{"id":71145,"date":"2004-08-11T00:00:00","date_gmt":"2004-08-11T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-imagen-de-gibraltar-y-su-campo\/"},"modified":"2004-08-11T00:00:00","modified_gmt":"2004-08-11T00:00:00","slug":"la-imagen-de-gibraltar-y-su-campo","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/la-imagen-de-gibraltar-y-su-campo\/","title":{"rendered":"La imagen de gibraltar y su campo"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Pardo Gonz\u00e1lez Juan  Carlos <\/strong><\/h2>\n<p>En esta tesis se hace un recorrido por la iconograf\u00eda del campo de gibraltar , un territorio al que tradicionalmente la historia del arte ha prestado poco inter\u00e9s, pero del que sin embargo existen un gran n\u00famero de obras que tienen por objeto su representaci\u00f3n . A falta de grandes monumentos la zona ha tenido siempre gran importancia estrat\u00e9gica y su enclave paisaj\u00edstivo es bastante espectacular , esto unido a la particular situaci\u00f3n pol\u00edtica de gibraltar a partir del xvii se traduce en una gran producci\u00f3n de obras que tienen por objeto la representaci\u00f3n de esta comarca.  la obra comienza con una introducci\u00f3n que se centra en un tema mitol\u00f3gico asociado a este paisaje como es el de h\u00e9rcules y las columnas. Se pasa despu\u00e9s a estudiar las principales obras orden\u00e1ndolas con un criterio esencialmente cronol\u00f3gico, terminando el estudio al comienzo del siglo xx. Se hace un cap\u00edtulo aparte con las obras fotogr\u00e1ficas , de particular inter\u00e9s para el autor, para terminar con un ap\u00edgrafe en el que se estudia al personaje del contrabandista , un tema iconogr\u00e1fico tradicionalmente muy vinculado a este espacio. Tras las conclusiones se aporta  una bibliograf\u00eda general a la que se suman las bibliografias utilizadas en cada cap\u00edtulo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La imagen de gibraltar y su campo<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La imagen de gibraltar y su campo <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Pardo Gonz\u00e1lez Juan  Carlos <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Nacional de educaci\u00f3n a distancia<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 08\/11\/2004<\/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>Vicente Lleo Ca\u00f1al<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: v\u00edctor Nieto alcaide <\/li>\n<li>Alberto Gonz\u00e1lez troyano (vocal)<\/li>\n<li>Antonio Bonet correa (vocal)<\/li>\n<li> Torres fern\u00e1ndez conservadora bego\u00f1a (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Pardo Gonz\u00e1lez Juan Carlos En esta tesis se hace un recorrido por la iconograf\u00eda del campo de [&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 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