00f3n, se design\u00f3 sistema de encargo de arte p\u00fablico. El prop\u00f3sito de este trabajo es caracterizar los sistemas de encargo de la cml y mopc\/mop para lisboa, durante el estado novo, centrando el estudio entre 1938 y 1960. Tomando encuesta el marco institucional de este periodo, se pretende, como objetivos:     1,- proponer sistemas de encargo de arte p\u00fablico para lisboa, dirigidos por los organismos de la administraci\u00f3n central y local, que son los cml y el mop.     2,- exponer las manifestaciones del sistema de encargo de arte p\u00fablico propuesto para los espacios p\u00fablicos de lisboa.     se distinguen las instancias del sistema de encargo de arte p\u00fablico de la cml y el mopc\/mop, en funci\u00f3n de los servicios que ejecutan los procedimientos y se identifican dos momentos significativos. Para la cml; entre 1944-1953, merced de una dotaci\u00f3n permanente en el presupuesto municipal, y entre 1954 y 1960, se desarrolla el programa de encargos destinados a las obras municipales. Para mopc\/mop: entre 1938 y 1947, en que los encargos se destinan a las obras de edificaci\u00f3n y urbanizaci\u00f3n, entre 1948 y 1960, en que los encargos se destinan al as obras de edificaci\u00f3n. El an\u00e1lisis de las encomiendas de monumentos nacionales permite evaluar la actuaci\u00f3n de la administraci\u00f3n central y local, con tareas que no se confinan al sistema de arte p\u00fablico y en los cuales salazar intervino.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Arte publica e as institu\u00c1\u00a7oes do estado novo (1933-1974)<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Arte publica e as institu\u00c1\u00a7oes do estado novo (1933-1974) <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Lebre Elias Helena Catarina Silva <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 30\/03\/2007<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Antoni Remesar Betlloch<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Lino Manuel Cabezas Gelabert <\/li>\n<li>Margarida M. Acciaioulli Homen (vocal)<\/li>\n<li>Sergi Valera Pertegas (vocal)<\/li>\n<li> Figueiredo Gomes Jos\u00e9 Manuel (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Lebre Elias Helena Catarina Silva El r\u00e9gimen pol\u00edtico anti-democr\u00e1tico, auto denominado estado novo, salido del golpe militar [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[951,4363],"tags":[28049,127772,127770,28195,127771,62912],"class_list":["post-57824","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-escultura","tag-antoni-remesar-betlloch","tag-figueiredo-gomes-jose-manuel","tag-lebre-elias-helena-catarina-silva","tag-lino-manuel-cabezas-gelabert","tag-margarida-m-acciaioulli-homen","tag-sergi-valera-pertegas"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/57824","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=57824"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/57824\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=57824"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=57824"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=57824"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}