RESUMO O propósito inicial deste artigo era apresentar a expressão de um modelo de fachada barroca mexicana, frente a conceitos e condições tanto da arquitetura barroca em geral como também de certos ...antecedentes espanhóis. Todavia, durante a investigação bibliográfica, especialmente alicerçada nas críticas do italiano Giulio Carlo Argan, percebeu-se que parte importante da caracterização da arquitetura barroca estava calcada apenas nas categorias da “persuasão” e da “imaginação” (ou “fantasia”). Apesar de suficientes para compreensão do espírito barroco, esses dois conceitos não conduzem objetivamente a estratégias compositivas que pudessem servir de parâmetro analítico. Por conseguinte, o artigo seguiu um caminho mais longo, passando por uma revisão bibliográfica que culminou na hipótese de seis estratégias persuasivas da arquitetura barroca. Embora essa parte do trabalho tenha autonomia frente ao que se seguiu, as avaliações das fachadas mexicanas dela dependem integralmente e, portanto, a derradeira parte não poderia ser publicada sem a primeira. Em seguida, o trabalho acompanhou a passagem do barroco à Espanha, como natural percurso até a América, revelando uma prática renascentista espanhola denominada “Plateresco”, imprescindível à compreensão do barroco religioso mexicano. Por fim, os dois conteúdos, das estratégias persuasivas barrocas e da composição plateresca espanhola, somaram-se para construir o substrato teórico que permitiu uma aproximação mais cuidadosa em relação ao objeto do trabalho. O resultado, apesar de heterogêneo, poderá servir como um novo ponto de partida para outras pesquisas sobre a arquitetura barroca.
ABSTRACT The initial purpose of this monograph was to present the expression of a Mexican Baroque facade model, facing the concepts and conditions of Baroque architecture in general, but also certain Spanish antecedents. However, during the bibliographic investigation, especially based on the criticism of the Italian Giulio Carlo Argan, it was noticed that an important part of the characterization of Baroque architecture was based only on the categories of “persuasion” and “imagination” (or “fantasy”). Although sufficient to understand the Baroque spirit, these two concepts do not objectively lead to compositional strategies that could serve as an analytical parameter. Therefore, the article followed a longer path, going through a literature review that culminated in the hypothesis of six persuasive strategies of baroque architecture. Although this part of the work is autonomous from what followed, the evaluations of the Mexican facades depend entirely on it and, therefore, the last part could not be published without the first. Then, the work followed the passage from the Baroque to Spain, as a natural route to America, revealing a Spanish Renaissance practice called “Plateresco”, essential to the understanding of the Mexican religious Baroque. Finally, the two contents, the baroque persuasive strategies and the Spanish plateresque composition, were added to build the theoretical substrate that allowed a more careful approach to the object of the work. The result, despite being heterogeneous, could serve as a new starting point for further research on Baroque architecture.
The Female Baroque is a contribution to the revival since the 1980s of early modern women's writings and cultural production in English. Its originality is twofold: it links women's writing in ...English with the wider context of Baroque culture, and it introduces the issue of gender into discussion of the Baroque. The title comes from Julia Kristeva's study of Teresa of Avila, that 'the secrets of Baroque civilization are female'. The book is built on a schema of recurring Baroque characteristics - narrativity, hyperbole, melancholia, kitsch, and plateauing, pointing less to surface manifestations and more to underlying ideological tensions. The crucial concept of the Female Baroque is developed in detail. Attention is then given particularly to Gertrude More, Mary Ward, Aemilia Lanyer, The Ferrar/Collet women, Mary Wroth, the Cavendish sisters, Hester Pulter, Anne Hutchinson, Margaret Cavendish and Aphra Behn, the latter two whose lives and writings point to the developing cultural transition to the Enlightenment.
This anthology examines the phenomenon of the Neo-Baroque through interdisciplinary perspectives. Understanding the Neo-Baroque as transcultural (between different cultures) and transhistorical ...(between historical moments) the contributors explore its slippery nature of the Neo-Baroque.
En el presente texto se analiza la imagen de la Magdalena penitente en la Italia de los siglos XVI y XVII, centrando la atención en cuestiones de corporalidad, sexualidad, erotismo y devoción. Se ...realiza un recorrido diacrónico mostrando las transformaciones de la santa penitente desde su asexuado cuerpo en los siglos medievales hasta la sensualidad que emana su figura en la pintura italiana del Renacimiento y Barroco. Se pone especial atención a las tensiones entre devoción y erotismo que generan algunas de estas imágenes. Así, entre los objetivos se encuentra el estudio de las relaciones entre forma y significado a partir del análisis de los esquemas compositivos, los usos que tuvieron estas imágenes en su momento, su conexión con la filosofía neoplatonica y los ideales de belleza. Asimismo, se plantea una breve discusión acerca de los términos "pornografía" y "erotismo" en el contexto de estos siglos. Todo ello se lleva a cabo bajo el prisma de la tradición de estudios de la iconología, incluyendo la perspectiva de género en el análisis de las obras.
The aim of the present paper is to come to terms with the poetry written by a young Romanian writer, Olga Ştefan, who published her books in the 2000's - a period of astounding outburst of creativity ...in the field of poetry. It follows a fourfold outline: the recourse to associative poetics and multiple focalizations, the relation between body, concept and writing, the use of baroque techniques, especially geared towards mixing voices and plenteous figures, the insulation not only as a stronghold of recalibrated human beings, but also as a stimulus for polyphonic poetry writing. Undertaken in the light of resistance and metamorphosis, her poems do not celebrate the weirdness of imaginary, but a sparing alternative to the decentrede mental horizon.
According to Edwin, the Johnson Company built the elder Hedges an organ for his home as a practice instrument for Edwin. In this instance, while the tracker-action chassis was retained (its action ...apparently being the part of overriding concern), all the flute ranks were discarded, principals were kept, but denicked and revoiced, strings were cut down into upperwork, and the organ was crowned with a new Zimbel and Krummhorn. When he left the firm after a dispute with his business partner, Merklín formed a competing company with J. Gutschenritter, the former Merklín foreman, titled J. Merklín & Cie. On his retirement in 1899, the surviving partners retained the name of the firm until Merklin's death in 1905, at which time Gutschenritter added his name. The specification appears on paper as a carbon copy of a stock-model Cavaillé-Coll orgue de choeur, including the general style of the detached console, hitch-down pedal couplers and expression pedal, and pedal ventil control for the lone manual reed stop (anches).
Keywords: baroque, painting technique, conservation studies, Stettner, Falconer, Senser, Hanisch, Schervitz. Резултати истраживаиа у области техничке истори^'е уметности, ко)'а су отпочела последиих ...децени1а ХХ века у Западно)' Европи, потвр^'у важну улогу, одговорност и разноврсну делатност рестауратора. Методолошки приступ обухвата истраживаие по^'единих уметника и иихових радионица, као и истори^'ских сликарских материала и уметничких техника. Током рестаураци^'е више дела одре^еног аутора могуЬе )'е идентификовати )'единствени стваралачки процес или сликарски рукопис ко)'и прате разна запажаиа везана за технологи1у, заснована на рестаураторским испитиваиима. „Technical history of art" ствара мост ме^у рестаураторима, историчарима Истраживате истори1ских извора се ослата првенствено на страну литературу на немачком, енглеском, хрватском, словачком и ма^арском 'езику. Конзерваторска техничка и научна испитивата изведена су током рестаураци'а, кроз недеструктивна и деструктивна испитивата олтарних слика: пажживо визуелно испитивате, снимке у дифузном светлу и специ'ални снимци (помоЬу бочног осветжета, УВ луминесцентни, инфра и рендгенски снимци), макроснимке, хеми'ске анализе. Део узорака'е припремила и снимила Милица Сто'ановиЬ, хемичарка Народног музе'а у Београду (2006-2009, 2020-2021), док je део самостално припремл>ен у току докторских студи'а и надаже на Манарском ликовном факултету (Magyar Képzőművészeti Egyetem) у лаборатории Рестаураторске катедре (20102019). Хеми'ске анализе, тестови за идентификаций калци1ум-карбоната, париско плавог, олова итд. и анализе препарата пигмената су уходане методе истраживата на том факултету, ко'е да'у веома поуздане резултате и без великих инструменталних истраживата (Galambos 2006). Део рендгенских снимака (2006-2020) ура^ен 'е у Ди'агностичком центру у Суботици, а други део рендгенских као и инфрацрвених снимака изведен 'е апаратуром Ма^арског ликовног факултета. Од 1995. године тра'у оваква истраживата барокне уметности католичких цркава у Во'водини, пратеЬи рестаураци'е по'единих олтарских пала. Као резултат тог рада од 2012. године у Градском музе'у Суботица прире^ене су меНународне изложбе и публиковане монографи'е о будим- Мати1асу Ханишу (Mathias Hanisch, око 1754. - 1едан такав „bozzetto" (пробна скица мотива у бор) непознатог бечког мартора чува се у Збирци СекулиЬ Музея'а града Београда. Тако^е, Голюша, од непознатог мартора у збирци Суботичке бискупре, пример я'е за „model" - изра^ену студру, кор се приказивао наручиоцима. Сигнирана композицра Расйека, рад Мартина Алтомонтеа у Чоки, пример я'е за „riccordi" („успомене" - копире изра^ене по готовом делу, ная'чешЬе у радионици) (Korhecz Papp 2015: 24). Анегдота у вези с главном олтарном палом у Суботици тако^е потвр^у'е израду улане скице, коя'а се ни1е допала наручиоцу: Штетнер я'е прво насликао Светог Миховила како побе^у'е сотону окружен враговима, али пошто гвардран нре био задоволан композиция'ом, сликар я'е насликао другу олтар
In this book, Eugene J. Johnson traces the invention of the opera house, a building type of world wide importance. Italy laid the foundation theater buildings in the West, in architectural spaces ...invented for the commedia dell'arte in the sixteenth century, and theaters built to present the new art form of opera in the seventeenth. Rulers lavished enormous funds on these structures. Often they were among the most expensive artistic undertakings of a given prince. They were part of an upsurge of theatrical invention in the performing arts. At the same time, the productions that took place within the opera house could threaten the social order, to the point where rulers would raze them. Johnson reconstructs the history of the opera house by bringing together evidence from a variety of disciplines, including music, art, theatre, and politics. Writing in an engaging manner, he sets the history of the opera house within its broader early modern social context.
Este trabajo explora el texto híbrido La bucanera de Pernambuco o Hilda la polígrafa, uno de los últimos que escribe la autora argentina Alejandra Pizarnik. A través de nociones como lo barroco, lo ...grotesco y lo abyecto se profundizará en el sentido de estos fragmentos raros y diferentes en la poética de la escritora y que muestran una inédita pulsión de vida.
Cet article montre comment l’imagination fastueuse, envoûtante et cependant troublante de Shakespeare, provient d’une matrice imaginative spécifiquement labyrinthique, à la façon du maniérisme et ...peut-être même du baroque. Abstract This paper shows how Shakespeare’s luxurious, enchanting and yet disturbing imagination is derived from an imaginative matrix which is specifically labyrinthic, in a mannerist or perhaps even baroque way.
