17,860 research outputs found
Wild Theater: Staging the Margins of Ideology in the Spanish Comedia
The theatrical production of Baroque Iberia exhibits an obsession with wildness that remains to be fully explored. By the time Segismundo takes the stage dressed in animal pelts in CalderĂłnâs La vida es sueño, the wild figure had already enjoyed a long history on the Spanish stage, first appearing in Lope de Vegaâs El nacimiento de UrsĂłn y ValentĂn in 1588. Enduring popularity until Bances Candamoâs 1693 comedia, La piedra filosofal, this steady preoccupation with the concept of wildness offers unique insights on the evolving landscape of Baroque ideologies over time, which are rarely considered diachronically. Dramatic representations of wildness signify the transgression of a prescribed normââbe it social, political, racial, or otherwiseââwhich leads to its necessary elimination to resolve the conflict of a given play. In this paper, I will plot the trajectory of dramatic conventions in their diminishing ability to resolve the recurring problem of wildness, thus offering a literary history of the comediaâs social efficacy as it struggled to sustain the weight of its own ideological commitments. Furthermore, I will examine the implications of my approach on long-standing debates on the ideological function of Baroque Iberian drama by analyzing the theoretical problem inherent in the existence of the marginal terrain wildness inhabits. My approach considers who stands to benefit from social order, and those who, like the wild figure, find themselves excluded. At a time of renewed energy for exclusionary ideologies, aspirations of encompassing the marginalized are as important today as they were in 1588
Lute, Vihuela, and Early Guitar
ProducciĂłn CientĂficaLutes, guitars, and vihuelas were the principal plucked instruments in use in Europe until around
1800. Ancient forms of the lute existed in many parts of the ancient world, from Egypt and
Persia through to China. It appears to have become known in Europe, where its earliest
associations were with immigrants such as the legendary Persian lutenist Ziryab (b. c. 790âd.
852), who was established in Moorish Spain by 822. The origins of the various flat-backed
instruments that eventually became guitars are more difficult to trace. The vihuela is one such
instrument that evolved in the mid-15th century and was prolific in Spain and its dominions
throughout the 16th century and beyond. Very few plucked instruments, and only a handful of
fragmentary musical compositions, survive from before 1500. The absence of artifacts and
musical sources prior to 1500 has been a point of demarcation in the study of early plucked
instruments, although current research is seeking to explore the continuity of instrumental
practice across this somewhat artificial divide. In contrast, perhaps as many as thirty thousand
worksâperhaps even moreâfor lute, guitar, and vihuela survive from the period 1500â1800.
The music and musical practices associated with them are not well integrated into general
histories of music. This is due in part to the use of tablature as the principal notation format until
about 1800, and also because writers of general histories of music have for the most part
ignored solo instrumental music in their coverage. (For example, the Oxford Anthology of
Western Music, Vol. 1 (2018), designed to accompany chapters 1â11 of Richard Taruskinâs
Oxford History of Western Music, does not contain a single piece of instrumental music prior to
Frescobaldi [1637]). Contrary to this marginalized image, lutes, vihuelas, and guitars were a
revered part of courtly musical culture until well into the 18th century, and constantly present in
urban contexts. After the development of basso continuo practice after 1600, plucked
instruments also became frequent in Christian church music, although the lute was widely
played by clerics of all levels, particularly during the Renaissance. It was also one of the
principal tools used by composers of liturgical polyphony, in part because tablature was the
most common way of writing music in score. From the beginning of music printing, printed
tablatures played a fundamental role in the urban dissemination of music originally for church
and court, and plucked instruments were used widely by all levels of society for both leisure and
pleasure. After 1800, the lute fell from use, the guitar was transformed into its modern form with
single strings, and tablature ceased to be the preferred notation for plucked instruments.Este trabajo forma parte del proyecto de investigaciĂłn âLa obra musical renacentista: fundamentos, repertorios y prĂĄcticasâ HAR 2015-70181-P (MINECO/FEDER, UE
16th Century Antiphon
The Renaissance era, which spanned from the 14th century until the 16th century, served as a transitional period. Considered to be a period of rebirth, the Renaissance commenced a revival in culture, literature, and the arts throughout Europe. The 16th century antiphon not only signifies that music was indeed an important aspect during the Renaissance, but is also tangible evidence that choral music, and more specifically Gregorian chant, were prominent forms of musical expression
The Plains of Mars, European War Prints, 1500-1825
Over fifty original prints by renowned artists from the sixteenth through the early nineteenth century, including Albrecht DĂŒrer, Lucas Cranach, ThĂ©odore GĂ©ricault, and Francisco de Goya, among many others, are featured inThe Plains of Mars: European War Prints, 1500-1825. On loan from the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, the works of art included in this exhibition examine the topics of war and peace, propaganda, heroism, brutal conflicts, and the harrowing aftermath of battle. Spanning from the Renaissance to the Romantic periods and encompassing a wide geographic scope including Italy, Germany, France, Spain, the Low Countries, England, and North America, the prints depict triumphant Renaissance soldiers, devastating scenes of violence, and satirical caricatures of political figures. Also on display is Goyaâs compelling âDisasters of Warâ series, completed in response to the brutality of the Spanish War of Independence. Goyaâs prints serve as a powerful testament to the horrors faced by both soldiers and civilians. Under the direction of Professor Felicia Else and Shannon Egan, Melissa Casale â19 and Bailey Harper â19 have researched and written didactic labels, catalogue essays, and created an interactive digital interface to complement the exhibition. Together, Melissa and Bailey will lead public tours of the exhibition. A Gallery Talk by Prof. Peter Carmichael will draw connections between the depictions of warfare on view in the Gallery with representations of the American Civil War. James Clifton, Director of the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, will be delivering a lecture in conjunction with the exhibition. Dr. Clifton, who also serves as curator of Renaissance and Baroque painting at MFAH, curated the exhibition in its first iteration and wrote the exhibition catalogue (published by Yale University Press). Dr. Cliftonâs lecture not only will provide an overview of the exhibition, but also will focus on the concept of âmediated war.â A full-color catalogue with images and essays by Bailey Harper â19 and Melissa Casale â19, under the supervision of Profs. Felicia Else and Shannon Egan, is planned to accompany the exhibition.https://cupola.gettysburg.edu/artcatalogs/1028/thumbnail.jp
Aurora: A Painting of the Coming Dawn
While collectors and scientists sought out the rarest and best preserved naturalia for their collections, others sought out and commissioned paintings and other forms of artifice to go beside them. One artist held in high regard during the era of curiosity cabinets was Guido Reni, artist of the famed âAurora,â a copy of which remains in the gallery today. Paintings like this one would have hung regally on the walls of curiosity cabinets, the beauty showing the potential of man, and the themes of nature and classics fitting right in with other pieces surrounding them. [excerpt
Leonard Baskin: Imaginary Artists
Leonard Baskin (1922-2000) was an American sculptor, illustrator, and printmaker. He is perhaps best known as a figurative sculptor and a creator of monumental woodcuts. The Gehenna Press, Baskinâs private press, operated for over 50 years (1942-2000) and produced more than 100 volumes of fine art books. His most prominent public commissions include sculpture for the Franklin Delano Roosevelt Memorial and the Woodrow Wilson Memorial, both in Washington D.C., and the Holocaust Memorial in Ann Arbor, MI. Baskin received numerous honors, among them a Guggenheim Fellowship, the Gold Medal of the National Academy of Arts and Letters, and the Jewish Cultural Achievement Award. He had many retrospective exhibitions, including those at the Smithsonian, the Albertina, and the Library of Congress. His work is in major private and public institutions, including the Metropolitan Museum of Art, the Museum of Modern Art, the Art Institute of Chicago, the British Museum, and the Vatican Museums.
Imaginary Artists, a collection of 25 watercolor sketches, was completed in 1976 as a gift for Baskinâs friend, the distinguished Philadelphia lawyer Edwin Rome, and his wife, Rita. In this series Baskin skillfully acknowledges the Western art historical canon through irreverent references to traditional compositions and famous artists. His group of imaginaryâor one can imagine uncreditedâartists were often figured as the assistants, students, or rivals to the most noted painters of the centuries and include âSmedley Webb, little-known student of T. Eakinsâ and âAntonin du Colines, assistant to Poussin.â Through these representations, Baskin mirrors his earlier 1963 series Portraits of Artists, but takes up the subject, history, and medium of painting with humor and a serious commitment to figuration.https://cupola.gettysburg.edu/artcatalogs/1023/thumbnail.jp
Performance Practice Bibliography (1992)
A bibliography of performance practice study from the year 1992
Crocodiles - the Singular Beast in the Renaissance Cabinet
Stuffed crocodiles often predominated many famous cabinets, hanging in the center of the ceiling. Crocodilians are the largest reptiles and the largest predator that spends time on land. They have existed for about 240 million years, and today there are 23 species of crocodilians in total, categorized in three families: 13 species of crocodiles, two species of alligators, and six species of caimans. Archaeologists found a âSupercrocâ fossil as long as 40 feet (12 meters) and weighting 17,500 pounds in Niger. They believe that the crocodile lived alongside dinosaurs about 100 million years ago. [excerpt
- âŠ