Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The incursion of the relatively new discipline we call rehabilitation in Italy since the end of the 1960s, which replaced the traditional term restoration for the intervention in the cultural urban heritage, has brought with it new concepts and construction technologies, with the consequence problems these represent. This article seeks to clarify doubts by identifying the origin of these terms. The word recycling must be used with moderation due to its political connotations. In consequence, the concepts cultural urban heritage and built heritage have replaced the traditional concept historic centre. A further objective of this study is to clarify how this change has come about following the Bologne intervention.

En el Número 35 de la Revista Arquitecturas del Sur (AS), aparecerá la quinta versión de esta sección estructurada a partir de fotografías de pequeñas fracciones de distintas ciudades del mundo, todas sacadas el mismo día. En esta ocasión queremos reunir imágenes relacionadas con la temática de la Restauración y el Reciclaje en la ciudad.

The main object of the Murografia en el lugar project, carried out in the year 2000, was to make urban-scale interventions on three car park walls with the use of “ephemeral gestures”. The intention was to highlight these spaces as icons of the voids and anonymous sites arising from the operations of the city itself. In this context, these spaces take the form of a large square, hermetic and provisionally fenced, where the provisional is understood as a phenomenon of that which is already established. A recent explosion in the street Serrano, right in the middle of the historic town centre, added two more gaping holes in the facades of this tourist area.The display and analysis of these extractions serve to present to us inversely what we could define metaphorically as a donor body and recipient. Curiously, the land is the fundamental product and main source of urban property speculation; perhaps the city will transform into a repetition of facades only useful for some cultural carnival.

Between 2005 and 2007, two excavations in Crevillent’s urban area have allowed to document a Mudejar maqbara and a whole of 81 burials have been exhumated. The first analyses of carbon 14 show dates that are between the end of 14th century and the first quarter of the 16th century. Generally, they are rectangular graves, sometimes with the short sides rounded, straight and narrow walls covered with slabs of stone or wood. The buried is arranged SW-NE in supine decubitus or right back decubitus and in some cases, they are in supine decubitus with the head inclined to the South-East. Two concentrations of infantile burials stand out. The trousseau is scant, very common and it does not offer chronological precisions. Shroud’s remains are kept. The disposition of the buried, the catalogation of a Carlos I coin and the carbon 14 dates allow to intuit an evolution North-South of the cemetery. From an osteo-archaeological study we know the ages, sexes, food habits and several types of pathologies. The maqbara would be located outside of the Raval, city centre of feudal origin in 14th century close to one of the ways of exit of the city.This necropolis belongs to a Moslem population under Christian control or of converted islamics, who try to keep their customs in a hostile environment.

Nowadays, in Spain there is a lot of fans of the sport - spectacle who like to watch a sport competition at television at the same time as they listen to that event from the radio. With this article, it is tried to make an approximation, across a study of one case, to know which can be the differences between these two media: radio and television. The example studied is the Spanish retransfers made by Cuatro (television) and Cadena SER (radio) about the final football Europe Cup 2008 that Spain and Germany played on June 29. From these two retransfers, the first aim is the structure of the retransfer team. The second one includes the sonorous qualities of the principal narrators. The third one refers to the semantic aspect used by the different members that compose the retransfer team, attending specially to the variables ‘subjectivity’ and ‘linguistic mistakes’. Inside this aim, the differences of the diction speed will be measured. After raising a specific methodology, a few results are reached and these results invite to think over the less and less differences between the phrases of television and radio.

The analysis of the individual-landscape interaction presents different perspectives of study related to the generation and interpretation of symbolisms and imaginary. The significant capability and/or of communicative evocation of the landscape finds, in the intrapersonal communication, a relevant argumentation in the process of construction of a theoretical device. This question allows to study the process of appropriation and experience of the landscape in terms of communicative action. The development of a theoretical device that allows to interpret the message of the landscape as well as to decode its intangible speech, represents the main aim of the research that appears next.

This paper tries to build a consideration related to cinematographic representation of dreams. For this aim, at first, it points to the influence of psychoanalysis and surrealist movement in the construction of conventions and supposes spectators use in relation to our psychic experience. Secondly, this article exemplifies how some contemporary Spanish films present subjects which connect with the experience of dreams, and which could be influenced, in some ways, by psychoanalytical and surrealistic heritage. Finally, we introduce an interpretative analysis of Amenábar´s creation, Abre los ojos. This film is defined by some surrealistic connotations, and it is focused in the scenery of dreams, so it can be present as an example of vulgarization and adaptation of some of the psychoanalytical keys and explanations.

The wonderful world of the classic tale, which inspired the animations films for decades, has given way to different topics and characters. Thus, it has been opened a potential of new ideas favoured in many cases by the digital creation and 3D-Technology. For years, the monopoly of Disney Company was clear, offering through its full-length films a vision of the world full of values that reached to the public of different ages. Disney surrended to the new technologies of the picture, and other companies like Dreamworks started to compete against it through new, imaginative proposals. The Videogame world, Internet or the Mass Media have opened a window to the world which implies the necessity of “watching” anf “feeling” in a different way, compelling to make more and more necessary a solid audiovisual culture. All this causes changes in the audience, especially in the children´s, which is moving along the new values and contents also introduced in the animation universe.

MTV is usually identified with globalization, cultural and media imperialism, which would have spread all over the world through the global media. MTV itself is a global network for global youth audience. But each channel of the global network has had being adapting to the different local contexts in order to reach the success, following the well-known marketing formula “going global, acting local”. This phenomenon has been explained in sociological theories with such concepts as “glocalization”. The “glocal” spirit of MTV is tried to be shown through the case of MTV Italy, which is accessible for free in all the Italian regions. This article presents a study of the corporate identity of MTV Italy. It offers an analysis of the 360º communication with which the Italian channel communicates its identity to the audience.