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Se concibe como una revista de ámbito internacional que nace en la Facultad de Filosofía y Letras de la Universidad de Málaga (Departamento de Historia del Arte) y resultado del Proyecto de Innovación Educativa (PIE15-060). Se crea en Noviembre de 2016 en formato digital exclusivo, con la misión de transmitir novedades acerca de temas actuales y de interés en el campo de las Humanidades, la Historia del Arte y la Cultura en general, así como informar de manera amplia y dinámica en el ámbito de estos espacios de conocimiento. Artículos, varias, reseñas y críticas van a formar parte de un contenido de calidad que puede comprender cualquier momento de la Historia del Arte, así como cualquier manifestación o tendencia artística de interés en el campo que nos ocupa.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div></div></div><div class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>26</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="2018" data-toggle="tab" href="#2018" role="tab" title="2018"><span>1</span> <span class="ds2-5-body-sm-bold">2018</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="2019" data-toggle="tab" href="#2019" role="tab" title="2019"><span>2</span> <span class="ds2-5-body-sm-bold">2019</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="2020" data-toggle="tab" href="#2020" role="tab" title="2020"><span>1</span> <span class="ds2-5-body-sm-bold">2020</span></a></li><li class="nav-chip more-tab" role="presentation"><a class="js-profile-documents-more-tab link-unstyled u-textTruncate" data-toggle="dropdown" role="tab">More  <i class="fa fa-chevron-down"></i></a><ul class="js-profile-documents-more-dropdown dropdown-menu dropdown-menu-right profile-documents-more-dropdown" role="menu"><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Articles-and-book-chapters" data-toggle="tab" href="#articlesandbookchapters" role="tab" style="border: none;"><span>2</span> Articles and book chapters</a></li><li role="presentation"><a data-click-track="profile-works-tab" data-section-name="Book-chapters-and-papers-Capítulos-y-artículos" data-toggle="tab" href="#bookchaptersandpaperscapítulosyartículos" role="tab" style="border: none;"><span>1</span> Book chapters and papers/ Capítulos y artículos</a></li></ul></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Revista Eviterna - Universidad de Málaga</h3></div><div class="js-work-strip profile--work_container" data-work-id="74229093"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/74229093/Ser_mujer_y_pintora_en_el_biopic_hist%C3%B3rico_el_caso_de_Artemisia_Gentileschi"><img alt="Research paper thumbnail of Ser mujer y pintora en el biopic histórico: el caso de Artemisia Gentileschi" class="work-thumbnail" src="https://attachments.academia-assets.com/82452386/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/74229093/Ser_mujer_y_pintora_en_el_biopic_hist%C3%B3rico_el_caso_de_Artemisia_Gentileschi">Ser mujer y pintora en el biopic histórico: el caso de Artemisia Gentileschi</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/Roc%C3%ADoSotoDelgado">Rocío Soto Delgado</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi (Roma, 1593-Nápoles, 1653) ha alcanzado una altura que supera, si no eclipsa, la fortuna crítica que alcanzó en vida. Metamorfoseada en 'heroína caravaggesca' y referente feminista desde los años setenta del siglo XX, ha sido objeto de una proliferación de análisis y estudios realizados desde ópticas y soportes diferentes. La violación perpetrada por parte de su maestro Agostino Tassi es definida como evento causal de su vida y obra y concentra buena parte de los focos que ciegan la mirada última sobre la artista más allá del mito. Si bien ninguna de las 'ficciones de Artemisia' prescinde por completo de material fáctico de la vida de la pintora, todas dan mayor valor a la construcción de un sujeto dramático cuya existencia se estructura como una narrativa. Con el telón de fondo del barroco italiano, Artemisia (Agnès Merlet, Francia/Italia, 1997) combina las convenciones narrativas del Künstlerroman o novela de artista, la monografía y la autobiografía ficticia para ofrecer un ejemplo particular, y cuanto menos polémico, del género del biopic. La sinopsis de Artemisia orbita en torno a la lucha de su protagonista por lograr el éxito como pintora pese a las flagrantes desigualdades que sufre en virtud de su sexo al mismo tiempo que experimenta su despertar sexual.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="942fd827f28e6ceaa8ce37ca5c81891a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":82452386,"asset_id":74229093,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/82452386/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="74229093"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="74229093"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 74229093; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=74229093]").text(description); $(".js-view-count[data-work-id=74229093]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 74229093; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='74229093']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 74229093, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "942fd827f28e6ceaa8ce37ca5c81891a" } } $('.js-work-strip[data-work-id=74229093]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":74229093,"title":"Ser mujer y pintora en el biopic histórico: el caso de Artemisia Gentileschi","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi11.14110","issue":"Marzo 2022","volume":"11","abstract":"Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi (Roma, 1593-Nápoles, 1653) ha alcanzado una altura que supera, si no eclipsa, la fortuna crítica que alcanzó en vida. 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La sinopsis de Artemisia orbita en torno a la lucha de su protagonista por lograr el éxito como pintora pese a las flagrantes desigualdades que sufre en virtud de su sexo al mismo tiempo que experimenta su despertar sexual.","page_numbers":"229-246","publication_date":{"day":null,"month":null,"year":2022,"errors":{}},"publication_name":"Revista Eviterna"},"translated_abstract":"Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi (Roma, 1593-Nápoles, 1653) ha alcanzado una altura que supera, si no eclipsa, la fortuna crítica que alcanzó en vida. Metamorfoseada en 'heroína caravaggesca' y referente feminista desde los años setenta del siglo XX, ha sido objeto de una proliferación de análisis y estudios realizados desde ópticas y soportes diferentes. La violación perpetrada por parte de su maestro Agostino Tassi es definida como evento causal de su vida y obra y concentra buena parte de los focos que ciegan la mirada última sobre la artista más allá del mito. Si bien ninguna de las 'ficciones de Artemisia' prescinde por completo de material fáctico de la vida de la pintora, todas dan mayor valor a la construcción de un sujeto dramático cuya existencia se estructura como una narrativa. Con el telón de fondo del barroco italiano, Artemisia (Agnès Merlet, Francia/Italia, 1997) combina las convenciones narrativas del Künstlerroman o novela de artista, la monografía y la autobiografía ficticia para ofrecer un ejemplo particular, y cuanto menos polémico, del género del biopic. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44289311"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44289311/Est%C3%A9tica_de_Apolo_y_Dioniso_sin%C3%B3nimo_de_%C3%A1nima_y_%C3%A1nimus_y_yin_yan_para_la_comprensi%C3%B3n_de_Artista_y_Obra_de_Arte"><img alt="Research paper thumbnail of Estética de Apolo y Dioniso, sinónimo de ánima y ánimus y yin-yan para la comprensión de Artista y Obra de Arte" class="work-thumbnail" src="https://attachments.academia-assets.com/64672297/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44289311/Est%C3%A9tica_de_Apolo_y_Dioniso_sin%C3%B3nimo_de_%C3%A1nima_y_%C3%A1nimus_y_yin_yan_para_la_comprensi%C3%B3n_de_Artista_y_Obra_de_Arte">Estética de Apolo y Dioniso, sinónimo de ánima y ánimus y yin-yan para la comprensión de Artista y Obra de Arte</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/RobertadAmore">Roberta d'Amore-Domenech</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>EVITERNA, REVISTA DE HUMANIDADES, ARTE Y CULTURA INDEPENDIENTE</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN: Partiendo del mito de Apolo, el mito de Dioniso y los atributos estéticos con que Nietzs...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN: Partiendo del mito de Apolo, el mito de Dioniso y los atributos estéticos con que Nietzsche dotó a dichas deidades en El nacimiento de la tragedia, se han encontrado correspondencias entre lo apolíneo y lo dionisiaco, el ánima y ánimus jungianos, y el yin y el yang del Tao Te Ching. Lo apolíneo/dinisiaco, ánima/ánimus y yin/yang, desde sus puntos de nexo, funcionarán como atributos estéticos con el fin de llegar a una mejor comprensión psico-estética y metafísica de la figura del artista y su obra de arte. <br /><br />PALABRAS CLAVE: Teoría del arte, comprensión Artista y obra de arte,  Unión  de  disciplinas, Estética, Metafísica, Jung.<br /><br />ABSTRACT: Starting from the myths of Apollo and Dionysius and the aesthetic attributes of Nietzsche, given to the deities in the The Birth of Tragedy, some connections were found between the Apollonian and Dionysian, the anima and animus of Jung and the ying and yang of Tao Te Ching. The link points of the Apollonian and Dionysian, the Anima and Animus and the Ying and Yang will serve as aesthetical attributes for the purpose of forming a better psycho-aesthetical and metaphysical understanding of the figure of the Artist and their artworks.<br /><br />KEYWORDS: Art Theory, and Understanding of Artwork, Merging Disciplines, Aesthetics, Metaphysics, Jung.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d132ed2da594c7b79f9144d184286522" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64672297,"asset_id":44289311,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64672297/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44289311"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44289311"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44289311; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44289311]").text(description); $(".js-view-count[data-work-id=44289311]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44289311; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44289311']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44289311, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d132ed2da594c7b79f9144d184286522" } } $('.js-work-strip[data-work-id=44289311]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44289311,"title":"Estética de Apolo y Dioniso, sinónimo de ánima y ánimus y yin-yan para la comprensión de Artista y Obra de Arte","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i4.8182","issue":"no. 4","abstract":"RESUMEN: Partiendo del mito de Apolo, el mito de Dioniso y los atributos estéticos con que Nietzsche dotó a dichas deidades en El nacimiento de la tragedia, se han encontrado correspondencias entre lo apolíneo y lo dionisiaco, el ánima y ánimus jungianos, y el yin y el yang del Tao Te Ching. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44238670"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44238670/GARRIDO_Elisa_2020_La_construcci%C3%B3n_art%C3%ADstica_del_espacio_ind%C3%ADgena_y_los_paisajes_itinerantes_Eviterna_8_71_87"><img alt="Research paper thumbnail of GARRIDO, Elisa (2020) «La construcción artística del espacio indígena y los paisajes itinerantes», Eviterna, 8, 71-87." class="work-thumbnail" src="https://attachments.academia-assets.com/64609249/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44238670/GARRIDO_Elisa_2020_La_construcci%C3%B3n_art%C3%ADstica_del_espacio_ind%C3%ADgena_y_los_paisajes_itinerantes_Eviterna_8_71_87">GARRIDO, Elisa (2020) «La construcción artística del espacio indígena y los paisajes itinerantes», Eviterna, 8, 71-87.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uam.academia.edu/ElisaGarrido">Elisa Garrido</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">There is a gap regarding the Spanish American pre-colonial context from the landscape studies poi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">There is a gap regarding the Spanish American pre-colonial context from the landscape studies point of view, conceived in a cultural sense. Literature directly refers us to Alexander von Humboldt as the main developer and to the Hudson River school as the greatest exponent. However, a critical study in cultural landscape before the visual production of scientific voyages and expeditions, could result in a new approach to the landscape genre and the mapping of nature. This paper proposes an approach to those previous representations, when landscape was not yet a landscape.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b3e7fc5d112d1f5c95c72f49969c1305" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64609249,"asset_id":44238670,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64609249/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44238670"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44238670"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44238670; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44238670]").text(description); $(".js-view-count[data-work-id=44238670]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44238670; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44238670']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44238670, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b3e7fc5d112d1f5c95c72f49969c1305" } } $('.js-work-strip[data-work-id=44238670]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44238670,"title":"GARRIDO, Elisa (2020) «La construcción artística del espacio indígena y los paisajes itinerantes», Eviterna, 8, 71-87.","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.8654","abstract":"There is a gap regarding the Spanish American pre-colonial context from the landscape studies point of view, conceived in a cultural sense. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36638256"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36638256/Nature_Science_and_Myth_in_the_Landscape_Art_of_Frederic_Leighton"><img alt="Research paper thumbnail of Nature, Science, and Myth in the Landscape Art of Frederic Leighton" class="work-thumbnail" src="https://attachments.academia-assets.com/56570434/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36638256/Nature_Science_and_Myth_in_the_Landscape_Art_of_Frederic_Leighton">Nature, Science, and Myth in the Landscape Art of Frederic Leighton</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://york.academia.edu/PolaDurajska">Pola Durajska</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of the nineteenth century, exhibiting large scale figurative paintings of a high degree of finish. Scholarship has, however, overlooked his plein-air paintings created during frequent voyages to Italy, Spain, Egypt and Greece, to name a few. As Leighton’s oil sketches comprised over 200 canvases and boards, their significance to his oeuvre is paramount and needs to be clearly articulated. Using the example of 'An Outcrop in the Campagna', this article explores how the three aspects – nature, science and myth – merged in Leighton’s vision of landscape. The painting’s composition and technique are examined, as well as the influence of Leighton’s circle, exemplified by Giovanni Costa and the Etruscan School of Art. Finally, Victorian solar physics and thermodynamics are presented as an important context for the symbolic dimension of Leighton’s landscapes.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="34f586e8a84661d145f25875c90ab6b7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56570434,"asset_id":36638256,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56570434/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36638256"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36638256"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36638256; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36638256]").text(description); $(".js-view-count[data-work-id=36638256]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36638256; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36638256']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36638256, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "34f586e8a84661d145f25875c90ab6b7" } } $('.js-work-strip[data-work-id=36638256]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36638256,"title":"Nature, Science, and Myth in the Landscape Art of Frederic Leighton","translated_title":"","metadata":{"issue":"3","abstract":"Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of the nineteenth century, exhibiting large scale figurative paintings of a high degree of finish. Scholarship has, however, overlooked his plein-air paintings created during frequent voyages to Italy, Spain, Egypt and Greece, to name a few. As Leighton’s oil sketches comprised over 200 canvases and boards, their significance to his oeuvre is paramount and needs to be clearly articulated. Using the example of 'An Outcrop in the Campagna', this article explores how the three aspects – nature, science and myth – merged in Leighton’s vision of landscape. The painting’s composition and technique are examined, as well as the influence of Leighton’s circle, exemplified by Giovanni Costa and the Etruscan School of Art. Finally, Victorian solar physics and thermodynamics are presented as an important context for the symbolic dimension of Leighton’s landscapes.","publication_date":{"day":null,"month":null,"year":2018,"errors":{}},"publication_name":"Revista Eviterna"},"translated_abstract":"Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of the nineteenth century, exhibiting large scale figurative paintings of a high degree of finish. Scholarship has, however, overlooked his plein-air paintings created during frequent voyages to Italy, Spain, Egypt and Greece, to name a few. As Leighton’s oil sketches comprised over 200 canvases and boards, their significance to his oeuvre is paramount and needs to be clearly articulated. Using the example of 'An Outcrop in the Campagna', this article explores how the three aspects – nature, science and myth – merged in Leighton’s vision of landscape. The painting’s composition and technique are examined, as well as the influence of Leighton’s circle, exemplified by Giovanni Costa and the Etruscan School of Art. Finally, Victorian solar physics and thermodynamics are presented as an important context for the symbolic dimension of Leighton’s landscapes.","internal_url":"https://www.academia.edu/36638256/Nature_Science_and_Myth_in_the_Landscape_Art_of_Frederic_Leighton","translated_internal_url":"","created_at":"2018-05-15T02:55:01.416-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":49354962,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35799658,"work_id":36638256,"tagging_user_id":49354962,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"Nature, Science, and Myth in the Landscape Art of Frederic Leighton"}],"downloadable_attachments":[{"id":56570434,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56570434/thumbnails/1.jpg","file_name":"Article_Revista_Eviterna_-_Nature__Science__and_Myth_in_the_Landscape_Art_of_Frederic_Leighton.pdf","download_url":"https://www.academia.edu/attachments/56570434/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Nature_Science_and_Myth_in_the_Landscape.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56570434/Article_Revista_Eviterna_-_Nature__Science__and_Myth_in_the_Landscape_Art_of_Frederic_Leighton-libre.pdf?1526378461=\u0026response-content-disposition=attachment%3B+filename%3DNature_Science_and_Myth_in_the_Landscape.pdf\u0026Expires=1733034204\u0026Signature=NOhzyjz93g205k5YUmUxF8fcgql7KMOYHRJ-sxIlm44hgp0Nkhap6~Nesx16k7wdDe6G0clWfQgIhKtHtQ3TGQlT1wOQ0-FDDaMH49yDUe6sBtfGO8mp5UxJW61OgCo2AarYJOlI0JKbRrJncuT38NzZwUZSwummr8GRmxv2U-JapxLgagPyUrgcgXSug8I8Oyo5QylsOF0sSQXHFttrbOFqp1UYhRmpRyvTz~se21PDc1K5JSGH6T76NBlPbYEEedSI9KyTnDndOJ~fcuuNg69kP3Ky0bmy3DlwlPdcesasANsirvIs9NZbpnDmKNAcWRRclVq7fXMwRO1LXj7SVw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Nature_Science_and_Myth_in_the_Landscape_Art_of_Frederic_Leighton","translated_slug":"","page_count":12,"language":"en","content_type":"Work","owner":{"id":49354962,"first_name":"Pola","middle_initials":null,"last_name":"Durajska","page_name":"PolaDurajska","domain_name":"york","created_at":"2016-05-28T09:28:25.129-07:00","display_name":"Pola Durajska","url":"https://york.academia.edu/PolaDurajska"},"attachments":[{"id":56570434,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56570434/thumbnails/1.jpg","file_name":"Article_Revista_Eviterna_-_Nature__Science__and_Myth_in_the_Landscape_Art_of_Frederic_Leighton.pdf","download_url":"https://www.academia.edu/attachments/56570434/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Nature_Science_and_Myth_in_the_Landscape.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56570434/Article_Revista_Eviterna_-_Nature__Science__and_Myth_in_the_Landscape_Art_of_Frederic_Leighton-libre.pdf?1526378461=\u0026response-content-disposition=attachment%3B+filename%3DNature_Science_and_Myth_in_the_Landscape.pdf\u0026Expires=1733034204\u0026Signature=NOhzyjz93g205k5YUmUxF8fcgql7KMOYHRJ-sxIlm44hgp0Nkhap6~Nesx16k7wdDe6G0clWfQgIhKtHtQ3TGQlT1wOQ0-FDDaMH49yDUe6sBtfGO8mp5UxJW61OgCo2AarYJOlI0JKbRrJncuT38NzZwUZSwummr8GRmxv2U-JapxLgagPyUrgcgXSug8I8Oyo5QylsOF0sSQXHFttrbOFqp1UYhRmpRyvTz~se21PDc1K5JSGH6T76NBlPbYEEedSI9KyTnDndOJ~fcuuNg69kP3Ky0bmy3DlwlPdcesasANsirvIs9NZbpnDmKNAcWRRclVq7fXMwRO1LXj7SVw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1305,"name":"Victorian Studies","url":"https://www.academia.edu/Documents/in/Victorian_Studies"},{"id":2326,"name":"Nineteenth Century Studies","url":"https://www.academia.edu/Documents/in/Nineteenth_Century_Studies"},{"id":9645,"name":"Nineteenth-century Art","url":"https://www.academia.edu/Documents/in/Nineteenth-century_Art"},{"id":21190,"name":"Landscape (Art)","url":"https://www.academia.edu/Documents/in/Landscape_Art_"},{"id":29113,"name":"Nineteenth-Century Literature and Culture","url":"https://www.academia.edu/Documents/in/Nineteenth-Century_Literature_and_Culture"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38609220"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38609220/Female_Self_Portraiture_Imprisoned_Spaces_and_Minds"><img alt="Research paper thumbnail of Female Self-Portraiture: Imprisoned Spaces and Minds" class="work-thumbnail" src="https://attachments.academia-assets.com/58684954/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38609220/Female_Self_Portraiture_Imprisoned_Spaces_and_Minds">Female Self-Portraiture: Imprisoned Spaces and Minds</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/JessicaJaneiroObernyer">Jessica Janeiro Obernyer</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna, Revista de Humanidades, Arte y Cultura Independiente - ISSN: 2530-6014</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections betwe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections between their work, their work and their biographies, their artworks and their selves. In their art practices, they create prison-like and claustrophobic environments that reflect their inner selves, their traumas and their anxieties. Through the embodiment of space, they portray themselves, thus blurring the limits between inner self and outer world, between body and space. By closely analysing their work and their lives, this article sets forth the idea that their work can be read as a dynamic and visual autobiography, as kinetic and psychological self-portraits of these two female artists.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1f91f582267b689b508dc74fc52dc719" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58684954,"asset_id":38609220,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58684954/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38609220"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38609220"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38609220; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38609220]").text(description); $(".js-view-count[data-work-id=38609220]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38609220; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38609220']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38609220, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1f91f582267b689b508dc74fc52dc719" } } $('.js-work-strip[data-work-id=38609220]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38609220,"title":"Female Self-Portraiture: Imprisoned Spaces and Minds","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i5.8088","issue":"5","abstract":"This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections between their work, their work and their biographies, their artworks and their selves. In their art practices, they create prison-like and claustrophobic environments that reflect their inner selves, their traumas and their anxieties. Through the embodiment of space, they portray themselves, thus blurring the limits between inner self and outer world, between body and space. By closely analysing their work and their lives, this article sets forth the idea that their work can be read as a dynamic and visual autobiography, as kinetic and psychological self-portraits of these two female artists.","publication_date":{"day":null,"month":null,"year":2019,"errors":{}},"publication_name":"Eviterna, Revista de Humanidades, Arte y Cultura Independiente - ISSN: 2530-6014"},"translated_abstract":"This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections between their work, their work and their biographies, their artworks and their selves. In their art practices, they create prison-like and claustrophobic environments that reflect their inner selves, their traumas and their anxieties. Through the embodiment of space, they portray themselves, thus blurring the limits between inner self and outer world, between body and space. By closely analysing their work and their lives, this article sets forth the idea that their work can be read as a dynamic and visual autobiography, as kinetic and psychological self-portraits of these two female artists.","internal_url":"https://www.academia.edu/38609220/Female_Self_Portraiture_Imprisoned_Spaces_and_Minds","translated_internal_url":"","created_at":"2019-03-22T14:52:10.355-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":60208130,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35795365,"work_id":38609220,"tagging_user_id":60208130,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"Female Self-Portraiture: Imprisoned Spaces and Minds"}],"downloadable_attachments":[{"id":58684954,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58684954/thumbnails/1.jpg","file_name":"381370_d438dd3457f64b8bb9c713660c240cda.pdf","download_url":"https://www.academia.edu/attachments/58684954/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Female_Self_Portraiture_Imprisoned_Space.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58684954/381370_d438dd3457f64b8bb9c713660c240cda-libre.pdf?1553299631=\u0026response-content-disposition=attachment%3B+filename%3DFemale_Self_Portraiture_Imprisoned_Space.pdf\u0026Expires=1733034204\u0026Signature=hDPJ116Gtv~8NlQ29LTrQBTLn9AljvYtASLDpp1rE-JPyeSt~Irm6k92vbvuCMCkf2EBT-OakQQ93Yt67xC3gn4dmYs4iHPnoGthpzHIxZgQzHSZESSqhi0tNSxFnLrNV-649H9p6GxQlGV3OT9tsYISw3v2v1wlMUOJy1VTRpAEU56YIPr3ZZO7q9wW~wSwvlghSUQ3t3C5o0VWWUs~z~e-xp2A8k37sOlo6~~XJ1~b6KuMZ35Yn8CHU6jQCOB25iw9RFyIh6~am0OjtIdMiZxDvYVH~rCUhKeTOYBvhHtFCwxD235nKpl~FnBw36TqkFcNwUrsU80VWF4nvWOVww__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Female_Self_Portraiture_Imprisoned_Spaces_and_Minds","translated_slug":"","page_count":10,"language":"en","content_type":"Work","owner":{"id":60208130,"first_name":"Jessica","middle_initials":null,"last_name":"Janeiro Obernyer","page_name":"JessicaJaneiroObernyer","domain_name":"ucm","created_at":"2017-02-16T12:43:48.425-08:00","display_name":"Jessica Janeiro Obernyer","url":"https://ucm.academia.edu/JessicaJaneiroObernyer"},"attachments":[{"id":58684954,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/58684954/thumbnails/1.jpg","file_name":"381370_d438dd3457f64b8bb9c713660c240cda.pdf","download_url":"https://www.academia.edu/attachments/58684954/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Female_Self_Portraiture_Imprisoned_Space.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/58684954/381370_d438dd3457f64b8bb9c713660c240cda-libre.pdf?1553299631=\u0026response-content-disposition=attachment%3B+filename%3DFemale_Self_Portraiture_Imprisoned_Space.pdf\u0026Expires=1733034204\u0026Signature=hDPJ116Gtv~8NlQ29LTrQBTLn9AljvYtASLDpp1rE-JPyeSt~Irm6k92vbvuCMCkf2EBT-OakQQ93Yt67xC3gn4dmYs4iHPnoGthpzHIxZgQzHSZESSqhi0tNSxFnLrNV-649H9p6GxQlGV3OT9tsYISw3v2v1wlMUOJy1VTRpAEU56YIPr3ZZO7q9wW~wSwvlghSUQ3t3C5o0VWWUs~z~e-xp2A8k37sOlo6~~XJ1~b6KuMZ35Yn8CHU6jQCOB25iw9RFyIh6~am0OjtIdMiZxDvYVH~rCUhKeTOYBvhHtFCwxD235nKpl~FnBw36TqkFcNwUrsU80VWF4nvWOVww__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity"},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography"},{"id":5178,"name":"Phenomenology","url":"https://www.academia.edu/Documents/in/Phenomenology"},{"id":5463,"name":"Performance Art","url":"https://www.academia.edu/Documents/in/Performance_Art"},{"id":7217,"name":"The Abject Body","url":"https://www.academia.edu/Documents/in/The_Abject_Body"},{"id":8671,"name":"Abjection","url":"https://www.academia.edu/Documents/in/Abjection"},{"id":14617,"name":"Phenomenology of the body","url":"https://www.academia.edu/Documents/in/Phenomenology_of_the_body"},{"id":25618,"name":"Phenomenology of Space and Place","url":"https://www.academia.edu/Documents/in/Phenomenology_of_Space_and_Place"},{"id":29487,"name":"Space","url":"https://www.academia.edu/Documents/in/Space"},{"id":452196,"name":"Francesca Woodman","url":"https://www.academia.edu/Documents/in/Francesca_Woodman"},{"id":592917,"name":"Female body","url":"https://www.academia.edu/Documents/in/Female_body"},{"id":1249043,"name":"Rebecca Horn","url":"https://www.academia.edu/Documents/in/Rebecca_Horn"}],"urls":[{"id":9117016,"url":"https://revistas.uma.es/index.php/eviterna/article/view/8088/8005"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38742878"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38742878/El_tribunal_de_la_Inquisici%C3%B3n_de_Barcelona_en_el_siglo_XVI"><img alt="Research paper thumbnail of El tribunal de la Inquisición de Barcelona en el siglo XVI" class="work-thumbnail" src="https://attachments.academia-assets.com/58829933/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38742878/El_tribunal_de_la_Inquisici%C3%B3n_de_Barcelona_en_el_siglo_XVI">El tribunal de la Inquisición de Barcelona en el siglo XVI</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/mmundina">marisa mundina</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición en el s. XVI en Barcelona a partir de fuentes secundarias actuales y de archivo. Se explican las características del Tribunal bajo el inquisidor Fernando de Loaces y las especiales demandas que presentaron a las Cortes en diferentes momentos, 1510, 1512 y 1515-16. Asimismo, se muestran los principales delitos perseguidos y el proceso llevado a cabo para determinar sus castigos. ABSTRACT This paper gives a global vision about Tribunal of Inquisition in Barcelona, XVI c. as it is explained by primary and secondary sources. It is explained special features of Inquisition in Barcelona in s. XVI under Fernando de Loaces and the demands to the Cortes in 1510, 1512 and 1515-1516. It is showed main crimes committed, process and punishments applied KEY WORDS: Inquisition, Barcelona, XVI c., Cortes de Monzón, Fernando de Loaces. La vigilancia de la fe siempre ha existido así como la intolerancia a la forma de pensar, o en el contexto que nos ocupa, de creer del otro. Recordemos las persecuciones de los primeros tiempos del Cristianismo o la crisis iconoclasta del siglo VIII que supuso la destrucción de un gran número de obras de arte y el precedente a la separación de las Iglesias ortodoxa y católica (1054). Todas ellas tienen en común una visión del diferente como algo extraño, poco conocido y, por tanto, malo y necesario de ser eliminado.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d098c49731207edca4d3fdaffe89c2b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58829933,"asset_id":38742878,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58829933/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38742878"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38742878"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38742878; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38742878]").text(description); $(".js-view-count[data-work-id=38742878]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38742878; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38742878']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38742878, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d098c49731207edca4d3fdaffe89c2b9" } } $('.js-work-strip[data-work-id=38742878]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38742878,"title":"El tribunal de la Inquisición de Barcelona en el siglo XVI","translated_title":"","metadata":{"abstract":"RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición en el s. XVI en Barcelona a partir de fuentes secundarias actuales y de archivo. Se explican las características del Tribunal bajo el inquisidor Fernando de Loaces y las especiales demandas que presentaron a las Cortes en diferentes momentos, 1510, 1512 y 1515-16. Asimismo, se muestran los principales delitos perseguidos y el proceso llevado a cabo para determinar sus castigos. ABSTRACT This paper gives a global vision about Tribunal of Inquisition in Barcelona, XVI c. as it is explained by primary and secondary sources. It is explained special features of Inquisition in Barcelona in s. XVI under Fernando de Loaces and the demands to the Cortes in 1510, 1512 and 1515-1516. It is showed main crimes committed, process and punishments applied KEY WORDS: Inquisition, Barcelona, XVI c., Cortes de Monzón, Fernando de Loaces. La vigilancia de la fe siempre ha existido así como la intolerancia a la forma de pensar, o en el contexto que nos ocupa, de creer del otro. Recordemos las persecuciones de los primeros tiempos del Cristianismo o la crisis iconoclasta del siglo VIII que supuso la destrucción de un gran número de obras de arte y el precedente a la separación de las Iglesias ortodoxa y católica (1054). Todas ellas tienen en común una visión del diferente como algo extraño, poco conocido y, por tanto, malo y necesario de ser eliminado."},"translated_abstract":"RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición en el s. XVI en Barcelona a partir de fuentes secundarias actuales y de archivo. Se explican las características del Tribunal bajo el inquisidor Fernando de Loaces y las especiales demandas que presentaron a las Cortes en diferentes momentos, 1510, 1512 y 1515-16. Asimismo, se muestran los principales delitos perseguidos y el proceso llevado a cabo para determinar sus castigos. ABSTRACT This paper gives a global vision about Tribunal of Inquisition in Barcelona, XVI c. as it is explained by primary and secondary sources. It is explained special features of Inquisition in Barcelona in s. XVI under Fernando de Loaces and the demands to the Cortes in 1510, 1512 and 1515-1516. It is showed main crimes committed, process and punishments applied KEY WORDS: Inquisition, Barcelona, XVI c., Cortes de Monzón, Fernando de Loaces. La vigilancia de la fe siempre ha existido así como la intolerancia a la forma de pensar, o en el contexto que nos ocupa, de creer del otro. Recordemos las persecuciones de los primeros tiempos del Cristianismo o la crisis iconoclasta del siglo VIII que supuso la destrucción de un gran número de obras de arte y el precedente a la separación de las Iglesias ortodoxa y católica (1054). 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RESGUARDO Y TRANSFIGURACIÓN DE LA MEMORIA MEDIEVAL" class="work-thumbnail" src="https://attachments.academia-assets.com/64514007/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44143307/LA_FACHADA_NEOG%C3%93TICA_DE_LA_CATEDRAL_DE_BARCELONA_RESGUARDO_Y_TRANSFIGURACI%C3%93N_DE_LA_MEMORIA_MEDIEVAL">LA FACHADA NEOGÓTICA DE LA CATEDRAL DE BARCELONA. RESGUARDO Y TRANSFIGURACIÓN DE LA MEMORIA MEDIEVAL</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uva-es.academia.edu/LorenadaSilvaVargas">Lorena da Silva Vargas</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La Catedral Basílica de la Santa Cruz y Santa Eulalia de Barcelona es uno de los hitos del barrio...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La Catedral Basílica de la Santa Cruz y Santa Eulalia de Barcelona es uno de los hitos del barrio gótico de la ciudad, especialmente por su fachada, un monumento en el paisaje. Sin embargo, se trata de una fachada neogótica construida en un contexto de expansión  del  medievalismo  en  distintos  sectores  de  la  sociedad,  materializado  en  la arquitectura  por  el  neogótico;  además,  el  contexto  de  celebración  de  la  Exposición Universal  en  la  ciudad,  en  el  año  de  1888, fomentóel  mecenazgo  arquitectónico  en Barcelona. La nueva fachada, creada bajo concurso promovido por el banquero Manuel Girona, sustituía el muro del siglo XV, construidofrente a la imposibilidad de ejecución del proyecto original por cuestiones económicas. Aunque la temática de la reconstrucción de  la  fachada  sea  bastante  explorada  por  la  historiografía,  buscaremos  tratar específicamente  el  ámbito  temporal,  de  las  permanencias  y  rupturas.  Discutiremos  las particularidades  y  aproximaciones  estéticas,  materiales  e  ideológicas  entre  la  fachada gótica  original,proyectada  por  el  maestro  Carlí  en  el  siglo  XV, que  jamás  llegó  a  ser construida, y el proyecto realmente  efectuadoen el  siglo XIX, llevado a cabo por José Oriol Mestres. Analizaremosla relación entre el gótico y el neogótico en aquel edificio, entre  la  EdadMedia  y  su  recreación  contemporánea;  consideraremos  las  nuevas posibilidades constructivas del ochocientos aplicadas a aquella significativa intervención y  problematizaremos  sus  intenciones  sobre  la  Catedral  en  cuanto  herencia  histórica  y memoria plausible de manipulaciones.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4a840c92e717c0836fa01f55efcec97b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64514007,"asset_id":44143307,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64514007/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44143307"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44143307"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44143307; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44143307]").text(description); $(".js-view-count[data-work-id=44143307]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44143307; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44143307']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44143307, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4a840c92e717c0836fa01f55efcec97b" } } $('.js-work-strip[data-work-id=44143307]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44143307,"title":"LA FACHADA NEOGÓTICA DE LA CATEDRAL DE BARCELONA. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36218308"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36218308/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV"><img alt="Research paper thumbnail of Muerte y cambios de mentalidad en la Europa del siglo XIV" class="work-thumbnail" src="https://attachments.academia-assets.com/56121053/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36218308/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV">Muerte y cambios de mentalidad en la Europa del siglo XIV</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/IreneL%C3%A1zaro">Irene Lázaro</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, s...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, se dieron una serie de cambios en la mentalidad colectiva que afectaron a la devoción y al tipo de relación que el fiel tenía con Dios. Imperó una mística más intimista y esto se refleja en la visión que se tenía de la muerte. El individualismo hizo que se tendiera a priorizar el juicio del alma en el momento mismo de la muerte frente a la importancia que había tenido el Juicio Final, colectivo, en siglos anteriores. Estos cambios de mentalidad en relación con la muerte se dejaron sentir en el ritual funerario, que cambió adaptándose a las nuevas ideas. También ejerció influencia en el arte, especialmente en los sepulcros. <br /><br />ABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ad331e3d766a159b2cfc1622e52a3632" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56121053,"asset_id":36218308,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56121053/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36218308"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36218308"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36218308; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36218308]").text(description); $(".js-view-count[data-work-id=36218308]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36218308; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36218308']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36218308, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ad331e3d766a159b2cfc1622e52a3632" } } $('.js-work-strip[data-work-id=36218308]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36218308,"title":"Muerte y cambios de mentalidad en la Europa del siglo XIV","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i3.8167","abstract":"RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, se dieron una serie de cambios en la mentalidad colectiva que afectaron a la devoción y al tipo de relación que el fiel tenía con Dios. Imperó una mística más intimista y esto se refleja en la visión que se tenía de la muerte. El individualismo hizo que se tendiera a priorizar el juicio del alma en el momento mismo de la muerte frente a la importancia que había tenido el Juicio Final, colectivo, en siglos anteriores. Estos cambios de mentalidad en relación con la muerte se dejaron sentir en el ritual funerario, que cambió adaptándose a las nuevas ideas. También ejerció influencia en el arte, especialmente en los sepulcros. \n\nABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art."},"translated_abstract":"RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, se dieron una serie de cambios en la mentalidad colectiva que afectaron a la devoción y al tipo de relación que el fiel tenía con Dios. Imperó una mística más intimista y esto se refleja en la visión que se tenía de la muerte. El individualismo hizo que se tendiera a priorizar el juicio del alma en el momento mismo de la muerte frente a la importancia que había tenido el Juicio Final, colectivo, en siglos anteriores. Estos cambios de mentalidad en relación con la muerte se dejaron sentir en el ritual funerario, que cambió adaptándose a las nuevas ideas. También ejerció influencia en el arte, especialmente en los sepulcros. \n\nABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art.","internal_url":"https://www.academia.edu/36218308/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV","translated_internal_url":"","created_at":"2018-03-21T06:03:24.093-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":62730329,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35788890,"work_id":36218308,"tagging_user_id":62730329,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"Muerte y cambios de mentalidad en la Europa del siglo XIV"}],"downloadable_attachments":[{"id":56121053,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56121053/thumbnails/1.jpg","file_name":"Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV.pdf","download_url":"https://www.academia.edu/attachments/56121053/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Muerte_y_cambios_de_mentalidad_en_la_Eur.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56121053/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV-libre.pdf?1521640719=\u0026response-content-disposition=attachment%3B+filename%3DMuerte_y_cambios_de_mentalidad_en_la_Eur.pdf\u0026Expires=1733034204\u0026Signature=UCjQ13lQKE5g48Z-gUe-vABRlzh5FjTeBjNezkKoX8NzZoNLZvqwLryoems-27vUqAX3hrNlwKOYdkl0h5ZzGewpWZYruu71H-vckrhZV-pqdj~l03B6LbJpMvdbMMuDGAHk5vgnzySAx5E4UmR~OndulhNA45Z4STZQEbMzrdph9Whs3VNUkpNMXOvGNrW59Av4nv~YO0i7Gml3Tuskv3HObrU7UIgbEwhCIQfqiVtftidfZbOt5xv5SZJAKvEa1oPBNPUtEHVTQKiubvCcTvcDQZYY3mzg16roDDwSrwPpM46MQkFkYtD8Heka9yVlT0QN~3O-bhmsuofrS7gn4g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV","translated_slug":"","page_count":16,"language":"es","content_type":"Work","owner":{"id":62730329,"first_name":"Irene","middle_initials":null,"last_name":"Lázaro","page_name":"IreneLázaro","domain_name":"ucm","created_at":"2017-04-08T01:31:01.166-07:00","display_name":"Irene Lázaro","url":"https://ucm.academia.edu/IreneL%C3%A1zaro"},"attachments":[{"id":56121053,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56121053/thumbnails/1.jpg","file_name":"Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV.pdf","download_url":"https://www.academia.edu/attachments/56121053/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Muerte_y_cambios_de_mentalidad_en_la_Eur.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56121053/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV-libre.pdf?1521640719=\u0026response-content-disposition=attachment%3B+filename%3DMuerte_y_cambios_de_mentalidad_en_la_Eur.pdf\u0026Expires=1733034204\u0026Signature=UCjQ13lQKE5g48Z-gUe-vABRlzh5FjTeBjNezkKoX8NzZoNLZvqwLryoems-27vUqAX3hrNlwKOYdkl0h5ZzGewpWZYruu71H-vckrhZV-pqdj~l03B6LbJpMvdbMMuDGAHk5vgnzySAx5E4UmR~OndulhNA45Z4STZQEbMzrdph9Whs3VNUkpNMXOvGNrW59Av4nv~YO0i7Gml3Tuskv3HObrU7UIgbEwhCIQfqiVtftidfZbOt5xv5SZJAKvEa1oPBNPUtEHVTQKiubvCcTvcDQZYY3mzg16roDDwSrwPpM46MQkFkYtD8Heka9yVlT0QN~3O-bhmsuofrS7gn4g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History"},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies"},{"id":146026,"name":"Muerte","url":"https://www.academia.edu/Documents/in/Muerte"},{"id":201621,"name":"14th Century","url":"https://www.academia.edu/Documents/in/14th_Century"},{"id":1269970,"name":"Siglo XIV","url":"https://www.academia.edu/Documents/in/Siglo_XIV"},{"id":2442551,"name":"Arte macabro siglo XV","url":"https://www.academia.edu/Documents/in/Arte_macabro_siglo_XV"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37049074"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37049074/_Reflexiones_sobre_la_luz_y_sus_refracciones_en_la_pl%C3%A1stica_de_la_era_tecnol%C3%B3gica_Del_enga%C3%B1o_visual_de_Federico_Mir%C3%B3_a_la_pintura_encendida_de_Alejandro_Mart%C3%ADn_en_Eviterna_2_2017_"><img alt="Research paper thumbnail of "Reflexiones sobre la luz y sus refracciones en la plástica de la era tecnológica. Del engaño visual de Federico Miró a la pintura 'encendida' de Alejandro Martín", en Eviterna 2 (2017)" class="work-thumbnail" src="https://attachments.academia-assets.com/56999553/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/37049074/_Reflexiones_sobre_la_luz_y_sus_refracciones_en_la_pl%C3%A1stica_de_la_era_tecnol%C3%B3gica_Del_enga%C3%B1o_visual_de_Federico_Mir%C3%B3_a_la_pintura_encendida_de_Alejandro_Mart%C3%ADn_en_Eviterna_2_2017_">"Reflexiones sobre la luz y sus refracciones en la plástica de la era tecnológica. Del engaño visual de Federico Miró a la pintura 'encendida' de Alejandro Martín", en Eviterna 2 (2017)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/JavierGonz%C3%A1lez">Javier González Torres</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f3dd737eb8ab5d58345498d9607c105b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56999553,"asset_id":37049074,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56999553/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37049074"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37049074"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37049074; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37049074]").text(description); $(".js-view-count[data-work-id=37049074]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37049074; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37049074']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37049074, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f3dd737eb8ab5d58345498d9607c105b" } } $('.js-work-strip[data-work-id=37049074]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37049074,"title":"\"Reflexiones sobre la luz y sus refracciones en la plástica de la era tecnológica. Del engaño visual de Federico Miró a la pintura 'encendida' de Alejandro Martín\", en Eviterna 2 (2017)","translated_title":"","metadata":{"volume":"2","grobid_abstract":"Recibido el 15 de junio de 2017; revisado el 10 de julio de 2017; aceptado el 18 de julio de 2017; publicado el 01 de septiembre de 2017 RESUMEN: La extraordinaria capacidad de 'reinvención' que la pintura está desarrollando en las últimas décadas permite afirmar su plena vitalidad: un interesante proceso de redefinición que se proyecta en parámetros intrínsecos al lenguaje pictórico o en otros hasta ahora poco tratados, proporcionando al resultado final pluralidad, matices, polisemia y pertinencia. Potencialidades que han de ponerse en relación con la era tecnológica actual, contaminada por recursos cibernéticos, digitales y fotográficos. Dos artistas noveles, Federico Miró y Alejandro Martín, plantean en sus indagaciones plásticas un giro de tuerca al fascinante mundo de la creación pictórica. El estudio de propuestas históricas les lleva en cada caso a descubrir individualmente nuevos caminos que bordean lo figurativo y lo abstracto, con puntos en común pero también con notables divergencias. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44182760"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44182760/La_quema_y_confiscaci%C3%B3n_de_libros_como_paradigma_de_censura_religiosa_en_la_Antigua_Roma"><img alt="Research paper thumbnail of La quema y confiscación de libros como paradigma de censura religiosa en la Antigua Roma" class="work-thumbnail" src="https://attachments.academia-assets.com/64543241/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44182760/La_quema_y_confiscaci%C3%B3n_de_libros_como_paradigma_de_censura_religiosa_en_la_Antigua_Roma">La quema y confiscación de libros como paradigma de censura religiosa en la Antigua Roma</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unizar.academia.edu/DiegoMeseguerGonz%C3%A1lez">Diego Meseguer González</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen: Este trabajo tiene como objetivo estudiar el fenómeno de la censura religiosa en la Anti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen: Este trabajo tiene como objetivo estudiar el fenómeno de la censura religiosa en la Antigua Roma, haciendo hincapié en los principales episodios que condujeron a la destrucción o cremación de libros mágico-religiosos. Siguiendo un enfoque diacrónico, la primera parte del estudio se centra en las persecuciones llevadas a cabo en época republicana, destinadas a reprimir la difusión de nuevos cultos, evitar su codificación por escrito y mantener el orden tradicional. La segunda parte, en cambio, examina las transformaciones producidas en época imperial y la puesta en práctica de una práctica censora enfocada a proteger los intereses del princeps y eliminar a rivales políticos. Con ello llegaremos a la conclusión de que la censura religiosa constituyó un fenómeno excepcional sujeto circunstancias muy específicas, debido entre otros factores a la ausencia de un órgano institucional especializado en la censura y al peso de la tradición oral sobre la cultura escrita y literaria. <br /><br />Abstract: The aim of this paper is to study the phenomenon of religious censorship in the Ancient Rome, making emphasis on the main events that led to the destruction or burning of magic-religious books. From a diachronic perspective, the first part of the study dealts with the persecutions arranged by republican authorities in order to constrain the introduction of new cults, avoid harm coming from its writings and keep safe the</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b9e8d6576dc05f25e3dbebc8e9aabc74" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64543241,"asset_id":44182760,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64543241/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44182760"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44182760"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44182760; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44182760]").text(description); $(".js-view-count[data-work-id=44182760]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44182760; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44182760']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44182760, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b9e8d6576dc05f25e3dbebc8e9aabc74" } } $('.js-work-strip[data-work-id=44182760]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44182760,"title":"La quema y confiscación de libros como paradigma de censura religiosa en la Antigua Roma","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.9368","abstract":"Resumen: Este trabajo tiene como objetivo estudiar el fenómeno de la censura religiosa en la Antigua Roma, haciendo hincapié en los principales episodios que condujeron a la destrucción o cremación de libros mágico-religiosos. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36856971"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36856971/La_Casa_Behrens_an%C3%A1lisis_de_una_obra_de_arte_total"><img alt="Research paper thumbnail of La Casa Behrens: análisis de una obra de arte total" class="work-thumbnail" src="https://attachments.academia-assets.com/56810702/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36856971/La_Casa_Behrens_an%C3%A1lisis_de_una_obra_de_arte_total">La Casa Behrens: análisis de una obra de arte total</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/Andrearanda">Andrea Aranda Gómez</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de los mejores ejemplos de “obra de arte total” en la Historia del Arte. Sin embargo, más allá del logro de una estética total, es decir, la armonía visual y espacial entre cada uno de los elementos que componen la casa, su planificación incluye aspectos que enlazan con la arquitectura moderna del siglo XX, así como con una dimensión social de la obra de arte total que se fue configurando a lo largo del siglo pasado. El análisis de esta obra, basado en el libro que le dedicó el propio Behrens, pretende profundizar en los aspectos propuestos, desentrañando la riqueza teórica y formal que contiene la obra. <br /><br />[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dd97ae4d3f4330908c92ee57cb5384c7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56810702,"asset_id":36856971,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56810702/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36856971"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36856971"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36856971; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36856971]").text(description); $(".js-view-count[data-work-id=36856971]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36856971; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36856971']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36856971, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dd97ae4d3f4330908c92ee57cb5384c7" } } $('.js-work-strip[data-work-id=36856971]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36856971,"title":"La Casa Behrens: análisis de una obra de arte total","translated_title":"","metadata":{"abstract":"[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de los mejores ejemplos de “obra de arte total” en la Historia del Arte. Sin embargo, más allá del logro de una estética total, es decir, la armonía visual y espacial entre cada uno de los elementos que componen la casa, su planificación incluye aspectos que enlazan con la arquitectura moderna del siglo XX, así como con una dimensión social de la obra de arte total que se fue configurando a lo largo del siglo pasado. El análisis de esta obra, basado en el libro que le dedicó el propio Behrens, pretende profundizar en los aspectos propuestos, desentrañando la riqueza teórica y formal que contiene la obra. \n\n[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work."},"translated_abstract":"[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de los mejores ejemplos de “obra de arte total” en la Historia del Arte. Sin embargo, más allá del logro de una estética total, es decir, la armonía visual y espacial entre cada uno de los elementos que componen la casa, su planificación incluye aspectos que enlazan con la arquitectura moderna del siglo XX, así como con una dimensión social de la obra de arte total que se fue configurando a lo largo del siglo pasado. El análisis de esta obra, basado en el libro que le dedicó el propio Behrens, pretende profundizar en los aspectos propuestos, desentrañando la riqueza teórica y formal que contiene la obra. \n\n[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work.","internal_url":"https://www.academia.edu/36856971/La_Casa_Behrens_an%C3%A1lisis_de_una_obra_de_arte_total","translated_internal_url":"","created_at":"2018-06-17T05:59:57.202-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":10884759,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35767373,"work_id":36856971,"tagging_user_id":10884759,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"La Casa Behrens: análisis de una obra de arte total"}],"downloadable_attachments":[{"id":56810702,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56810702/thumbnails/1.jpg","file_name":"Casa_Behrens_analisis_de_una_obra_de_arte_total.pdf","download_url":"https://www.academia.edu/attachments/56810702/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Casa_Behrens_analisis_de_una_obra_de.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56810702/Casa_Behrens_analisis_de_una_obra_de_arte_total-libre.pdf?1529240626=\u0026response-content-disposition=attachment%3B+filename%3DLa_Casa_Behrens_analisis_de_una_obra_de.pdf\u0026Expires=1733034204\u0026Signature=FYppWV0AVB3iCz~IW-bRWi0QV1S7xaHBsG1fqTq4XxdL8wKXXRdqnZTSI5o-wSxT7DNcaNPMutgR5~~z4LWy2vube7MGSGx5Jbem3-NxoDfWlY8NBak1cnkMju2NJyqoZYEh6PCmVAbc3G-rL8kbhCydDo-YxJkwxWhuxiSvwAJxbrebxf~qMh7aAgPUAWsBGiiQFuHUcGwdA5wUpwR80xENcukzTNFfDm6SxiaVJ1ctVunntkam0I7G9r4Oj6SjpZElH8tBA93Yw0JHhT2ZetZOjcD0lzwrl-G6bCuGYiGofRsCQUUZYtqRtV~eVuI-wkPOYwomYFWzRoNPSfwLnQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"La_Casa_Behrens_análisis_de_una_obra_de_arte_total","translated_slug":"","page_count":11,"language":"es","content_type":"Work","owner":{"id":10884759,"first_name":"Andrea","middle_initials":null,"last_name":"Aranda Gómez","page_name":"Andrearanda","domain_name":"uma","created_at":"2014-04-07T01:45:25.245-07:00","display_name":"Andrea Aranda Gómez","url":"https://uma.academia.edu/Andrearanda"},"attachments":[{"id":56810702,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56810702/thumbnails/1.jpg","file_name":"Casa_Behrens_analisis_de_una_obra_de_arte_total.pdf","download_url":"https://www.academia.edu/attachments/56810702/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Casa_Behrens_analisis_de_una_obra_de.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56810702/Casa_Behrens_analisis_de_una_obra_de_arte_total-libre.pdf?1529240626=\u0026response-content-disposition=attachment%3B+filename%3DLa_Casa_Behrens_analisis_de_una_obra_de.pdf\u0026Expires=1733034204\u0026Signature=FYppWV0AVB3iCz~IW-bRWi0QV1S7xaHBsG1fqTq4XxdL8wKXXRdqnZTSI5o-wSxT7DNcaNPMutgR5~~z4LWy2vube7MGSGx5Jbem3-NxoDfWlY8NBak1cnkMju2NJyqoZYEh6PCmVAbc3G-rL8kbhCydDo-YxJkwxWhuxiSvwAJxbrebxf~qMh7aAgPUAWsBGiiQFuHUcGwdA5wUpwR80xENcukzTNFfDm6SxiaVJ1ctVunntkam0I7G9r4Oj6SjpZElH8tBA93Yw0JHhT2ZetZOjcD0lzwrl-G6bCuGYiGofRsCQUUZYtqRtV~eVuI-wkPOYwomYFWzRoNPSfwLnQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design"},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture"},{"id":49836,"name":"Arquitectura","url":"https://www.academia.edu/Documents/in/Arquitectura"},{"id":71005,"name":"Darmstadt","url":"https://www.academia.edu/Documents/in/Darmstadt"},{"id":90638,"name":"Diseño","url":"https://www.academia.edu/Documents/in/Dise%C3%B1o"},{"id":93478,"name":"Modernismo","url":"https://www.academia.edu/Documents/in/Modernismo"},{"id":137923,"name":"Jugendstil","url":"https://www.academia.edu/Documents/in/Jugendstil"},{"id":332234,"name":"Gesamtkunstwerk","url":"https://www.academia.edu/Documents/in/Gesamtkunstwerk"},{"id":352443,"name":"Austrian and German Art, Architecture and Design 1850-1930","url":"https://www.academia.edu/Documents/in/Austrian_and_German_Art_Architecture_and_Design_1850-1930"},{"id":2168181,"name":"Peter Behrens","url":"https://www.academia.edu/Documents/in/Peter_Behrens"},{"id":2974956,"name":"Obra de arte total","url":"https://www.academia.edu/Documents/in/Obra_de_arte_total"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40727753"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40727753/Peter_Behrens_y_el_rostro_de_la_industria_moderna"><img alt="Research paper thumbnail of Peter Behrens y el rostro de la industria moderna" class="work-thumbnail" src="https://attachments.academia-assets.com/61013922/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40727753/Peter_Behrens_y_el_rostro_de_la_industria_moderna">Peter Behrens y el rostro de la industria moderna</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/Andrearanda">Andrea Aranda Gómez</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Peter Behrens y el rostro de la industria moderna</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">[ESP] El trabajo de Behrens para AEG no solo dio lugar a la considerada primera identidad corpora...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">[ESP] El trabajo de Behrens para AEG no solo dio lugar a la considerada primera identidad corporativa de una empresa, sino que le convirtió en pieza fundamental del eje modernizador de la industria a principios del siglo XX. Este artículo aborda mediante algunos ejemplos el análisis de las relaciones entre lo moderno y lo clásico en las propuestas de Behrens, construyendo un hilo que explora la superación de las problemáticas de su tiempo, en ocasiones, mediante la adecuación y reinterpretación de elementos y conceptos propios de otras épocas. <br /><br />[ENG] Behrens' work for AEG not only gave rise to the so-called first corporate identity of a company, but also made it a fundamental part of the modernising axis of industry at the beginning of the 20th century. This article uses a few examples to approach the analysis of the connections between the modern and the classical in Behrens' proposals, building a thread that explores overcoming the problems of his time, sometimes through the adaptation and reinterpretation of elements and concepts from other eras.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dec01c3ce8aa0e5ef370285bf011abc8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61013922,"asset_id":40727753,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61013922/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40727753"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40727753"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40727753; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40727753]").text(description); $(".js-view-count[data-work-id=40727753]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40727753; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40727753']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40727753, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dec01c3ce8aa0e5ef370285bf011abc8" } } $('.js-work-strip[data-work-id=40727753]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40727753,"title":"Peter Behrens y el rostro de la industria moderna","translated_title":"","metadata":{"abstract":"[ESP] El trabajo de Behrens para AEG no solo dio lugar a la considerada primera identidad corporativa de una empresa, sino que le convirtió en pieza fundamental del eje modernizador de la industria a principios del siglo XX. Este artículo aborda mediante algunos ejemplos el análisis de las relaciones entre lo moderno y lo clásico en las propuestas de Behrens, construyendo un hilo que explora la superación de las problemáticas de su tiempo, en ocasiones, mediante la adecuación y reinterpretación de elementos y conceptos propios de otras épocas. \n\n[ENG] Behrens' work for AEG not only gave rise to the so-called first corporate identity of a company, but also made it a fundamental part of the modernising axis of industry at the beginning of the 20th century. 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This article uses a few examples to approach the analysis of the connections between the modern and the classical in Behrens' proposals, building a thread that explores overcoming the problems of his time, sometimes through the adaptation and reinterpretation of elements and concepts from other eras.","internal_url":"https://www.academia.edu/40727753/Peter_Behrens_y_el_rostro_de_la_industria_moderna","translated_internal_url":"","created_at":"2019-10-25T01:52:57.368-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":10884759,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35767372,"work_id":40727753,"tagging_user_id":10884759,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"Peter Behrens y el rostro de la industria moderna"}],"downloadable_attachments":[{"id":61013922,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61013922/thumbnails/1.jpg","file_name":"Eviterna_Behrens_Rostroindustriamoderna20191025-77438-1whtbwe.pdf","download_url":"https://www.academia.edu/attachments/61013922/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Peter_Behrens_y_el_rostro_de_la_industri.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61013922/Eviterna_Behrens_Rostroindustriamoderna20191025-77438-1whtbwe-libre.pdf?1571994867=\u0026response-content-disposition=attachment%3B+filename%3DPeter_Behrens_y_el_rostro_de_la_industri.pdf\u0026Expires=1733034204\u0026Signature=Nan-pubxbNtQVAxceF4vCB7D-20qHheev3xGgiTXQaqKxFo73RnEYwZeGmFMn43bkjD8Lzviy~tBwz480qgbomuD2eexSUCxkx45s2w7lGrXGag7g9R8ITsfytc3oa8XWimbx5kymYvf36i~IN7MpGMAvms2io4HggrLeGk5OgQsSQ-uI7R5ri~w6N57nF-Z4eByg1ZMwlsozxsrmx5oHuRpSf-o~g6vP4P7i0cEyDAtYBhbdix~RrJOPtReGlApfN4eknBBaWBWgAF7CNm~ZRsjrqdiW0qpjN~F0nrdORL8dzv8f4lTYV9FNUt-L47mDWY~lh10tf8AngvUfVDx0g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Peter_Behrens_y_el_rostro_de_la_industria_moderna","translated_slug":"","page_count":11,"language":"es","content_type":"Work","owner":{"id":10884759,"first_name":"Andrea","middle_initials":null,"last_name":"Aranda Gómez","page_name":"Andrearanda","domain_name":"uma","created_at":"2014-04-07T01:45:25.245-07:00","display_name":"Andrea Aranda Gómez","url":"https://uma.academia.edu/Andrearanda"},"attachments":[{"id":61013922,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/61013922/thumbnails/1.jpg","file_name":"Eviterna_Behrens_Rostroindustriamoderna20191025-77438-1whtbwe.pdf","download_url":"https://www.academia.edu/attachments/61013922/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Peter_Behrens_y_el_rostro_de_la_industri.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/61013922/Eviterna_Behrens_Rostroindustriamoderna20191025-77438-1whtbwe-libre.pdf?1571994867=\u0026response-content-disposition=attachment%3B+filename%3DPeter_Behrens_y_el_rostro_de_la_industri.pdf\u0026Expires=1733034204\u0026Signature=Nan-pubxbNtQVAxceF4vCB7D-20qHheev3xGgiTXQaqKxFo73RnEYwZeGmFMn43bkjD8Lzviy~tBwz480qgbomuD2eexSUCxkx45s2w7lGrXGag7g9R8ITsfytc3oa8XWimbx5kymYvf36i~IN7MpGMAvms2io4HggrLeGk5OgQsSQ-uI7R5ri~w6N57nF-Z4eByg1ZMwlsozxsrmx5oHuRpSf-o~g6vP4P7i0cEyDAtYBhbdix~RrJOPtReGlApfN4eknBBaWBWgAF7CNm~ZRsjrqdiW0qpjN~F0nrdORL8dzv8f4lTYV9FNUt-L47mDWY~lh10tf8AngvUfVDx0g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3952,"name":"Industrial Design","url":"https://www.academia.edu/Documents/in/Industrial_Design"},{"id":5079,"name":"Graphic Design","url":"https://www.academia.edu/Documents/in/Graphic_Design"},{"id":14647,"name":"Modern Architecture","url":"https://www.academia.edu/Documents/in/Modern_Architecture"},{"id":39723,"name":"Industrial Architecture","url":"https://www.academia.edu/Documents/in/Industrial_Architecture"},{"id":59010,"name":"Publicity","url":"https://www.academia.edu/Documents/in/Publicity"},{"id":65137,"name":"Diseño Industrial","url":"https://www.academia.edu/Documents/in/Dise%C3%B1o_Industrial"},{"id":87096,"name":"Publicidad","url":"https://www.academia.edu/Documents/in/Publicidad"},{"id":332234,"name":"Gesamtkunstwerk","url":"https://www.academia.edu/Documents/in/Gesamtkunstwerk"},{"id":337336,"name":"Identidad corporativa","url":"https://www.academia.edu/Documents/in/Identidad_corporativa"},{"id":758055,"name":"Arquitectura industrial","url":"https://www.academia.edu/Documents/in/Arquitectura_industrial"},{"id":2168181,"name":"Peter Behrens","url":"https://www.academia.edu/Documents/in/Peter_Behrens"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41004688"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41004688/La_entrada_del_arte_chino_contempor%C3%A1neo_en_Occidente_Inside_Out_New_Chinese_Art_un_caso_de_estudio"><img alt="Research paper thumbnail of La entrada del arte chino contemporáneo en Occidente. Inside Out: New Chinese Art, un caso de estudio" class="work-thumbnail" src="https://attachments.academia-assets.com/61285928/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41004688/La_entrada_del_arte_chino_contempor%C3%A1neo_en_Occidente_Inside_Out_New_Chinese_Art_un_caso_de_estudio">La entrada del arte chino contemporáneo en Occidente. Inside Out: New Chinese Art, un caso de estudio</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ehu.academia.edu/AneLekuonaMariscal">Ane Lekuona Mariscal</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna. Revista de humanidades, arte y cultura independiente</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El presente texto tiene como objetivo realizar un estudio sobre la exposición Inside Out: New Chi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El presente texto tiene como objetivo realizar un estudio sobre la exposición Inside Out: New Chinese Art celebrada entre los años 1998-1999 en Nueva York. Y es que al tomar la muestra como caso de estudio, es posible profundizar en torno a la entrada del arte contemporáneo chino en Occidente, fundamentalmente a lo largo de la década de los noventa. Diferentes factores como el momento histórico, el contexto socio-político, los intereses económicos, el novedoso discurso expositivo y su trascendencia para las siguientes exhibiciones de temática similar hicieron que la muestra se considere, actualmente, un acontecimiento significativo para la historia del arte chino contemporáneo y su introducción en Occidente. <br /><br />The present text has the goal to fulfill a study about the exhibition Inside Out: New Chinese Art celebrated in New York between 1998-1999. Taking the exhibition as a case of study is possible to deep around the entrance of the Contemporary Chinese Art in Western, essentially throughout the 90s. Different factors must be taken into account, such as the historic time, the sociopolitical context, the economic interests, the innovative discourse of the show or its transcendence for the followings shows. Those elements have driven the exhibition as a significant event within the Contemporary Chinese Art History and its entrance in Western.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="37532b80c22909c5cc37cef4e42dd89a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61285928,"asset_id":41004688,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61285928/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="41004688"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="41004688"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 41004688; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=41004688]").text(description); $(".js-view-count[data-work-id=41004688]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 41004688; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='41004688']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 41004688, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "37532b80c22909c5cc37cef4e42dd89a" } } $('.js-work-strip[data-work-id=41004688]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":41004688,"title":"La entrada del arte chino contemporáneo en Occidente. 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La Dama de Shalott de Alfred Tennyson como metáfora del ideal de feminidad victoriano y su reflejo en el imaginario pictórico decimonónico" class="work-thumbnail" src="https://attachments.academia-assets.com/64519762/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44162143/_Harta_de_sombras_estoy_La_Dama_de_Shalott_de_Alfred_Tennyson_como_met%C3%A1fora_del_ideal_de_feminidad_victoriano_y_su_reflejo_en_el_imaginario_pict%C3%B3rico_decimon%C3%B3nico">"Harta de sombras estoy". La Dama de Shalott de Alfred Tennyson como metáfora del ideal de feminidad victoriano y su reflejo en el imaginario pictórico decimonónico</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/Roc%C3%ADoSotoDelgado">Rocío Soto Delgado</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebres, La Dama de Shalott. En él, recuperaría la figura de la Doncella de Astolat creada por Sir Thomas Malory en La muerte de Arturo (1485). Pronto se convertiría en uno de los motivos iconográficos preferidos de artistas prerrafaelitas y victorianos del siglo XIX y principios del XX. Tanto el poema como las imágenes, se tomaron como ilustraciones de actitudes victorianas hacia la reclusión de las mujeres en el área doméstica y la privación de su sexualidad. <br /><br />Alfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. Likewise, both the poem and the pictures have been taken as illustrations of Victorian attitudes toward women and their sexuality.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="81b7f0c44b65af33330c0e462f8bc76b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64519762,"asset_id":44162143,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64519762/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44162143"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44162143"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44162143; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44162143]").text(description); $(".js-view-count[data-work-id=44162143]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44162143; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44162143']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44162143, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "81b7f0c44b65af33330c0e462f8bc76b" } } $('.js-work-strip[data-work-id=44162143]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44162143,"title":"\"Harta de sombras estoy\". La Dama de Shalott de Alfred Tennyson como metáfora del ideal de feminidad victoriano y su reflejo en el imaginario pictórico decimonónico","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.9838","abstract":"Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebres, La Dama de Shalott. En él, recuperaría la figura de la Doncella de Astolat creada por Sir Thomas Malory en La muerte de Arturo (1485). Pronto se convertiría en uno de los motivos iconográficos preferidos de artistas prerrafaelitas y victorianos del siglo XIX y principios del XX. Tanto el poema como las imágenes, se tomaron como ilustraciones de actitudes victorianas hacia la reclusión de las mujeres en el área doméstica y la privación de su sexualidad. \n\nAlfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. Likewise, both the poem and the pictures have been taken as illustrations of Victorian attitudes toward women and their sexuality.","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Revista Eviterna"},"translated_abstract":"Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebres, La Dama de Shalott. En él, recuperaría la figura de la Doncella de Astolat creada por Sir Thomas Malory en La muerte de Arturo (1485). Pronto se convertiría en uno de los motivos iconográficos preferidos de artistas prerrafaelitas y victorianos del siglo XIX y principios del XX. Tanto el poema como las imágenes, se tomaron como ilustraciones de actitudes victorianas hacia la reclusión de las mujeres en el área doméstica y la privación de su sexualidad. \n\nAlfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44147052"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44147052/_Un_nuevo_ejemplo_de_arquitectura_g%C3%B3tica_en_Melilla_la_desaparecida_iglesia_de_San_Miguel_Revista_Eviterna_no_8_2020_pp_33_50"><img alt="Research paper thumbnail of "Un nuevo ejemplo de arquitectura gótica en Melilla: la desaparecida iglesia de San Miguel", Revista Eviterna, nº 8, 2020, pp. 33-50." class="work-thumbnail" src="https://attachments.academia-assets.com/64501504/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44147052/_Un_nuevo_ejemplo_de_arquitectura_g%C3%B3tica_en_Melilla_la_desaparecida_iglesia_de_San_Miguel_Revista_Eviterna_no_8_2020_pp_33_50">"Un nuevo ejemplo de arquitectura gótica en Melilla: la desaparecida iglesia de San Miguel", Revista Eviterna, nº 8, 2020, pp. 33-50.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/SergioRam%C3%ADrezGonz%C3%A1lez">Sergio Ramírez González</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uned.academia.edu/AntonioBravoNieto">Antonio A BRAVO-NIETO</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen: El presente artículo intenta documentar y precisar diferentes aspectos sobre una arquite...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen: El presente artículo intenta documentar y precisar diferentes aspectos sobre una arquitectura religiosa del siglo XVI: la iglesia de San Miguel de Melilla. Este edificio, ya desaparecido, presentaba la singularidad de ser uno de los escasos ejemplos del gótico tardío construidos en el continente africano, por lo que viene a sumarse a otras obras levantadas por españoles y portugueses en este contexto geográfico. Explicar su origen, principales vicisitudes y, finalmente, cómo fue demolida para levantar una iglesia nueva, son objetivos de este trabajo, así como documentar los vestigios todavía existentes de la antigua construcción que nos permiten apreciar algunas de sus características. Abstract: This article intends to illustrate and list several features of a religious oriented architecture reflected in the 16th century San Miguel church of Melilla (North Africa). The church from which almost nothing remains, was a very peculiar building since it was one of the few examples among those built by Portuguese and Spaniards of clear late Gothic style in the African continent. To describe its origins, its different ups and downs and eventually how it was demolished so to give room to a new church are the main goals</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f8a2c9e53da87167a6dd2665dd430ab0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64501504,"asset_id":44147052,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64501504/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44147052"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44147052"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44147052; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44147052]").text(description); $(".js-view-count[data-work-id=44147052]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44147052; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44147052']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44147052, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f8a2c9e53da87167a6dd2665dd430ab0" } } $('.js-work-strip[data-work-id=44147052]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44147052,"title":"\"Un nuevo ejemplo de arquitectura gótica en Melilla: la desaparecida iglesia de San Miguel\", Revista Eviterna, nº 8, 2020, pp. 33-50.","translated_title":"","metadata":{"abstract":"Resumen: El presente artículo intenta documentar y precisar diferentes aspectos sobre una arquitectura religiosa del siglo XVI: la iglesia de San Miguel de Melilla. Este edificio, ya desaparecido, presentaba la singularidad de ser uno de los escasos ejemplos del gótico tardío construidos en el continente africano, por lo que viene a sumarse a otras obras levantadas por españoles y portugueses en este contexto geográfico. Explicar su origen, principales vicisitudes y, finalmente, cómo fue demolida para levantar una iglesia nueva, son objetivos de este trabajo, así como documentar los vestigios todavía existentes de la antigua construcción que nos permiten apreciar algunas de sus características. Abstract: This article intends to illustrate and list several features of a religious oriented architecture reflected in the 16th century San Miguel church of Melilla (North Africa). The church from which almost nothing remains, was a very peculiar building since it was one of the few examples among those built by Portuguese and Spaniards of clear late Gothic style in the African continent. 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Abstract: This article intends to illustrate and list several features of a religious oriented architecture reflected in the 16th century San Miguel church of Melilla (North Africa). The church from which almost nothing remains, was a very peculiar building since it was one of the few examples among those built by Portuguese and Spaniards of clear late Gothic style in the African continent. 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Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En la época victoriana se experimentó un paroxismo del culto a la muerte. En ese anhelo de domina...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En la época victoriana se experimentó un paroxismo del culto a la muerte. En ese anhelo de dominar y contener la arbitrariedad de esta, el arte tuvo un papel indiscutible. Una atmósfera fúnebre pobló como un topos poético el universo estético victoriano y más especialmente el prerrafaelista. Tanto es así que una de las posturas adoptadas por la sociedad victoriana a la hora de representar la muerte consistió en la poetización e idealización del cadáver femenino, generalmente con una índole fetichista. Esta se efectuó a través de diferentes modos narrativos, poseyendo especial predicamento la muerte acuática y la muerte durmiente. <br /><br />In the Victorian era there was a paroxysm of the cult of death. In that desire to dominate and contain the arbitrariness of it, art played an important role. In the Victorian aesthetic universe and more especially the pre-Raphaelite, one of the positions when it comes to representing death consisted in the poetization and idealization of the female corpse, specifically with a fetishistic nature. This was carried out through different narrative modes: aquatic death and sleeping death.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="53151b622c1e1079318d2e6e928bdf5f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63647000,"asset_id":43358318,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63647000/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43358318"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43358318"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43358318; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43358318]").text(description); $(".js-view-count[data-work-id=43358318]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43358318; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43358318']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43358318, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "53151b622c1e1079318d2e6e928bdf5f" } } $('.js-work-strip[data-work-id=43358318]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43358318,"title":"La muerte retratada: ninfas acuáticas y bellas durmientes en la pintura victoriana.","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i7.8393","issue":"Marzo","volume":"7","abstract":"En la época victoriana se experimentó un paroxismo del culto a la muerte. En ese anhelo de dominar y contener la arbitrariedad de esta, el arte tuvo un papel indiscutible. Una atmósfera fúnebre pobló como un topos poético el universo estético victoriano y más especialmente el prerrafaelista. Tanto es así que una de las posturas adoptadas por la sociedad victoriana a la hora de representar la muerte consistió en la poetización e idealización del cadáver femenino, generalmente con una índole fetichista. Esta se efectuó a través de diferentes modos narrativos, poseyendo especial predicamento la muerte acuática y la muerte durmiente. \n\nIn the Victorian era there was a paroxysm of the cult of death. In that desire to dominate and contain the arbitrariness of it, art played an important role. In the Victorian aesthetic universe and more especially the pre-Raphaelite, one of the positions when it comes to representing death consisted in the poetization and idealization of the female corpse, specifically with a fetishistic nature. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44157619"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44157619/ENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comentario_a_la_obra_de_Maurizio_Cattelan_Bidibidobidiboo_1996"><img alt="Research paper thumbnail of ENTRE LO IMPACTANTE Y LO SINIESTRO Comentario a la obra de Maurizio Cattelan: Bidibidobidiboo, 1996" class="work-thumbnail" src="https://attachments.academia-assets.com/64514185/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44157619/ENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comentario_a_la_obra_de_Maurizio_Cattelan_Bidibidobidiboo_1996">ENTRE LO IMPACTANTE Y LO SINIESTRO Comentario a la obra de Maurizio Cattelan: Bidibidobidiboo, 1996</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/JuanjoCastillo">Juanjo Castillo</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A veces lo familiar puede convertirse en siniestro. Aquellas situaciones vividas antaño que pudi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A veces lo familiar puede convertirse en siniestro.  Aquellas situaciones vividas antaño que pudieron ser, bien hogareñas, bien confortables, de repente pueden tornarse en pesadillas que, una y otra vez, vienen a golpear nuestras mentes, e incluso, martirizarlas.<br />Maurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias.  Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.<br />Sea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.<br />Sometimes, family scenes can become into sinister scenes.  Situations that could be as homey or comfortable, can suddenly turn into nightmares that, again and again, come to hit our minds, and even to martyr them.<br />Maurizio Cattelan, in Bidibidobidiboo (1996), seems to be trying to get closer to hidden areas of his most intimate memories, or his deepest or most intense experiences.  Death, anguish, uneasiness… are among many others, some ideas that come into our minds when we contemplate his work.<br />Anyway, there is no doubt that the author, with this work, gets to perfection that we wonder about it, and it´s not easy that we can mark the thin line that separates the shocking from the sinister.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="62009eb6edad5790d563c3722c05a3d2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64514185,"asset_id":44157619,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64514185/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44157619"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44157619"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44157619; 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Aquellas situaciones vividas antaño que pudieron ser, bien hogareñas, bien confortables, de repente pueden tornarse en pesadillas que, una y otra vez, vienen a golpear nuestras mentes, e incluso, martirizarlas.\nMaurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias. Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.\nSea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.\nSometimes, family scenes can become into sinister scenes. Situations that could be as homey or comfortable, can suddenly turn into nightmares that, again and again, come to hit our minds, and even to martyr them.\nMaurizio Cattelan, in Bidibidobidiboo (1996), seems to be trying to get closer to hidden areas of his most intimate memories, or his deepest or most intense experiences. Death, anguish, uneasiness… are among many others, some ideas that come into our minds when we contemplate his work.\nAnyway, there is no doubt that the author, with this work, gets to perfection that we wonder about it, and it´s not easy that we can mark the thin line that separates the shocking from the sinister.","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Revista Eviterna"},"translated_abstract":"A veces lo familiar puede convertirse en siniestro. Aquellas situaciones vividas antaño que pudieron ser, bien hogareñas, bien confortables, de repente pueden tornarse en pesadillas que, una y otra vez, vienen a golpear nuestras mentes, e incluso, martirizarlas.\nMaurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias. Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.\nSea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.\nSometimes, family scenes can become into sinister scenes. Situations that could be as homey or comfortable, can suddenly turn into nightmares that, again and again, come to hit our minds, and even to martyr them.\nMaurizio Cattelan, in Bidibidobidiboo (1996), seems to be trying to get closer to hidden areas of his most intimate memories, or his deepest or most intense experiences. Death, anguish, uneasiness… are among many others, some ideas that come into our minds when we contemplate his work.\nAnyway, there is no doubt that the author, with this work, gets to perfection that we wonder about it, and it´s not easy that we can mark the thin line that separates the shocking from the sinister.","internal_url":"https://www.academia.edu/44157619/ENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comentario_a_la_obra_de_Maurizio_Cattelan_Bidibidobidiboo_1996","translated_internal_url":"","created_at":"2020-09-24T12:18:22.836-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":66180225,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35754610,"work_id":44157619,"tagging_user_id":66180225,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"ENTRE LO IMPACTANTE Y LO SINIESTRO Comentario a la obra de Maurizio Cattelan: Bidibidobidiboo, 1996"}],"downloadable_attachments":[{"id":64514185,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64514185/thumbnails/1.jpg","file_name":"Bidibidobidiboo - EVITERNA.pdf","download_url":"https://www.academia.edu/attachments/64514185/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"ENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comen.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64514185/Bidibidobidiboo_-_EVITERNA-libre.pdf?1600977977=\u0026response-content-disposition=attachment%3B+filename%3DENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comen.pdf\u0026Expires=1733034204\u0026Signature=L21tzXew1i3qlSgTu~GjnkUNSV693pwjXQ6KgzpzFFiRTex1V2jxkRCRHIFqY3Qq-qCeAveECxAcZBdRtY3pmJQ0spK8lJJTcyHG5wbpSpTolysTr7l3Bes8Ke~NPwdO-5eOxu-~y76~XmWnmtHU2nxvNqHWo2MXEf0QjCB510R7q4lkr0TNNuUYvcZbuw46zjEEahq4nS6VEhniWCdhE1yuzVjs1jYSW8B9FziW86jsyzbfhIGR-P3W1HADScSNMtI8cVU1GlznfSoht5NL4hKjAavS~NdO8hPriwkKyWJ~VhZkeC2hP7fL9cPXXYqzzCPdYqLWaKxo0hXltOBxgA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"ENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comentario_a_la_obra_de_Maurizio_Cattelan_Bidibidobidiboo_1996","translated_slug":"","page_count":5,"language":"es","content_type":"Work","owner":{"id":66180225,"first_name":"Juanjo","middle_initials":null,"last_name":"Castillo","page_name":"JuanjoCastillo","domain_name":"uma","created_at":"2017-07-06T05:50:30.456-07:00","display_name":"Juanjo Castillo","url":"https://uma.academia.edu/JuanjoCastillo"},"attachments":[{"id":64514185,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64514185/thumbnails/1.jpg","file_name":"Bidibidobidiboo - EVITERNA.pdf","download_url":"https://www.academia.edu/attachments/64514185/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"ENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comen.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64514185/Bidibidobidiboo_-_EVITERNA-libre.pdf?1600977977=\u0026response-content-disposition=attachment%3B+filename%3DENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comen.pdf\u0026Expires=1733034204\u0026Signature=L21tzXew1i3qlSgTu~GjnkUNSV693pwjXQ6KgzpzFFiRTex1V2jxkRCRHIFqY3Qq-qCeAveECxAcZBdRtY3pmJQ0spK8lJJTcyHG5wbpSpTolysTr7l3Bes8Ke~NPwdO-5eOxu-~y76~XmWnmtHU2nxvNqHWo2MXEf0QjCB510R7q4lkr0TNNuUYvcZbuw46zjEEahq4nS6VEhniWCdhE1yuzVjs1jYSW8B9FziW86jsyzbfhIGR-P3W1HADScSNMtI8cVU1GlznfSoht5NL4hKjAavS~NdO8hPriwkKyWJ~VhZkeC2hP7fL9cPXXYqzzCPdYqLWaKxo0hXltOBxgA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":29466,"name":"Crítica","url":"https://www.academia.edu/Documents/in/Cr%C3%ADtica"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte"},{"id":108450,"name":"Arte contemporáneo","url":"https://www.academia.edu/Documents/in/Arte_contempor%C3%A1neo"},{"id":256230,"name":"Estética y Teoría del arte","url":"https://www.academia.edu/Documents/in/Est%C3%A9tica_y_Teor%C3%ADa_del_arte"},{"id":346001,"name":"Bellas Artes","url":"https://www.academia.edu/Documents/in/Bellas_Artes"},{"id":2994928,"name":"LO SINIESTRO EN EL ARTE","url":"https://www.academia.edu/Documents/in/LO_SINIESTRO_EN_EL_ARTE"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44157649"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44157649/La_Apoteosis_de_H%C3%A9rcules_un_discurso_humanista_en_la_Sevilla_del_Renacimiento"><img alt="Research paper thumbnail of La Apoteosis de Hércules: un discurso humanista en la Sevilla del Renacimiento" class="work-thumbnail" src="https://attachments.academia-assets.com/64514227/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44157649/La_Apoteosis_de_H%C3%A9rcules_un_discurso_humanista_en_la_Sevilla_del_Renacimiento">La Apoteosis de Hércules: un discurso humanista en la Sevilla del Renacimiento</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/JuanjoCastillo">Juanjo Castillo</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El presente trabajo versa sobre la plasmación de las ideas humanistas del Renacimiento italiano d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El presente trabajo versa sobre la plasmación de las ideas humanistas del Renacimiento italiano de la 2ª mitad del s. XV en la pintura sevillana de los ss. XVI y XVII.  El discurso se articula en base a una serie de reflexiones sobre cómo el pensamiento neoplatónico de los humanistas italianos quedó plasmado en las formas artísticas italianas, europeas y españolas y, en particular, en la obra de Francisco Pacheco, en concreto sus pinturas en la “Casa de Pilatos” de Sevilla: La Apoteosis de Hércules.  A través del estudio iconográfico y la interpretación de su discurso iconológico, se establecen concordancias entre el pensamiento humanista y los principios del cristianismo con el fin de transmitir un mensaje moralizante.<br />The currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th & 17th Centuries, specifically the Academy of Francisco Pacheco del Río. The speech is structured by some reflections on how the neoplatonic thoughts of the first Italian humanists scholars, were reflected on Italian, European and Spanish art forms and, in particular, the academy of the mentioned painter and his paintings at the "House of Pilatos" in Seville: The Apotheosis of Hercules. Through the iconographic study and interpretation of his speech, concordances between humanist ideas and the principles of Christianism are established in order to convey a moralizing message.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="deceaa8b0c5c66ac40561a10e2664fdc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64514227,"asset_id":44157649,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64514227/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44157649"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44157649"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44157649; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44157649]").text(description); $(".js-view-count[data-work-id=44157649]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44157649; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44157649']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44157649, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "deceaa8b0c5c66ac40561a10e2664fdc" } } $('.js-work-strip[data-work-id=44157649]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44157649,"title":"La Apoteosis de Hércules: un discurso humanista en la Sevilla del Renacimiento","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i0.8203","abstract":"El presente trabajo versa sobre la plasmación de las ideas humanistas del Renacimiento italiano de la 2ª mitad del s. XV en la pintura sevillana de los ss. XVI y XVII. El discurso se articula en base a una serie de reflexiones sobre cómo el pensamiento neoplatónico de los humanistas italianos quedó plasmado en las formas artísticas italianas, europeas y españolas y, en particular, en la obra de Francisco Pacheco, en concreto sus pinturas en la “Casa de Pilatos” de Sevilla: La Apoteosis de Hércules. A través del estudio iconográfico y la interpretación de su discurso iconológico, se establecen concordancias entre el pensamiento humanista y los principios del cristianismo con el fin de transmitir un mensaje moralizante.\nThe currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th \u0026 17th Centuries, specifically the Academy of Francisco Pacheco del Río. 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El discurso se articula en base a una serie de reflexiones sobre cómo el pensamiento neoplatónico de los humanistas italianos quedó plasmado en las formas artísticas italianas, europeas y españolas y, en particular, en la obra de Francisco Pacheco, en concreto sus pinturas en la “Casa de Pilatos” de Sevilla: La Apoteosis de Hércules. A través del estudio iconográfico y la interpretación de su discurso iconológico, se establecen concordancias entre el pensamiento humanista y los principios del cristianismo con el fin de transmitir un mensaje moralizante.\nThe currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th \u0026 17th Centuries, specifically the Academy of Francisco Pacheco del Río. 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LE (MOLTO INCERTE) VICENDE BIOGRAFICHE E QUALCHE CONSIDERAZIONE" class="work-thumbnail" src="https://attachments.academia-assets.com/64511520/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44155588/ANTONIO_DE_BELLIS_LE_MOLTO_INCERTE_VICENDE_BIOGRAFICHE_E_QUALCHE_CONSIDERAZIONE">ANTONIO DE BELLIS. LE (MOLTO INCERTE) VICENDE BIOGRAFICHE E QUALCHE CONSIDERAZIONE</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/GiuseppeGambino">Giuseppe Gambino</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sommario: Il Seicento napoletano fu caratterizzato da un così grande fermento culturale e artisti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sommario: Il Seicento napoletano fu caratterizzato da un così grande fermento culturale e artistico da meritarsi l'appellativo di Secolo d'Oro. Una miriade di architetti, scultori, pittori e artigiani diedero vita a opere di grande pregio che cambiarono per sempre il volto della capitale del Viceregno. Tra i pittori ai tempi più apprezzati, come dimostrano le tante opere che oramai fanno parte del suo catalogo, ma per tanto tempo caduti nell'oblio, anche per la quasi totale assenza di dati documentari, c'è sicuramente Antonio De Bellis: un artista che dagli anni '70 del Novecento ha stuzzicato l'interesse degli studiosi entrando anche a far parte della rosa di pittori coinvolti nella vexata quaestio sull'identità del Maestro degli Annunci ai pastori. Spesso confuso con il Cavallino, a riprova della qualità di molte sue opere, dal quale si discosta per un certo arcaismo persistente in tutta la sua opera, il suo percorso artistico affonda le radici nel Naturalismo di matrice caravaggesca, 'napoletanizzato' da Battistello, Filippo Vitale e dal deus ex machina della pittura di quel periodo nella città partenopea, Jusepe de Ribera. E seguendo le orme di quest'ultimo, come tanti altri partecipa a quella rivoluzione coloristica che arriva da un lato da Roma, tramite la riscoperta dei Maestri veneti del '500 da parte di un gruppo di pittori francesi, primo fra tutti Poussin, e dall'altro dalle tele piene di luce 'mediterranea' del Van Dyck.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="81874cd7c8017c275d56d522cbf269ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64511520,"asset_id":44155588,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64511520/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44155588"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44155588"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44155588; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44155588]").text(description); $(".js-view-count[data-work-id=44155588]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44155588; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44155588']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44155588, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "81874cd7c8017c275d56d522cbf269ed" } } $('.js-work-strip[data-work-id=44155588]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44155588,"title":"ANTONIO DE BELLIS. 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Una miriade di architetti, scultori, pittori e artigiani diedero vita a opere di grande pregio che cambiarono per sempre il volto della capitale del Viceregno. Tra i pittori ai tempi più apprezzati, come dimostrano le tante opere che oramai fanno parte del suo catalogo, ma per tanto tempo caduti nell'oblio, anche per la quasi totale assenza di dati documentari, c'è sicuramente Antonio De Bellis: un artista che dagli anni '70 del Novecento ha stuzzicato l'interesse degli studiosi entrando anche a far parte della rosa di pittori coinvolti nella vexata quaestio sull'identità del Maestro degli Annunci ai pastori. 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La película Dune como resultado del ethos del director Denis Villeneuve" class="work-thumbnail" src="https://attachments.academia-assets.com/64504959/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44149906/Ret%C3%B3rica_de_la_expectativa_La_pel%C3%ADcula_Dune_como_resultado_del_ethos_del_director_Denis_Villeneuve">Retórica de la expectativa. La película Dune como resultado del ethos del director Denis Villeneuve</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/JuanManuelArriagaBen%C3%ADtez">Juan Manuel Arriaga Benítez</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La próxima película del director Denis Villeneuve, Dune, ha mostrado una creciente aceptación por...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La próxima película del director Denis Villeneuve, Dune, ha mostrado una creciente aceptación por parte de varios sectores de su potencial audiencia; en común estos sectores se manifiestan anuentes sobre la compatibilidad del director con la película que está pronta a estrenarse, sobre todo debido al género cinematográfico (épica) que ésta aborda. El presente artículo constituye un estudio que pretende responder al por qué la aceptación unánime ha creado expectativas tan altas y al cómo las muestras prediscursivas de Villeneuve que se han mediatizado han garantizado hasta ahora la satisfacción de los estándares de calidad esperados. Se estudia la cuestión planteada desde la teoría aristotélica sobre el ethos retórico y su influencia en la anuencia del público; se toman en consideración el estudio de los conceptos compatibles con el ethos para obtener conclusiones certeras y hacer que el núcleo de la cuestión analizada sea más claro: la "metaficción" como elemento prediscursivo de formulación diegética, las "comunidades interpretativas" como receptoras y conformadoras de un marco de valores de referencia relacionados con la metaficción del filme y la "seudo-interactividad" como proceso para generar anuencia y enfatizar el ethos del autor. Se ha inferido primordialmente que Dune puede convertirse en un triunfo de colectivización metaficcional capaz de fomentar una apreciación más centrada en la calidad de la propuesta que en la trama.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2572701e4b9d009732156644ee227795" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64504959,"asset_id":44149906,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64504959/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44149906"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44149906"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44149906; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44149906]").text(description); $(".js-view-count[data-work-id=44149906]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44149906; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44149906']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44149906, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2572701e4b9d009732156644ee227795" } } $('.js-work-strip[data-work-id=44149906]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44149906,"title":"Retórica de la expectativa. La película Dune como resultado del ethos del director Denis Villeneuve","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.9245","issue":"8","abstract":"La próxima película del director Denis Villeneuve, Dune, ha mostrado una creciente aceptación por parte de varios sectores de su potencial audiencia; en común estos sectores se manifiestan anuentes sobre la compatibilidad del director con la película que está pronta a estrenarse, sobre todo debido al género cinematográfico (épica) que ésta aborda. El presente artículo constituye un estudio que pretende responder al por qué la aceptación unánime ha creado expectativas tan altas y al cómo las muestras prediscursivas de Villeneuve que se han mediatizado han garantizado hasta ahora la satisfacción de los estándares de calidad esperados. Se estudia la cuestión planteada desde la teoría aristotélica sobre el ethos retórico y su influencia en la anuencia del público; se toman en consideración el estudio de los conceptos compatibles con el ethos para obtener conclusiones certeras y hacer que el núcleo de la cuestión analizada sea más claro: la \"metaficción\" como elemento prediscursivo de formulación diegética, las \"comunidades interpretativas\" como receptoras y conformadoras de un marco de valores de referencia relacionados con la metaficción del filme y la \"seudo-interactividad\" como proceso para generar anuencia y enfatizar el ethos del autor. 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Se estudia la cuestión planteada desde la teoría aristotélica sobre el ethos retórico y su influencia en la anuencia del público; se toman en consideración el estudio de los conceptos compatibles con el ethos para obtener conclusiones certeras y hacer que el núcleo de la cuestión analizada sea más claro: la \"metaficción\" como elemento prediscursivo de formulación diegética, las \"comunidades interpretativas\" como receptoras y conformadoras de un marco de valores de referencia relacionados con la metaficción del filme y la \"seudo-interactividad\" como proceso para generar anuencia y enfatizar el ethos del autor. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="10454374" id="papers"><div class="js-work-strip profile--work_container" data-work-id="74229093"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/74229093/Ser_mujer_y_pintora_en_el_biopic_hist%C3%B3rico_el_caso_de_Artemisia_Gentileschi"><img alt="Research paper thumbnail of Ser mujer y pintora en el biopic histórico: el caso de Artemisia Gentileschi" class="work-thumbnail" src="https://attachments.academia-assets.com/82452386/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/74229093/Ser_mujer_y_pintora_en_el_biopic_hist%C3%B3rico_el_caso_de_Artemisia_Gentileschi">Ser mujer y pintora en el biopic histórico: el caso de Artemisia Gentileschi</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/Roc%C3%ADoSotoDelgado">Rocío Soto Delgado</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2022</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi (Roma, 1593-Nápoles, 1653) ha alcanzado una altura que supera, si no eclipsa, la fortuna crítica que alcanzó en vida. Metamorfoseada en 'heroína caravaggesca' y referente feminista desde los años setenta del siglo XX, ha sido objeto de una proliferación de análisis y estudios realizados desde ópticas y soportes diferentes. La violación perpetrada por parte de su maestro Agostino Tassi es definida como evento causal de su vida y obra y concentra buena parte de los focos que ciegan la mirada última sobre la artista más allá del mito. Si bien ninguna de las 'ficciones de Artemisia' prescinde por completo de material fáctico de la vida de la pintora, todas dan mayor valor a la construcción de un sujeto dramático cuya existencia se estructura como una narrativa. Con el telón de fondo del barroco italiano, Artemisia (Agnès Merlet, Francia/Italia, 1997) combina las convenciones narrativas del Künstlerroman o novela de artista, la monografía y la autobiografía ficticia para ofrecer un ejemplo particular, y cuanto menos polémico, del género del biopic. La sinopsis de Artemisia orbita en torno a la lucha de su protagonista por lograr el éxito como pintora pese a las flagrantes desigualdades que sufre en virtud de su sexo al mismo tiempo que experimenta su despertar sexual.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="942fd827f28e6ceaa8ce37ca5c81891a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":82452386,"asset_id":74229093,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/82452386/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="74229093"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="74229093"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 74229093; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=74229093]").text(description); $(".js-view-count[data-work-id=74229093]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 74229093; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='74229093']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 74229093, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "942fd827f28e6ceaa8ce37ca5c81891a" } } $('.js-work-strip[data-work-id=74229093]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":74229093,"title":"Ser mujer y pintora en el biopic histórico: el caso de Artemisia Gentileschi","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi11.14110","issue":"Marzo 2022","volume":"11","abstract":"Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi (Roma, 1593-Nápoles, 1653) ha alcanzado una altura que supera, si no eclipsa, la fortuna crítica que alcanzó en vida. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44289311"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44289311/Est%C3%A9tica_de_Apolo_y_Dioniso_sin%C3%B3nimo_de_%C3%A1nima_y_%C3%A1nimus_y_yin_yan_para_la_comprensi%C3%B3n_de_Artista_y_Obra_de_Arte"><img alt="Research paper thumbnail of Estética de Apolo y Dioniso, sinónimo de ánima y ánimus y yin-yan para la comprensión de Artista y Obra de Arte" class="work-thumbnail" src="https://attachments.academia-assets.com/64672297/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44289311/Est%C3%A9tica_de_Apolo_y_Dioniso_sin%C3%B3nimo_de_%C3%A1nima_y_%C3%A1nimus_y_yin_yan_para_la_comprensi%C3%B3n_de_Artista_y_Obra_de_Arte">Estética de Apolo y Dioniso, sinónimo de ánima y ánimus y yin-yan para la comprensión de Artista y Obra de Arte</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/RobertadAmore">Roberta d'Amore-Domenech</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>EVITERNA, REVISTA DE HUMANIDADES, ARTE Y CULTURA INDEPENDIENTE</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN: Partiendo del mito de Apolo, el mito de Dioniso y los atributos estéticos con que Nietzs...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN: Partiendo del mito de Apolo, el mito de Dioniso y los atributos estéticos con que Nietzsche dotó a dichas deidades en El nacimiento de la tragedia, se han encontrado correspondencias entre lo apolíneo y lo dionisiaco, el ánima y ánimus jungianos, y el yin y el yang del Tao Te Ching. Lo apolíneo/dinisiaco, ánima/ánimus y yin/yang, desde sus puntos de nexo, funcionarán como atributos estéticos con el fin de llegar a una mejor comprensión psico-estética y metafísica de la figura del artista y su obra de arte. <br /><br />PALABRAS CLAVE: Teoría del arte, comprensión Artista y obra de arte,  Unión  de  disciplinas, Estética, Metafísica, Jung.<br /><br />ABSTRACT: Starting from the myths of Apollo and Dionysius and the aesthetic attributes of Nietzsche, given to the deities in the The Birth of Tragedy, some connections were found between the Apollonian and Dionysian, the anima and animus of Jung and the ying and yang of Tao Te Ching. The link points of the Apollonian and Dionysian, the Anima and Animus and the Ying and Yang will serve as aesthetical attributes for the purpose of forming a better psycho-aesthetical and metaphysical understanding of the figure of the Artist and their artworks.<br /><br />KEYWORDS: Art Theory, and Understanding of Artwork, Merging Disciplines, Aesthetics, Metaphysics, Jung.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d132ed2da594c7b79f9144d184286522" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64672297,"asset_id":44289311,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64672297/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44289311"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44289311"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44289311; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44289311]").text(description); $(".js-view-count[data-work-id=44289311]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44289311; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44289311']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44289311, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d132ed2da594c7b79f9144d184286522" } } $('.js-work-strip[data-work-id=44289311]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44289311,"title":"Estética de Apolo y Dioniso, sinónimo de ánima y ánimus y yin-yan para la comprensión de Artista y Obra de Arte","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i4.8182","issue":"no. 4","abstract":"RESUMEN: Partiendo del mito de Apolo, el mito de Dioniso y los atributos estéticos con que Nietzsche dotó a dichas deidades en El nacimiento de la tragedia, se han encontrado correspondencias entre lo apolíneo y lo dionisiaco, el ánima y ánimus jungianos, y el yin y el yang del Tao Te Ching. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44238670"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44238670/GARRIDO_Elisa_2020_La_construcci%C3%B3n_art%C3%ADstica_del_espacio_ind%C3%ADgena_y_los_paisajes_itinerantes_Eviterna_8_71_87"><img alt="Research paper thumbnail of GARRIDO, Elisa (2020) «La construcción artística del espacio indígena y los paisajes itinerantes», Eviterna, 8, 71-87." class="work-thumbnail" src="https://attachments.academia-assets.com/64609249/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44238670/GARRIDO_Elisa_2020_La_construcci%C3%B3n_art%C3%ADstica_del_espacio_ind%C3%ADgena_y_los_paisajes_itinerantes_Eviterna_8_71_87">GARRIDO, Elisa (2020) «La construcción artística del espacio indígena y los paisajes itinerantes», Eviterna, 8, 71-87.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uam.academia.edu/ElisaGarrido">Elisa Garrido</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">There is a gap regarding the Spanish American pre-colonial context from the landscape studies poi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">There is a gap regarding the Spanish American pre-colonial context from the landscape studies point of view, conceived in a cultural sense. Literature directly refers us to Alexander von Humboldt as the main developer and to the Hudson River school as the greatest exponent. However, a critical study in cultural landscape before the visual production of scientific voyages and expeditions, could result in a new approach to the landscape genre and the mapping of nature. This paper proposes an approach to those previous representations, when landscape was not yet a landscape.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b3e7fc5d112d1f5c95c72f49969c1305" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64609249,"asset_id":44238670,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64609249/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44238670"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44238670"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44238670; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44238670]").text(description); $(".js-view-count[data-work-id=44238670]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44238670; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44238670']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44238670, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b3e7fc5d112d1f5c95c72f49969c1305" } } $('.js-work-strip[data-work-id=44238670]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44238670,"title":"GARRIDO, Elisa (2020) «La construcción artística del espacio indígena y los paisajes itinerantes», Eviterna, 8, 71-87.","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.8654","abstract":"There is a gap regarding the Spanish American pre-colonial context from the landscape studies point of view, conceived in a cultural sense. Literature directly refers us to Alexander von Humboldt as the main developer and to the Hudson River school as the greatest exponent. However, a critical study in cultural landscape before the visual production of scientific voyages and expeditions, could result in a new approach to the landscape genre and the mapping of nature. This paper proposes an approach to those previous representations, when landscape was not yet a landscape.","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Eviterna"},"translated_abstract":"There is a gap regarding the Spanish American pre-colonial context from the landscape studies point of view, conceived in a cultural sense. Literature directly refers us to Alexander von Humboldt as the main developer and to the Hudson River school as the greatest exponent. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36638256"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36638256/Nature_Science_and_Myth_in_the_Landscape_Art_of_Frederic_Leighton"><img alt="Research paper thumbnail of Nature, Science, and Myth in the Landscape Art of Frederic Leighton" class="work-thumbnail" src="https://attachments.academia-assets.com/56570434/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36638256/Nature_Science_and_Myth_in_the_Landscape_Art_of_Frederic_Leighton">Nature, Science, and Myth in the Landscape Art of Frederic Leighton</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://york.academia.edu/PolaDurajska">Pola Durajska</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of th...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of the nineteenth century, exhibiting large scale figurative paintings of a high degree of finish. Scholarship has, however, overlooked his plein-air paintings created during frequent voyages to Italy, Spain, Egypt and Greece, to name a few. As Leighton’s oil sketches comprised over 200 canvases and boards, their significance to his oeuvre is paramount and needs to be clearly articulated. Using the example of 'An Outcrop in the Campagna', this article explores how the three aspects – nature, science and myth – merged in Leighton’s vision of landscape. The painting’s composition and technique are examined, as well as the influence of Leighton’s circle, exemplified by Giovanni Costa and the Etruscan School of Art. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38609220"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38609220/Female_Self_Portraiture_Imprisoned_Spaces_and_Minds"><img alt="Research paper thumbnail of Female Self-Portraiture: Imprisoned Spaces and Minds" class="work-thumbnail" src="https://attachments.academia-assets.com/58684954/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38609220/Female_Self_Portraiture_Imprisoned_Spaces_and_Minds">Female Self-Portraiture: Imprisoned Spaces and Minds</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/JessicaJaneiroObernyer">Jessica Janeiro Obernyer</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna, Revista de Humanidades, Arte y Cultura Independiente - ISSN: 2530-6014</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections betwe...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections between their work, their work and their biographies, their artworks and their selves. In their art practices, they create prison-like and claustrophobic environments that reflect their inner selves, their traumas and their anxieties. Through the embodiment of space, they portray themselves, thus blurring the limits between inner self and outer world, between body and space. By closely analysing their work and their lives, this article sets forth the idea that their work can be read as a dynamic and visual autobiography, as kinetic and psychological self-portraits of these two female artists.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1f91f582267b689b508dc74fc52dc719" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58684954,"asset_id":38609220,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58684954/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38609220"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38609220"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38609220; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38609220]").text(description); $(".js-view-count[data-work-id=38609220]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38609220; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38609220']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38609220, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "1f91f582267b689b508dc74fc52dc719" } } $('.js-work-strip[data-work-id=38609220]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38609220,"title":"Female Self-Portraiture: Imprisoned Spaces and Minds","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i5.8088","issue":"5","abstract":"This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections between their work, their work and their biographies, their artworks and their selves. 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In their art practices, they create prison-like and claustrophobic environments that reflect their inner selves, their traumas and their anxieties. Through the embodiment of space, they portray themselves, thus blurring the limits between inner self and outer world, between body and space. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38742878"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38742878/El_tribunal_de_la_Inquisici%C3%B3n_de_Barcelona_en_el_siglo_XVI"><img alt="Research paper thumbnail of El tribunal de la Inquisición de Barcelona en el siglo XVI" class="work-thumbnail" src="https://attachments.academia-assets.com/58829933/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38742878/El_tribunal_de_la_Inquisici%C3%B3n_de_Barcelona_en_el_siglo_XVI">El tribunal de la Inquisición de Barcelona en el siglo XVI</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/mmundina">marisa mundina</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición e...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición en el s. XVI en Barcelona a partir de fuentes secundarias actuales y de archivo. Se explican las características del Tribunal bajo el inquisidor Fernando de Loaces y las especiales demandas que presentaron a las Cortes en diferentes momentos, 1510, 1512 y 1515-16. Asimismo, se muestran los principales delitos perseguidos y el proceso llevado a cabo para determinar sus castigos. ABSTRACT This paper gives a global vision about Tribunal of Inquisition in Barcelona, XVI c. as it is explained by primary and secondary sources. It is explained special features of Inquisition in Barcelona in s. XVI under Fernando de Loaces and the demands to the Cortes in 1510, 1512 and 1515-1516. It is showed main crimes committed, process and punishments applied KEY WORDS: Inquisition, Barcelona, XVI c., Cortes de Monzón, Fernando de Loaces. La vigilancia de la fe siempre ha existido así como la intolerancia a la forma de pensar, o en el contexto que nos ocupa, de creer del otro. Recordemos las persecuciones de los primeros tiempos del Cristianismo o la crisis iconoclasta del siglo VIII que supuso la destrucción de un gran número de obras de arte y el precedente a la separación de las Iglesias ortodoxa y católica (1054). Todas ellas tienen en común una visión del diferente como algo extraño, poco conocido y, por tanto, malo y necesario de ser eliminado.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d098c49731207edca4d3fdaffe89c2b9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58829933,"asset_id":38742878,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58829933/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38742878"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38742878"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38742878; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38742878]").text(description); $(".js-view-count[data-work-id=38742878]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38742878; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38742878']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38742878, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d098c49731207edca4d3fdaffe89c2b9" } } $('.js-work-strip[data-work-id=38742878]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38742878,"title":"El tribunal de la Inquisición de Barcelona en el siglo XVI","translated_title":"","metadata":{"abstract":"RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición en el s. XVI en Barcelona a partir de fuentes secundarias actuales y de archivo. Se explican las características del Tribunal bajo el inquisidor Fernando de Loaces y las especiales demandas que presentaron a las Cortes en diferentes momentos, 1510, 1512 y 1515-16. Asimismo, se muestran los principales delitos perseguidos y el proceso llevado a cabo para determinar sus castigos. ABSTRACT This paper gives a global vision about Tribunal of Inquisition in Barcelona, XVI c. as it is explained by primary and secondary sources. It is explained special features of Inquisition in Barcelona in s. XVI under Fernando de Loaces and the demands to the Cortes in 1510, 1512 and 1515-1516. It is showed main crimes committed, process and punishments applied KEY WORDS: Inquisition, Barcelona, XVI c., Cortes de Monzón, Fernando de Loaces. La vigilancia de la fe siempre ha existido así como la intolerancia a la forma de pensar, o en el contexto que nos ocupa, de creer del otro. Recordemos las persecuciones de los primeros tiempos del Cristianismo o la crisis iconoclasta del siglo VIII que supuso la destrucción de un gran número de obras de arte y el precedente a la separación de las Iglesias ortodoxa y católica (1054). Todas ellas tienen en común una visión del diferente como algo extraño, poco conocido y, por tanto, malo y necesario de ser eliminado."},"translated_abstract":"RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición en el s. XVI en Barcelona a partir de fuentes secundarias actuales y de archivo. Se explican las características del Tribunal bajo el inquisidor Fernando de Loaces y las especiales demandas que presentaron a las Cortes en diferentes momentos, 1510, 1512 y 1515-16. Asimismo, se muestran los principales delitos perseguidos y el proceso llevado a cabo para determinar sus castigos. ABSTRACT This paper gives a global vision about Tribunal of Inquisition in Barcelona, XVI c. as it is explained by primary and secondary sources. It is explained special features of Inquisition in Barcelona in s. XVI under Fernando de Loaces and the demands to the Cortes in 1510, 1512 and 1515-1516. It is showed main crimes committed, process and punishments applied KEY WORDS: Inquisition, Barcelona, XVI c., Cortes de Monzón, Fernando de Loaces. La vigilancia de la fe siempre ha existido así como la intolerancia a la forma de pensar, o en el contexto que nos ocupa, de creer del otro. Recordemos las persecuciones de los primeros tiempos del Cristianismo o la crisis iconoclasta del siglo VIII que supuso la destrucción de un gran número de obras de arte y el precedente a la separación de las Iglesias ortodoxa y católica (1054). 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RESGUARDO Y TRANSFIGURACIÓN DE LA MEMORIA MEDIEVAL" class="work-thumbnail" src="https://attachments.academia-assets.com/64514007/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44143307/LA_FACHADA_NEOG%C3%93TICA_DE_LA_CATEDRAL_DE_BARCELONA_RESGUARDO_Y_TRANSFIGURACI%C3%93N_DE_LA_MEMORIA_MEDIEVAL">LA FACHADA NEOGÓTICA DE LA CATEDRAL DE BARCELONA. RESGUARDO Y TRANSFIGURACIÓN DE LA MEMORIA MEDIEVAL</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uva-es.academia.edu/LorenadaSilvaVargas">Lorena da Silva Vargas</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La Catedral Basílica de la Santa Cruz y Santa Eulalia de Barcelona es uno de los hitos del barrio...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La Catedral Basílica de la Santa Cruz y Santa Eulalia de Barcelona es uno de los hitos del barrio gótico de la ciudad, especialmente por su fachada, un monumento en el paisaje. Sin embargo, se trata de una fachada neogótica construida en un contexto de expansión  del  medievalismo  en  distintos  sectores  de  la  sociedad,  materializado  en  la arquitectura  por  el  neogótico;  además,  el  contexto  de  celebración  de  la  Exposición Universal  en  la  ciudad,  en  el  año  de  1888, fomentóel  mecenazgo  arquitectónico  en Barcelona. La nueva fachada, creada bajo concurso promovido por el banquero Manuel Girona, sustituía el muro del siglo XV, construidofrente a la imposibilidad de ejecución del proyecto original por cuestiones económicas. Aunque la temática de la reconstrucción de  la  fachada  sea  bastante  explorada  por  la  historiografía,  buscaremos  tratar específicamente  el  ámbito  temporal,  de  las  permanencias  y  rupturas.  Discutiremos  las particularidades  y  aproximaciones  estéticas,  materiales  e  ideológicas  entre  la  fachada gótica  original,proyectada  por  el  maestro  Carlí  en  el  siglo  XV, que  jamás  llegó  a  ser construida, y el proyecto realmente  efectuadoen el  siglo XIX, llevado a cabo por José Oriol Mestres. Analizaremosla relación entre el gótico y el neogótico en aquel edificio, entre  la  EdadMedia  y  su  recreación  contemporánea;  consideraremos  las  nuevas posibilidades constructivas del ochocientos aplicadas a aquella significativa intervención y  problematizaremos  sus  intenciones  sobre  la  Catedral  en  cuanto  herencia  histórica  y memoria plausible de manipulaciones.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4a840c92e717c0836fa01f55efcec97b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64514007,"asset_id":44143307,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64514007/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44143307"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44143307"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44143307; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44143307]").text(description); $(".js-view-count[data-work-id=44143307]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44143307; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44143307']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44143307, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4a840c92e717c0836fa01f55efcec97b" } } $('.js-work-strip[data-work-id=44143307]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44143307,"title":"LA FACHADA NEOGÓTICA DE LA CATEDRAL DE BARCELONA. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36218308"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36218308/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV"><img alt="Research paper thumbnail of Muerte y cambios de mentalidad en la Europa del siglo XIV" class="work-thumbnail" src="https://attachments.academia-assets.com/56121053/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36218308/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV">Muerte y cambios de mentalidad en la Europa del siglo XIV</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ucm.academia.edu/IreneL%C3%A1zaro">Irene Lázaro</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, s...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, se dieron una serie de cambios en la mentalidad colectiva que afectaron a la devoción y al tipo de relación que el fiel tenía con Dios. Imperó una mística más intimista y esto se refleja en la visión que se tenía de la muerte. El individualismo hizo que se tendiera a priorizar el juicio del alma en el momento mismo de la muerte frente a la importancia que había tenido el Juicio Final, colectivo, en siglos anteriores. Estos cambios de mentalidad en relación con la muerte se dejaron sentir en el ritual funerario, que cambió adaptándose a las nuevas ideas. También ejerció influencia en el arte, especialmente en los sepulcros. <br /><br />ABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ad331e3d766a159b2cfc1622e52a3632" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56121053,"asset_id":36218308,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56121053/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36218308"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36218308"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36218308; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36218308]").text(description); $(".js-view-count[data-work-id=36218308]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36218308; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36218308']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36218308, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ad331e3d766a159b2cfc1622e52a3632" } } $('.js-work-strip[data-work-id=36218308]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36218308,"title":"Muerte y cambios de mentalidad en la Europa del siglo XIV","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i3.8167","abstract":"RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, se dieron una serie de cambios en la mentalidad colectiva que afectaron a la devoción y al tipo de relación que el fiel tenía con Dios. Imperó una mística más intimista y esto se refleja en la visión que se tenía de la muerte. El individualismo hizo que se tendiera a priorizar el juicio del alma en el momento mismo de la muerte frente a la importancia que había tenido el Juicio Final, colectivo, en siglos anteriores. Estos cambios de mentalidad en relación con la muerte se dejaron sentir en el ritual funerario, que cambió adaptándose a las nuevas ideas. También ejerció influencia en el arte, especialmente en los sepulcros. \n\nABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art."},"translated_abstract":"RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, se dieron una serie de cambios en la mentalidad colectiva que afectaron a la devoción y al tipo de relación que el fiel tenía con Dios. Imperó una mística más intimista y esto se refleja en la visión que se tenía de la muerte. El individualismo hizo que se tendiera a priorizar el juicio del alma en el momento mismo de la muerte frente a la importancia que había tenido el Juicio Final, colectivo, en siglos anteriores. Estos cambios de mentalidad en relación con la muerte se dejaron sentir en el ritual funerario, que cambió adaptándose a las nuevas ideas. También ejerció influencia en el arte, especialmente en los sepulcros. \n\nABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art.","internal_url":"https://www.academia.edu/36218308/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV","translated_internal_url":"","created_at":"2018-03-21T06:03:24.093-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":62730329,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35788890,"work_id":36218308,"tagging_user_id":62730329,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"Muerte y cambios de mentalidad en la Europa del siglo XIV"}],"downloadable_attachments":[{"id":56121053,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56121053/thumbnails/1.jpg","file_name":"Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV.pdf","download_url":"https://www.academia.edu/attachments/56121053/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Muerte_y_cambios_de_mentalidad_en_la_Eur.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56121053/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV-libre.pdf?1521640719=\u0026response-content-disposition=attachment%3B+filename%3DMuerte_y_cambios_de_mentalidad_en_la_Eur.pdf\u0026Expires=1733034204\u0026Signature=UCjQ13lQKE5g48Z-gUe-vABRlzh5FjTeBjNezkKoX8NzZoNLZvqwLryoems-27vUqAX3hrNlwKOYdkl0h5ZzGewpWZYruu71H-vckrhZV-pqdj~l03B6LbJpMvdbMMuDGAHk5vgnzySAx5E4UmR~OndulhNA45Z4STZQEbMzrdph9Whs3VNUkpNMXOvGNrW59Av4nv~YO0i7Gml3Tuskv3HObrU7UIgbEwhCIQfqiVtftidfZbOt5xv5SZJAKvEa1oPBNPUtEHVTQKiubvCcTvcDQZYY3mzg16roDDwSrwPpM46MQkFkYtD8Heka9yVlT0QN~3O-bhmsuofrS7gn4g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV","translated_slug":"","page_count":16,"language":"es","content_type":"Work","owner":{"id":62730329,"first_name":"Irene","middle_initials":null,"last_name":"Lázaro","page_name":"IreneLázaro","domain_name":"ucm","created_at":"2017-04-08T01:31:01.166-07:00","display_name":"Irene Lázaro","url":"https://ucm.academia.edu/IreneL%C3%A1zaro"},"attachments":[{"id":56121053,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56121053/thumbnails/1.jpg","file_name":"Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV.pdf","download_url":"https://www.academia.edu/attachments/56121053/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Muerte_y_cambios_de_mentalidad_en_la_Eur.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56121053/Muerte_y_cambios_de_mentalidad_en_la_Europa_del_siglo_XIV-libre.pdf?1521640719=\u0026response-content-disposition=attachment%3B+filename%3DMuerte_y_cambios_de_mentalidad_en_la_Eur.pdf\u0026Expires=1733034204\u0026Signature=UCjQ13lQKE5g48Z-gUe-vABRlzh5FjTeBjNezkKoX8NzZoNLZvqwLryoems-27vUqAX3hrNlwKOYdkl0h5ZzGewpWZYruu71H-vckrhZV-pqdj~l03B6LbJpMvdbMMuDGAHk5vgnzySAx5E4UmR~OndulhNA45Z4STZQEbMzrdph9Whs3VNUkpNMXOvGNrW59Av4nv~YO0i7Gml3Tuskv3HObrU7UIgbEwhCIQfqiVtftidfZbOt5xv5SZJAKvEa1oPBNPUtEHVTQKiubvCcTvcDQZYY3mzg16roDDwSrwPpM46MQkFkYtD8Heka9yVlT0QN~3O-bhmsuofrS7gn4g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1446,"name":"Medieval History","url":"https://www.academia.edu/Documents/in/Medieval_History"},{"id":2853,"name":"Medieval Studies","url":"https://www.academia.edu/Documents/in/Medieval_Studies"},{"id":146026,"name":"Muerte","url":"https://www.academia.edu/Documents/in/Muerte"},{"id":201621,"name":"14th Century","url":"https://www.academia.edu/Documents/in/14th_Century"},{"id":1269970,"name":"Siglo XIV","url":"https://www.academia.edu/Documents/in/Siglo_XIV"},{"id":2442551,"name":"Arte macabro siglo XV","url":"https://www.academia.edu/Documents/in/Arte_macabro_siglo_XV"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="37049074"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/37049074/_Reflexiones_sobre_la_luz_y_sus_refracciones_en_la_pl%C3%A1stica_de_la_era_tecnol%C3%B3gica_Del_enga%C3%B1o_visual_de_Federico_Mir%C3%B3_a_la_pintura_encendida_de_Alejandro_Mart%C3%ADn_en_Eviterna_2_2017_"><img alt="Research paper thumbnail of "Reflexiones sobre la luz y sus refracciones en la plástica de la era tecnológica. 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Del engaño visual de Federico Miró a la pintura 'encendida' de Alejandro Martín", en Eviterna 2 (2017)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/JavierGonz%C3%A1lez">Javier González Torres</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f3dd737eb8ab5d58345498d9607c105b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56999553,"asset_id":37049074,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56999553/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="37049074"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="37049074"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37049074; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37049074]").text(description); $(".js-view-count[data-work-id=37049074]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37049074; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='37049074']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 37049074, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f3dd737eb8ab5d58345498d9607c105b" } } $('.js-work-strip[data-work-id=37049074]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":37049074,"title":"\"Reflexiones sobre la luz y sus refracciones en la plástica de la era tecnológica. Del engaño visual de Federico Miró a la pintura 'encendida' de Alejandro Martín\", en Eviterna 2 (2017)","translated_title":"","metadata":{"volume":"2","grobid_abstract":"Recibido el 15 de junio de 2017; revisado el 10 de julio de 2017; aceptado el 18 de julio de 2017; publicado el 01 de septiembre de 2017 RESUMEN: La extraordinaria capacidad de 'reinvención' que la pintura está desarrollando en las últimas décadas permite afirmar su plena vitalidad: un interesante proceso de redefinición que se proyecta en parámetros intrínsecos al lenguaje pictórico o en otros hasta ahora poco tratados, proporcionando al resultado final pluralidad, matices, polisemia y pertinencia. Potencialidades que han de ponerse en relación con la era tecnológica actual, contaminada por recursos cibernéticos, digitales y fotográficos. Dos artistas noveles, Federico Miró y Alejandro Martín, plantean en sus indagaciones plásticas un giro de tuerca al fascinante mundo de la creación pictórica. El estudio de propuestas históricas les lleva en cada caso a descubrir individualmente nuevos caminos que bordean lo figurativo y lo abstracto, con puntos en común pero también con notables divergencias. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44182760"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44182760/La_quema_y_confiscaci%C3%B3n_de_libros_como_paradigma_de_censura_religiosa_en_la_Antigua_Roma"><img alt="Research paper thumbnail of La quema y confiscación de libros como paradigma de censura religiosa en la Antigua Roma" class="work-thumbnail" src="https://attachments.academia-assets.com/64543241/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44182760/La_quema_y_confiscaci%C3%B3n_de_libros_como_paradigma_de_censura_religiosa_en_la_Antigua_Roma">La quema y confiscación de libros como paradigma de censura religiosa en la Antigua Roma</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unizar.academia.edu/DiegoMeseguerGonz%C3%A1lez">Diego Meseguer González</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen: Este trabajo tiene como objetivo estudiar el fenómeno de la censura religiosa en la Anti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen: Este trabajo tiene como objetivo estudiar el fenómeno de la censura religiosa en la Antigua Roma, haciendo hincapié en los principales episodios que condujeron a la destrucción o cremación de libros mágico-religiosos. Siguiendo un enfoque diacrónico, la primera parte del estudio se centra en las persecuciones llevadas a cabo en época republicana, destinadas a reprimir la difusión de nuevos cultos, evitar su codificación por escrito y mantener el orden tradicional. La segunda parte, en cambio, examina las transformaciones producidas en época imperial y la puesta en práctica de una práctica censora enfocada a proteger los intereses del princeps y eliminar a rivales políticos. Con ello llegaremos a la conclusión de que la censura religiosa constituyó un fenómeno excepcional sujeto circunstancias muy específicas, debido entre otros factores a la ausencia de un órgano institucional especializado en la censura y al peso de la tradición oral sobre la cultura escrita y literaria. <br /><br />Abstract: The aim of this paper is to study the phenomenon of religious censorship in the Ancient Rome, making emphasis on the main events that led to the destruction or burning of magic-religious books. From a diachronic perspective, the first part of the study dealts with the persecutions arranged by republican authorities in order to constrain the introduction of new cults, avoid harm coming from its writings and keep safe the</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b9e8d6576dc05f25e3dbebc8e9aabc74" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64543241,"asset_id":44182760,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64543241/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44182760"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44182760"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44182760; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44182760]").text(description); $(".js-view-count[data-work-id=44182760]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44182760; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44182760']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44182760, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "b9e8d6576dc05f25e3dbebc8e9aabc74" } } $('.js-work-strip[data-work-id=44182760]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44182760,"title":"La quema y confiscación de libros como paradigma de censura religiosa en la Antigua Roma","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.9368","abstract":"Resumen: Este trabajo tiene como objetivo estudiar el fenómeno de la censura religiosa en la Antigua Roma, haciendo hincapié en los principales episodios que condujeron a la destrucción o cremación de libros mágico-religiosos. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="36856971"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/36856971/La_Casa_Behrens_an%C3%A1lisis_de_una_obra_de_arte_total"><img alt="Research paper thumbnail of La Casa Behrens: análisis de una obra de arte total" class="work-thumbnail" src="https://attachments.academia-assets.com/56810702/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36856971/La_Casa_Behrens_an%C3%A1lisis_de_una_obra_de_arte_total">La Casa Behrens: análisis de una obra de arte total</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/Andrearanda">Andrea Aranda Gómez</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de los mejores ejemplos de “obra de arte total” en la Historia del Arte. Sin embargo, más allá del logro de una estética total, es decir, la armonía visual y espacial entre cada uno de los elementos que componen la casa, su planificación incluye aspectos que enlazan con la arquitectura moderna del siglo XX, así como con una dimensión social de la obra de arte total que se fue configurando a lo largo del siglo pasado. El análisis de esta obra, basado en el libro que le dedicó el propio Behrens, pretende profundizar en los aspectos propuestos, desentrañando la riqueza teórica y formal que contiene la obra. <br /><br />[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dd97ae4d3f4330908c92ee57cb5384c7" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56810702,"asset_id":36856971,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56810702/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36856971"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36856971"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36856971; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36856971]").text(description); $(".js-view-count[data-work-id=36856971]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36856971; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36856971']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36856971, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dd97ae4d3f4330908c92ee57cb5384c7" } } $('.js-work-strip[data-work-id=36856971]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36856971,"title":"La Casa Behrens: análisis de una obra de arte total","translated_title":"","metadata":{"abstract":"[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de los mejores ejemplos de “obra de arte total” en la Historia del Arte. Sin embargo, más allá del logro de una estética total, es decir, la armonía visual y espacial entre cada uno de los elementos que componen la casa, su planificación incluye aspectos que enlazan con la arquitectura moderna del siglo XX, así como con una dimensión social de la obra de arte total que se fue configurando a lo largo del siglo pasado. El análisis de esta obra, basado en el libro que le dedicó el propio Behrens, pretende profundizar en los aspectos propuestos, desentrañando la riqueza teórica y formal que contiene la obra. \n\n[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work."},"translated_abstract":"[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de los mejores ejemplos de “obra de arte total” en la Historia del Arte. Sin embargo, más allá del logro de una estética total, es decir, la armonía visual y espacial entre cada uno de los elementos que componen la casa, su planificación incluye aspectos que enlazan con la arquitectura moderna del siglo XX, así como con una dimensión social de la obra de arte total que se fue configurando a lo largo del siglo pasado. El análisis de esta obra, basado en el libro que le dedicó el propio Behrens, pretende profundizar en los aspectos propuestos, desentrañando la riqueza teórica y formal que contiene la obra. \n\n[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work.","internal_url":"https://www.academia.edu/36856971/La_Casa_Behrens_an%C3%A1lisis_de_una_obra_de_arte_total","translated_internal_url":"","created_at":"2018-06-17T05:59:57.202-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":10884759,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35767373,"work_id":36856971,"tagging_user_id":10884759,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"La Casa Behrens: análisis de una obra de arte total"}],"downloadable_attachments":[{"id":56810702,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56810702/thumbnails/1.jpg","file_name":"Casa_Behrens_analisis_de_una_obra_de_arte_total.pdf","download_url":"https://www.academia.edu/attachments/56810702/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Casa_Behrens_analisis_de_una_obra_de.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56810702/Casa_Behrens_analisis_de_una_obra_de_arte_total-libre.pdf?1529240626=\u0026response-content-disposition=attachment%3B+filename%3DLa_Casa_Behrens_analisis_de_una_obra_de.pdf\u0026Expires=1733034204\u0026Signature=FYppWV0AVB3iCz~IW-bRWi0QV1S7xaHBsG1fqTq4XxdL8wKXXRdqnZTSI5o-wSxT7DNcaNPMutgR5~~z4LWy2vube7MGSGx5Jbem3-NxoDfWlY8NBak1cnkMju2NJyqoZYEh6PCmVAbc3G-rL8kbhCydDo-YxJkwxWhuxiSvwAJxbrebxf~qMh7aAgPUAWsBGiiQFuHUcGwdA5wUpwR80xENcukzTNFfDm6SxiaVJ1ctVunntkam0I7G9r4Oj6SjpZElH8tBA93Yw0JHhT2ZetZOjcD0lzwrl-G6bCuGYiGofRsCQUUZYtqRtV~eVuI-wkPOYwomYFWzRoNPSfwLnQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"La_Casa_Behrens_análisis_de_una_obra_de_arte_total","translated_slug":"","page_count":11,"language":"es","content_type":"Work","owner":{"id":10884759,"first_name":"Andrea","middle_initials":null,"last_name":"Aranda Gómez","page_name":"Andrearanda","domain_name":"uma","created_at":"2014-04-07T01:45:25.245-07:00","display_name":"Andrea Aranda Gómez","url":"https://uma.academia.edu/Andrearanda"},"attachments":[{"id":56810702,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/56810702/thumbnails/1.jpg","file_name":"Casa_Behrens_analisis_de_una_obra_de_arte_total.pdf","download_url":"https://www.academia.edu/attachments/56810702/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Casa_Behrens_analisis_de_una_obra_de.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/56810702/Casa_Behrens_analisis_de_una_obra_de_arte_total-libre.pdf?1529240626=\u0026response-content-disposition=attachment%3B+filename%3DLa_Casa_Behrens_analisis_de_una_obra_de.pdf\u0026Expires=1733034204\u0026Signature=FYppWV0AVB3iCz~IW-bRWi0QV1S7xaHBsG1fqTq4XxdL8wKXXRdqnZTSI5o-wSxT7DNcaNPMutgR5~~z4LWy2vube7MGSGx5Jbem3-NxoDfWlY8NBak1cnkMju2NJyqoZYEh6PCmVAbc3G-rL8kbhCydDo-YxJkwxWhuxiSvwAJxbrebxf~qMh7aAgPUAWsBGiiQFuHUcGwdA5wUpwR80xENcukzTNFfDm6SxiaVJ1ctVunntkam0I7G9r4Oj6SjpZElH8tBA93Yw0JHhT2ZetZOjcD0lzwrl-G6bCuGYiGofRsCQUUZYtqRtV~eVuI-wkPOYwomYFWzRoNPSfwLnQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design"},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture"},{"id":49836,"name":"Arquitectura","url":"https://www.academia.edu/Documents/in/Arquitectura"},{"id":71005,"name":"Darmstadt","url":"https://www.academia.edu/Documents/in/Darmstadt"},{"id":90638,"name":"Diseño","url":"https://www.academia.edu/Documents/in/Dise%C3%B1o"},{"id":93478,"name":"Modernismo","url":"https://www.academia.edu/Documents/in/Modernismo"},{"id":137923,"name":"Jugendstil","url":"https://www.academia.edu/Documents/in/Jugendstil"},{"id":332234,"name":"Gesamtkunstwerk","url":"https://www.academia.edu/Documents/in/Gesamtkunstwerk"},{"id":352443,"name":"Austrian and German Art, Architecture and Design 1850-1930","url":"https://www.academia.edu/Documents/in/Austrian_and_German_Art_Architecture_and_Design_1850-1930"},{"id":2168181,"name":"Peter Behrens","url":"https://www.academia.edu/Documents/in/Peter_Behrens"},{"id":2974956,"name":"Obra de arte total","url":"https://www.academia.edu/Documents/in/Obra_de_arte_total"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="40727753"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40727753/Peter_Behrens_y_el_rostro_de_la_industria_moderna"><img alt="Research paper thumbnail of Peter Behrens y el rostro de la industria moderna" class="work-thumbnail" src="https://attachments.academia-assets.com/61013922/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40727753/Peter_Behrens_y_el_rostro_de_la_industria_moderna">Peter Behrens y el rostro de la industria moderna</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/Andrearanda">Andrea Aranda Gómez</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Peter Behrens y el rostro de la industria moderna</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">[ESP] El trabajo de Behrens para AEG no solo dio lugar a la considerada primera identidad corpora...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">[ESP] El trabajo de Behrens para AEG no solo dio lugar a la considerada primera identidad corporativa de una empresa, sino que le convirtió en pieza fundamental del eje modernizador de la industria a principios del siglo XX. Este artículo aborda mediante algunos ejemplos el análisis de las relaciones entre lo moderno y lo clásico en las propuestas de Behrens, construyendo un hilo que explora la superación de las problemáticas de su tiempo, en ocasiones, mediante la adecuación y reinterpretación de elementos y conceptos propios de otras épocas. <br /><br />[ENG] Behrens' work for AEG not only gave rise to the so-called first corporate identity of a company, but also made it a fundamental part of the modernising axis of industry at the beginning of the 20th century. This article uses a few examples to approach the analysis of the connections between the modern and the classical in Behrens' proposals, building a thread that explores overcoming the problems of his time, sometimes through the adaptation and reinterpretation of elements and concepts from other eras.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dec01c3ce8aa0e5ef370285bf011abc8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":61013922,"asset_id":40727753,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/61013922/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40727753"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40727753"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40727753; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40727753]").text(description); $(".js-view-count[data-work-id=40727753]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40727753; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40727753']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40727753, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dec01c3ce8aa0e5ef370285bf011abc8" } } $('.js-work-strip[data-work-id=40727753]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40727753,"title":"Peter Behrens y el rostro de la industria moderna","translated_title":"","metadata":{"abstract":"[ESP] El trabajo de Behrens para AEG no solo dio lugar a la considerada primera identidad corporativa de una empresa, sino que le convirtió en pieza fundamental del eje modernizador de la industria a principios del siglo XX. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="41004688"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/41004688/La_entrada_del_arte_chino_contempor%C3%A1neo_en_Occidente_Inside_Out_New_Chinese_Art_un_caso_de_estudio"><img alt="Research paper thumbnail of La entrada del arte chino contemporáneo en Occidente. Inside Out: New Chinese Art, un caso de estudio" class="work-thumbnail" src="https://attachments.academia-assets.com/61285928/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/41004688/La_entrada_del_arte_chino_contempor%C3%A1neo_en_Occidente_Inside_Out_New_Chinese_Art_un_caso_de_estudio">La entrada del arte chino contemporáneo en Occidente. Inside Out: New Chinese Art, un caso de estudio</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ehu.academia.edu/AneLekuonaMariscal">Ane Lekuona Mariscal</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna. Revista de humanidades, arte y cultura independiente</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El presente texto tiene como objetivo realizar un estudio sobre la exposición Inside Out: New Chi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El presente texto tiene como objetivo realizar un estudio sobre la exposición Inside Out: New Chinese Art celebrada entre los años 1998-1999 en Nueva York. Y es que al tomar la muestra como caso de estudio, es posible profundizar en torno a la entrada del arte contemporáneo chino en Occidente, fundamentalmente a lo largo de la década de los noventa. Diferentes factores como el momento histórico, el contexto socio-político, los intereses económicos, el novedoso discurso expositivo y su trascendencia para las siguientes exhibiciones de temática similar hicieron que la muestra se considere, actualmente, un acontecimiento significativo para la historia del arte chino contemporáneo y su introducción en Occidente. <br /><br />The present text has the goal to fulfill a study about the exhibition Inside Out: New Chinese Art celebrated in New York between 1998-1999. Taking the exhibition as a case of study is possible to deep around the entrance of the Contemporary Chinese Art in Western, essentially throughout the 90s. Different factors must be taken into account, such as the historic time, the sociopolitical context, the economic interests, the innovative discourse of the show or its transcendence for the followings shows. 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La Dama de Shalott de Alfred Tennyson como metáfora del ideal de feminidad victoriano y su reflejo en el imaginario pictórico decimonónico" class="work-thumbnail" src="https://attachments.academia-assets.com/64519762/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44162143/_Harta_de_sombras_estoy_La_Dama_de_Shalott_de_Alfred_Tennyson_como_met%C3%A1fora_del_ideal_de_feminidad_victoriano_y_su_reflejo_en_el_imaginario_pict%C3%B3rico_decimon%C3%B3nico">"Harta de sombras estoy". La Dama de Shalott de Alfred Tennyson como metáfora del ideal de feminidad victoriano y su reflejo en el imaginario pictórico decimonónico</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/Roc%C3%ADoSotoDelgado">Rocío Soto Delgado</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebres, La Dama de Shalott. En él, recuperaría la figura de la Doncella de Astolat creada por Sir Thomas Malory en La muerte de Arturo (1485). Pronto se convertiría en uno de los motivos iconográficos preferidos de artistas prerrafaelitas y victorianos del siglo XIX y principios del XX. Tanto el poema como las imágenes, se tomaron como ilustraciones de actitudes victorianas hacia la reclusión de las mujeres en el área doméstica y la privación de su sexualidad. <br /><br />Alfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. Likewise, both the poem and the pictures have been taken as illustrations of Victorian attitudes toward women and their sexuality.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="81b7f0c44b65af33330c0e462f8bc76b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64519762,"asset_id":44162143,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64519762/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44162143"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44162143"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44162143; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44162143]").text(description); $(".js-view-count[data-work-id=44162143]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44162143; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44162143']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44162143, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "81b7f0c44b65af33330c0e462f8bc76b" } } $('.js-work-strip[data-work-id=44162143]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44162143,"title":"\"Harta de sombras estoy\". La Dama de Shalott de Alfred Tennyson como metáfora del ideal de feminidad victoriano y su reflejo en el imaginario pictórico decimonónico","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.9838","abstract":"Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebres, La Dama de Shalott. En él, recuperaría la figura de la Doncella de Astolat creada por Sir Thomas Malory en La muerte de Arturo (1485). Pronto se convertiría en uno de los motivos iconográficos preferidos de artistas prerrafaelitas y victorianos del siglo XIX y principios del XX. Tanto el poema como las imágenes, se tomaron como ilustraciones de actitudes victorianas hacia la reclusión de las mujeres en el área doméstica y la privación de su sexualidad. \n\nAlfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. Likewise, both the poem and the pictures have been taken as illustrations of Victorian attitudes toward women and their sexuality.","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Revista Eviterna"},"translated_abstract":"Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebres, La Dama de Shalott. En él, recuperaría la figura de la Doncella de Astolat creada por Sir Thomas Malory en La muerte de Arturo (1485). Pronto se convertiría en uno de los motivos iconográficos preferidos de artistas prerrafaelitas y victorianos del siglo XIX y principios del XX. Tanto el poema como las imágenes, se tomaron como ilustraciones de actitudes victorianas hacia la reclusión de las mujeres en el área doméstica y la privación de su sexualidad. \n\nAlfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44147052"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44147052/_Un_nuevo_ejemplo_de_arquitectura_g%C3%B3tica_en_Melilla_la_desaparecida_iglesia_de_San_Miguel_Revista_Eviterna_no_8_2020_pp_33_50"><img alt="Research paper thumbnail of "Un nuevo ejemplo de arquitectura gótica en Melilla: la desaparecida iglesia de San Miguel", Revista Eviterna, nº 8, 2020, pp. 33-50." class="work-thumbnail" src="https://attachments.academia-assets.com/64501504/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44147052/_Un_nuevo_ejemplo_de_arquitectura_g%C3%B3tica_en_Melilla_la_desaparecida_iglesia_de_San_Miguel_Revista_Eviterna_no_8_2020_pp_33_50">"Un nuevo ejemplo de arquitectura gótica en Melilla: la desaparecida iglesia de San Miguel", Revista Eviterna, nº 8, 2020, pp. 33-50.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/SergioRam%C3%ADrezGonz%C3%A1lez">Sergio Ramírez González</a>, <a class="" data-click-track="profile-work-strip-authors" href="https://uned.academia.edu/AntonioBravoNieto">Antonio A BRAVO-NIETO</a>, and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen: El presente artículo intenta documentar y precisar diferentes aspectos sobre una arquite...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen: El presente artículo intenta documentar y precisar diferentes aspectos sobre una arquitectura religiosa del siglo XVI: la iglesia de San Miguel de Melilla. Este edificio, ya desaparecido, presentaba la singularidad de ser uno de los escasos ejemplos del gótico tardío construidos en el continente africano, por lo que viene a sumarse a otras obras levantadas por españoles y portugueses en este contexto geográfico. Explicar su origen, principales vicisitudes y, finalmente, cómo fue demolida para levantar una iglesia nueva, son objetivos de este trabajo, así como documentar los vestigios todavía existentes de la antigua construcción que nos permiten apreciar algunas de sus características. Abstract: This article intends to illustrate and list several features of a religious oriented architecture reflected in the 16th century San Miguel church of Melilla (North Africa). The church from which almost nothing remains, was a very peculiar building since it was one of the few examples among those built by Portuguese and Spaniards of clear late Gothic style in the African continent. To describe its origins, its different ups and downs and eventually how it was demolished so to give room to a new church are the main goals</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f8a2c9e53da87167a6dd2665dd430ab0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64501504,"asset_id":44147052,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64501504/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44147052"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44147052"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44147052; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44147052]").text(description); $(".js-view-count[data-work-id=44147052]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44147052; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44147052']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44147052, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f8a2c9e53da87167a6dd2665dd430ab0" } } $('.js-work-strip[data-work-id=44147052]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44147052,"title":"\"Un nuevo ejemplo de arquitectura gótica en Melilla: la desaparecida iglesia de San Miguel\", Revista Eviterna, nº 8, 2020, pp. 33-50.","translated_title":"","metadata":{"abstract":"Resumen: El presente artículo intenta documentar y precisar diferentes aspectos sobre una arquitectura religiosa del siglo XVI: la iglesia de San Miguel de Melilla. Este edificio, ya desaparecido, presentaba la singularidad de ser uno de los escasos ejemplos del gótico tardío construidos en el continente africano, por lo que viene a sumarse a otras obras levantadas por españoles y portugueses en este contexto geográfico. Explicar su origen, principales vicisitudes y, finalmente, cómo fue demolida para levantar una iglesia nueva, son objetivos de este trabajo, así como documentar los vestigios todavía existentes de la antigua construcción que nos permiten apreciar algunas de sus características. Abstract: This article intends to illustrate and list several features of a religious oriented architecture reflected in the 16th century San Miguel church of Melilla (North Africa). The church from which almost nothing remains, was a very peculiar building since it was one of the few examples among those built by Portuguese and Spaniards of clear late Gothic style in the African continent. 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Abstract: This article intends to illustrate and list several features of a religious oriented architecture reflected in the 16th century San Miguel church of Melilla (North Africa). The church from which almost nothing remains, was a very peculiar building since it was one of the few examples among those built by Portuguese and Spaniards of clear late Gothic style in the African continent. 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Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En la época victoriana se experimentó un paroxismo del culto a la muerte. En ese anhelo de domina...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En la época victoriana se experimentó un paroxismo del culto a la muerte. En ese anhelo de dominar y contener la arbitrariedad de esta, el arte tuvo un papel indiscutible. Una atmósfera fúnebre pobló como un topos poético el universo estético victoriano y más especialmente el prerrafaelista. Tanto es así que una de las posturas adoptadas por la sociedad victoriana a la hora de representar la muerte consistió en la poetización e idealización del cadáver femenino, generalmente con una índole fetichista. Esta se efectuó a través de diferentes modos narrativos, poseyendo especial predicamento la muerte acuática y la muerte durmiente. <br /><br />In the Victorian era there was a paroxysm of the cult of death. In that desire to dominate and contain the arbitrariness of it, art played an important role. In the Victorian aesthetic universe and more especially the pre-Raphaelite, one of the positions when it comes to representing death consisted in the poetization and idealization of the female corpse, specifically with a fetishistic nature. This was carried out through different narrative modes: aquatic death and sleeping death.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="53151b622c1e1079318d2e6e928bdf5f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":63647000,"asset_id":43358318,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/63647000/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="43358318"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="43358318"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43358318; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43358318]").text(description); $(".js-view-count[data-work-id=43358318]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43358318; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='43358318']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 43358318, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "53151b622c1e1079318d2e6e928bdf5f" } } $('.js-work-strip[data-work-id=43358318]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":43358318,"title":"La muerte retratada: ninfas acuáticas y bellas durmientes en la pintura victoriana.","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i7.8393","issue":"Marzo","volume":"7","abstract":"En la época victoriana se experimentó un paroxismo del culto a la muerte. En ese anhelo de dominar y contener la arbitrariedad de esta, el arte tuvo un papel indiscutible. Una atmósfera fúnebre pobló como un topos poético el universo estético victoriano y más especialmente el prerrafaelista. Tanto es así que una de las posturas adoptadas por la sociedad victoriana a la hora de representar la muerte consistió en la poetización e idealización del cadáver femenino, generalmente con una índole fetichista. Esta se efectuó a través de diferentes modos narrativos, poseyendo especial predicamento la muerte acuática y la muerte durmiente. \n\nIn the Victorian era there was a paroxysm of the cult of death. In that desire to dominate and contain the arbitrariness of it, art played an important role. In the Victorian aesthetic universe and more especially the pre-Raphaelite, one of the positions when it comes to representing death consisted in the poetization and idealization of the female corpse, specifically with a fetishistic nature. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44157619"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44157619/ENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comentario_a_la_obra_de_Maurizio_Cattelan_Bidibidobidiboo_1996"><img alt="Research paper thumbnail of ENTRE LO IMPACTANTE Y LO SINIESTRO Comentario a la obra de Maurizio Cattelan: Bidibidobidiboo, 1996" class="work-thumbnail" src="https://attachments.academia-assets.com/64514185/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44157619/ENTRE_LO_IMPACTANTE_Y_LO_SINIESTRO_Comentario_a_la_obra_de_Maurizio_Cattelan_Bidibidobidiboo_1996">ENTRE LO IMPACTANTE Y LO SINIESTRO Comentario a la obra de Maurizio Cattelan: Bidibidobidiboo, 1996</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/JuanjoCastillo">Juanjo Castillo</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A veces lo familiar puede convertirse en siniestro. Aquellas situaciones vividas antaño que pudi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A veces lo familiar puede convertirse en siniestro.  Aquellas situaciones vividas antaño que pudieron ser, bien hogareñas, bien confortables, de repente pueden tornarse en pesadillas que, una y otra vez, vienen a golpear nuestras mentes, e incluso, martirizarlas.<br />Maurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias.  Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.<br />Sea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.<br />Sometimes, family scenes can become into sinister scenes.  Situations that could be as homey or comfortable, can suddenly turn into nightmares that, again and again, come to hit our minds, and even to martyr them.<br />Maurizio Cattelan, in Bidibidobidiboo (1996), seems to be trying to get closer to hidden areas of his most intimate memories, or his deepest or most intense experiences.  Death, anguish, uneasiness… are among many others, some ideas that come into our minds when we contemplate his work.<br />Anyway, there is no doubt that the author, with this work, gets to perfection that we wonder about it, and it´s not easy that we can mark the thin line that separates the shocking from the sinister.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="62009eb6edad5790d563c3722c05a3d2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64514185,"asset_id":44157619,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64514185/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44157619"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44157619"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44157619; 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Aquellas situaciones vividas antaño que pudieron ser, bien hogareñas, bien confortables, de repente pueden tornarse en pesadillas que, una y otra vez, vienen a golpear nuestras mentes, e incluso, martirizarlas.\nMaurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias. Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.\nSea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.\nSometimes, family scenes can become into sinister scenes. Situations that could be as homey or comfortable, can suddenly turn into nightmares that, again and again, come to hit our minds, and even to martyr them.\nMaurizio Cattelan, in Bidibidobidiboo (1996), seems to be trying to get closer to hidden areas of his most intimate memories, or his deepest or most intense experiences. Death, anguish, uneasiness… are among many others, some ideas that come into our minds when we contemplate his work.\nAnyway, there is no doubt that the author, with this work, gets to perfection that we wonder about it, and it´s not easy that we can mark the thin line that separates the shocking from the sinister.","publication_date":{"day":null,"month":null,"year":2017,"errors":{}},"publication_name":"Revista Eviterna"},"translated_abstract":"A veces lo familiar puede convertirse en siniestro. Aquellas situaciones vividas antaño que pudieron ser, bien hogareñas, bien confortables, de repente pueden tornarse en pesadillas que, una y otra vez, vienen a golpear nuestras mentes, e incluso, martirizarlas.\nMaurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias. Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.\nSea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.\nSometimes, family scenes can become into sinister scenes. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44157649"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44157649/La_Apoteosis_de_H%C3%A9rcules_un_discurso_humanista_en_la_Sevilla_del_Renacimiento"><img alt="Research paper thumbnail of La Apoteosis de Hércules: un discurso humanista en la Sevilla del Renacimiento" class="work-thumbnail" src="https://attachments.academia-assets.com/64514227/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44157649/La_Apoteosis_de_H%C3%A9rcules_un_discurso_humanista_en_la_Sevilla_del_Renacimiento">La Apoteosis de Hércules: un discurso humanista en la Sevilla del Renacimiento</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/JuanjoCastillo">Juanjo Castillo</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">El presente trabajo versa sobre la plasmación de las ideas humanistas del Renacimiento italiano d...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">El presente trabajo versa sobre la plasmación de las ideas humanistas del Renacimiento italiano de la 2ª mitad del s. XV en la pintura sevillana de los ss. XVI y XVII.  El discurso se articula en base a una serie de reflexiones sobre cómo el pensamiento neoplatónico de los humanistas italianos quedó plasmado en las formas artísticas italianas, europeas y españolas y, en particular, en la obra de Francisco Pacheco, en concreto sus pinturas en la “Casa de Pilatos” de Sevilla: La Apoteosis de Hércules.  A través del estudio iconográfico y la interpretación de su discurso iconológico, se establecen concordancias entre el pensamiento humanista y los principios del cristianismo con el fin de transmitir un mensaje moralizante.<br />The currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th & 17th Centuries, specifically the Academy of Francisco Pacheco del Río. The speech is structured by some reflections on how the neoplatonic thoughts of the first Italian humanists scholars, were reflected on Italian, European and Spanish art forms and, in particular, the academy of the mentioned painter and his paintings at the "House of Pilatos" in Seville: The Apotheosis of Hercules. Through the iconographic study and interpretation of his speech, concordances between humanist ideas and the principles of Christianism are established in order to convey a moralizing message.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="deceaa8b0c5c66ac40561a10e2664fdc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64514227,"asset_id":44157649,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64514227/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44157649"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44157649"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44157649; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44157649]").text(description); $(".js-view-count[data-work-id=44157649]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44157649; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44157649']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44157649, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "deceaa8b0c5c66ac40561a10e2664fdc" } } $('.js-work-strip[data-work-id=44157649]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44157649,"title":"La Apoteosis de Hércules: un discurso humanista en la Sevilla del Renacimiento","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v0i0.8203","abstract":"El presente trabajo versa sobre la plasmación de las ideas humanistas del Renacimiento italiano de la 2ª mitad del s. XV en la pintura sevillana de los ss. XVI y XVII. El discurso se articula en base a una serie de reflexiones sobre cómo el pensamiento neoplatónico de los humanistas italianos quedó plasmado en las formas artísticas italianas, europeas y españolas y, en particular, en la obra de Francisco Pacheco, en concreto sus pinturas en la “Casa de Pilatos” de Sevilla: La Apoteosis de Hércules. A través del estudio iconográfico y la interpretación de su discurso iconológico, se establecen concordancias entre el pensamiento humanista y los principios del cristianismo con el fin de transmitir un mensaje moralizante.\nThe currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th \u0026 17th Centuries, specifically the Academy of Francisco Pacheco del Río. 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El discurso se articula en base a una serie de reflexiones sobre cómo el pensamiento neoplatónico de los humanistas italianos quedó plasmado en las formas artísticas italianas, europeas y españolas y, en particular, en la obra de Francisco Pacheco, en concreto sus pinturas en la “Casa de Pilatos” de Sevilla: La Apoteosis de Hércules. A través del estudio iconográfico y la interpretación de su discurso iconológico, se establecen concordancias entre el pensamiento humanista y los principios del cristianismo con el fin de transmitir un mensaje moralizante.\nThe currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th \u0026 17th Centuries, specifically the Academy of Francisco Pacheco del Río. 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Through the iconographic study and interpretation of his speech, concordances between humanist ideas and the principles of Christianism are established in order to convey a moralizing message.","internal_url":"https://www.academia.edu/44157649/La_Apoteosis_de_H%C3%A9rcules_un_discurso_humanista_en_la_Sevilla_del_Renacimiento","translated_internal_url":"","created_at":"2020-09-24T12:27:22.492-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":66180225,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[{"id":35754631,"work_id":44157649,"tagging_user_id":66180225,"tagged_user_id":160807630,"co_author_invite_id":null,"email":"r***a@uma.es","affiliation":"Universidad de Málaga","display_order":1,"name":"Revista Eviterna - Universidad de Málaga","title":"La Apoteosis de Hércules: un discurso humanista en la Sevilla del Renacimiento"}],"downloadable_attachments":[{"id":64514227,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64514227/thumbnails/1.jpg","file_name":"APOTEOSIS DE HÉRCULES - EVITERNA.pdf","download_url":"https://www.academia.edu/attachments/64514227/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Apoteosis_de_Hercules_un_discurso_hum.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64514227/APOTEOSIS_DE_H%C3%89RCULES_-_EVITERNA-libre.pdf?1600977975=\u0026response-content-disposition=attachment%3B+filename%3DLa_Apoteosis_de_Hercules_un_discurso_hum.pdf\u0026Expires=1733034204\u0026Signature=fi~34cXFj6E8eRYtqOqUk19mGMMuaz~4RMQaOGC~tihkJvFdlp~zdGpOWsDAlWwDyxkiGSN-SLvRnrQzKWToiYOZPpwnECma0lPk6c4BDdll6L56ufWcPfIEVtkRQZev2KoP8PnzroBTOYrwVSP4~61yOIJkH8m71Iw5Zmas5iJgCdZlXCG76kIF7MXy4zmaUFxknTEb69xgdu3KIR2EZNUyaqPxUJHNtCj9ibmnpDU95hi4fIGUp-YR9TyegK~1GlSqZCn9qy~3Ew1JBmlXWQHp~rgoGtHbM9A8eDu-j-gApqXHLqSn09abik8WFx6YHgjJnn-lIbaTjUvEvVjshQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"La_Apoteosis_de_Hércules_un_discurso_humanista_en_la_Sevilla_del_Renacimiento","translated_slug":"","page_count":12,"language":"es","content_type":"Work","owner":{"id":66180225,"first_name":"Juanjo","middle_initials":null,"last_name":"Castillo","page_name":"JuanjoCastillo","domain_name":"uma","created_at":"2017-07-06T05:50:30.456-07:00","display_name":"Juanjo Castillo","url":"https://uma.academia.edu/JuanjoCastillo"},"attachments":[{"id":64514227,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/64514227/thumbnails/1.jpg","file_name":"APOTEOSIS DE HÉRCULES - EVITERNA.pdf","download_url":"https://www.academia.edu/attachments/64514227/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"La_Apoteosis_de_Hercules_un_discurso_hum.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/64514227/APOTEOSIS_DE_H%C3%89RCULES_-_EVITERNA-libre.pdf?1600977975=\u0026response-content-disposition=attachment%3B+filename%3DLa_Apoteosis_de_Hercules_un_discurso_hum.pdf\u0026Expires=1733034204\u0026Signature=fi~34cXFj6E8eRYtqOqUk19mGMMuaz~4RMQaOGC~tihkJvFdlp~zdGpOWsDAlWwDyxkiGSN-SLvRnrQzKWToiYOZPpwnECma0lPk6c4BDdll6L56ufWcPfIEVtkRQZev2KoP8PnzroBTOYrwVSP4~61yOIJkH8m71Iw5Zmas5iJgCdZlXCG76kIF7MXy4zmaUFxknTEb69xgdu3KIR2EZNUyaqPxUJHNtCj9ibmnpDU95hi4fIGUp-YR9TyegK~1GlSqZCn9qy~3Ew1JBmlXWQHp~rgoGtHbM9A8eDu-j-gApqXHLqSn09abik8WFx6YHgjJnn-lIbaTjUvEvVjshQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte"},{"id":126144,"name":"Iconografía","url":"https://www.academia.edu/Documents/in/Iconograf%C3%ADa"},{"id":179212,"name":"Iconología","url":"https://www.academia.edu/Documents/in/Iconolog%C3%ADa"},{"id":249684,"name":"Sevilla","url":"https://www.academia.edu/Documents/in/Sevilla"},{"id":630696,"name":"Humanismo y Renacimiento","url":"https://www.academia.edu/Documents/in/Humanismo_y_Renacimiento"},{"id":1444859,"name":"Francisco Pacheco","url":"https://www.academia.edu/Documents/in/Francisco_Pacheco"},{"id":1641360,"name":"Casa de Pilatos","url":"https://www.academia.edu/Documents/in/Casa_de_Pilatos"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="44155588"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44155588/ANTONIO_DE_BELLIS_LE_MOLTO_INCERTE_VICENDE_BIOGRAFICHE_E_QUALCHE_CONSIDERAZIONE"><img alt="Research paper thumbnail of ANTONIO DE BELLIS. LE (MOLTO INCERTE) VICENDE BIOGRAFICHE E QUALCHE CONSIDERAZIONE" class="work-thumbnail" src="https://attachments.academia-assets.com/64511520/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44155588/ANTONIO_DE_BELLIS_LE_MOLTO_INCERTE_VICENDE_BIOGRAFICHE_E_QUALCHE_CONSIDERAZIONE">ANTONIO DE BELLIS. LE (MOLTO INCERTE) VICENDE BIOGRAFICHE E QUALCHE CONSIDERAZIONE</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uniroma1.academia.edu/GiuseppeGambino">Giuseppe Gambino</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sommario: Il Seicento napoletano fu caratterizzato da un così grande fermento culturale e artisti...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sommario: Il Seicento napoletano fu caratterizzato da un così grande fermento culturale e artistico da meritarsi l'appellativo di Secolo d'Oro. Una miriade di architetti, scultori, pittori e artigiani diedero vita a opere di grande pregio che cambiarono per sempre il volto della capitale del Viceregno. Tra i pittori ai tempi più apprezzati, come dimostrano le tante opere che oramai fanno parte del suo catalogo, ma per tanto tempo caduti nell'oblio, anche per la quasi totale assenza di dati documentari, c'è sicuramente Antonio De Bellis: un artista che dagli anni '70 del Novecento ha stuzzicato l'interesse degli studiosi entrando anche a far parte della rosa di pittori coinvolti nella vexata quaestio sull'identità del Maestro degli Annunci ai pastori. Spesso confuso con il Cavallino, a riprova della qualità di molte sue opere, dal quale si discosta per un certo arcaismo persistente in tutta la sua opera, il suo percorso artistico affonda le radici nel Naturalismo di matrice caravaggesca, 'napoletanizzato' da Battistello, Filippo Vitale e dal deus ex machina della pittura di quel periodo nella città partenopea, Jusepe de Ribera. E seguendo le orme di quest'ultimo, come tanti altri partecipa a quella rivoluzione coloristica che arriva da un lato da Roma, tramite la riscoperta dei Maestri veneti del '500 da parte di un gruppo di pittori francesi, primo fra tutti Poussin, e dall'altro dalle tele piene di luce 'mediterranea' del Van Dyck.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="81874cd7c8017c275d56d522cbf269ed" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64511520,"asset_id":44155588,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64511520/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44155588"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44155588"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44155588; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44155588]").text(description); $(".js-view-count[data-work-id=44155588]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44155588; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44155588']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44155588, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "81874cd7c8017c275d56d522cbf269ed" } } $('.js-work-strip[data-work-id=44155588]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44155588,"title":"ANTONIO DE BELLIS. 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Una miriade di architetti, scultori, pittori e artigiani diedero vita a opere di grande pregio che cambiarono per sempre il volto della capitale del Viceregno. Tra i pittori ai tempi più apprezzati, come dimostrano le tante opere che oramai fanno parte del suo catalogo, ma per tanto tempo caduti nell'oblio, anche per la quasi totale assenza di dati documentari, c'è sicuramente Antonio De Bellis: un artista che dagli anni '70 del Novecento ha stuzzicato l'interesse degli studiosi entrando anche a far parte della rosa di pittori coinvolti nella vexata quaestio sull'identità del Maestro degli Annunci ai pastori. 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La película Dune como resultado del ethos del director Denis Villeneuve" class="work-thumbnail" src="https://attachments.academia-assets.com/64504959/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44149906/Ret%C3%B3rica_de_la_expectativa_La_pel%C3%ADcula_Dune_como_resultado_del_ethos_del_director_Denis_Villeneuve">Retórica de la expectativa. La película Dune como resultado del ethos del director Denis Villeneuve</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://unam.academia.edu/JuanManuelArriagaBen%C3%ADtez">Juan Manuel Arriaga Benítez</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La próxima película del director Denis Villeneuve, Dune, ha mostrado una creciente aceptación por...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La próxima película del director Denis Villeneuve, Dune, ha mostrado una creciente aceptación por parte de varios sectores de su potencial audiencia; en común estos sectores se manifiestan anuentes sobre la compatibilidad del director con la película que está pronta a estrenarse, sobre todo debido al género cinematográfico (épica) que ésta aborda. El presente artículo constituye un estudio que pretende responder al por qué la aceptación unánime ha creado expectativas tan altas y al cómo las muestras prediscursivas de Villeneuve que se han mediatizado han garantizado hasta ahora la satisfacción de los estándares de calidad esperados. Se estudia la cuestión planteada desde la teoría aristotélica sobre el ethos retórico y su influencia en la anuencia del público; se toman en consideración el estudio de los conceptos compatibles con el ethos para obtener conclusiones certeras y hacer que el núcleo de la cuestión analizada sea más claro: la "metaficción" como elemento prediscursivo de formulación diegética, las "comunidades interpretativas" como receptoras y conformadoras de un marco de valores de referencia relacionados con la metaficción del filme y la "seudo-interactividad" como proceso para generar anuencia y enfatizar el ethos del autor. Se ha inferido primordialmente que Dune puede convertirse en un triunfo de colectivización metaficcional capaz de fomentar una apreciación más centrada en la calidad de la propuesta que en la trama.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2572701e4b9d009732156644ee227795" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64504959,"asset_id":44149906,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64504959/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44149906"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44149906"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44149906; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44149906]").text(description); $(".js-view-count[data-work-id=44149906]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44149906; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44149906']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44149906, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "2572701e4b9d009732156644ee227795" } } $('.js-work-strip[data-work-id=44149906]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44149906,"title":"Retórica de la expectativa. La película Dune como resultado del ethos del director Denis Villeneuve","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.9245","issue":"8","abstract":"La próxima película del director Denis Villeneuve, Dune, ha mostrado una creciente aceptación por parte de varios sectores de su potencial audiencia; en común estos sectores se manifiestan anuentes sobre la compatibilidad del director con la película que está pronta a estrenarse, sobre todo debido al género cinematográfico (épica) que ésta aborda. El presente artículo constituye un estudio que pretende responder al por qué la aceptación unánime ha creado expectativas tan altas y al cómo las muestras prediscursivas de Villeneuve que se han mediatizado han garantizado hasta ahora la satisfacción de los estándares de calidad esperados. Se estudia la cuestión planteada desde la teoría aristotélica sobre el ethos retórico y su influencia en la anuencia del público; se toman en consideración el estudio de los conceptos compatibles con el ethos para obtener conclusiones certeras y hacer que el núcleo de la cuestión analizada sea más claro: la \"metaficción\" como elemento prediscursivo de formulación diegética, las \"comunidades interpretativas\" como receptoras y conformadoras de un marco de valores de referencia relacionados con la metaficción del filme y la \"seudo-interactividad\" como proceso para generar anuencia y enfatizar el ethos del autor. 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Se estudia la cuestión planteada desde la teoría aristotélica sobre el ethos retórico y su influencia en la anuencia del público; se toman en consideración el estudio de los conceptos compatibles con el ethos para obtener conclusiones certeras y hacer que el núcleo de la cuestión analizada sea más claro: la \"metaficción\" como elemento prediscursivo de formulación diegética, las \"comunidades interpretativas\" como receptoras y conformadoras de un marco de valores de referencia relacionados con la metaficción del filme y la \"seudo-interactividad\" como proceso para generar anuencia y enfatizar el ethos del autor. 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Revista de Humanidades, Arte y Cultura. Universidad de Málaga, Nº 3, ISSN 2530-6014)." class="work-thumbnail" src="https://attachments.academia-assets.com/56119498/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/36216668/Estudio_intertextual_sobre_la_persuasi%C3%B3n_de_la_palabra_en_Encomio_de_Helena_y_La_Celestina_Eviterna_Revista_de_Humanidades_Arte_y_Cultura_Universidad_de_M%C3%A1laga_No_3_ISSN_2530_6014_">Estudio intertextual sobre la persuasión de la palabra en Encomio de Helena y La Celestina (Eviterna. Revista de Humanidades, Arte y Cultura. Universidad de Málaga, Nº 3, ISSN 2530-6014).</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ehu.academia.edu/EndikaBasanezBarrio">Endika Basáñez Barrio</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN: El presente artículo pretender vincular dos obras canónicas de las literaturas griega y ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN: El presente artículo pretender vincular dos obras canónicas de las literaturas griega y española en un ejercicio de intertextualidad que se centra en la experiencia de la persuasión de la palabra que se ejerce sobre diversos actantes pertenecientes a sendos textos. En última instancia se pretende, así, poner en relieve que el análisis comparatístico permite aproximar la génesis de la literatura universal a pesar de los diferentes contextos nacionales y socio-políticos que separan las producciones artísticas, lo que desdibuja la idea de literaturas nacionales y aspira a abrir nuevas posibilidades de exploración del arte en forma de palabra escrita.<br /> <br />PALABRAS CLAVE: Literatura griega, Literatura española, Intertextualidad, Sofistas, La Celestina.<br /> <br />ABSTRACT: The main aim this paper tries to focus on is the idea of comparing two different pieces of art, being both written in two diverse centuries and socio-political contexts: one of them in the ancient Greek and the other one in medieval Spain. If we get closer to this idea, we are trying to highlight the existence of new approaches to universal literature when it comes to comparative research, which might help to erase the concept of “national” literatures.<br /> <br />KEYWORDS: Greek literature, Spanish literature, Intertextuality, Sophism, The Celestina.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ffce592995061019dad3877bc9b75bfe" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":56119498,"asset_id":36216668,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/56119498/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="36216668"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="36216668"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 36216668; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=36216668]").text(description); $(".js-view-count[data-work-id=36216668]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 36216668; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='36216668']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 36216668, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "ffce592995061019dad3877bc9b75bfe" } } $('.js-work-strip[data-work-id=36216668]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":36216668,"title":"Estudio intertextual sobre la persuasión de la palabra en Encomio de Helena y La Celestina (Eviterna. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="10665386" id="2019"><div class="js-work-strip profile--work_container" data-work-id="40315861"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/40315861/Falocentrismo_en_la_literatura_puertorrique%C3%B1a_de_primer_decalustro_del_siglo_XX_Y_Julia_de_Burgos"><img alt="Research paper thumbnail of Falocentrismo en la literatura puertorriqueña de primer decalustro del siglo XX: ¿…Y Julia de Burgos?" class="work-thumbnail" src="https://attachments.academia-assets.com/60557681/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/40315861/Falocentrismo_en_la_literatura_puertorrique%C3%B1a_de_primer_decalustro_del_siglo_XX_Y_Julia_de_Burgos">Falocentrismo en la literatura puertorriqueña de primer decalustro del siglo XX: ¿…Y Julia de Burgos?</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ehu.academia.edu/EndikaBasanezBarrio">Endika Basáñez Barrio</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna. Revista Universitaria de Humanidades, Arte y Cultura (Universidad de Málaga, España) </span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN: A través de este artículo nos proponemos analizar el porqué del falocentrismo hegemónico...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN: A través de este artículo nos proponemos analizar el porqué del falocentrismo hegemónico de las generaciones literarias de 1930 y 1940 en Puerto Rico, a pesar del conocimiento de la existencia de una autora coetánea, Julia de Burgos, cuya obra resulta, además, tótem de una deuda histórica entre el canon; las generaciones; y las antologías literarias; y la ausencia de nombres femeninos en sus páginas. Así pues analizamos las aristas de dichas generaciones, el predominio de una cultura vertical entre hombres y mujeres en la isla caribeña y el porqué de la ausencia de nombres femeninos a pesar de la constancia de su corpus artístico y su relevancia en el panorama cultural nacional y caribeño. <br /><br />ABSTRACT: Throughout the following lines we aim to answer why the Puerto Rican history of literature has always been predominantely male in spite of the existence of female writers during the first half-century of the 20th century. Thus, the deep analysis of the Puerto Rican literature written in the 1930 and 1940s, the literary canon and the lack of female names into it, especially Julia de Burgos, whose work has been relevant enough for the academics to review literature histories to make a change in order to add the missing females names into antologies.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8e8177de8894d2c6a1d65b32ba5647bf" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":60557681,"asset_id":40315861,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/60557681/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="40315861"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="40315861"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40315861; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40315861]").text(description); $(".js-view-count[data-work-id=40315861]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40315861; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='40315861']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 40315861, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8e8177de8894d2c6a1d65b32ba5647bf" } } $('.js-work-strip[data-work-id=40315861]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":40315861,"title":"Falocentrismo en la literatura puertorriqueña de primer decalustro del siglo XX: ¿…Y Julia de Burgos?","translated_title":"","metadata":{"volume":"6","abstract":"RESUMEN: A través de este artículo nos proponemos analizar el porqué del falocentrismo hegemónico de las generaciones literarias de 1930 y 1940 en Puerto Rico, a pesar del conocimiento de la existencia de una autora coetánea, Julia de Burgos, cuya obra resulta, además, tótem de una deuda histórica entre el canon; las generaciones; y las antologías literarias; y la ausencia de nombres femeninos en sus páginas. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38629248"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38629248/_Inconfesiones_de_Gilles_de_Rais_o_el_imaginario_colectivo_como_material_po%C3%A9tico_pedofilia_cl%C3%ADmax_sexual_y_homicidio"><img alt="Research paper thumbnail of "Inconfesiones de Gilles de Rais" o el imaginario colectivo como material poético: pedofilia, clímax sexual y homicidio" class="work-thumbnail" src="https://attachments.academia-assets.com/58706630/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38629248/_Inconfesiones_de_Gilles_de_Rais_o_el_imaginario_colectivo_como_material_po%C3%A9tico_pedofilia_cl%C3%ADmax_sexual_y_homicidio">"Inconfesiones de Gilles de Rais" o el imaginario colectivo como material poético: pedofilia, clímax sexual y homicidio</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ehu.academia.edu/EndikaBasanezBarrio">Endika Basáñez Barrio</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>“Inconfesiones de Gilles de Rais” o el imaginario colectivo como material poético: pedofilia, clímax sexual y homicidio </span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN: Son muchas las ocasiones en las que los poetas recrean sus obras a partir del acervo com...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN: Son muchas las ocasiones en las que los poetas recrean sus obras a partir del acervo común de un personaje histórico lo que, en última instancia, pone en relieve el vínculo entre el conocimiento popular y la poesía. Este es el caso de la poetisa española Ana Rossetti quien germina su poema "Inconfesiones de Gilles de Rais" a partir de las prácticas pedófilas y el asesinato de niños atribuido popularmente al noble francés homónimo. El artículo se propone así analizar la introducción de las particularidades sexuales y perversas que han pasado al imaginario colectivo de dicho noble a través de la descripción del acto sexual como trance instintivo, ajeno a toda reprobación moral y legal, así como la recurrencia al tópico de sexo y muerte en la construcción del mismo. <br /><br />ABSTRACT: It is well known that many poets tend to use popular beliefs when it comes to create their pieces of works about historical charaters. No wonder then Spanish poet Ana Rossetti has taken Gilles de Rais' collective imaginary to write her poem in which she depictes the sexual activity and the homicides that have tipically been attached to the French noble throughout history. This paper aims to analyse how Rossetti manages to introduce De Rais' figure into her poem, focusing on his vicious appetite for young boys, and how she, in closing, comes back to the literary topic of sex and death.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="17c2acbac5af6b5bfb6ba023270ff6a6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58706630,"asset_id":38629248,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58706630/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38629248"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38629248"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38629248; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38629248]").text(description); $(".js-view-count[data-work-id=38629248]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38629248; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38629248']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38629248, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "17c2acbac5af6b5bfb6ba023270ff6a6" } } $('.js-work-strip[data-work-id=38629248]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38629248,"title":"\"Inconfesiones de Gilles de Rais\" o el imaginario colectivo como material poético: pedofilia, clímax sexual y homicidio","translated_title":"","metadata":{"abstract":"RESUMEN: Son muchas las ocasiones en las que los poetas recrean sus obras a partir del acervo común de un personaje histórico lo que, en última instancia, pone en relieve el vínculo entre el conocimiento popular y la poesía. Este es el caso de la poetisa española Ana Rossetti quien germina su poema \"Inconfesiones de Gilles de Rais\" a partir de las prácticas pedófilas y el asesinato de niños atribuido popularmente al noble francés homónimo. El artículo se propone así analizar la introducción de las particularidades sexuales y perversas que han pasado al imaginario colectivo de dicho noble a través de la descripción del acto sexual como trance instintivo, ajeno a toda reprobación moral y legal, así como la recurrencia al tópico de sexo y muerte en la construcción del mismo. \n\nABSTRACT: It is well known that many poets tend to use popular beliefs when it comes to create their pieces of works about historical charaters. No wonder then Spanish poet Ana Rossetti has taken Gilles de Rais' collective imaginary to write her poem in which she depictes the sexual activity and the homicides that have tipically been attached to the French noble throughout history. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="10665387" id="2020"><div class="js-work-strip profile--work_container" data-work-id="42298704"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/42298704/El_bildungsroman_dominicano_femenino_como_texto_antropol%C3%B3gico_de_conocimiento_Julia_%C3%81lvarez_y_la_experiencia_migrante_en_los_Estados_Unidos"><img alt="Research paper thumbnail of El bildungsroman dominicano femenino como texto antropológico de conocimiento. Julia Álvarez y la experiencia migrante en los Estados Unidos" class="work-thumbnail" src="https://attachments.academia-assets.com/62453876/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/42298704/El_bildungsroman_dominicano_femenino_como_texto_antropol%C3%B3gico_de_conocimiento_Julia_%C3%81lvarez_y_la_experiencia_migrante_en_los_Estados_Unidos">El bildungsroman dominicano femenino como texto antropológico de conocimiento. Julia Álvarez y la experiencia migrante en los Estados Unidos</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://ehu.academia.edu/EndikaBasanezBarrio">Endika Basáñez Barrio</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Revista Eviterna</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen: Los grandes éxodos humanos que acaecieron entre las tres islas que conforman el Caribe h...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen: Los grandes éxodos humanos que acaecieron entre las tres islas que conforman el Caribe hispano (Cuba, Puerto Rico y República Dominicana) y los Estados Unidos a lo largo del segundo decalustro del siglo XX originaron una territorialización caribeña de presencia significativa en este último. De esta forma, comenzaron a aparecer textos ocupados en testimoniar los procesos sociológicos propios de la reciente migración y, a su vez, una tipología literaria distintiva y centrada en describir con detalle las aristas del desplazamiento exclusivamente femenino. Así surge How the García Girls lost Their Accents (1991), de la autora domínico-americana Julia Álvarez, que se ha erigido con el paso del tiempo como obra canónica del destierro dominicano femenino en los Estado Unidos. No obstante, lejos de limitarse a ocupar un lugar dentro del corpus artístico de migración femenina, la obra bien puede ser considerada como un texto antropológico de conocimiento al centrarse con exclusividad en la recepción de la mujer dominicana que, además, actúa a dos niveles: la génesis testimonial y el interés comercial. El artículo se propone, pues, analizar la obra de Álvarez como texto de divulgación antropológica siguiendo las anotaciones del profesor australiano Joel S. Khan.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d87038f6739510454f1c80cc9e38d6d6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":62453876,"asset_id":42298704,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/62453876/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="42298704"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="42298704"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 42298704; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=42298704]").text(description); $(".js-view-count[data-work-id=42298704]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 42298704; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='42298704']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 42298704, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d87038f6739510454f1c80cc9e38d6d6" } } $('.js-work-strip[data-work-id=42298704]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":42298704,"title":"El bildungsroman dominicano femenino como texto antropológico de conocimiento. 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No obstante, lejos de limitarse a ocupar un lugar dentro del corpus artístico de migración femenina, la obra bien puede ser considerada como un texto antropológico de conocimiento al centrarse con exclusividad en la recepción de la mujer dominicana que, además, actúa a dos niveles: la génesis testimonial y el interés comercial. El artículo se propone, pues, analizar la obra de Álvarez como texto de divulgación antropológica siguiendo las anotaciones del profesor australiano Joel S. Khan. ","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Revista Eviterna"},"translated_abstract":"Resumen: Los grandes éxodos humanos que acaecieron entre las tres islas que conforman el Caribe hispano (Cuba, Puerto Rico y República Dominicana) y los Estados Unidos a lo largo del segundo decalustro del siglo XX originaron una territorialización caribeña de presencia significativa en este último. De esta forma, comenzaron a aparecer textos ocupados en testimoniar los procesos sociológicos propios de la reciente migración y, a su vez, una tipología literaria distintiva y centrada en describir con detalle las aristas del desplazamiento exclusivamente femenino. Así surge How the García Girls lost Their Accents (1991), de la autora domínico-americana Julia Álvarez, que se ha erigido con el paso del tiempo como obra canónica del destierro dominicano femenino en los Estado Unidos. No obstante, lejos de limitarse a ocupar un lugar dentro del corpus artístico de migración femenina, la obra bien puede ser considerada como un texto antropológico de conocimiento al centrarse con exclusividad en la recepción de la mujer dominicana que, además, actúa a dos niveles: la génesis testimonial y el interés comercial. El artículo se propone, pues, analizar la obra de Álvarez como texto de divulgación antropológica siguiendo las anotaciones del profesor australiano Joel S. Khan. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="10666076" id="articlesandbookchapters"><div class="js-work-strip profile--work_container" data-work-id="44150100"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/44150100/Las_primeras_modistas_en_el_Real_Guardarropa_de_la_reina_Mar%C3%ADa_Luisa_de_Parma_1789_1808_"><img alt="Research paper thumbnail of Las primeras modistas en el Real Guardarropa de la reina María Luisa de Parma (1789-1808)" class="work-thumbnail" src="https://attachments.academia-assets.com/64505205/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/44150100/Las_primeras_modistas_en_el_Real_Guardarropa_de_la_reina_Mar%C3%ADa_Luisa_de_Parma_1789_1808_">Las primeras modistas en el Real Guardarropa de la reina María Luisa de Parma (1789-1808)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uam.academia.edu/SandraAnt%C3%BAnezL%C3%B3pez">Sandra Antúnez López</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna. Revista Universitaria de Humanidades, Arte y Cultura. n.º 8, ISSN-e: 2530-6014</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen. En este artículo hemos procedido al estudio de las distintas modistas al servicio de la ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen. En este artículo hemos procedido al estudio de las distintas modistas al servicio de la reina María Luisa de Parma. Uno de los factores que tendrán una gran importancia en el Real Guardarropa de la soberana es la inserción de los primeros modistas, que no solo confeccionaban vestidos sino también accesorios textiles como cinturones, prendidos, bandas, bolsas, etc. Esta serie de creadoras no solo confeccionaban vestidos para la soberana, sino que fueron proveedoras de prendas y tejidos para la familia real. Entre las modistas más relevantes encontramos a Rose Bertin, siendo modista de la reina María Antonieta y de María Luisa, además de Maria Moulinier y Darguins, Ana Launay y el primer modista masculino, Joseph Martin, el cual primero realiza prendidos para la reina y posteriormente vestidos de corte. A través del trabajo de la documentación inédita consultada en los archivos, conocemos que las labores de las modistas, ya no se desarrollan en el anonimato, sino que sus trabajos comienzan a valorarse como una creación que revela gran inventiva y conocimientos matemáticos, de geometría y de costura. A partir del siglo XIX, la figura de modista estará completamente establecida como uno de los oficios más importantes en la industria textil.  <br /><br />Abstract. In this article we have proceeded to the study of the different dressmakers at the  service  of  Queen  Maria  Luisa  de  Parma.  One  of  the  factors  that  will  have  great importance  in  the  Royal  Wardrobe  of  the  sovereign  is  the  insertion  of  the  first dressmakers, who not only made dresses but also textile accessories such as belts, clothes, bands, bags, etc. This series of creators not only made dresses for the sovereign, but are suppliers  of  garments  and  fabrics  for  the  royal  family.  Among  the  most  relevant dressmakers  we  find  Rose  Bertin,  being  a  dressmaker  for  Queen  Marie  Antoinette  and Maria Luisa, in addition to Maria Moulinier and Darguins, Ana Launay and the first male dressmaker, Joseph Martin, who first seized the queen and later court dresses. Through the work of the unpublished documentation consulted in the archives, we know that the work of the dressmakers is no longer carried out in anonymity, but that their work begins to be valued as a creation that reveals great inventiveness and mathematical knowledge, geometry and sewing.  From the 19th century on, the figure of dressmaker will be fully established as one of the most important trades in the textile industry.<br /><br />Eviterna. Revista Universitaria de Humanidades, Arte y Cultura. n.º 8, Septiembre, 2019, ISSN-e:  2530-6014</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="dcf1d9cb3865db8d7e57dd495d26a7e1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":64505205,"asset_id":44150100,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/64505205/download_file?st=MTczMzAzMDYwNCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="44150100"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="44150100"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44150100; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44150100]").text(description); $(".js-view-count[data-work-id=44150100]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44150100; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='44150100']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 44150100, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "dcf1d9cb3865db8d7e57dd495d26a7e1" } } $('.js-work-strip[data-work-id=44150100]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":44150100,"title":"Las primeras modistas en el Real Guardarropa de la reina María Luisa de Parma (1789-1808)","translated_title":"","metadata":{"doi":"10.24310/Eviternare.vi8.9242","volume":"n.º 8","abstract":"Resumen. En este artículo hemos procedido al estudio de las distintas modistas al servicio de la reina María Luisa de Parma. Uno de los factores que tendrán una gran importancia en el Real Guardarropa de la soberana es la inserción de los primeros modistas, que no solo confeccionaban vestidos sino también accesorios textiles como cinturones, prendidos, bandas, bolsas, etc. Esta serie de creadoras no solo confeccionaban vestidos para la soberana, sino que fueron proveedoras de prendas y tejidos para la familia real. Entre las modistas más relevantes encontramos a Rose Bertin, siendo modista de la reina María Antonieta y de María Luisa, además de Maria Moulinier y Darguins, Ana Launay y el primer modista masculino, Joseph Martin, el cual primero realiza prendidos para la reina y posteriormente vestidos de corte. A través del trabajo de la documentación inédita consultada en los archivos, conocemos que las labores de las modistas, ya no se desarrollan en el anonimato, sino que sus trabajos comienzan a valorarse como una creación que revela gran inventiva y conocimientos matemáticos, de geometría y de costura. A partir del siglo XIX, la figura de modista estará completamente establecida como uno de los oficios más importantes en la industria textil. \n\nAbstract. In this article we have proceeded to the study of the different dressmakers at the service of Queen Maria Luisa de Parma. One of the factors that will have great importance in the Royal Wardrobe of the sovereign is the insertion of the first dressmakers, who not only made dresses but also textile accessories such as belts, clothes, bands, bags, etc. This series of creators not only made dresses for the sovereign, but are suppliers of garments and fabrics for the royal family. Among the most relevant dressmakers we find Rose Bertin, being a dressmaker for Queen Marie Antoinette and Maria Luisa, in addition to Maria Moulinier and Darguins, Ana Launay and the first male dressmaker, Joseph Martin, who first seized the queen and later court dresses. Through the work of the unpublished documentation consulted in the archives, we know that the work of the dressmakers is no longer carried out in anonymity, but that their work begins to be valued as a creation that reveals great inventiveness and mathematical knowledge, geometry and sewing. From the 19th century on, the figure of dressmaker will be fully established as one of the most important trades in the textile industry.\n\nEviterna. Revista Universitaria de Humanidades, Arte y Cultura. n.º 8, Septiembre, 2019, ISSN-e: 2530-6014","page_numbers":"1-12","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Eviterna. 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Among the most relevant dressmakers we find Rose Bertin, being a dressmaker for Queen Marie Antoinette and Maria Luisa, in addition to Maria Moulinier and Darguins, Ana Launay and the first male dressmaker, Joseph Martin, who first seized the queen and later court dresses. Through the work of the unpublished documentation consulted in the archives, we know that the work of the dressmakers is no longer carried out in anonymity, but that their work begins to be valued as a creation that reveals great inventiveness and mathematical knowledge, geometry and sewing. From the 19th century on, the figure of dressmaker will be fully established as one of the most important trades in the textile industry.\n\nEviterna. 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class="work-thumbnail" src="https://attachments.academia-assets.com/59865012/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39694861/Los_mercaderes_textiles_de_Isabel_de_Farnesio_1714_1746_">Los mercaderes textiles de Isabel de Farnesio (1714-1746)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uam.academia.edu/SandraAnt%C3%BAnezL%C3%B3pez">Sandra Antúnez López</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna. Revista Universitaria de Humanidades, Arte y Cultura. n.º 5, ISSN: 2530-6014</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Resumen. En este artículo hemos procedido al estudio de los distintos mercaderes al servicio de l...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Resumen. En este artículo hemos procedido al estudio de los distintos mercaderes al servicio de la reina Isabel de Farnesio. Uno de los aspectos más llamativos es la cantidad de tejidos que enviaban a toda la familia real, siendo los más importantes tafetanes y sedas bordadas con diferentes motivos ornamentales. Entre los mercaderes más relevantes encontramos a Martin Boucher, Manuel Merino y Pedro Fernandez de Recas, los cuales fueron hombres muy importantes para la construcción de la imagen real de la reina.<br /><br />Abstract. In this article we have proceeded to the study of the different merchants at the service of Queen Elisabeth of Farnese.One of the most striking aspects is the amount of fabrics that were sent to the entire royal family, the most important being taffetas and silks embroidered with different ornamental motifs. Among the most important merchants are Martin Boucher, Manuel Merino and Pedro Fernandez de Recas, who were very important men for the construction of the royal image of the queen.<br /><br />Eviterna. 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thumbnail of [2017] "Arte plumaria en el siglo XIX: el Emblema Nacional, un nuevo motivo iconográfico para el México republicano" en Eviterna, Revista Iberoamericana, Académico Científica de Humanidades, Arte y Cultura, Universidad de Málaga, No. 1." class="work-thumbnail" src="https://attachments.academia-assets.com/52054655/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/31739991/_2017_Arte_plumaria_en_el_siglo_XIX_el_Emblema_Nacional_un_nuevo_motivo_iconogr%C3%A1fico_para_el_M%C3%A9xico_republicano_en_Eviterna_Revista_Iberoamericana_Acad%C3%A9mico_Cient%C3%ADfica_de_Humanidades_Arte_y_Cultura_Universidad_de_M%C3%A1laga_No_1">[2017] "Arte plumaria en el siglo XIX: el Emblema Nacional, un nuevo motivo iconográfico para el México republicano" en Eviterna, Revista Iberoamericana, Académico Científica de Humanidades, Arte y Cultura, Universidad de Málaga, No. 1.</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://uniteramo.academia.edu/MontserratBaezH">Montserrat Báez</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://uma.academia.edu/RevistaEviterna">Revista Eviterna - Universidad de Málaga</a></span></div><div class="wp-workCard_item"><span>Eviterna, Revista Iberoamericana, Académico Científica de Humanidades, Arte y Cultura</span><span>, 2017</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">RESUMEN: El arte plumaria, manifestación artística de origen prehispánico, continúa maravillando ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">RESUMEN: El arte plumaria, manifestación artística de origen prehispánico, continúa maravillando tanto por la delicadeza de su materia prima como por el altísimo grado de perfección alcanzado por los amantecas, artífices de la pluma. Las plumas eran consideradas en el México prehispánico un material precioso revestido de simbolismo estético y religioso, íntimamente ligado a la vida espiritual y ritual. El amantecayotl, la fina técnica de mosaico plumario que llegó a la cúspide de su perfección en el siglo XVI, continuó floreciendo tras la caída de Tenochtitlan y durante la dominación española, aunque para el siglo XIX únicamente sobrevivió en pequeños núcleos de producción circunscritos al occidente mexicano. El propósito de este artículo es llamar la atención sobre la supervivencia de esta manifestación artistica en el siglo XIX a través de un primer acercamiento tecnológico e iconográfico a una pieza producida en dicha centuria. Asimismo, se propone la revaloración de los objetos plumarios decimonónicos, cuyo estudio se encuentra aún pendiente en la Historia del Arte en México. <br /><br />ABSTRACT: The ars plumaria, artistic manifestation born in the prehispanic period, continues to astound because of the delicacy of feathers and the high degree of perfection achieved by amantecas. Feathers were considered in Mexico's prehispanic past a precious material related to aesthetic and religious symbolism, closely linked to the spiritual and ritual life. The amantecayotl, the technique of making mosaics with feathers, reached its peak of perfection in the sixteenth century and continued to flourish after Tenochtitlan's conquest and during the Spanish domination, although during the nineteenth century only survived in small nuclei of production. The purpose of this article is to draw attention to the survival of ars plumaria in the nineteenth century through a first rapprochement to the Emblema nacional exploring its material features and iconographic motif. Also, it is proposed the revaluation of ars plumaria objects produced during the nineteenth century, whose study is still pending in the History of Art in Mexico.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="386f99265265bb98d93b2422a5704fd1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52054655,"asset_id":31739991,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52054655/download_file?st=MTczMzAzMDYwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="31739991"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="31739991"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31739991; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31739991]").text(description); $(".js-view-count[data-work-id=31739991]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31739991; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='31739991']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 31739991, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "386f99265265bb98d93b2422a5704fd1" } } $('.js-work-strip[data-work-id=31739991]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":31739991,"title":"[2017] \"Arte plumaria en el siglo XIX: el Emblema Nacional, un nuevo motivo iconográfico para el México republicano\" en Eviterna, Revista Iberoamericana, Académico Científica de Humanidades, Arte y Cultura, Universidad de Málaga, No. 1.","translated_title":"","metadata":{"doi":"10.24310/Eviternare.v1i1.8000","issue":"1","abstract":"RESUMEN: El arte plumaria, manifestación artística de origen prehispánico, continúa maravillando tanto por la delicadeza de su materia prima como por el altísimo grado de perfección alcanzado por los amantecas, artífices de la pluma. 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