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Las Termas Y Balnea Romanos De Lusitania

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1 Las termas y balnea romanos de Lusitania Las termas y balnea romanos de Lusitania Maria Pilar Reis MINISTERIO DE CULTURA Edita: © SECRETARÍA GENERAL TÉCNICA Subdirección General de Información y Publicaciones Planos y fotografías: Maria Pilar Reis Diseño y maquetación: Ceferino López Imprime: IBERSAF N.I.P.O.: 176-04-023-8 I.S.B.N.: 84-369-3779-1 Depósito Legal: M. 0000-2004 Dirección Científica PROF. DR. JORGE DE ALARCÃO Catedrático de Arqueología Universidad de Coimbra PROF. DRA. TRINIDAD NOGALES BASARRATE Departamento de Investigación Museo Nacional de Arte Romano Comité Científico PROF. DR. JOSÉ Mª ÁLVAREZ MARTÍNEZ Director del Museo Nacional de Arte Romano DR. JOSÉ LUISDELABARRERA Conservador del Museo Nacional de Arte Romano DR. JOSÉ CARLOS CAETANO Departamento de Historia Universidad de Évora PROF. DR. ENRIQUE CERRILLO Departamento de Arqueología Universidad de Extremadura PROF. DR. JONATHAN EDMONDSON Departamento de Historia Universidad de York (Canadá) PROF. DR. JOSÉ D´ENCARNAÇÃO Director del Instituto de Arqueología Universidad de Coimbra PROF. DR. CARLOS FABIÃO Departamento de Arqueología Universidad de Lisboa PROF. DR. JEAN-GÉRARD GORGES C.N.R.S. Universidad de Toulouse II Ex director-adjunto de la Casa de Velázquez DR. VIRGÍLIO HIPÓLITO CORREIA Director del Museu Monográfico de Conimbriga PROF. DR. PATRICK LE ROUX Departamento de Historia Universidad de París XIII PROF. DRA. Mª DEL MAR LOZANO Directora Científica del Consorcio de la Ciudad Monumental Histórico-Artístico y Arqueológica de Mérida PROF. DR. MANUEL SALINAS DE FRÍAS Departamento de Historia Antigua Universidad de Salamanca PROF. DR. THOMAS SCHATTNER Subdirector del Instituto Arqueológico Alemán de Madrid PROF. DR. WALTER TRILLMICH Director del Instituto Arqueológico Alemán de Berlín El Museo Nacional de Arte Romano es un centro de avalada proyección internacional, pues no en vano lleva toda su larga y centenaria vida colaborando y gestando programas y proyectos que superan los límites territoriales hispanos. Desde su creación, que se remonta a 1838, el Museo ha sido un centro de flujo cultural de casi todos los pueblos. Camino de dos siglos, pues, los que el Museo viene desarrollando su tarea de difundir la romanización, y ello ha hecho que sea un referente imprescindible a la hora de programar cualquier actividad en relación a este mundo cultural romano, de marcado cariz europeo pero también norteafricano y oriental. La nueva serie STVDIA LVSITANA, que nace al amparo del Museo Nacional de Arte Romano y bajo los auspicios de universidades y centros de investigación europeos y de otras nacionalidades, es un reflejo de hacia dónde camina la realidad cultural y científica hispana. En el presente son estos vehículos de difusión los que más colaboran a suprimir, con el trabajo común silencioso pero potente del peso de la cultura, las fronteras que nos alejaron. El marco natural de la acción cultural de STVDIA LVSITANA ha de ser, incuestionablemente, el original territorio de la Lusitania romana, de la que Augusta Emerita- la actual Mérida- fue capital durante varios siglos. Por ello, y en colaboración siempre con la Junta de Extremadura que ejerce un papel esencial en la conexión cultural con la vecina Portugal, las vinculaciones entre el Museo y su vecino territorio luso avanzan cada día en la idea de gestar programas que generen lazos de identidad cultural y que nos ayuden a superar viejos atavismos peninsulares. El devenir de la historia ha hecho que la frontera ibérica se diluya, y que la creación de un nuevo concepto europeo, abierto, tolerante y multicultural nos haga caminar cada día más juntos, creando vías de colaboración hispano-lusas con el concurso de países europeos y transatlánticos. Y aquí ha de situarse esta nueva oferta cultural, STVDIA LVSITANA, donde los investigadores dedicados a conocer este territorio tengan un medio de editar sus estudios, para posteriormente poderlos proyectar a toda la sociedad de manera accesible y atractiva en exposiciones y manifestaciones culturales como las organizadas desde el Museo Nacional de Arte Romano. Nos congratula que sea el Museo Nacional de Arte Romano, desde la Subdirección de Museos Estatales del Ministerio de Cultura, el motor de esta nueva iniciativa, porque eso significa que nuestros centros son conscientes del papel que juegan en la apertura cultural. El papel de la cultura es imprescindible en el necesario camino del diálogo entre los distintos pueblos. Si derribamos fronteras culturales estaremos colaborando a derribar intolerancia, racismo, xenofobia y muchos de los males que nos aquejan. CARMEN CALVO POYATO Ministra de Cultura El Ministerio de Cultura en 1975 y con motivo del Bimilenario de la Fundación de la colonia Augusta Emerita cambió la denominación del Museo emeritense, que pasó de llamarse Museo Arqueológico a ser Museo Nacional de Arte Romano, superando así la categoría local y alcanzando la nacional. Pocos años más tarde se crearon los Museos y Centros de Investigación de Altamira y Cartagena, que venían a definir en España el concepto europeo de Museo como gran centro de investigación, a la manera de Museos como el Británico, el Louvre o los de Roma o Berlín. Por distintas razones no se llegó a cambiar de nuevo la denominación del Museo Nacional de Arte Romano y añadirle el término Centro de Investigación, porque “de facto” ya era un centro de investigación pujante y no precisaba de “apellidos” para acreditar su tarea científica. Los resultados están al alcance de todos desde decenios. La vocación peninsular del Museo Nacional de Arte Romano es innegable, ya que Augusta Emerita es paradigma en el proceso de romanización hispana, como de hecho reconoció la UNESCO al declarar su conjunto arqueológico Patrimonio de la Humanidad. Pero además, como capital del extenso territorio Lusitano, Augusta Emerita precisa proyectarse a su lugar de referencia cultural, del occidente ibérico hasta el Atlántico. Ha existido una cierta inercia en la comunidad científica de tratar los asuntos lusitanos de manera parcial, manteniendo la frontera artificial presente de ambos países, con la consiguiente desviación del análisis objetivo territorial. Afortunadamente, cada día se derriban más las ficticias líneas que la cartografía moderna nos ha impuesto, cada día somos más los investigadores que procuramos crear equipos multidisciplinares desde los que alumbrar la Lusitania como un espacio confluente, con sus matices y sus peculiaridades, pero al fin y al cabo como una unidad cultural de peso específico. Por todo ello era necesaria una nueva monografía con identidad lusitana. En esta filosofía constructiva y de creación de redes de trabajo abiertas a todos es donde debemos situar a la nueva serie STVDIA LVSITANA, que nace al amparo de un Museo-Centro de Investigación. Dicha publicación, que pretende ser un órgano vivo, plurinacional, abierto a todos cuantos aporten ciencia al análisis de la Lusitania romana, es un hito más en el trabajo que otros que nos precedieron efectuaron, un objetivo más alcanzado desde la atalaya del Museo con el concurso de todos cuantos se quieran unir a construir, a edificar y alzar puentes. La unión científica ibérica es necesaria, porque ambas comunidades debemos enriquecernos y ayudarnos a la hora de proyectar nuestro trabajo, porque crear instituciones a costa de otras no conduce a nada, y los hechos lo demuestran. STVDIA LVSITANA desea ser un órgano de difusión científica de trabajos monográficos especializados, llevados a cabo desde Museos, Universidades y Centros de Investigación de contrastada experiencia. El Departamento de Investigación del Museo Nacional de Arte Romano, como responsable de esta nueva serie, quiere aunar medios y colaboraciones de distintas instituciones para que, entre todas, hagamos posible la publicación de monografías necesarias y útiles a la hora de buscar nuestro lugar en la comunidad internacional. Contar con un órgano que garantice la edición y difusión del esfuerzo científico de muchos investigadores abre nuevas expectativas, anima a los jóvenes profesionales y, lo que es más importante, evitará que algunos trabajos permanezcan inéditos, con la consecuente pérdida científica que ello supone. Hoy presentamos un nuevo volumen de la mano de su mentor científico, el Prof. Dr. Jorge de Alarcão, verdadero motor del estudio de la romanización en Portugal, quien junto a otros muchos ha hecho posible que la Península Ibérica no sea un fenómeno periférico y colateral. El aval creemos que garantiza, cuando menos, esta primera entrega. La serie cuenta con un comité científico elegido entre los investigadores dedicados y entregados al conocimiento de la Lusitania. Podría haberse ampliado mucho más, pero por razones de operatividad se ha debido seleccionar un grupo diverso, que abarque distintas parcelas del saber: territorio, urbanismo, epigrafía y sociedad, iconografía, arquitectura, el mundo de las mentalidades, los espacios, las gentes y sus problemas, etc. Agradecemos a todos ellos su interés y colaboración, en la seguridad de que serán un factor de crecimiento constante de la serie. También en este primer número hemos contado con la colaboración, como especialista, de la Prof. Fernández Ochoa, quién ha supervisado el volumen con la competencia que le caracteriza. La autora, en su introducción, ya alude a los imponderables y elementos que definen su trabajo. Ahora le toca el turno a la comunidad científica, de realizar su crítica, de su disección dependerá el avance del tema elegido. Ya hay otros estudios en curso sobre materia semejante.
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  • October 2017Newsletter

    October 2017Newsletter

    ALGARVE HISTORY ASSOCIATION NEWSLETTER OCTOBER 2017 OCTOBER In a surprise move this summer, Lynne agreed to take part PLEASE NOTE NEW VENUE in TAVIRA AND as an actress in the filming of Diesel Maiden. This short OUR RETURN TO THE MUNICIPAL film (about 12 minutes) is based on the eponymous poem LIBRARY in LAGOA written by Carolyn Kain, and is also directed by Carolyn. Its story is a plea for the Algarve railway to become electrified, and the reason is that the diesel motors of the FRIDAY 6 at 18h00 Dixie Kings at Tavira Garden trains pollute the atmosphere. The film features Tickets €10, tapas €5 Ana 914 491 644 astonishing aerial drone photography by Miguel Cosme and also a number of amateur actors and actresses with Carolyn MONDAY 9 at 18h00 Clube de Tavira " and ´s poem read as a voice over. If you love the Algarve and TUESDAY 24 at 18h0o Municipal Library Lagoa want to see a new view from the sky, and to hear Carolyn´s History of the Algarve Railway and film Diesel heartfelt plea against pollution, Diesel Maiden is a must Maiden see.The film is a short, and to make up the time, Peter has with Peter Kingdon Booker and Carolyn Kain agreed to speak for a short time about the history of the railway in the Algarve. When was the line to Lisbon originally opened? How long did it take to build the SUNDAY 29 at 16h00 Quintinha da Música Algarve branch? Who financed the construction? How Music by R Schumann, Clara Schumann, did the Algarve railway connect with its sister branch in Brahms, Bernstein, Fauré, Ravel and Satie Spain? Peter will attempt to put the history of the Algarve branch line into perspective.