This thesis examines the three Requiem Masses for five, eight and nine voices of Juan de Herrera (c. 1670-1738), chapelmaster of the Santa Fe de Bogota Cathedral from 1703 until his death. I present biographical data on Herrera, who seems to have been the most prolific and talented colonial musician born in Bogota and also review his musical output, consisting mostly of sacred villancicos, Vespers settings, Lamentations and Masses. I offer a modern edition of Herrera's Requiem Masses and provide a musical analysis of these, as well as a study of the relevant manuscripts, which date from the 1740s to 1770s. I also look into the history of mus1c-mak1ng at the cathedral, wh1ch was an 1mportant center for the performance and composition of European sacred music during colonial times, and include a list of the cathedral's music collection, considered one of the richest in sacred Spanish music in the New World. The manuscripts of Herrera's Requiem Masses show some musical and textual errors, as well as numerous copying inconsistencies. I believe these peculiarities are the result of the carelessness and lack of education of the copyists employed at the cathedral during the 1740s to 1770s, a period during which the level of music had begun to decline. The Requiem Masses display versatility and sophistication in the use of multiple choruses, but too often lack formal and tonal coherence. I believe Herrera's limitations are the result of a lack of formal musical training. He was a self-taught composer who spent his life in Bogota, a small and isolated city in colonial Spanish America.

Texte remanié de : Dissertation : Kunstgeschichte : Universität Tübingen : 1999. / Bibliogr. p. [421]-466. Notes bibliogr. Index.

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Tesis para optar al grado de Doctor en Literatura / En esta investigación propongo que los relatos acerca de la vida de Catalina de los Ríos Lisperguer se construyeron por primera vez en las décadas de 1630 y 1660, en los documentos judiciales que circularon en la Real Audiencia y el Consejo de Indias, siendo su primer autor el obispo de Santiago, Francisco de Salcedo. En segundo lugar, sostengo que a finales del siglo XIX algunos autores volvieron a narrar la vida y los crímenes de este personaje, destacando entre ellos Benjamín Vicuña Mackenna no tanto por ser el primero en hacerlo, sino por publicar una versión pensada para un público moderno. Es importante destacar que entre ambos grupos de fijaciones escritas existe cierta promiscuidad textual, vinculada no solo con su contenido temático sino con la forma en que lo comunican, puesto que lo que todos actualizan es la biografía criminal de un ícono cultural, es decir, una fábula judicial. / Proyecto Fondecyt N° 1120083 / Enero 2028

Elisabetta Sirani (1638-1665) est une femme peintre du XVIIème siècle bolonais. La ville de Bologne mérite en soi un discours philogyne, dans la mesure où plusieurs femmes étaient non seulement reconnues pour leur érudition, mais également diplômées dans les domaines littéraire et scientifique. Elisabetta Sirani ne déroge pas à la règle en associant une solide culture générale et une profession considérée en premier lieu comme virile : la peinture. Le profil d’Elisabetta Sirani présente à la fois un intérêt biographique et iconographique ; double orientation reliant étroitement art et littérature. Le personnage d’Elisabetta Sirani s’inscrit également dans l’histoire, superposant les différents genres littéraires. Le XIXème siècle est en ce sens révélateur de la revisitation d’un fait divers en mythe. / Elisabetta Sirani (1638-1665) was a Bolognese 17th century women painter. Bologna was considered a philogynous city, since many Bolognese women were famous for their erudition and for being laureates in literature and sciences. Elisabetta Sirani was not an exception, she was a well-educated and cultured woman whose occupation as a painter was mostly seen as a virile one. Elisabetta Sirani’s profile presents both a biographical and iconographic interest ; a double orientation that closely relates art to literature. Elisabetta Sirani was part of history too as her character was reintrepreted by various literary genres. The 19th century revealed the reinterpretation of a chronicle into a myth.

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Nicolas Poussin's two Self-Portraits, painted in 1649 and 1650, have been the subject of countless art-historical investigations, but remain only incompletely understood. This study attempts to draw the meanings of the self-images into clearer focus. To this end, the relationships between Poussin and the eventual recipients of the two portraits, Jean Pointel and Paul Freart, Sieur de Chantelou, are examined more probingly and are positioned centrally in the analysis of the works. A careful exploration of the web of associations among the three men reveals that Poussin's caution in dealing with Chantelou, his often jealous and emotional patron, was a factor of great consequence to the development of the Self-Portraits. Bearing this in mind, both Poussin's letters and the scholarly accounts which accept his written statements at face value, may be approached with a more critical eye. This practice, in turn, leads to a broadened range of possibilities for the interpretation of the two Self-Portraits, and to a greater appreciation of the extent to which Poussin's creations were affected by human dynamics.

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Examining a group of pictures painted in the early-to-mid 1630s, this dissertation sets out to demonstrate that Nicolas Poussin’s turn to the subject of dance helped him transform his style from the sensuous Venetian manner of his early years to the cool, crisp, relief-like approach that would characterize his mature work and form the basis for French Classicism in subsequent decades. Painting dancers allowed Poussin to work through the problem of arresting motion, to explore the affective potential of the body represented, and to discover a measured, geometric compositional method capable of containing and harnessing that potential. The resulting pictures, painted in Rome, were warmly received in Paris by a group of early collectors that included dancers, patrons, amateurs, and theorists of another modern French art: the ballet de cour. Ballet’s cultivation of a fiercely controlled physicality, its wild Dionysian characters and learned Apollonian conceits, above all, its insistence on a hidden geometric order underlying the chaos of embodied experience primed early French observers of Poussin’s dancing pictures to recognize something of themselves in his new approach. Though Poussin did not set out to define French Classicism, and though his brief service as premier peintre to Louis XIII demonstrates how ill-suited he was to the role of official artist, the fact that his dancing pictures shared so much—on the level of patronage, iconography, even, perhaps, theoretical underpinnings—with the ballet de cour may help explain why these works (and, indeed, Poussin himself) were so eagerly appropriated by France in the Classical Age.

Dans le sillage des révolutions intellectuelles qui marquent l’avènement de l’époque moderne, Sir Kenelm Digby, catholique anglais, poursuit avec ardeur la connaissance du monde matériel et spirituel au gré des événements politiques qui ponctuent son époque tourmentée. À Londres comme à Paris où il est exilé, mais aussi au fil de ses nombreux voyages, Digby communique inlassablement des livres, échange des idées, et correspond sans relâche avec les savants de son époque comme Descartes, Hobbes, et Mersenne. Au sein du vaste réseau européen que constitue la jeune République des Lettres, il occupe une place de choix qui lui permet de produire une synthèse des idées en vogue. Digby participe à la sensibilité baroque que l’on définit non seulement par l’expression d’une crise liée à l’instabilité du monde et à la contradiction des choses mais aussi par la tentative de surmonter cette crise. Par ses intérêts variés pour l’alchimie, l’atomisme, la logique et la métaphysique, il tente de rendre compte, de façon baroque, du fonctionnement du monde et de l’homme afin d’en permettre la maîtrise et le gouvernement. Dans Two Treatises, il adopte et adapte l’hypothèse atomiste qui lui permet de dépeindre un monde fondamentalement chaotique, en changement permanent et agité d’une myriade de collisions invisibles qui expliquent la gravité et le magnétisme, mais aussi la reproduction ou la sympathie. Son approche démonstrative se veut un rempart contre la crise sceptique de son temps, et il ne cesse d’affirmer que la certitude est atteignable par les seuls moyens humains. Soucieux de prosélytisme, il met en relief la qualité orale de la tradition catholique et justifie la résurrection des corps, amenant au premier plan le sujet et ses perceptions, mais aussi la métamorphose comme principe explicatif clé. / In the wake of the intellectual revolutions of the early modern period, Sir Kenelm Digby, an English Catholic, endeavoured to increase the knowledge of the world, both physical and spiritual, against a backdrop of political turmoil. From London as from Paris, where he was in exile, the well-travelled Sir Kenelm sent books, communicated, and discussesd ideas tirelessly with the main thinkers of the time such as Descartes, Hobbes and Mersenne. His prominent place within the dense network of the incipient Republic of Letters allowed him to produce a seminal synthesis of the ideas then in circulation.Digby partook in the baroque sensitivity that we can define as the expression of a crisis linked to instability and contradiction, as well as the attempt to overcome it. Delving into alchemy, atomism, logic, and metaphysics, he strove to account for the secret workings of the world and of man in order to enable their mastery and government. In Two Treatises, he adopted and adapted the atomist hypothesis that allowed him to depict a deeply chaotic world, ridden with permanent change and fraught with innumerable and invisible clashes that explained all physical phenomena such as gravity, magnetism, generation, and sympathy. He aimed to proceed in a demonstrative manner so as to stave off the rampant crisis of scepticism, and he hammered through the idea that certainty was achievable by mere human means. In a proselyte effort, he tackled burning issues in the wake of the Reformation, promoting the oral quality of the Catholic tradition and the resurrection of bodies, while bringing forward the thinking individual and his perceptions, as well as the concept of metamorphosis, as key explanatory principles.