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The turning point in the history of the Genoese merchants in Spain was the discovery of America and the subsequent opening of trading relations with the new continent. From then on, their ascent to economic predominance in Spain paralleled that nation's emergence as the dominant power of the sixteenth-century world. Fortune gave Spain two empires simultaneously, one in the Old World, the other in the New. Spain's unpreparedness for imperial responsibilities, particularly in the economic sphere, was the springboard for Genoese advancement. Strengthening and enlarging their colony in Seville —after 1503 the "door and port of the Indies" —the Genoese prepared to move across the Atlantic in the wake of Columbus.

This paper addresses circumstantially the different ways in which the Seville satirical weeklies El Tío Clarín (1864-1867) and La Campana (1867-1868) –the latter replacing the former after its suspension– might have been read. By studying their editorial strategies on the basis of the footprints left by their editors, it is possible to determine how satirical journalism participated in the socialisation of print culture, which developed into informational graphics, despite the paradoxical confluence of three factors: the political instability in the final years of the reign of Isabella II, the tight censorship to which the press was subjected in 1867 and the slow but continuous progress in modernising the publishing market. Based on the combination of satirical cartoons, humour and popular genres, both weeklies made current affairs more accessible through critical reasoning and by appealing to the senses, with revealing indications of the simultaneous ways of addressing such a subject. Textual reading gave way to the graphic kind, reading aloud to doing so in silence, while the spaces in which this occurred, between the public (the street) and the private sphere (the parlour at home), and the collectives involved, namely, women and children, were determined. It was these ways of relating to the two weeklies, established by their readerships, that were behind the popularity of the satirical press before the Glorious Revolution of 1868 and the transition to publication capitalism. ; Este texto aborda de forma indiciaria los modos en los que pudieron ser manejados y leídos los semanarios satíricos sevillanos El Tío Clarín (1864-1867) y La Campana (1867-1868), publicación esta última que sustituyó a El Tío Clarín tras su suspensión. Estudiando la estrategia editorial a partir de las huellas dejadas por el editor, se comprueba la participación del periodismo satírico en la socialización de la cultura impresa, que deviene en gráfico informativa en el cruce paradójico de tres variables: la inestabilidad política en las ...

Historical towns ¡n Europe usually have as their main feature an extremely dense urban tissue. This, in turn, generates a wide variety of situations which make it difficult to provide adequate light to the ¡nside of buildings. On the other hand, the trend for revitalization of cities often demands a change in the utilization of spaces adding even more difficulties to the case because the previous constraints and standards are heavily modified. Architecture today must face this challenge as a new aim for creativity based on the idea of "design with the environment". Basically, the achievement of the said urban renewal of oíd towns should not entail the creation of a kind of enclosure where sustainability is absent as the conservationists would have it. With this concept in mind, the complex process of building an architect's office was been launched, and though the starting situation was that of "a windowless fagade", a number of strategies have been devised to provide for sun and light in the working and living spaces. Simulations of the project taking into account the principies of radiant energy transfer have been duly conducted and after some corrections the office was completed and monitored. The procedure yields both the thermal gains and the luminous distribution of the building in order to assess the performance and comfort level on a seasonal basis. Therefore, we consider that the project is a valid example of sustainability in historical cities not merely because of the former but also due to its integration with professional practice and its attempt to address severe urban and political constraints.

Norman R. Smith begins his essay by pointing out that there is no such thing as "popular" monster lore (teratology) in the Middle Ages, but goes on to say that a knowledge of the teratological thought of, say, Isidore of Seville, may give us a very good insight into the popular thoughtof the day. Ideas concerning "monstrous births," considered portentous until recent times, tell us a great deal about the concepts men had of themselves in relation to their world, their god, and their historical place, factors which illuminate the imaginatively constructed ideas and their popularity during the Renaissance. Monster lore, of course, remains popular in our own day, hence our passionate interest in the Loch Ness Monster and our devotion to the myriad types of Frankenstein that have appeared recently, a fact that perhaps links us and our time in a rather startling way to the Middle Ages.

В данной работе на материале сочинения епископа Юлиана Толедского (ок. 644-690) «История короля Вамбы» рассматривается образ идеального правителя в поздней вестготской литературе, фактически ставший воплощением представлений об идеальном правителе церкви в условиях нараставшего политического кризиса. Анализируются возможные истоки этого образа, в том числе в библейских сюжетах, а также у предшественников автора в рамках литературной традиции в вестготской Испании, в частности у знаменитого раннесредневекового автора Исидора Севильского. ; The object of study in the given article is the image of the ideal governor in the late Visi-gothic work The History of King Wamba by Julian from Toledo, primate of the Visigothic church (c. 644-690). The fictional character of the ideal clergyman came as an embodiment of the wildest dreams of the Spanish amidst the growing political crisis. In his article the author focuses on the biblical and literary origins of the image, in particular, on the possible links with the famous early medieval writer Saint Isidore of Seville (530-636).

This paper is initially informed by an institutional sociological framework to analyze changes in accounting practices that took place in the Royal Tobacco Factory (RTF) of Seville during the period 1760–1790. We argue that the significantly greater development and use of accounting practices during that period can be linked to the move to the much larger and more purposefully built new factories, the decline in total tobacco consumption, and the pressure to increase revenue for the Spanish Crown while reducing production cost and maintaining high product quality to deter entry. These new accounting practices were developed in part with the intent of improving factory efficiency, but importantly, they enhanced the external legitimacy of the RTF in the face of the events mentioned above and contributed to the long survival of the RTF as a monopolist.

Intensive tourism in historic city centers is causing socio-spatial effects that are already visible to society. This has led politicians and academics to focus on the issue, creating a debate about gentrification in certain central urban areas which overlaps with studies on touristification, understood by some authors as tourism gentrification. This article aims to identify whether sociodemographic changes identifiable as touristification have occurred in the historic centers of two Andalusian cities, Seville and Cádiz, and which we interpret as the replacement of residents with visitors. The work is based primarily on the exploratory analysis of socio-demographic data from the Population Register and data on housing and rentals provided by different sources. The work shows strong indications of a relationship between the increase of tourist apartments and losses of residents in both historic centers. The paper concludes by pointing to the need for further research on this relationship in public statistics that can guide future policy action

This article seeks to illuminate the problem of baroque translations of medieval Arabic inscriptions, in particular those provided by Rodrigo Caro in 1634 of inscriptions from Seville. The Sevillian inscriptions have been ignored by scholars since the nineteenth century when they were recognized as fraudulent. This paper argues that the content of these false translations was subservient to the context of their production -namely that of the translations of the Grenadine lead books, the baroque perceived ideal of a 'sacred antiquity', and the counter-reformation promotion and elevation of false martyrs and their relics. These were all elements of a conscious programme of invention of a ficticious but significant Christian past in Andalucía. The main protagonists in the Seville transtations—Rodrigo Caro, Pedro de Castro and Adán Centurión—were implicated in all of these processes as well as belonging to a Peninsula-wide network of antiquarian enthusiasts and forgers. Their critical judgement, when faced with evident frauds, was consumed by their will to promote specific religious and political agendas. Consequently, their shared translators, with their own agendas, obliged their patrons with capricious ammunition. ; Este artículo intenta iluminar el problema de las traducciones de inscripciones árabes medievales durante el Barroco, en particular, las propuestas por Rodrigo Caro en 1643 de las inscripciones de Sevilla, traducciones primero ignoradas y luego consideradas, en el siglo XIX, como fraudulentas. Aquí se propone que estas falsas traducciones están condicionadas por el contexto de las de los Plomos del Sacromonte, por el ideal de la época de «antigüedad sagrada» y por el interés contrarreformista en ensalzar mártires y reliquias. Estos eran todos elementos de un programa consciente de invención de un pasado cristiano, ficticio pero lleno de significado, en Andalucía. Los principales protagonistas de las traducciones de Sevilla, Rodrigo Caro, Pedro de Castro, Adán Centurión, estuvieron implicados en este proceso además de formar parte de una red, que implicaba a toda la península, de entusiastas anticuarios y falsarios. Su juicio crítico, cuando se enfrentaba con fraudes evidentes, quedaba obnubilado por su deseo de promover determinados fines religiosos y políticos. Sus traductores, que a menudo compartieron, era los productores de caprichosos instrumentos con que alcanzar dichos fines.

Desde a sua génese, as exposições nacionais, internacionais ou universais integraram as artes nas suas estratégias de promoção e divulgação. Esta situação verificou-se também com a Exposição Ibero-americana de Sevilha, que se propunha reunir os dois países ibéricos e as nações surgidas das suas antigas colónias no continente americano num mesmo evento expositivo. Para a cidade de Sevilha a Exposição proporcionou uma reconfiguração urbanística e a afirmação da arquitetura andaluza. Para Portugal foi uma oportunidade para a divulgação do país nos circuitos do turismo internacional, em particular nos itinerários transatlânticos. A campanha de promoção nacional mobilizou o Ministério do Interior, o Conselho Nacional de Turismo e o Ministério dos Negócios Estrangeiros. A nível regional, vários Municípios e Comissões de Iniciativa promoveram iniciativas de valorização das suas cidades e territórios. Para a participação na exposição e para a campanha de promoção do país, o governo português recorreu a artistas de várias áreas, como foi o caso de Almada Negreiros, à época um jovem artista, a quem encomendou o cartaz oficial da participação portuguesa na Exposição. Por seu lado, o Pavilhão de Portugal foi concebido pelos irmãos arquitetos Rebelo de Andrade, num estilo historicista que evocava períodos gloriosos da história do país. E o Guia Oficial da Exposição Portuguesa em Sevilha incluía numerosas fotografias, que representavam não só os monumentos mais emblemáticos dos centros urbanos, mas também as praias e estâncias termais para onde se pretendia atrair os turistas. No plano regional, a expectativa das vantagens económicas do turismo deu origem a encomendas a jornalistas, fotógrafos, pintores, escritores e até mesmo realizadores. A tipicidade das gentes portuguesas, os usos e costumes, a beleza das paisagens, a história e os monumentos das cidades e vilas eram as temáticas dominantes dos trabalhos efetuados. O objetivo da comunicação é explicar de que modo as artes (arquitetura, pintura, fotografia, cinema, literatura, nomeadamente) foram centrais para a propaganda de Portugal durante a Exposição Ibero-americana de Sevilha em 1929. / Since its origin that national, international or universal exhibitions sought out to integrate the arts in its promotion and diffusion. This strategy was followed in the Ibero- American Exhibition in Seville, which had the purpose to bring together Spain and Portugal and the Nations that had arisen from their former colonies in the Americas in the same exhibition. For the city of Seville the exhibition was an opportunity for an urban redesign and the affirmation of Andalusian architecture. For Portugal the exhibition was an opportunity for the dissemination of the country in international tourism circuits, in particular in transatlantic routes. The campaign to promote Portugal mobilized the Ministry of the Interior, the National Council of tourism and the Ministry of Foreign Affairs. At the regional level, several municipalities and Initiative Committees promoted valuation iniciatives of their cities and territories. For the participation in the exhibition and to the country's promotion campaign, the Portuguese Government appealed to artists from different areas, as was the case of Almada Negreiros, then a young artist, to whom was commissioned the official poster of the Portuguese participation in the exhibition. The Portugal Pavilion was designed by the architect brothers Rebelo de Andrade, in a historicist style evoking glorious periods of the country's history. And the official guide of the exhibition in Seville included numerous photographs, representing not only the most emblematic monuments of the city centers, but also how beaches and along resorts to where one intended to attract tourists. At a regional level, the expectation of the economic benefits of tourism gave rise to order works to reporters, photographers, painters, writers and even filmmakers. The typicality of the Portuguese people, the uses and customs, the beauty of the landscapes, the history and monuments of the cities and towns were the dominant themes of the work performed. The objective of the communication is to explain how the Arts (architecture, painting, photography, cinema, literature, in particular) were central to the propaganda of Portugal during the Ibero-American Exhibition in Seville in 1929.

Many authors have written and documented this illustrious and selfless son of the African continent, highlighting his unique kind of leadership different from the one that the African continent has ever experienced for a generation. His style of leadership for four years (1983–1987) as president of Burkina Faso eclipsed several African despots and corrupt leaders before and after Thomas Sankara. This article has three purposes as follows: first, to explore and celebrate the short-lived life of Thomas Sankara, and his legacies. Second, to critically evaluate his solid leadership characteristics and achievements relating it to the economy; Political, social, health, while serving as the President of Burkina Faso. Third, to highlight some of his shortcomings with the view that current and future leaders of African countries can learn from such shortcomings. This study is informed by the post-colonial theories of Ali Mazrui and Frantz Fanon. The author makes the following interesting findings. First, Sankara may have met his demise because of his country's foreign policy (Non- Aligned), his relentless anti-imperialist campaign. The author acknowledges the solid achievements, made during Sankara's brief term in office, are inspirational in the psyche of African men and women of his generation. If there is anything the author and many admirers and well-wishers of Sankara would like to see, is that his murderers are all brought to justice. More importantly, there are several lessons or styles of governance for African leaders both at home and in the diaspora to learn from this great man Thomas Sankara.