Die entwicklungsgeschichte der barocken bühnen-dekoration in ihren wechselbeziehungen zur bildenden kunst. Teildruck ...Tintelnot, Hans 1938 (has links)
Placid Exuberance and Ostentatious Habits: Depicting the Human Form in New Spain, New France, and the Guaraní Reductions of ParaguaySloan, TIERNEY 19 October 2013 (has links)
This thesis discusses art produced by holy women in New France and New Spain in addition to figural sculpture from the former and the Guaraní missions of Paraguay. The art produced in such disparate regions transcends the realities of the human body through a negation of natural physiognomies and emotive states in favour of stylized forms and serene expressions. Since no comparative studies yet exist for the arts of New France and colonial Latin America this thesis presents a crucial challenge and opportunity to explore commonalities. As the first female missionaries outside Europe nuns in New France strived to become living saints and martyrs. Some arts, particularly embroidery, operated as penance to aid women in achieving their quest for immortality. In Mexican nunneries women’s bodies became works of art through their integration in to multiple mediums, as seen in portraits of nuns in which bodies operate as canvases. Similarly, through performance the woman’s body in the Ursulines of Quebec City became a component of her embroidery which she embodied with her holy aura. The omission of suffering is a prominent feature in figures of Christ and the saints in Guaraní and French Canadian sculpture. These aspects are heightened through the carving of draperies assuming the emotion absent in the figures. With similar characteristics appearing in both locations this thesis discusses why two cultures vastly removed in distance display profound stylistic similarities. The colonizer’s art replacing that of the colonized is a myth perpetuated by the belief that indigenous cultures were eradicated through contact with Europeans. Similarly, we cannot assume a continuity of European artistic ideals among French settlers in New France. This presents another discourse on the convergence of cultures thoroughly separated from one another in the scholarly consciousness. Thesis (Master, Art History) -- Queen's University, 2013-10-24 16:42:01.18
Texte remanié de: Thesis doctoral--University of Minnesota, 2005. Bibliogr. p. 187-198. Index.
Thèse--Lettres--Toulouse II, 1973. Bibliogr. Index.
11 July 2013
My main thesis is that Baroque can be considered not only as an aesthetic or historical period in the seventeenth century; it is also a way of producing knowledge that puts into dynamic interaction diverse genres, disciplines and historical contexts. I visualize my project under the rubric of a cabinet of curiosities, and I reframe the continued juxtaposition of objects, machines, instruments and artwork that characterize the baroque cabinet to offer an explanatory construct of the early modern Hispanic world and modern Latin American literature and culture. In the first chapter of the dissertation, I contextualize the extensive theoretical discussion on Baroque and Neo-baroque within the studies of collection and curiosity. My main goal with this approach is to create a specific bibliography and understanding of Baroque as a complex process of collecting and displaying different kinds of knowledge through emotions such as wonder and marvel. In the second chapter I examine the impact of the New World on the stable "tower of knowledge" of humanists at the end of the fifteenth and the beginning of the sixteenth centuries. One definitive consequence of this impact was the questioning of the liabilities of ancient text and the need to arrange the new information, which was coming from different resources, into collections of distant and peculiar objects. Expanding this historical frame, I analyze how letrados in the seventeenth century, such as Favián, Sigüenza y Góngora, Sor Juana Inés de la Cruz, Espinoza Medrano, and Arzans Orsúa, were displaying the New World as the biggest collection of curiosities as a way of constructing an emergent criollo subjectivity. After grounding the project in the theoretical and colonial Baroque, my study turns, in the third chapter, to the modern Neo-baroque. I argue that modernity in Latin America is generated by the assimilation of the Enlightenment into a Baroque system. Therefore, Baroque in Latin America represents more than a simple or "erroneous" copy; it is rather a process of "cannibalization" and counterconquest, as José Lezama Lima proclaimed in his literary essay "Baroque Curiosity" (1957). This dissertation is written in Spanish. 2015-07-11
No description available.
Gouveia, José Eduardo Melo, 1930-
No description available.
Baroque influences in nineteenth and twentieth century piano repertoire: a study of interpretative issues.Xu, Wen 2008 (has links)
The exegesis investigates ways in which major piano works of the 19th and 20th centuries reflect elements of baroque tradition and considers the implications for performance. After the baroque period, from the 18th century to the present, many composers have continued to explore baroque forms, textures and expressive devices. Thus, by investigating the nature of such stylistic linkages, the performer can enter the works at a deeper structural and expressive level. Thesis (M.Mus.) -- Elder Conservatorium of Music, 2008
Texte remanié de: PhD thesis--University of Cambridge, 1991. Bibliogr. p. 177-186. Index.
Bildniskommentare : Allegorisch gerahmte Herrscherbildnisse in der Graphik des Barock : Entsehung und BedeutungHagenow, Elisabeth von. 1999 (has links)
Texte remanié de: Diss.--Hamburg, 1990. Bibliogr. p. 175-194. Notes bibliogr. Index.
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