{"id":83308,"date":"2000-11-02T00:00:00","date_gmt":"2000-11-02T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-pintura-rupestre-esquematica-en-el-levante-de-la-peninsula-iberica\/"},"modified":"2000-11-02T00:00:00","modified_gmt":"2000-11-02T00:00:00","slug":"la-pintura-rupestre-esquematica-en-el-levante-de-la-peninsula-iberica","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-por-epocas\/la-pintura-rupestre-esquematica-en-el-levante-de-la-peninsula-iberica\/","title":{"rendered":"La pintura rupestre esquematica en el levante de la peninsula iberica"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Palmira Torregrosa Gimenez <\/strong><\/h2>\n<p>Se trata de un trabajo que ofrece una completa panor\u00e1mica sobre la pintura rupestre esquem\u00e1tica en el levante peninsular. Parte del concepto de dicha manifestaci\u00f3n y el estado de la mustigacion sobre el tema (capitulo i).  a continuaci\u00f3n incluye un exaustivo cat\u00e1logo de yacimientos, con cerca de 100 estaciones(capitulo ii).  posteriormente, se analizan cuales son los principales rasgos de la pintura rupestre esquematica del levante peninsular(capitulo iii).  el capitulo siguinte (iv) aborda el tema de la distribucion de las estaciones ruprestres a el espacio.  el quinto capitulo aborda como son los motivos representados y como se distribuyen en los paneles, se\u00f1alando las posibles composiciones.  el capitulo vi se dedica a la cuesti\u00f3n cronol\u00f3gica: cuando comenzo y como evolucion\u00f3.  finalmente, unas conclusiones sobre cuando y qui\u00e9n realiz\u00f3 el arte esquem\u00e1tico.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La pintura rupestre esquematica en el levante de la peninsula iberica<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La pintura rupestre esquematica en el levante de la peninsula iberica <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Palmira Torregrosa Gimenez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Alicante<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 11\/02\/2000<\/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>Mauro Severo Hern\u00e1ndez P\u00e9rez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Mar\u00eda  del pilar Acosta Martinez <\/li>\n<li>Rafael Mart\u00ednez valle (vocal)<\/li>\n<li>Juli\u00e1n Martinez Garc\u00eda (vocal)<\/li>\n<li>bernardo Mart\u00ed oliver (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Palmira Torregrosa Gimenez Se trata de un trabajo que ofrece una completa panor\u00e1mica sobre la pintura rupestre [&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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