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The study of prolonged exposure of natural soils to alkaline solutions has been conducted to analyze and control the local soil swelling behavior observed in industrial sites. The occurrence of foundation heave in a Brazilian industrial site prompted a laboratory investigation aimed at understanding the mechanism of interaction between soil and alkali that induced swelling behavior. The study was extended to determine the corresponding swelling stress to be used in reinforcement design, and to investigate the soil response to chemical stabilization with 5% ferric chloride solution. Previously, a comprehensive mineralogical and physical-chemical investigation was accomplished using industrial caustic liquor and four natural soils from local stratigraphy. All soils are mainly constituted by kaolinite and quartz, and one also presents some montmorillonite. Both kaolinite and montmorillonite were degraded by NaOH liquor, and newly formed minerals were identified. The expansion is related to the mechanism of the silica-NaOH reaction. In the study reported here, the local soil with the highest volume change in sedimentation tests with NaOH solutions was subjected to quasi-constant volume oedometer tests with water and with 4N NaOH solution to determine the swelling stresses resulting from the reactions until stabilization. The alternative of chemical treatment with 5% ferric chloride solution was investigated through the same testing procedure. X-Ray diffraction analyses were applied to evaluate the changes in mineralogy. The swelling vertical stress reached 40 kPa under confined conditions, and stabilization took up to 40 days. The chemical treatment was effective in controlling ongoing reactions, but not effective in prevention.

Aunque la adaptación de los estudios de derecho al Plan de Bolonia ha potenciado el debate sobre la formación del jurista, en realidad se trata de un tema que siempre ha estado presente y en el que hay coincidencia a la hora de sugerir tanto los contenidos a impartir como la metodología a aplicar. En la actualidad, la función social del derecho reclama una actualización equilibrada de ambas dimensiones.

ABSTRACT – In the Presence of Hearing, Senses to Listen – This essay brings together phenomenological studies on the language’s poetical dimension to address the actions of hearing and listening as distinct aspects in the experience of producing senses. The paper establishes an interlocution between philosophy and poetics to think about the inseparability between body and world, rhythm and voice, highlighting the educational relevance of the aesthesic experience of listening to the world as a founding resonance of senses that are organized, situated and expressed in language.

Resumo – Entre a presença do ouvir, sentidos a escutar – Neste ensaio aproximamos estudos fenomenológicos em torno da dimensão poética da linguagem para abordarmos as ações de ouvir e escutar como distintas à experiência de produção de sentidos. Circunscrevemos um campo para pensar a relação entre corpo e mundo, ritmo e voz, que permita destacar a relevância educacional da experiência estésica da escuta do mundo como ressonância fundante de sentidos que são por nós organizados e expressos em linguagem.

Climate change is increasing average temperatures and intensity and frequency of extreme events such as heat waves. Productivity declines and plant damage due to those changes are already described for several majority varieties, especially in the Mediterranean basin. Less explored minority varieties can arise as alternatives due high heat tolerance, or for having high acclimation potential to heat. We evaluated the heat tolerance after acclimation in three summer thermic environments of four Spanish varieties: two majority (‘Tempranillo’, ‘Airén’) and two minority (‘Jarrosuelto’, ‘Morate’). Summer thermic environments differed in average temperature, and length of the warm period. Varieties differed in heat tolerance and its plasticity due to the acclimation to the environments. Within the majority varieties, ‘Tempranillo’ showed low heat tolerance and moderate plasticity in heat tolerance highlighting its susceptibility to climate change. ‘Airén’ had slightly higher tolerance than ‘Tempranillo’ and certain adaptation capacity to environments. Within the minority, ‘Jarrosuelto’ had high tolerance to heat events but low heat tolerance plasticity. ‘Morate’ was the variety with highest heat tolerance plasticity, indicating its strong adaptive potential. Majority varieties displayed susceptibility to heat events and global warming negative effects. However, minority varieties can offer solutions either by having high tolerance to heat or by having high acclimation.

After having commemorated the fortieth anniversary of our current democratic Constitution and, therefore, to remember what was and what the process of democratic transition entailed, the wide ignorance about the fundamental role played by the Catholic Church is striking in the passage from an authoritarian political regime to a fully democratic one. Moreover, on many occasions the institution is identified with one of the main elements of political immobility. In that sense, the fundamental purpose of the research presented here is not only to explain that the Catholic Church was one of the fundamental engines of political change in Spain, but make know how explain the way in which it did it and what were the key moments of its action towards to the creation of the current democratic and social State of Law that we have in our country.

Resumo – Entre a presença do ouvir, sentidos a escutar – Neste ensaio aproximamos estudos fenomenológicos em torno da dimensão poética da linguagem para abordarmos as ações de ouvir e escutar como distintas à experiência de produção de sentidos. Circunscrevemos um campo para pensar a relação entre corpo e mundo, ritmo e voz, que permita destacar a relevância educacional da experiência estésica da escuta do mundo como ressonância fundante de sentidos que são por nós organizados e expressos em linguagem.

ABSTRACT – In the Presence of Hearing, Senses to Listen – This essay brings together phenomenological studies on the language’s poetical dimension to address the actions of hearing and listening as distinct aspects in the experience of producing senses. The paper establishes an interlocution between philosophy and poetics to think about the inseparability between body and world, rhythm and voice, highlighting the educational relevance of the aesthesic experience of listening to the world as a founding resonance of senses that are organized, situated and expressed in language.

O artigo consiste numa reflexão de teor filosófico a partir de um levantamento da produção acadêmica realizada no Brasil sobre a obra da coreógrafa alemã Pina Bausch. Esse levantamento foi realizado em plataformas digitais, abrangendo o período de 1988 a 2018, e compreendeu artigos publicados em periódicos, capítulos de livros, livros, teses e dissertações. Assim, a presente investigação pretende averiguar de que modo tais abordagens se aproximam da obra de Bausch, se direta ou indiretamente. Opera-se com os conceitos de imagem, paródia e relato, procurando refletir, com o aporte da filosofia de Giorgio Agamben e Walter Benjamin – de forma colateral –, sobre os paradoxos das pesquisas em tela.

Do Legado de Pina Bausch: uma entrevista com Dominique Mercy

From the Beginning till the End: an interview with Josephine Ann Endicott

The paper is a philosophical reflection from a survey of the academic production carried through in Brazil on the work of the German choreographer Pina Bausch. This survey was accomplished in digital platforms, comprising the period from 1988 to 2018, and included articles published in journals, book chapters, books, dissertations and theses. Thus, the present investigation intends to inquire in which way such approaches are close to Bausch's work, whether directly or indirectly. Concepts of image, parody and tale are used to reflect, with the input of Giorgio Agamben and Walter Benjamin's philosophy – in a collateral form –, on the paradoxes of the research at issue.

On Pina Bausch’s Legacy: an interview with Dominique Mercy

Do Começo ao Fim: uma entrevista com Josephine Ann Endicott

The text analyses the Renaissance corporal construction approached, over all, in the works of two art historians: Aby Warburg and Georges Didi-Huberman. Sandro Botticelli's paintings are presented as images motto. The study departs from the impenetrable white body of the Birth of Venus and problematizes the horror of the image, apparently only marked by modesty. Warburg and Didi-Huberman discuss the Dionysian pathos in the image from the mythical texts of Homer and Poliziano. Lastly, it is discussed the image of the Story of Nastagio degli Onesti with the purpose of considering the open body concealed by the enclosed body in the Italian Renaissance of the arts.

O texto faz análise da construção corpórea renascentista abordada, sobretudo, nas obras de dois historiadores da arte: Aby Warburg e Georges Didi-Huberman. Apresentam-se, como imagens mote, as pinturas de Sandro Botticelli. O estudo parte do impenetrável corpo branco de O Nascimento de Vênus e problematiza o horror da imagem, aparentemente, apenas marcada pelo pudor. Warburg e Didi-Huberman discutem o pathos dionisíaco na imagem a partir dos textos míticos de Homero e Poliziano. Por fim, disserta-se acerca da imagem de História de Nastagio degli Onesti com o intento de considerar o corpo aberto encoberto por todo corpo fechado no Renascimento italiano das artes.

The present research highlights some key points from Material for the Spine, by Steve Paxton, to establish links between Paxton’s work and positions on phenomena of sensation and perception in the context of contemporary performance. It also analyzes the relationship between internal body sensation and the design of the moving body, which Paxton defines as form. From these concepts, the present paper discusses the artistic power of this approach, based on a scenic practice which aim is to create dance.

A pesquisa detalha alguns pontos fundamentais de Material for the spine, de Steve Paxton, para estabelecer relações entre o mesmo e posições acerca dos fenômenos sensação e percepção no contexto da performatividade na cena contemporânea. Analisa, ainda, a relação entre sensação interna do corpo e o desenho do corpo em movimento, que Paxton define como forma. A partir desses conceitos, discute a potência artística nessa abordagem, pautada numa prática cênica cujo objetivo está em criar dança.

The present study analyzes historical and social issues present in the process of constructing race as a classifying term as well as the consequences of a racist ideology in Brazilian dramaturgy. The racial classification produced, especially, by naturalistic scientists supported a series of paradigmatic representations present in stage during the 19th and 20th century. The text proposes a critical reflection on these stereotypes and questions the hegemonic theoretical perspective within Brazilian theatre studies and practice to provoke a revision of the ways how black characters are put in paper and stage in Brazilian theatre.

O presente artigo tem como objetivo destacar questões históricas e sociais no processo de construção do termo raça e as consequências de uma ideologia racista no campo dramatúrgico. A classificação racial produzida, principalmente, por cientistas naturalistas sustentou uma série de representações paradigmáticas difundidas na cena teatral no decorrer dos séculos XIX e XX. Com o intuito de fazer provocações sobre a criação da personagem negra no teatro, o texto propõe uma reflexão crítica dos estereótipos e questiona a perspectiva teórica teatral hegemônica dos estudos da história do teatro e da dramaturgia.

The text discusses scientific and artistic discourses from the perspective of vocalities gendering, which assigns specific and binary gender marks to bodies. For this, it contextualizes the territory of Feminist Critique and Gender Theories, mainly based on the thoughts of the feminist philosopher Judith Butler, who approaches sex and gender as naturalized cultural constructions. It points, in this context, to a view of biological determinism implied in these discourses concerning the voice, which naturalizes vocal production from physiological aspects of vocal bodies, limiting the understanding of training and vocal creation in the arts.

O texto problematiza discursos científicos e artísticos formados a partir da perspectiva do engendramento de vocalidades, que atribui aos corpos marcas específicas e binárias de gênero. Para isso, contextualiza-se o território da Crítica Feminista e das Teorias de Gênero, apoiando-se principalmente no pensamento da filósofa feminista Judith Butler, que aborda o sexo e o gênero como construções culturais naturalizadas em um sistema androcêntrico e heteronormativo. Aponta-se, nesse contexto, para uma visão do determinismo biológico implicado nesses discursos sobre a voz, que naturaliza a produção vocal a partir dos aspectos fisiológicos dos corpos vocais, limitando a compreensão do treinamento e da criação vocal nas artes.

Tous les récits de Mario Rigoni Stern sont une invitation au voyage, qu’ils aient pour cadre ses montagnes natales ou les paysages qui ont marqué de manière indélébile l’histoire de toute une génération de jeunes gens envoyés sur le front russe. Les voyages de la mémoire occupent ainsi une place majeure dans l’œuvre de l’auteur et sont, à ce titre, partie intégrante du devoir de mémoire dont il se sent investi. Ritorno sul Don, voyage-pèlerinage vers cette Russie dont l’évocation est omniprésente dans l’œuvre rigonienne, marque le retour du sergent vers ces espaces de guerre à la recherche de son passé et dans une démarche introspective propre à le réconcilier avec cette terre non plus fantasmée mais finalement retrouvée.

This text presents an approach to the artist presence as a relation by offering a perspective about the body, and also the shift of presence as a non prior assignment from the artist, which allows us to bring attention to what emerges in the encounter between bodies in the here and now. The audience is considered an active partner and the artist is understood as the one that ceases starring to compose (add-with) the viewer, becoming a porous invitation-presence by an accurate perception practice of the environment settings. This combination of art, philosophy, anthropology and cognitive sciences references allows that the differences between an imposing presence and shared presence become apparent.

Este texto apresenta uma abordagem da presença do artista como relação, propondo um olhar sobre o corpo e sobre o deslocamento da noção de presença como uma atribuição prévia do artista, possibilitando a atenção ao que emerge no encontro entre corpos, no aqui e agora. O público é considerado como interlocutor ativo e o artista como aquele que deixa de protagonizar para com-por (por-se com) o espectador, como uma presença-convite, porosa, por meio de uma escuta apurada às configurações do ambiente. Uma articulação entre referências da arte, da filosofia, da antropologia e das ciências cognitivas permite que as diferenças entre presença impositiva e presença partilhada se evidenciem.

La repercussió de les conseqüències econòmiques de les sentències dictades pel Tribunal de Justícia de la Unió Europea, a l'empara de l'art. 260 del Tractat de Funcionament de la Unió Europea sobre els responsables materials de l'incompliment, té un interès especial en el cas dels estats compostos. A Espanya, encara que el Tribunal Constitucional va avalar aviat el principi de la repercussió sobre les comunitats autònomes, durant força temps la regulació del tema es va confiar a clàusules sectorials, alguna de les quals també ha estat considerada constitucional de forma específica. En l'actualitat, el panorama normatiu ha estat simplificat i hi ha una clàusula general en la Llei Orgànica 2/2012, de 27 d'abril, d'estabilitat pressupostària i sostenibilitat financera, que regula la responsabilitat per incompliment del dret de la UE, partint del principi de responsabilitat; aquesta clàusula ha estat desenvolupada pel Reial Decret 515/2013, de 5 de juliol, pel qual es regulen els criteris i el procediment per determinar i repercutir les responsabilitats. Sens perjudici del fet que aquesta normativa aporta certesa, s’hi observa un interès predominant a assegurar els interessos estatals i descuida la imprescindible col·laboració que hi ha d'haver amb les comunitats autònomes.

The relations between the Governments of Arias Navarro and the Churchare a slightly well-known historical phenomenon although, since it is made clearin this article, they were it sufficiently intense like practically to light a new agreement the Church-State. In it the Church-State could have been decisive the numerous years of tension since was finishing Council Vatican II. Nevertheless,the renewal or update of the Concordat of 1953, and therefore of the union the Church-State, they were not finally possible due to the decisive intervention of the Cardinal Tarancón and of his principal collaborators inside the Episcopal Spanish Conference. From there would be opened a new stage that would culminate in a definitive separation the Church-State.

Council Vatican II lived through the Catholic Spanish Church during the years immediately later to the Council a process of important change through that the hierarchy lived, in some cases, worried. This was the case of Pedro Cantero Cuadrado, Archbishop of Saragossa, a man who had developed hischurch trajectory from the conviction of the necessary collaboration with Franco's Regime in the measurement that this one was guaranteeing, for example,the catholic unit of the nation. The present article is centred, in that sense, on areport that Cantero made come to the Holy See office in the year 1972 and where it was reflecting the main points of conflict both in the bosom of the Church andin his relation with the political power, showing a sincere worry for a new churchreality that he was perceiving as frankly uncertain.

This article focuses on group theater aspects that take place in the streets, in the city of Porto Alegre, Brazil: its motivations, conditions, and relationships established as a consequence of an urban space occupation through theatrical performances. Through the analysis of discourses from representatives of five theater groups from Porto Alegre (which were collected through a seminar and interviews), in a dialogue with performing arts, history, and anthropology scholars, we reflect on the attempt to occupy the city as an aesthetic choice and on the type of relationship established between theater performances and street audiences, aiming to broaden the understanding of the relationships between the theater and the street in the present times.

O artigo enfoca aspectos do teatro de grupo que se faz na rua, na cidade de Porto Alegre: suas motivações, condições e relações estabelecidas como consequência da ocupação do espaço urbano por meio de espetáculos. Através de análises de discursos de representantes de cinco grupos de teatro de Porto Alegre (coletados através de um seminário e de entrevistas), em diálogo com estudiosos das artes cênicas, da história e da antropologia, reflete-se sobre a busca pela ocupação da cidade como escolha estética e sobre o tipo de relação estabelecida entre o espetáculo de teatro e o público da rua, com vistas a ampliar a compreensão acerca das relações entre teatro e cidade na contemporaneidade.

ResumenEl artículo sitúa su reflexión en el tema del ecumenismo, relacionándolo con las propuestas de aggiornamento expresadas por el Vaticano II. Hace también alusión al ámbito de las mudanzas en el seno del protestantismo, de las Iglesias ortodoxas e incluso del cristianismo romano. Además alude a los grandes nombres que trazaron la reflexión teológica en el período de crisis que antecedió al evento –hablamos de aspectos que acabaron incidiendo en los debates conciliares. Siguiendo a Gutiérrez, el artículo destaca tres dimensiones relativas a la búsqueda del diálogo de la Iglesia con el mundo contemporáneo: la urgencia de ser actual, la perspectiva ecuménica y la solidaridad con los pobres. Analiza los “caminos equivocados” que fueron adoptados por la Iglesia en lo concerniente a las propuestas ecumênicas del Concilio: el tomar un “execesivo cuidado” en lo que respecta al mundo moderno, las posiciones de intolerância frente a lo diferente, la comprensión reduccionista del ecumenismo. Hace mención a la exigência de construir relaciones que tengan como bases: la gracia y el amor. Por último, propone la tesis de que “no puede existir un sentido del diálogo, un encuentro entre los seres diferentes, sin la libertad”.Palabras-clave: Iglesia. Vaticano II. Ecumenismo. Diálogo inter-religioso. AbstractThis article focuses its discussion on the theme of ecumenism, in relation to the catholic proposal of aggiornamento expressed by Vatican II. The text refers to the changes within the Protestantism, the Orthodox churches and also within the Roman Christianity. It also mentions the relevant names that marked theological reflection in those times of crisis prior to the Council. Following the author´s thought, the text highlights three dimensions of the dialogue of the Church with the contemporary world: the urgency in getting things update, the ecumenical perspective and the solidarity with the poor. The article evaluates the "wrong path" taken by the Church in relation to the propositions of the ecumenical council: attitudes of intolerance to the different and the reductionist understanding of ecumenism. It also refers to the need to build relationships whose bases are the grace and love. The article finally expresses the following thesis: "there cannot be a sense of dialogue among different beings without freedom."Keywords: Church. Vatican II. Ecumenism. Inter-religious Dialogue.- DOI: 10.5752/P.2175-5841.2011v9n24p1246

The article makes a reflection about the relevance of the voice perceived as body in movement. This understanding is first discussed under the light of the assumptions of authors from performing arts, theater and dance. Next, it was made a proposal for a creative process in dance which considered the collaboration of performers on their path. Dance work was developed with actors and it had the voice as the main driving element. This artwork aimed to discuss a possible move towards a vocal pedagogy for the scene performers.

O artigo faz uma reflexão sobre a relevância da voz entendida como corpo em movimento. Este entendimento é, primeiramente, pensado à luz dos pressupostos de autores das artes cênicas, teatro e dança. Em seguida, foi lançada uma proposta de processo criador em dança que considerou a colaboração dos performers em seu percurso. A obra de dança foi desenvolvida com atores e teve a voz como principal elemento propulsor. Este trabalho buscou discutir um possível encaminhamento voltado para a pedagogia vocal de performers da cena.

O artigo consiste na análise do mito clássico de Ícaro a partir dos conceitos bachelardianos de tempo, de verticalidade onírica, e de suas determinações ontológicas. Ressaltamos que se trata de abordagem inédita do pensamento do autor, que tratou de várias imagens mitológicas, porém, não prestigiou essa cena. O jovem Ícaro vive no tempo do instante, onde há o arrebatamento ontológico e poético, enquanto que Dédalo, seu pai, vive preso à trama de ações cotidianas, ao tempo da duração, horizonte portanto. Por ser retirado da trama das ações cotidianas é que se pode afirmar que o vôo de Ícaro é um essencial: ele vive a realidade vertical do instante, e, assim, deixa fluir suas determinações ontológicas. Palavras-chave: Barchelard - Ícaro - poética - ontologia.

In this work, we depart from the understanding that the co-presence of performers and spectators in contemporary theatre articulates itself through a focus on fiction and one that emphasizes the sensorial perception and concrete interaction. Based on a discussion of the problem of expression in Deleuze/Spinoza and on the critique of the production of meaning in Gumbrecht, we name these two modes of presence respectively emanative presence and immanent presence, with the latter becoming hegemonic in contemporary theatre. We aim to reflect on how a multimedia device, with its possibilities of intermediality, may impact on the interaction between immanence and transcendence.

Neste ensaio, parte-se da compreensão de que a copresença de artistas e espectadores na cena contemporânea articula-se por meio de um foco na ficção e outro que privilegia a percepção e a interação concreta. Com base na discussão do problema da expressão em Deleuze/Espinosa e na crítica à produção de sentido em Gumbrecht, são designados dois modos de presença: presença emanativa e presença imanente, sendo que a última se torna hegemônica no teatro contemporâneo. Objetiva-se refletir como um dispositivo multimidiático, com as possibilidades de uma intermidialidade, impacta nesse jogo de imanência e transcendência.

Neste artigo, parto da experiência com abordagens somáticas do movimento no Bacharelado em Dança da Universidade Federal de Santa Maria para propor uma discussão acerca das implicações pedagógicas e artísticas dessa escolha. Explicito meu ponto de vista enquanto professora e artista, bem como minha compreensão do uso das abordagens somáticas na dança, e convido a uma incursão na experiência dos alunos. Sob o enquadramento da performance como paradigma analítico, articulado à perspectiva da Soma-Estética, aponto alguns caminhos proporcionados por tal escolha na promoção de práticas pedagógicas emancipatórias e na ampliação das possibilidades artísticas dos bailarinos.

In this article, I started from the experience of somatic approaches to movement at the undergraduate dance course of the Universidade Federal de Santa Maria to propose a discussion about the pedagogical and artistic implications of this choice. I explain my point of view as a teacher and artist, as well as my understanding of the use of somatic approaches to dance, and explore the students’ experiences. Within the framework of performance as an analytical paradigm, articulated from the viewpoint of Somaesthetics, I point out some ways provided by such a choice in promoting emancipatory pedagogical practices and expanding the artistic possibilities of dancers.

This article postulates that Somatic Education integrates similar issues related to perception in both cognitive science and philosophy. It also indicates that somatic approaches can expand their area of action, overcoming their original role in health maintenance and technical improvement, to reside in the field of research and creation in dance. In order to strength the relationship between dance and somatic education, this article seeks to address some principles of Béziers and Piret’s Motor Coordination study and points out their possible unfolding in research and creation in dance through perception.

O artigo parte do princípio de que a educação somática articula questões próximas aos estudos da percepção tanto das ciências cognitivas como da filosofia. Indica que as abordagens somáticas podem ampliar sua área de atuação e transbordar sua função inicial de manutenção da saúde e melhora da qualidade técnica para habitar o campo da pesquisa e da criação em dança. A fim de estreitar a relação entre educação somática e dança, busca-se abordar alguns princípios do estudo da Coordenação Motora de Béziers e Piret e apontar seus possíveis desdobramentos no processo de investigação e criação em dança via percepção.

A definição de organon é central para se entender a investigação realizada por Grotowski em seus anos finais, problematizando algumas das palavras-chave ligadas a sua prática teatral. Este texto se propõe a ref letir acerca da técnica no trabalho do ator partindo da definição de organon utilizada por Grotowski, abordando-a enquanto um operador conceitual a partir do qual é possível pensar a relação entre teatro, técnica e tradição.

The CORINE programme (initiated in 1985) has created an Information System referring to the European Union countries, which provides administrative, geographical, land use, vegetal cover information, along with different environmental parameters (CORINE, 1994). The CORINE land cover database offers valuable information on the different land covers of the mapped areas. At present the whole Iberian Peninsula is covered by this digitised database.CORINE is a highly valued instrument in the EU countries where it has been completed. It is therefore necessary to check the quality of the information it provides taking into account the large extension, the climate and environmental variety of the mapped surface.This paper consists of an in-depth study, based on various updated sources, of the actual state of the land cover in a specific area in the central part of Castilla-La Mancha (Spain) with a surface area of approximately 10,000 sq. km. The information obtained is then compared to the CORINE data for the same area. Our aim is therefore to verify the validity of the latter in a pilot zone by using, for this purpose, databases whose definition is higher than CORINE’s and observe both its degree of updated accuracy as also the suitability of the different categories used by CORINE with the land uses and ecosystems existing today.The paper requires the choice of an appropriate scale, which depends on the nature of the study to be carried out. CORINE forms a good database for the handling of information on land cover on large working scales. The geo-referencing errors detected in the present paper have shown the difficulty of its overlapping with other databases.After the relevant comparisons, which could not be carried out by overlapping, it is proved how CORINE land covers is becoming out of date, taking into account the transformations, changes and development of the present land cover in our area.On the other hand, we consider that the nomenclature of CORINE land cover may not be sufficiently varied in its third level, especially in woodland areas. The results in the grouping of very different formations in the same class. This does not happen, for example, in the urban areas, when a large quantity of classes exist to define the variety of urban land uses.This study has been carried out in the setting of the Project “Modelling the effect of land degradation on climate” (ENV4-CT98-0696) financed by the European Union.

La Ley del divorcio fue uno de los asuntos más polémicos de la corta gestión del Gobierno Calvo-Sotelo, y demostró la fuerte diversidad ideológica que existía en la UCD, principalmente entre los demócratacristianos y los socialdemócratas. La cuestión fundamental que este estudio pretende dilucidar es si realmente el problema era ideológicamente tan conflictivo o si éste fue aprovechado para provocar la ruptura del partido; cuál fue la actitud de la Iglesia en todo este proceso; y si ciertamente la sociedad demandaba la Ley del divorcio que finalmente se aprobó en el Parlamento, o ésta, al contrario, fue excesivamente progresista.The Law for divorcment was one of the more polemic affairs during the short gobernment of President Calvo-Sotelo, and showed the strong ideologic diversity in the UCD, mainly between the christian-democrats and the socialdemocrats. The main question that this article wants to check is ií really the probiem was so strong ideologicly or if it was really used for breaking the political party; which was the behaviour of the Catholic church along the conflict; and if certainly the society was asking for the Law for divorcment that finally passed the Parliament, or if, on the other hand, was too progresist.

Escrito por Maria de Santa-Cruz.