DOCSLIB.ORG

A Comparative Analysis of the Role of the Woman in Spanish and English

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comparative Analysis of the Role of the Woman in Spanish and English A Comparative Analysis of the Role of the Woman in Spanish and English Renaissance Society, and its Literary Reflection in William Shakespeare's The Taming of the Shrew and Much Ado About Nothing, and Miguel de Cervantes' Don Quijote Diplomarbeit zur Erlangung des akademischen Grades einer Magistra der Philosophie an der Geisteswissenschaftlichen Fakultät der Karl-Franzens-Universität Graz Vorgelegt von Tanya RIDOUT Am Institut für Anglistik Begutachter: Ao.Univ.-Prof. Mag. Dr.phil. Maria Löschnigg Graz, November 2012 Acknowledgements I would like to dedicate my diploma thesis to my Oma, Dr. phil Gertrude Haidmayer, who sadly passed away two years ago. Thank you for inspiring me with you passion for English literature, and for being such an amazing woman. You will never be forgotten. A huge thank you also goes to my wonderful parents, Eva and Kelvin, who no matter what, are always there for me, offering me loving support and encouragement. Without you both, I would never have come this far. Thank you also to my long-suffering boyfriend Florian, and my best friend Sara, for both your patience and for always believing in me. Table of Contents Introduction .................................................................................................................... 1 1. Social and Historical Background ............................................................................. 4 1.1 Women in Renaissance England and the Spanish Golden Age ........................... 4 1.1.1 The Role of the Woman in English and Spanish Society ............................. 5 1.1.2 Virginity, Chastity and the Double Standard ................................................ 6 1.1.3 Wives, Mothers and Unmarried Women ...................................................... 9 1.1.4 Conduct Books ............................................................................................ 13 1.1.5 Beauty ......................................................................................................... 16 1.1.6 Queen Elizabeth I ........................................................................................ 17 1.2 European Humanism .......................................................................................... 21 1.2.1 Women and Education ................................................................................ 21 1.3 Religion and the Treatment of Women .............................................................. 25 1.3.1 The Church of England ............................................................................... 26 1.3.2 Spanish Catholicism.................................................................................... 27 1.3.3 Islam in Spain ............................................................................................. 29 2. The Writers .............................................................................................................. 32 2.1 William Shakespeare ......................................................................................... 32 2.1.1 Brief Biography .......................................................................................... 32 2.1.2 Women in the Life of Shakespeare ............................................................. 34 2.1.3 Feminist and Anti-feminist Views on Shakespeare .................................... 36 2.2 Miguel de Cervantes .......................................................................................... 37 2.2.1 Brief Biography .......................................................................................... 37 2.2.2 Women in the Life of Cervantes ................................................................. 38 2.2.3 Feminist and Anti-feminist Views on Cervantes ........................................ 39 3. Textual Analysis ...................................................................................................... 42 3.1 Theory Behind the Analysis............................................................................... 42 3.2 The Taming of the Shrew ................................................................................... 43 3.2.1 Introduction to the Play ............................................................................... 43 3.2.2 Plot Summary.............................................................................................. 46 3.2.3 Analysis of the Female Characters in The Taming of the Shrew ................ 47 3.2.3.1 Katherina .............................................................................................. 47 3.2.3.2 Bianca .................................................................................................. 58 3.3 Much Ado About Nothing................................................................................... 63 3.3.1 Introduction to the Play ............................................................................... 63 3.3.2 Plot Summary.............................................................................................. 64 3.3.3 Analysis of the Female Characters in Much Ado About Nothing ............... 65 3.3.3.1 Beatrice ................................................................................................ 65 3.3.3.2 Hero...................................................................................................... 74 3.3.3.3 Margaret ............................................................................................... 81 3.4 Don Quijote ........................................................................................................ 84 3.4.1 Introduction to the Novel ............................................................................ 84 3.4.2 The Narrative Structure of Don Quijote ..................................................... 85 3.4.3 Plot Summary of Part One and Part Two of Don Quijote .......................... 87 3.4.4 Analysis of the Female Characters in Don Quijote .................................... 89 3.4.4.1 Dulcinea ............................................................................................... 89 3.4.4.2 Marcela ................................................................................................ 93 3.4.4.3 Dorotea ............................................................................................... 101 3.4.4.4 Teresa Panza ...................................................................................... 107 3.4.4.5 Zoraida ............................................................................................... 112 3.4.4.6 Camila ................................................................................................ 118 3.4.4.7 La Duquesa ........................................................................................ 123 3.4.4.8 Further Female Characters of Interest ................................................ 129 4. Conclusion ............................................................................................................. 135 5. Works Cited ........................................................................................................... 141 Introduction During the sixteenth and seventeenth centuries, women throughout Europe were expected to be obedient, virtuous and silent. Without a doubt, they were second-class citizens in highly misogynistic societies, thoroughly dominated by men. Through the eyes of an authentic, real-life author, literature which dates back to the European Renaissance offers the modern-day reader an invaluable account of what life was really like for women, well before the feminist movement began. This thesis will compare and contrast sixteenth and seventeenth century women living in Spain, with those who lived in England, by analysing the main female literary characters which appear in the literary works of two different men who both bore witness to this period. These chosen writers are William Shakespeare and Miguel de Cervantes. William Shakespeare, the most famous playwright that ever lived, and Miguel de Cervantes, the creator of the modern novel and one of literature's most loveable and comical figures: Don Quijote. Two men from different countries, cultures and religions: one an English Protestant, the other a Spanish Catholic. However, both men share a common factor: they lived during the same period, in societies which were shaped by the European Renaissance and by the philosophical movement humanism, which played a key part in women's education. A further shared similarity is that both Shakespeare and Cervantes include a large number of female characters in their writings, many of which play a significant role in the text. Much research has been conducted on these women, as well as on Cervantes' and Shakespeare's personal feminist or misogynistic tendencies. However, up until now, there has been no study which directly compares and contrasts both writers' female figures with one another, in order to discover which of the two men was more radical or modern when it came to women's rights. Nor have comparisons been made between the English and the Spanish woman living during the Renaissance, based on the female characters which appear in Cervantes' and Shakespeare's literary masterpieces. This thesis will analyse the main female figures present in two of Shakespeare's plays, and contrast them with those which appear in Cervantes' classic novel, Don Quijote. Shakespeare's comedies The Taming of the Shrew and Much Ado About Nothing have been chosen, due to their shared theme of the 'battle of
Load more

Recommended publications
  • Cervantes and the Spanish Baroque Aesthetics in the Novels of Graham Greene
    TESIS DOCTORAL Título Cervantes and the spanish baroque aesthetics in the novels of Graham Greene Autor/es Ismael Ibáñez Rosales Director/es Carlos Villar Flor Facultad Facultad de Letras y de la Educación Titulación Departamento Filologías Modernas Curso Académico Cervantes and the spanish baroque aesthetics in the novels of Graham Greene, tesis doctoral de Ismael Ibáñez Rosales, dirigida por Carlos Villar Flor (publicada por la Universidad de La Rioja), se difunde bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2016 publicaciones.unirioja.es E-mail: [email protected] CERVANTES AND THE SPANISH BAROQUE AESTHETICS IN THE NOVELS OF GRAHAM GREENE By Ismael Ibáñez Rosales Supervised by Carlos Villar Flor Ph.D A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy At University of La Rioja, Spain. 2015 Ibáñez-Rosales 2 Ibáñez-Rosales CONTENTS Abbreviations ………………………………………………………………………….......5 INTRODUCTION ...…………………………………………………………...….7 METHODOLOGY AND STRUCTURE………………………………….……..12 STATE OF THE ART ..……….………………………………………………...31 PART I: SPAIN, CATHOLICISM AND THE ORIGIN OF THE MODERN (CATHOLIC) NOVEL………………………………………38 I.1 A CATHOLIC NOVEL?......................................................................39 I.2 ENGLISH CATHOLICISM………………………………………….58 I.3 THE ORIGIN OF THE MODERN
    [Show full text]
  • The Pocket Oxford Theatre Company
    THE POCKET OXFORD THEATRE COMPANY Presents Taming Shakespeare (Taming Of The Shrew) SECUNDARIA WORKPACK Teachers' note: This didactic material consists of pre-show activities designed to help teachers prepare the students for the experience of watching a piece of theatre in a foreign language. Due to The Pocket Oxford Theatre Company's interactive style and use of audience participation, certain details contained in this show will change over the course of the performance. The characters and plot will remain unaffected. SHAKESPEARE (1564-1616) William Shakespeare was born in Stratford-upon-Avon, England in 1564. His parents were quite rich and he attended a grammar school where he studied Greek and Latin. He married Anne Hathaway in 1582. Shakespeare then moved to London to become a playwright and actor with the successful theatre company The Lord Chamberlain's Men. The company would later change its name to The King's Men in 1603. Shakespeare remained with the company until he retired in 1610. Shakespeare's earliest plays date from 1590 and by 1597 he was sufficiently rich to buy the second largest house in Stratford. The following year he became a partner in the new Globe Theatre, London. He wrote 37 plays in total and 154 sonnets (lyrical poems of 14 lines). His plays are catagorised into three genres; comedy, tragedy and history plays. The comedy, 'The Taming Of The Shrew', was one of Shakespeare's earliest plays (written in 1590) with his last play ('The Tempest') being written in 1611, after which he retired to Stratford, where he died in 1616, aged 52.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • National Plan for Abbeys, Monasteries and Convents
    NATIONAL PLAN FOR ABBEYS, MONASTERIES AND CONVENTS NATIONAL PLAN FOR ABBEYS, MONASTERIES AND CONVENTS INDEX Page INTRODUCTION ................................................................................................................. 3 OBJECTIVES AND METHOD FOR THE PLAN’S REVISION .............................................. 4 1. BACKGROUND ......................................................................................................... 6 1.1.- Inception of the Plan ............................................................................................. 6 1.2.- Groundwork.......................................................................................................... 6 1.3.- Initial objectives .................................................................................................... 7 1.4.- Actions undertaken by the IPCE after signing the Agreement .............................. 8 1.5.- The initial Plan’s background document (2003). ................................................... 9 2. METHODOLOGICAL ASPECTS .............................................................................. 13 2.1.- Analysis of the initial Plan for Abbeys, Monasteries and Convents ..................... 13 2.2.- Intervention criteria ............................................................................................. 14 2.3.- Method of action ................................................................................................. 17 2.4.- Coordination of actions ......................................................................................
    [Show full text]
  • Maquetación 1
    TOLEDO CASTILLA LAMAN CHA x THERE’S SO MUCH TO SEE AND FEEL! Toledo and its province are a complete and particular showcase for your senses. The ca - pital, one of the most attractive old towns in the world, is the hub of an environment rich in artistic and cultural heritage. Its villas and wetlands from La Mancha are a haven of peace where you can enjoy the Cervan - tine atmosphere. Its hills, mountains, fo - rests, ‘rañas’, rivers and meadows are part of a natural environment of singular beauty. Its festivities, traditions and gastronomy are an invitation to live the unequalled attractive of the lands of Toledo. ENDLESS TOLEDO… AND CAPITAL OF GASTRONOMY By the end of the 11 th Century the poet Yehuda ha Levi wrote: ‘The city where I live is big, and its inhabitants are giants’. He was ac - tually talking about Toledo, the place where Jewish, Muslims and Christians gave an example of cohabitation and tolerance. Located on the top of a hill, protected by the Tagus River, Toledo still preserves that open-minded character. All civilizations that have been in the Iberian Peninsula have made of this setting an im - portant one, enriching it with their culture and arts. Each genera - tion gave it a bit more beauty. UNESCO understood it so in 1986 by declaring it a World Heritage Site. Writer Julio Caro Baroja said that Toledo is a luxury that Spain has. A luxury at your fingertips. Being home to more than a hundred monuments, its streets invite you to enjoy the joys of its Roman, Visigothic, Jewish, Muslim and Christian past.
    [Show full text]
  • The Oxfordian Volume 21 October 2019 ISSN 1521-3641 the OXFORDIAN Volume 21 2019
    The Oxfordian Volume 21 October 2019 ISSN 1521-3641 The OXFORDIAN Volume 21 2019 The Oxfordian is the peer-reviewed journal of the Shakespeare Oxford Fellowship, a non-profit educational organization that conducts research and publication on the Early Modern period, William Shakespeare and the authorship of Shakespeare’s works. Founded in 1998, the journal offers research articles, essays and book reviews by academicians and independent scholars, and is published annually during the autumn. Writers interested in being published in The Oxfordian should review our publication guidelines at the Shakespeare Oxford Fellowship website: https://shakespeareoxfordfellowship.org/the-oxfordian/ Our postal mailing address is: The Shakespeare Oxford Fellowship PO Box 66083 Auburndale, MA 02466 USA Queries may be directed to the editor, Gary Goldstein, at [email protected] Back issues of The Oxfordian may be obtained by writing to: [email protected] 2 The OXFORDIAN Volume 21 2019 The OXFORDIAN Volume 21 2019 Acknowledgements Editorial Board Justin Borrow Ramon Jiménez Don Rubin James Boyd Vanessa Lops Richard Waugaman Charles Boynton Robert Meyers Bryan Wildenthal Lucinda S. Foulke Christopher Pannell Wally Hurst Tom Regnier Editor: Gary Goldstein Proofreading: James Boyd, Charles Boynton, Vanessa Lops, Alex McNeil and Tom Regnier. Graphics Design & Image Production: Lucinda S. Foulke Permission Acknowledgements Illustrations used in this issue are in the public domain, unless otherwise noted. The article by Gary Goldstein was first published by the online journal Critical Stages (critical-stages.org) as part of a special issue on the Shakespeare authorship question in Winter 2018 (CS 18), edited by Don Rubin. It is reprinted in The Oxfordian with the permission of Critical Stages Journal.
    [Show full text]
  • La Mancha Toledana
    LA MANCHA TOLEDANA , ~=====~ , Fernando Jiménez de Gregorio Instituto Provincial de Investigación y Estudios Toledanos 97 ~ 98 7 -'1 Instituto Provincial DE Investigaciones .v Estudios Toledanos DIPUTACION PRO,INCIAL Plaza de la Mel Ged. 4 TULEDU Fernando Jiménez de Gregorio LA MANCHA TOLEDANA Publicaciones del I.P.I.E.T. Serie VI. Temas Toledanos EXTRAN.09 Ilustraciones: Mapas: Ángel Deza Agüero. Fotos: Camuñas: Luis Mora Morcillo. Lillo: Juan Gómez Díaz. Madridejos: Francisco Domínguez Tendero. Tembleque: José María Martín-Bemabé. Villanueva de Alcardete: Luis Mora Morcillo. Dibujos: Fernando Dorado. © Fernando Jiménez de Gregario Se autoriza la reproducción, excepto con fines comerciales, siempre que se cite la fuente Depósito Legal: TO-859-1999. ISBN: 84-87103-92-8 Imprime: Imprenta Provincial. Plaza de la Merced, 4. Toledo. INSTITUTO PROVINCIAL DE INVESTIGACIONES Y ESTUDIOS TOLEDANOS Fernando Jiménez de Gregorio LA MANCHA TOLEDANA Toledo Diputación Provincial 2000 Dedicatoria: A la insigne memoria de Miguel de CERVANTES, viajero en mulas alquilonas por estos lugarones de La Mancha, en donde conoció a DULCINEA DEL TOBOSO, amor «platónico y continente» de nuestro Señor DON QUIJOTE. INTRODUCCIÓN AL ESTUDIO DE ESTA COMARCA l.-Al comenzar a escribir sobre LA MANCHA TOLEDANA viene a mi cansada memoria aquellas letras del maestro Gonzalo de BERCEO quien al poner mano en su ultima obra, la Vida de Santa Oria, dice así: «Quiero en mi vegez, maguer so cansado! de esta sancta uirgen roman~ear un dictado .. ,», Cuando esto escribe el famoso poeta estaba ya por los setenta años; quien ahora lo hace goza ya de los ochenta y siete, por ello, al terminar esta aventura, pido a Dios llevarla a feliz acabamiento.
    [Show full text]
  • Don Quijote in English
    Tilting at Windmills: Don Quijote in English _________________________________________ Michael J. McGrath rinted on the inside jacket of Edith Grossman’s 2003 transla- tion of Don Quijote is the following statement: “Unless you read PSpanish, you have never read Don Quixote.” For many people, the belief that a novel should be read in its original language is not contro- vertible. The Russian writer Dostoevsky learned Spanish just to be able to read Don Quijote. Lord Byron described his reading of the novel in Spanish as “a pleasure before which all others vanish” (Don Juan 14.98). Unfortunately, there are many readers who are unable to read the novel in its original language, and those who depend upon an English transla- tion may read a version that is linguistically and culturally quite different from the original. In his article “Traduttori Traditori: Don Quixote in English,” John Jay Allen cites the number of errors he encountered in different translations as a reason for writing the article. In addition, ac- cording to Allen, literary scholarship runs the risk of being skewed as a result of the translator’s inability to capture the text’s original meaning: I think that we Hispanists tend to forget that the overwhelming ma- jority of comments on Don Quixote by non-Spaniards—novelists, theoreticians of literature, even comparatists—are based upon read- ings in translation, and I, for one, had never considered just what this might mean for interpretation. The notorious difficulty in es- tablishing the locus of value in Don Quixote should alert us to the tremendous influence a translator may have in tipping the balance in what is obviously a delicate equilibrium of ambiguity and multi- valence.
    [Show full text]
  • Actes Dont La Publication Est Une Condition De Leur Applicabilité)
    30 . 9 . 88 Journal officiel des Communautés européennes N0 L 270/ 1 I (Actes dont la publication est une condition de leur applicabilité) RÈGLEMENT (CEE) N° 2984/88 DE LA COMMISSION du 21 septembre 1988 fixant les rendements en olives et en huile pour la campagne 1987/1988 en Italie, en Espagne et au Portugal LA COMMISSION DES COMMUNAUTÉS EUROPÉENNES, considérant que, compte tenu des donnees reçues, il y a lieu de fixer les rendements en Italie, en Espagne et au vu le traité instituant la Communauté économique euro­ Portugal comme indiqué en annexe I ; péenne, considérant que les mesures prévues au présent règlement sont conformes à l'avis du comité de gestion des matières vu le règlement n0 136/66/CEE du Conseil, du 22 grasses, septembre 1966, portant établissement d'une organisation commune des marchés dans le secteur des matières grasses ('), modifié en dernier lieu par le règlement (CEE) A ARRÊTÉ LE PRESENT REGLEMENT : n0 2210/88 (2), vu le règlement (CEE) n0 2261 /84 du Conseil , du 17 Article premier juillet 1984, arrêtant les règles générales relatives à l'octroi de l'aide à la production d'huile d'olive , et aux organisa­ 1 . En Italie, en Espagne et au Portugal, pour la tions de producteurs (3), modifié en dernier lieu par le campagne 1987/ 1988 , les rendements en olives et en règlement (CEE) n° 892/88 (4), et notamment son article huile ainsi que les zones de production y afférentes sont 19 , fixés à l'annexe I. 2 . La délimitation des zones de production fait l'objet considérant que, aux fins de l'octroi de l'aide à la produc­ de l'annexe II .
    [Show full text]
  • La Gastronomía En El Quijote Y La Cocina Manchega Actual
    La gastronomía en £1 Quijote y la cocina manchega actual Isabel Fernández Morales El Toboso Pocos son los capítulos de El Quijote sin referencias explícitas o implícitas al comer. Estas referencias son fundamentales para conocer cómo eran la vida y la sociedad de la época; incluso, podemos afirmar que El Quijote es una de las obras que más datos nos proporcionan sobre la cocina en la España del Renacimiento. La cocina del Quijote es un tema ya muy estudiado, pero creo interesante para esta ocasión abordar su estudio desde las costumbres gastronómicas que he conocido vigentes en la cocina popular de La Mancha. Esta cocina popular manchega, sus productos, sus recetas y sus preparaciones han cambiado poco a lo largo de los siglos y, en muchos casos, vemos cómo en diversos pueblos de La Mancha se han mantenido hasta la actualidad costumbres gastronómicas que ya se encuentran citadas en El Quijote. Y, a veces, apenas sin cambios. Por ello, como conocedora de la gastronomía manchega, creo posible aportar datos nuevos relativos a la composición y características de muchos de los platos citados en el Quijote a la luz de las recetas que aún hoy se siguen preparando en las cocinas de nuestros pueblos y que aún hoy se degustan en las casas manchegas. Hay que tener en cuenta que la incorporación de la mujer al mundo del trabajo, el nuevo modo de vida y la globalización también gastronómica, hacen que gran parte de esta tradición culinaria se esté perdiendo, o mejor dicho, se esté renovando. Por eso me centro en la comida tradicional como hasta hace 30 años se comía en los hogares de la Mancha, y que estamos intentando recuperar.
    [Show full text]
  • Download Travel Guide El Toboso
    Albacete | Ciudad Real | Cuenca | Guadalajara | Toledo El Toboso 1/4 VisitEl Toboso owes its reputation and main appeal to the Cervantine novel that attracts visitors from all over the world, like a shortcut to Galdós, following the steps of Don Alonso. Dulcinea leads the way through the streets that feature in the book, as if it were a gymkhana, in order to get to her house, the Museum-house of Dulcinea, the Cervantes Museum or the Dulcinea Museum of Graphic Humour, nerve centres where the essence of the distinguished work of universal literature is compiled. The area also has many other points of interest, like the Museum-convent of Trinitarias, in a Herreran style and with patios and a Baroque church. Its collection of paintings and images from the 17th century is considerable. The parish church stands out due to its Renaissance-style doorways and the Gothic ribbed vaulting. El Toboso unravels itself onto small trails aiming to appease the visitor’s interests: the monumental route, the nocturnal one, the route of the wells and above all the literary route will guide our tour whilst another route, the farewell, will envelop us in nostalgia on leaving the lands of the beloved Don Quixote. The nocturnal route suggests we tour its white houses, which conjure up sections of the Don Quixote novel. The heritage leads us from the Trinitarias monastery to Dulcinea’s house. Throughout the tour we will see monuments of high significance such as the house of the Mergelinas, the church of San Antonio Abad and the Cervantes Museum.
    [Show full text]
  • Ignacio Álvarez Texidor Arquitecto Colaborador / Toledo
    Ignacio Álvarez Texidor Arquitecto Colaborador / Toledo FORMACIÓN ACADÉMICA ARQUITECTO SUPERIOR, por la Escuela Técnica Superior de Arquitectura de Madrid (ETSAM), Madrid, enero 2015. Estudios de primer ciclo de Arquitectura en la Universidad San Pablo CEU. Educación primaria, secundaria y Bachillerato en Colegio Santa María Hermanos Maristas (Toledo). OTROS CURSOS Y FORMACIÓN Curso "Illustrator" (ETSAM) Madrid. Febrero 2014. (30 horas) Curso REVIT orientado a PFC y diseño de instalaciones. UniversidadPolitécnica de Madrid, septiembre 2014. (28horas). Curso @Taller de diseño paramétrico” con la herramienta Grasshopper u Rhinoceros. Universidad San Pablo CEU (12 horas). Curso de aplicación informática Photoshop, Sketch Up, Flash (16 horas) Curso de aplicación informático renderizado VRAY. Curso de “Introducción a la rehabilitación estructural” Instituto Valenciano de la Edicación, Universidad Politécnica de Valencia, octubre de 2016 ( 6 horas). Seminario sobre Legislación y Política urbanística: “Necesidad y oportunidad de la Intervención en la ciudad consolidada” (12 horas ). Universidad Internacional Menéndez Pelayo, noviembre 2016.. Curso “Sistemas de Información Geográca (SIG) para la ordenación del territorio y paisaje”. Instituto Valenciano de la Edicación, Universidad Politécnica de Valencia (75 horas). Curso “Construcción de Estructuras de Madera de modo tradicional” (15 horas). Universidad Politécnica de Madrid. Curso de verano “las ciudades patrimonio de la Humanidad en perspectiva histórica” Toledo 19 y 20 de junio de 2017. Universidad de Castilla-La Mancha. Seminario sobre Legislación y Política urbanística. Cuenca 22 y 23 de marzo. Universidad Internacional Menéndez Pelayo. Curso Master “Sistemas de Información Geográca” (SIG). En curso. Universidad Politécnica de Valencia. 2018. (640horas). CONOCIMIENTOS INFORMÁTICOS Dibujo: AutoCAD, Adobe Ilustrator. 3D, BIM: Sketchup, Autodesk Revit, Rhinoceros, 3d Max.
    [Show full text]