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1
Roelle, Jenna Rose. ""That romantic fortress" : British depictions of the Alhambra, 1815-1837 /." Thesis, Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/10025.
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Clark, Stewart John Peter. "A sedimentary record of orogenic uplift, Granada Basin, SE Spain." Thesis, University of Glasgow, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411853.
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Hughes, John James. "Studies in sedimentary provenance of the intramontane Granada Basin, southern Spain." Thesis, University of Glasgow, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297028.
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Hicks, Elisabeth. "Ambassadors of the Albayzín : Moroccan vendors of La Caldereria in Granada, Spain." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1534.
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The Lonely Planet advises visitors to Granada, Spain to "turn off...into the cobbled alleys of Calderería Vieja or Nueva and in a few steps you've left Europe behind." La Calderería is known for its Arab influences and North African immigrant businesses. A tourist's ability to easily step off one continent and enter another realm demonstrates an imagined border between Europe and the Orient, especially North Africa, that is created by historical narratives, policy discourses and daily practices. The antagonism between an imagined white, Catholic and European Spain vis-à-vis its North African Muslim neighbors is fundamental to the history of the Spanish nation. This East/West divide has recently been recast as Moroccan immigration, inspired by proximity and colonial legacies, since the 1980s has made Moroccan the largest immigrant group by nationality in Spain. Supranational borders, neighborhoods and specific streets participate in an intense debate about cultural difference, based on a complicated mixture of racial, ethnic and religious categories. Concurrently, more regional autonomy within the Spanish state has led Andalusia to reclaim its Islamic heritage, especially in Granada where tourism is important economically. This has dovetailed with gentrification of the Albayzín. Both the appropriation of the Islamic period of Iberian history and the contemporary social exclusion of Moroccan immigrants are realized through Orientalism. In La Calderería, tea, souvenirs, male Moroccan vendors, Western female tourists, pavement, cultural conservation, public space ordinances and police surveillance create a site where public and private space blurs and ‘practical orientalism’ constitutes subjects performing and resisting the identities prescribed to them.
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Ones, Synnøve. "The politics of government in the Audiencia of New Granada, 1681-1719." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/2579/.
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This is a study of government and governance in the Audiencia of Santa Fe during the last two decades of Habsburg rule and the first two decades of Bourbon rule, a period largely neglected by historians of New Granada and of Spanish America in general. However, it is not simply an administrative history. Rather than focus primarily on the structure of government and formal mechanisms of power and authority, this study aims, as the title indicates, to examine the political activity contained within the formal structure of institutions and laws. It looks at the ways in which institutions of government actually functioned within the society they were designed to govern and control, in other words the workings of government. These are themes which have been little studied by historians of the region, despite the importance which has been attached to the colonial state as a force which played a primary role in shaping New Granada's history. Studies of the colonial state have tended to portray it as a hierarchy of institutions, closely controlled from the centre, which developed as Spain's monarchs sought to legitimise their dominion and impose their control over the vast territories of the Americas. They have presented royal institutions of government in the Indies, the audiencia and provincial governors in the case of New Granada as the tools of an absolutist monarchy, employed by the Spanish crown to expand royal power over Spanish American subjects. The present study thus aims to challenge this picture by making detailed reference to contemporary documentation and taking into account recent research on early modern government and governance in areas outside New Granada. We will attempt to show that government in the Audiencia of Santa Fe was not a rigid structure but very political in nature.
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Soulodre-La, France Renée. "An ambivalent embrace region and reform in New Granada : the case of Tolima Grande /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9917957.
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Finlay, Robin Neil. "The 'Orient' in the 'Occident' : the social, cultural and spatial dynamics of Moroccan diaspora formations in Granada, Spain." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3372.
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Contributing to research on geographies of diasporas and migration, this thesis examines how the Moroccan diaspora in the city of Granada, Spain, has transformed urban space, and conversely, how the spatiality of Granada engenders distinctive diasporic identity formations, senses of belonging and spatial practices. Using the geographical insight that diasporas alter and are altered by the places they inhabit and that identities and belongings are often spatialised and spatially contingent, the research examines how these processes function for the Moroccan diaspora living in Granada. Granada’s mixed Christian and Islamic heritage, its relatively recent transformation from an ethnically homogenous space into a diaspora space, and the close proximity of the Maghreb and Africa, all herald Granada as a rich arena to explore social, cultural and spatial processes of diasporas and migration. Conceptually, the research is positioned within urban geographies of diasporas. The centrality of the urban spatial scale in diaspora formations and experiences, rather than the national, is demonstrated and examined. The thesis focuses on four concepts that are at the core of geographies of diasporas: space, belonging, home and identity. Drawing on eight months of ethnographic fieldwork, the thesis provides an empirical analysis that is grounded in the everyday and intimate spaces of the Moroccan diaspora. As such it responds to calls for grounded studies on diasporas that take locations and their contexts seriously. Overall, the thesis underlines the fundamental centrality of place for diaspora formations, and argues that the experiences and perceptions of the Moroccan diaspora in Granada provide distinctive narratives of European urban diversity.
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Lix, Claire. "Present-day fluid-rock interaction in a sedimentary basin : study case of the Granada Basin (Betic Cordillera, Spain)." Electronic Thesis or Diss., Sorbonne université, 2019. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2019SORUS200.pdf.
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Comprendre les circulations des fluides dans les bassins sédimentaires joue un rôle crucial dans les divers domaines des ressources naturelles. Dans cette thèse, une approche géochimique est développée pour caractériser la géochimie des eaux souterraines actuelles et pour étudier les réactions affectant un système sédimentaire, en prenant le bassin de Grenade comme cas d'étude. La composition isotopique de l'hélium des gaz libres et dissous a été étudiée afin de contraindre la structure lithosphérique de la région. La composition isotopique de He montre une composante radiogénique dominante avec une contribution mantellique atteignant 1 %. L'évaluation des mécanismes de transport de l'He montre que la croûte est actuellement dissociée du manteau. Nous proposons donc que l’He mantellique observé pourrait résulter d’une contribution fossile du manteau associée à une production crustale à partir de roches riches en Li. Les interactions eau-roche dans les Cordillères Bétiques ont été étudiées en caractérisant les systèmes géothermaux de faible et moyenne enthalpie. Cette étude montre une relation étroite entre la température et la pCO2 dans le réservoir et met en évidence le rôle des tampons minéraux du remplissage sédimentaire et du socle sur la réactivité du CO2. L’étude plus approfondie de la réactivité dans le bassin de Grenade permet de mieux comprendre les écoulements à l’échelle de l’ensemble du bassin. L'évolution de la saturation des eaux vis-à-vis des carbonates, des alumino-silicates et des sulfates permet d'évaluer les chemins possibles d’écoulement dans le bassin et d'appréhender un modèle conceptuel de transport réactif<br>Understanding fluid circulations in sedimentary basins plays a critical role in the diverse fields of energy and natural resources. In this thesis, a geochemical approach is developed to characterize the present-day groundwater geochemistry and to investigate the reactions affecting a sedimentary system, taking the Granada Basin as a regional study case. Helium isotopic composition of bubbling and dissolved gases has been investigated to set constrains on the lithospheric structure of the area. We found that the He isotopic composition has a dominant radiogenic component with a mantle-derived He contribution reaching mainly 1 %. The evaluation of helium transport mechanisms shows that the crustal system is currently dissociated from the mantle system. We therefore propose that the observed mantle-derived He could result from fossil mantle contribution associated to crustal production from Li-rich rocks. Water-rock interactions in the Central Betic Cordillera have been investigated by characterizing the low- to medium-enthalpy thermal systems. This study, combining geothermometrical methods, shows a strong relationship between the temperature and the pCO2 in the reservoir and highlights the role of the potential mineral buffers of both the sedimentary infilling and the basement on the reactivity of CO2. Further investigations on the reactivity within the Granada Basin allow us to give insights on the groundwater flows at the scale of the whole basin. The evolution of the groundwater saturation with respect to carbonates, alumino-silicates, and sulfates allows to assess the possible flow paths in the basin and to apprehend a conceptual reactive transport model
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Goodwin, R. "Food, art, and society in Early Modern Spain." Thesis, University of London, 2001. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540098.
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Córdoba, Salmerón Miguel Henares Cuéllar Ignacio. "El Colegio de la Compañía de Jesús en Granada : arte, historia y devoción /." Madrid : Fundación universitaria española, 2006. http://catalogue.bnf.fr/ark:/12148/cb41106399z.
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Gabriel, Clara Gonzalez de Miranda. "Equipo Crónica : a case study on the art work as an "object of criticism"." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21211.
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This paper will look back on the work of Equipo Cronica, who worked between 1964--1980, to reveal a production of art that centered on issues of originality and value that were grounded in attempts at social activism and a redefinition of the role of art vis-a-vis society. To achieve their goals, I will argue and describe how the two man team of artists used serialism, objectivity, hybridity, appropriation of mass media iconography and techniques, and parody to produce something that was neither an art object nor an ordinary object, but an object of criticism. The historical relevancy of such an art lies in its claims of participating in a political critique of the culture industry controlled by the oppressive Franco regime, and its wary outlook on the rapid modernization of Spain into the neo-capitalist state it is today within the multinational world order.<br>The relevance of such an examination lies in how their intentions to create a new relationship between art and society is still pertinent today in modern Spain. Since the death of Franco in 1975 there has been a feeling in Spain that the eyes of the world have been on its new democracy, leading to a campaign, led until recently by the Socialist government, to prove Spain is a modern state that has recuperated from 40 years of isolation. It has tried to demonstrate that it is progressive, not only economically and technologically, but culturally. Over the last twenty years a veritable culture industry has boomed in Spain which has been generously backed by its federal and regional governments. As Spain zealously and rapidly finds its place in the globalized multinational world order, I will demonstrate that the issues of identity pertinent to Equipo Cronica, and the tactics they used to address it, can still contribute a critical position to present-day discussions.
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Stair, Jessica J. "Indigenous Literacies in the Techialoyan Manuscripts of New Spain." Thesis, University of California, Berkeley, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13423818.
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<p> Though alphabetic script had become a prevailing communicative form for keeping records and recounting histories in New Spain by the turn of the seventeenth century, pre-Columbian and early colonial artistic and scribal traditions, including pictorial, oral, and performative discourses still held great currency for indigenous communities during the later colonial period. The pages of a corpus of indigenous documents created during the late-seventeenth and early-eighteenth centuries known as the Techialoyan manuscripts abound with vibrantly painted watercolor depictions, alphabetic inscriptions, and vivid invocations of community elders’ speeches and embodied experiences. Designed in response to challenging viceregal policies that threatened land and autonomy, the Techialoyans sought to protect and preserve indigenous ways of life by fashioning community members as the noble descendants of illustrious rulers from the pre-Columbian past. The documents register significant events in the histories of communities, often creating a sense of continuity between the colonial present and that of antiquity. What is more, they provide the limits of the territory within a depicted landscape using a reflexive, ambulatory model. Representations of place evoke ritual practices of walking the boundaries from the perspective of the ground, enabling readers to acquire different forms of knowledge as they move through the pages of the book and the envisioned landscape to which it points. The different communicative forms evident in the Techialoyans, including pictorial, alphabetic, oral, and performative modes contribute to understandings of indigenous literacies of the later colonial period by demonstrating the diverse resources and methods upon which indigenous leaders drew to preserve community histories and territories. </p><p> The Techialoyans present an innovative artistic and scribal tradition that drew upon pre-Columbian, early colonial, and European conventions, as well as the contemporary late-colonial pictorial climate. The artists consciously juxtaposed traditional indigenous materials and conventions with those of the contemporary colonial moment to simultaneously create a sense of both old and new. Not only did the documents recount indigenous communities’ histories and affirm their noble heritages, they also proclaimed possession of an artistic and scribal tradition that was on par with that of their revered ancestors, thereby strengthening corporate identity and demonstrating their legitimacy and autonomy within the colonial regime.</p><p>
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Roland, Carla E. "Why can't they be more like us? : baptism and conversion in sixteenth-century Spain." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/27765.
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In Spain, in 1501 the conversion of Muslims to Christianity was thought possible, hence the decreed baptisms; by the end of the century metanoia was deemed impossible. Similarly, religious otherness was thought to be surmountable; yet, it ultimately became indelible or racialized. These construction processes helped to discursively justify the expulsions of Christians, baptized descendants of Muslims, in the years 1609-1614. The importance of language in these justifications was arrived at through the study of referential language in texts, and a trans-Atlantic comparative approach. The discursive (re)construction and (re)inscription of otherness were traced through a variety of sixteenth-century ecclesial texts. Before these communities came to be named the so-called “moriscos” there were important changes in meaning and usage of other phrases and terms, such as “new Christian” and “newly converted.” The referential language was still in transition throughout the century and the processes are easily hidden by the historiographical premature and (over)use of the term “morisco.” Moreover, the full transition toward the racialized term “morisco” occurred closer to the eighteenth century and mostly across the Atlantic. The justifications rely on these communities being non-Christian and non-Spanish: suspect and alien. “Morisco” is not often a good metonymy. The fact that “moriscos” discursively came to be considered non-Spanish and non-Christian did not mean that there was actual discernible or insurmountable otherness. Therefore, a level of difference in the peninsula was posited through the study of referential language related to Amerindians before and after baptism: especially given that Amerindians remained “indios” after baptism—an indication that difference could be overcome in the peninsula. Furthermore, an analysis of the Sistema de Castas where “morisco” was used revealed that the proliferation of categories on both sides of the Atlantic was to prevent these communities from ever reaching the status of old Christian or Spanish.
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Moosa, Mustaq H. "Light as the manifestation of the concept of unity in the sacred built form of Islam : a study with reference to the Alhambra, Granada, Spain." Kansas State University, 1995. http://hdl.handle.net/2097/36117.
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Stevens, S. "Transformative realism : reflections of reality in political avant-garde and contemporary fine art film : Spanish Labyrinth, south from Granada." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9x0q9/transformative-realism-reflections-of-reality-in-political-avant-garde-and-contemporary-fine-art-film-spanish-labyrinth-south-from-granada.
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A turn towards documentary modes of practice amongst contemporary fine art video and filmmakers towards the end of the 20th Century, led to moving image works that represent current social realities. This drew some comparisons of these forms of art to journalism and industrial documentary. The practical research is embodied in a single screen film that responds to recent political and ecological realities in Spain. These include the mass demonstrations that led to the occupation of Madrid’s Plaza del Sol and Spain’s in 2011 and largest recorded forest fires that spread through Andalusia in August of the following year. The film, titled Spanish Labyrinth, South from Granada, is a response to these events and also relates to political avant-garde film of the 1930’s by re-tracing a journey undertaken by three revolutionary filmmakers, Yves Allegret, René Naville and Eli Lotar, in 1931. The theoretical research for this project establishes an historical root of artists’ film that responds to current social realities, in contrast to news media, in the Soviet and European avant-garde movements of the 1920s and 1930s. The main aim of this method is to argue the status of the works that I identify, both avant-garde and contemporary, as a form of art that preceded a Griersonian definition of documentary film.
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Stillo, Stephanie Eurich S. Amanda Lynn Kimberly. "Refashioning the past, reforming the present : visual culture and civic life in early modern Seville /." Online access, 2010. http://content.wwu.edu/cdm4/item_viewer.php?CISOROOT=/theses&CISOPTR=338&CISOBOX=1&REC=8.
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Patel, Parul Kanubhai. "PABLO PICASSO: THE SPANISH TRADITION OF BULLFIGHTING." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1329236137.
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Wintcher, Amanda. "Post-palaeolithic rock art of northeast Murcia, Spain : an analysis of landscape and motif distribution." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/3315/.
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Multiple studies demonstrate a connection between landscape and the distribution of rock art in Mediterranean Spain. Looking beyond styles as the primary analytical dimension, and instead focusing on similarities across style boundaries, can deepen our understanding of this connection. While previous studies of the relationship between post-Palaeolithic rock art and landscape have considered different classes of image, including humans, animals, and geometric shapes, they have maintained the primary split into the main styles defined in the Mediterranean region. This is problematic because each style has considerable variability, distinct distributions within the Iberian Peninsula, and different histories of development. Different styles frequently occur together, occasionally superimposed or showing multiple painting episodes. The styles were therefore at least partially contemporary, and did not correspond to distinct territories. Style may have been deliberately used to carry meaning, suggesting that the use of specific types of image was more closely related to landscape than the overall styles. A typology of motifs which transcends styles was created, and the frequency of the appearance of these motif types in specific landscape contexts and the combinations in which they appear together on panels was evaluated. The results suggest that there are indeed patterns beyond style, which may indicate different functions or meanings behind both image and place.
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Pulido, Rull Ana. "Land Grant Painted Maps: Native Artists and the Power of Visual Persuasion in Colonial New Spain." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10394.
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This dissertation analyzes the social function of native art in colonial New Spain through the examination of a genre of maps painted by Indian artists known as Land Grants or Mapas de Mercedes. Land Grant maps constitute the response of the native population to a Spanish land distribution practice implemented in the sixteenth century to allocate the territory among its dwellers in an orderly fashion and prevent the illegal occupation of the land. One remarkable feature this program adopted in New Spain was its strong visual component; the viceroy requested a painted map as part of each lawsuit's evidence. This is unique to the viceroyalty of New Spain and did not happen anywhere else in the Americas. It is reflective of the Indigenous deep-rooted tradition of thinking visually and dealing with everyday matters through the use of painted manuscripts. It was also stimulated by the Spaniard's belief in the truth-value of native pictorials. The result was a vast production of maps of which approximately 700 have survived. Since they were produced for the specific context of land grants and have their own distinctive characteristics, it is possible to say that this was also the birth of a new artistic genre. The present work examines how Indians in the colonial period created these artworks that enabled them to negotiate with the colonizers, defend their rights, and ultimately attain a more favorable position in society. This project demonstrates that the Indians took up this opportunity to design maps that were an essential component of their defense strategy. My research is based on a thorough examination of the originals at the National Archives in Mexico. I combined visual analysis with the transcription and paleography of the case’s files, and a review of primary and secondary historical sources. This interdisciplinary approach enabled me to demonstrate that native artists not only described the contested site in their maps but also translated their own ideas about this space into visual form. My research underscores Indian agency and illustrates how they used Spanish laws to their advantage in preserving their possessions, sometimes to the twenty-first century.<br>History of Art and Architecture
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Johnson, Andrea M. "Incongruous Conceptions| Owen Jones's "Plans, Elevations, Sections and Details of the Alhambra" and British Views of Spain." Thesis, University of South Florida, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10076071.
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<p> This thesis analyzes <i>Plans, Elevations, Sections, and Details of the Alhambra</i> (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives. </p><p> Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in <i>Alhambra</i>: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at <i>Arabian Antiquities of Spain</i> by James Cavanah Murphy and the illustrations from <i> The Tourist in Spain: Granada</i> by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s <i>Alhambra </i> to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.</p>
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Frodge, Brittany. "The Institutionalization of Spanish Art (1939 - 1992) | La institucionalizacion del arte espanol (1939 - 1992)." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1408715972.
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Ginger, Andrew. "After Rousseau : the problem of art and nature in the Spain of the 1830s and 1840s." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321584.
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Moore, Katharine T. "Al-Andalus, the Umayyads, and Hispano-Islamic Art:The Influence of the Abbasids and Northern Christians on the Art of Muslim Patronage in the Iberian Peninsula from the 8th to 11th Centuries." Walsh University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=walshhonors1587323490141253.
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McAllen, Katherine. "Rethinking Frontier Paradigms in Northeastern New Spain: Jesuit Mission Art at Santa María de las Parras, 1598-1767." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10500.
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This dissertation addresses key questions that are yet to be answered related to the involvement of local patrons in the decoration of northern New Spanish churches. The case study of the Jesuits' church of San Ignacio in Santa María de las Parras (located in present-day Coahuila, Mexico) reveals new evidence that prominent Spanish and Tlaxcaltecan Indian benefactors participated in the adornment of private devotional chapels in this religious space. In Parras, the Jesuits and secular landowners cultivated vineyards and participated in the lucrative business of viticulture that transformed this mission settlement by the mid-seventeenth century into a thriving winemaking center. As the Jesuits created their own "spiritual economy" in Parras on the northeastern frontier, they fostered alliances with Spanish and Tlaxcaltecan vineyard owners to serve both their religious and temporal interests (Chapter One). The surviving evidence of artworks and inventories reveals that these benefactors donated funds to decorate their own chapels in San Ignacio. This financial support helped the Jesuits purchase and import paintings by prominent artists working in Mexico City for display in their Parras church. While these patrons selected the iconographies of the artworks they funded, the Jesuits also arranged their chapels in a carefully ordered sequencing of images to promote devotions that were commensurate with Ignatian spirituality (Chapter Two). To shed more light on the process in which the Jesuits coordinated the circulation of devotional images from Mexico City to Parras, this study will examine travel logs to document the mobility of the Jesuits and their frequent movement between metropolitan settings and the northern frontier. By tracking the circulation of individuals as well as artworks, it is possible to uncover how the Society's process of fostering relationships with donors operated in Parras just as it did in larger cities such as Mexico City, Lima, Cuzco, and Rome (Chapter Three). Vineyard metaphors that resonated with special symbolic meaning at Parras also took on a new relevance when martyrdom became an omnipresent subject in the wake of Indian revolts. Evangelization on the frontiers of the Christian world became integral to the Jesuits' formation of their missionary identity in both New Spain and Europe. This study will present evidence of rare martyrdom drawings produced in Mexico and transported to Rome that played an active role in transforming the importance of the New Spanish frontier and catalyzed the creation of new artworks in Mexico City and Rome (Chapter Four). The evidence uncovered in this study has important implications for the field of colonial art history, as it reveals that art production in Parras was not an isolated missionary phenomenon but rather part of a dynamic network of artistic patronage and cultural exchange that moved in both directions between Europe and New Spain. This re-contextualizing of center-periphery paradigms further demonstrates that metropolitan and frontier relationships were not always opposed to each other, but rather interacted within a larger network of artistic dialogue.<br>History of Art and Architecture
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Hansen, Mark R. (Mark Russell). "The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and Rachmaninoff." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332111/.
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Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, Marshall's best known pupil, currently holds the directorship of the Marshall Academy, and as such, is perhaps the best living authority on this entire line of pianistic and pedagogical thought. An interview conducted with Madame de Larrocha in April of 1983 adds detail and provides valuable perspective about the present use and relevance of these materials and concepts.
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Carlisle, Jeffrey D. "Spanish Relations with the Apache Nations East of the Río Grande." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2816/.
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This dissertation is a study of the Eastern Apache nations and their struggle to survive with their culture intact against numerous enemies intent on destroying them. It is a synthesis of published secondary and primary materials, supported with archival materials, primarily from the Béxar Archives. The Apaches living on the plains have suffered from a lack of a good comprehensive study, even though they played an important role in hindering Spanish expansion in the American Southwest. When the Spanish first encountered the Apaches they were living peacefully on the plains, although they occasionally raided nearby tribes. When the Spanish began settling in the Southwest they changed the dynamics of the region by introducing horses. The Apaches quickly adopted the animals into their culture and used them to dominate their neighbors. Apache power declined in the eighteenth century when their Caddoan enemies acquired guns from the French, and the powerful Comanches gained access to horses and began invading northern Apache territory. Surrounded by enemies, the Apaches increasingly turned to the Spanish for aid and protection rather than trade. The Spanish-Apache peace was fraught with problems. The Spaniards tended to lump all Apaches into one group even though, in reality, each band operated independently. Thus, when one Apache band raided a Spanish outpost, the Spanish considered the peace broken. On the other hand, since Apaches considered each Spanish settlement a distinct "band" they saw nothing wrong in making peace at one Spanish location while continuing to raid another. Eventually the Spanish encouraged other Indians tribes to launch a campaign of unrelenting war against the Apaches. Despite devastating attacks from their enemies, the Apaches were able to survive. When the Mexican Revolution removed the Spanish from the area, the Apaches remained and still occupied portions of the plains as late as the 1870s. Despite the pressures brought to bear upon them the Apaches prevailed, retaining their freedoms longer than almost any other tribe.
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Grillo, Julia Goldman de Queiroz. "O rio atravessa o deserto: considerações sobre o conto tradicional e a aprendizagem na Escola de Arte Granada." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-01032013-122400/.
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Este trabalho é uma reflexão acerca da arte-educação e das histórias de tradição oral em suas relações com os conceitos de experiência e aprendizagem. O ponto de partida é a experiência da Escola de Arte Granada, localizada no interior do estado do Rio de Janeiro, na qual o trabalho é realizado a partir da integração de diversas linguagens artísticas com a arte de contar histórias. As questões trazidas pelos autores que tratam da arte-educação propiciam uma reflexão sobre o que compreendemos pelas duas palavras que compõem o termo \'arte-educação\'. A observação da Escola Granada, a partir de entrevistas com as educadoras da escola, revela o uso dos contos de tradição oral como material educativo que continua sempre atual e pode ser usado pelo ser humano em seu processo de desenvolvimento. A reflexão sobre os contos conduz ao estudo da tradição oral e ao conceito de educação na cultura tradicional. Tal concepção é relacionada a certas propostas visionárias sobre as mudanças necessárias na educação para o século XXI.<br>This work is a reflection about art-education and stories from the oral tradition, in their connection to the concepts of experience and learning. The starting point is the experience of Escola de Arte Granada, located in the countryside of Rio de Janeiro, where the work is developed starting from the integration of various artistic languages with the art of storytelling. The questions brought about by the authors who consider arteducation provide us with a reflection about what we understand by the two words that compose the term \'art-education\'. The observation of Escola Granada, arising from the interviews with the school\'s educators, reveals the usage of traditional tales as an educative material, which is always up-to-date and can be used by the human being in the process of development. The reflection about these tales leads us to the study of oral tradition and the concept of education in traditional cultures. This conception is related to certain visionary proposals regarding the necessary changes for 21st century education.
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Whitfield, Barbara Mary. "Picturing Women in the Golden Age of Spain : Text, Art and Motherhood in the Reigns of Philip II, III, and IV." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504163.
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Mercier, Géraldine. "Equipo 57. Un art expérimental collectif au service d’une transformation de la société, entre l’Espagne franquiste et l’Europe (1957-1966)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040200.
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Dans une Espagne étouffée par la dictature de Francisco Franco qui tente de réintégrer la scène artistique internationale en promouvant à l’étranger certains artistes abstraits informels, la position de collectif d’artistes abstraits géométriques Equipo 57 est singulière. Désireux de découvrir un monde libre et assoiffés de savoir, les jeunes artistes Juan Serrano, José Duarte, Agustín Ibarrola et Ángel Duart se rencontrent à Paris en 1957. Partageant les mêmes affinités pour l’art construit, les avant-gardes russes et la même volonté de rénovation de la vie culturelle espagnole, ils décident de former une équipe de travail et de discussion. De retour à Cordoue, rejoints par Juan Cuenca, les cinq membres du collectif élaborent la théorie de l’Interactivité de l’espace plastique qui sous-tend leurs créations, où l’individualité de chacun est gommée au profit de l’oeuvre collective. À la recherche d’un art qui puisse se réintégrer dans la vie quotidienne tout en questionnant la responsabilité de l’artiste, Equipo 57 emploie un langage rationnel et objectif qui s’exprime aussi bien dans le champ de la peinture, de la sculpture que du design. Il tente ainsi de conjuguer recherches formelles et engagement social. Cette première étude monographique en français propose d’analyser le parcours d’Equipo 57, depuis sa formation à Paris en 1957 jusqu’à dissolution officielle en 1966, en le confrontant au contexte socioculturel de l’Espagne franquiste et de l’Europe occidentale au tournant des années cinquante et soixante<br>In the 1950s, as Francisco Franco’s dictatorship tries to reintegrate its stifled country’s art scene onto the world stage by promoting certain Spanish abstract expressionists abroad, the position of Equipo 57, a collective of geometrical abstractionists, is unique. Eager to discover the free world, and thirsty for knowledge, the young artists Juan Serrano, José Duarte, Agustín Ibarrola and Ángel Duart meet in Paris in 1957. Sharing the same affinity for constructivist art and the Russian avant-garde, and united in their desire to renew Spanish cultural life, they decide to form a team of work and discussion. Upon their return to Cordoba, where they are joined by Juan Cuenca, the five members of the team elaborate a theory of the Interactivity of plastic space which guides their creation. The individuality of each member is thus erased for the good of the collective work. Aiming for an art that is able to enter into everyday life while questioning the responsibility of the artist, Equipo 57 uses a rational and objective language which takes form in painting, sculpture and design. They try to combine formal experiments as well as socio-political engagement. This premier monographic study in French aims to analyze the career of Equipo 57, from its inception in Paris in 1957 to its official dissolution in 1966. The group’s existence will be confronted with its sociocultural context in Franco’s Spain and Western Europe at the turn of the decade of the 1950s and 1960s
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González, Juan Manuel. "Walking toward the meeting of Saint Olav : A shared aesthetic project in th North of Scandinavia and the central plateau of the Iberian Peninsula." Thesis, Kungl. Konsthögskolan, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-107.
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On June 3rd 2015, I started in Sundsvall a pilgrimage known as S:t Olavsleden that crosses through the most agnostic countries on the world, Sweden and Norway. I got Research funding by Royal Insitute of Art in Stockholm to carry out the project; there was an open call to people participate in it. I proposed the Nordic pilgrim path as an explorational framework in which I focused on how the walking on a sacred route can influence in the individual process. A multinational group of artists, writers, philosophers and archaeologists was selected by me. We arrived to Trondheim on June 2nd after covering almost 600 kms. For completion of the investigation, I decided to walk on Camino de San Olav, a 3 years-old path in my homeland -Spain- from October 23rd to 25th.During the process a series of unexpected things happened. As an artist, I think these events are important because they raise questions about the utility of walking as an artistic practice and my role as activator of aesthetic relational encounters. What happens when the participants are taken out of their comfort zone and their relations generated by the walking engagement? How do they envisage an inner journey? Could they understand my proposal as a symbolic performance and what new perspectives are conveyed? How are the old sacred routes are adapted to the new times?Reviewing the past bring us to the present. In my project, I explored the significant cultural, social and environmental parallels between two paths run across the most uninhabited areas in Europe: the North of Scandinavian Peninsula and the North of Iberian Peninsula. Both of them share a comparable emphasis on ideas of traditional assets that are rooted in the relationship between human habitation and the natural environment. There are human endeavors to maintain their identity and do not fall into oblivion. For this reason, the authorities are making a special effort to make it popular again following the successful model of Camino de Santiago. This fact arises a new secular method of approaching pilgrimage: how the tourist industry adapts itself to the new times using ancestral routes for the consumer wants to live an inner and spiritual journey. The sacred manifestations are becoming a package tours. The offer is not only the spiritual dimension of the way, it is also the aesthetic experience of walking.I am not a believer. While interested in the liminal process of spiritual passages, I have discovered that non-religious persons may experience the mystical in nature owing to the experience of beyond of the sensible world, the Sublime of the landscape. This metaphysical stage can cause an inner transformation due of a new feeling post-encounter. It is important for the development of the creative process because cool things happens: new way to work, the coming of fresh ideas, renewed courage to continue working, more knowledge of oneself... In this aspect, walking practice operates as allegorist embodiment of personal turning point: the stage of in-between before and after.<br><p>The tourist seeks a picture, a memory. The pilgrim seeks the redemption. The artist seeks answers.</p><p>Departing from the traditions of the artists of the second half of 20th century that used walking as one of the forms to intervene in nature, I proved the path as a place for discussion, celebration, communal eating, resting, shared knowledge, laughs and pains.... But a differential factor from the walking artists, my aim is not developing physical artworks. The process is the artwork. Art is a framework for engaging moments to effect real change. Art as start-up device to arouse the contemplation of a reality that remains unnoticed.</p><p>As a researcher, I found a modus operandis to finally conflate my Catholic background, the interest in ritual gestures, the walking practice, my personal experiences based on nature, the creation of relational meeting places and my personal family history. Art as a way to explore and to be witness of our time. There is a relationship between S:t Olavsleden and Camino de San Olav but that link is neither forged in the religious meaning nor in the mythic figure of a Christian saint. There is relationship because I have connected to them both. As an artist, I am a catalyst for reaching an symbolic exchange framework from where new experiences emerge to influence in the artistic practice of the people involved in the project. My interest focuses more on the process than the object of art. I do make art with people and for the people. I bring people out of their thicket of daily routines and I offer them an experimental ground as a springboard to develop new works created by each artist in response to their engagement of conflation the physical action with a renewed understanding of connection to their surrounding world.</p><p>This creation of a wandering community is my agreement of the art as way of life. Art production can not get away with disavowing the spiritual or the congregational dimensions of the term. In the metaphorical sense, Art is to walk new ways each time; on completion of this artwork, new questions spring up: Which paths will I walk? How will I experience them? What new project will I share who?</p><br>S:t Olavsleden
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Furtado, Michael Anthony 1958. "Islands of Castile: Artistic, Literary, and Legal Perception of the Sea in Castile-Leon, 1248-1450." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12098.
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xiii, 322 p. : col. ill.<br>Before Spain encountered the Americas, it first encountered the sea. This dissertation explores the roots of that encounter by examining perceptions of the sea in late medieval Castile-Leon reflected in art, literature, and law. It analyzes the changing attitudes of the Castilians towards the sea through an examination of its perceived place in their world, underscoring the complexity of Castilian attitudes toward the dangers and opportunities presented by the marine environment. Conceptual separation and union serve as the two foundational concepts employed for the analysis of evidence from each of the three genres under examination. Each genre highlights in various ways either the strong contrast drawn between land and sea or their seeming union conceptually. These complexities are manifest in a broad variety of sources, from collections of miracle tales to fifteenth century romances. Analysis of legal distinctions between land and sea reveal significant differences in perception regarding the nature of each environment and the rights and responsibilities of Castilians acting in either.
Findings include that artistic sources reveal that a fearful attitude toward the sea accentuated by helplessness before its power dominated thirteenth century imagery, contrasting with the greater unity of land and sea reflected in miniatures from fifteenth century sources. A similar pattern of separation and union emerges in the literary evidence, where fear of the loss of agency when traveling at sea in early sources gives way to fifteenth century examples that praise its value. A comparison of the laws contained in the Siete Partidas with the late medieval records of the Cortes of Castile-Leon reveals that while the Castilian monarchs tended to consider the sea as firmly outside of their realm throughout the majority of the period of this study, strategic necessity led to an inexorable growth in the importance of the sea in the affairs of the kingdom generally. Together, the evidence supports the conclusion that by the mid-fourteenth century the view of the sea as other, typical of all early Castilian sources, gave way to a fifteenth century perspective that welcomed it in many respects, laying the foundation for the development of a great maritime empire.<br>Committee in charge: Lisa Wolverton, Chairperson;
Robert Haskett, Member;
David Luebke, Member;
David Wacks, Outside Member
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Frechette, Mariel. "Danger in Deviance: Colonial Imagery and the Power of Indigenous Female Sexuality in New Spain." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/210.
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The primary objective of this work is to understand the importance of the indigenous, female body in early New Spain through the study of visual media from the first two centuries of colonization: specifically looking at illustrations from Book 10 (of 15) in the Florentine Codex and images of indigenous Christian wedding ceremonies such as the painted folding screen Indian Wedding and a Flying Pole (c.1690). I argue through visual, theoretical and historical analysis that regulating indigenous female sexuality was a critical component to in the creation of colonial New Spain and that imagery played an essential role in this regulatory process.
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Johnson, Andrea Marie. "Incongruous Conceptions: Owen Jones’s Plans, Elevations, Sections and Details of the Alhambra and British Views of Spain." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6101.
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This thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives.
Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.
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Miller, Olivia Nicole. "The Spanish royal hunting portrait from Velazquez to Goya /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/9131.
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Crites, Danya Alexandra. "From mosque to cathedral: the social and political significations of Mudejar architecture in late medieval Seville." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/481.
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During the late Middle Ages, Iberian Christian and Jewish patrons commissioned intriguing monuments that incorporate Islamic-derived features. Determining possible reasons for the patronage of this architecture, commonly referred to as Mudejar architecture, has the potential to provide important insights into the complex, multi-cultural society that produced it, yet studies on its patronage have been limited in number and scope. Most of the early Spanish scholarship on Mudejar architecture focuses on formal issues and simply attributes its patronage to economic factors, an admiring fascination with the exotic, or a desire to subjugate Islamic culture. More recent scholarship has shifted to examining the motivations of patrons in specific case studies; however, many of these case studies are still framed within the overarching theory that Mudejar architecture was the result of a common architectural heritage among Christians, Jews, and Muslims. The reasons for Mudejar patronage cannot be confined to a single broad theory, but instead individual projects and patrons must be studied within their specific contexts and then compared to one another to provide a more accurate understanding of Mudejarismo.
This dissertation traces the development of Mudejar architecture in Seville from the time of the city's conquest by Christian forces in 1248 to the early sixteenth century, just after the expulsion of Muslims and Jews from the Kingdom of Castile, in order to demonstrate the changing nature of Mudejar patronage in the city and how it relates to the relations among Christian, Jews, and Muslims. In establishing the chronology and the patronage of Seville's Mudejar monuments through a close analysis of their formal elements, three distinct phases in their construction become apparent: 1) the approximately fifty years following the city's conquest; 2) a period between the earthquake of 1356 and the initial construction of the Gothic cathedral in the 1430's; and 3) the remainder of the fifteenth century through the first years of the sixteenth century. Prevalent features of Mudejar architecture during each of these phases are considered within the socio-political climate of the time as evidenced in primary sources. While economic, social, and demographic factors contributed to the construction of Mudejar architecture in Seville, its patronage was largely the result of the changing political agendas of the city's ruling elite. Shortly after the city's Castilian conquest, Alfonso X favored Gothic over Mudejar features because of his goals of asserting the new Christian authority in a city still threatened by Muslim forces and creating for himself a cosmopolitan imperial image. By the mid-fourteenth century, when Christian hegemony was no longer a concern, Mudejar forms signified the absolute power desired by Pedro I and his rebellious half-brother Enrique II. The construction of Seville's enormous Gothic cathedral throughout much of the fifteenth century in addition to the patronage of the Catholic Monarchs and the rise of the Renaissance largely ended Mudejar patronage in the city with the exception of centrally-planned chapels and elaborate wooden roofs, which by this time had become a source of local pride. Thus, no general theory can encompass all of the reasons for Mudejar patronage in late medieval Seville, which were varied and continually in flux.
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Sanborn, Colin C. "Destierro and Desengaño: The Disabled Body in Golden Age Spanish Portraiture." Oberlin College Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1556624266868137.
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Tudela, Vázquez Enrique. "Marcharse lejos. Migraciones granadinas a Barcelona durante el primer franquismo (1940-1960)." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668226.
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Esta tesis es un estudio de las migraciones granadinas a mediados del siglo XX, fundamentalmente acerca de sus causas y también sobre aspectos concretos de las múltiples formas de inserción espacial y laboral que desarrollaron los granadinos en la Barcelona de posguerra. Los ámbitos geográficos escogidos son principalmente numerosas localidades rurales granadinas, distribuidas por la práctica totalidad de la provincia y la ciudad de Barcelona, incluyendo diversas ciudades industriales de su área metropolitana. El período investigado comprende las dos primeras décadas de la dictadura franquista, 1940 y 1950, aunque incorpora en el primer capítulo una perspectiva histórica de mayor alcance.
El primer capítulo trata de situar el desarrollo económico de Granada previo a la guerra civil y el desarrollo del movimiento obrero granadino hasta el final de la contienda. Usamos para ello una perspectiva de largo alcance para comprender determinadas particularidades de la configuración histórica y social de la provincia de Granada. Mencionamos los antecedentes migratorios de la población granadina, para analizar el papel que este fenómeno desempeñó en las estrategias de las clases subalternas de la provincia. Finalmente analizamos el desarrollo del movimiento obrero en la provincia de Granada y su evolución, deteniéndonos particularmente en el periodo de la II República y la guerra civil.
El segundo capítulo se enmarca completamente dentro del período investigado y aborda el estudio de las causas del fenómeno migratorio en la posguerra. De ese modo, reconstruimos las diversas modalidades de la represión, vinculadas a la implantación de la dictadura franquista y su relación con la emigración de los trabajadores granadinos. Partiendo de la experiencia del retorno de los excombatientes republicanos, este capítulo trata de profundizar en el conocimiento de las múltiples fracturas intracomunitarias que ocasionó el resultado de la guerra civil.
Por su parte, el tercer capítulo también está destinado a analizar las causas de la emigración de la población rural granadina, en este caso a través de un análisis de la crisis del mundo agrícola y como afecto a la segmentada estructura social de la Granada rural. En este capítulo se abordan las consecuencias del fracaso de las propuestas industrializadoras en Granada. También analizamos de qué manera se vieron afectadas las economías domésticas del campesinado granadino, tanto en el caso de los jornaleros como en el de los labradores, por la implementación de las políticas agrarias del primer franquismo y los intereses de los grandes propietarios de tierra.
El cuarto capítulo relata la experiencia del viaje e inserción espacial de los inmigrantes granadinos en Barcelona. En este apartado se observan las dificultades que encontraron las granadinas y granadinos para la realización de su proyecto migratorio y cuáles fueron las pautas de asentamiento que llevaron a cabo. Abordamos también un análisis de los discursos contra la inmigración que surgieron en la década de 1940 y 1950 y como afectaron a la implementación de políticas represivas contra el hecho migratorio. Ante esto, observamos el despliegue de un amplio repertorio de estrategias por parte de los granadinos inmigrados para conseguir superar los límites impuestos por la administración, en el complicado contexto de la Barcelona de posguerra.
Por último, el quinto capítulo explora los mecanismos de inserción de las personas inmigradas en el mercado laboral barcelonés. En sus páginas describimos los mecanismos de inserción y principales ámbitos donde se ubicaron los trabajadores inmigrados y por qué motivos. También describimos de qué manera percibieron la reaparición de la conflictividad laboral en tierras catalanas y que reacciones tuvieron ante ello. Por último, observaremos los mecanismos que llevaron al surgimiento y transmisión de una cultura de la emigración hacia Barcelona entre la sociedad granadina.<br>This thesis is a study of internal Spanish migration in the mid-twentieth century, focusing on the causes and also about specific aspects of the multiple forms of community integration and job placement that migrants developed in postwar Barcelona. The geographical areas chosen are mainly numerous rural towns in the Andalusian province of Granada, distributed throughout almost the entire province and the city of Barcelona, including various industrial cities in its metropolitan area.
The period under investigation covers the first two decades of the Franco dictatorship, 1940 and 1950, although the first chapter incorporates a more far-reaching historical perspective.
The first chapter analyses the economic development of Granada prior to the civil war and the development of the local labour movement until the end of the conflict.
The second chapter deals with the study of the causes of migration in the post-war period. To this end, we reconstruct the various forms of repression linked to the establishment of the Franco dictatorship and the relationship between the repression and the emigration of Granada’s workers.
The third chapter is intended to analyze the causes of the emigration of the rural population of Granada, in this case through an analysis of agricultural crises and its effect on the stratified society of rural Granada.
The fourth chapter recounts the experiences of travel and integration of immigrants from Granada to Barcelona. This section points out the difficulties for relocation faced by immigrants from Granada and what they could expect in terms of finding a home.
Finally, the fifth chapter explores the dynamics of labour market insertion for immigrants in Barcelona, analyzing the sector's opportunities and conditions as well as the pressures and motives underlying migrant labour insertion.
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Dathe, Stefanie. "La Vera Cruz in Segovia dialektische Untersuchung zu Ursprung, Baugeschichte und Funktion eines romanischen Zentralbaus in Alt-Kastilien /." Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 2001. http://catalog.hathitrust.org/api/volumes/oclc/47702819.html.
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Hollett, Philip. "Sound towers : evoking the musical dimension of Gaudí." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29560.
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Antoni Gaudi was the architect of the Sagrada Familia from 1883 to 1926. Over this period of time he prepared the overall design and supervised the construction of the Nativity facade. One of Gaudi's main design objectives was to include tubular bells in the tall slender towers. It has been said that through his sound studies for these bells, Gaudi developed his musical sentiments most fully. Through the sound of bells, accompanied by song, he imagined a festive environment around the temple. These considerations might be seen as reflecting the overall spirit of the time, as Catalonia was in effect experiencing a cultural rebirth known as the Renaixenca . Originating with the call of the poets, this time of exuberant growth for Catalonia was one that was built upon the rebirth of language. As a result, language through poetry continued to be celebrated throughout the century, particularly through annual poetic contests called the Jocs Florals. This paper studies the facade of the Nativity as a expression of this culturally exuberant time by exploring how the Jocs Florals, and poetry in general, may have played a role in shaping its form and sound. The study also acknowledges the fact that Gaudi's inspiration for his design was derived from symbolism associated with the Catholic liturgy. The result is architecture that might be described as a union of religious and cultural symbolism, yet ultimately its festive expression is a poetic one. As such, the Sagrada Familia might be described as a celebration that is a call to gathering.
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Picherot, Émilie. "Le lieu, l’histoire, le sang : l’hispanité des musulmans d’Espagne dans les littératures arabe, espagnole et française (15ème – 17ème siècles)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040227.
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L’hispanité des musulmans d’Espagne est au centre d’un débat récurrent sur l’identité collective des Espagnols. En faisant de la présence politique des musulmans une parenthèse historique de huit siècles, le romancero les exclut non seulement de l’espace péninsulaire mais aussi de l’hispanité elle-même, il annonce ainsi l’expulsion définitive des Morisques de 1609. Un autre discours est pourtant développé durant le siècle qui suit 1492 ; les littératures hispano-arabe et aljamiada mais aussi parfois castillane en témoignent. Le roman hispano-mauresque français, un siècle plus tard, reprend le personnage du musulman d’Espagne qui devient le support d’une hispanité fantasmée qui se définit par les contacts avec le monde arabo-musulman via la Méditerranée. Le Maure de Grenade est alors un modèle littéraire qui fournit à l’Europe une représentation positive du monde arabo-musulman. Idéalisé, tolérant et généreux, le Moro n’est plus simplement un Espagnol, il est le support d’une réflexion sur la mixité religieuse et sur l’attachement collectif au lieu<br>The Hispanic identity of Spanish Muslims is at the center of a recurring debate on the collective identity of Spaniards. By treating the political presence of the Muslims as a simple historical parenthesis which lasted for eight centuries, the Romancero excludes Spanish Muslims not only from the peninsula but also from Hispanic identity itself and heralds the final expulsion of the Moriscos in 1609. A different attitude was developed during the hundred years following 1492, as witnessed by the Hispano-Arabic and Aljamiada, but also sometimes the Castilian literature. The French Spanish-Moorish novel, a century later, redefines the character of the Spanish Muslim, which then becomes the basis for a fantasized Hispanic identity characterised by its contact with the Arab-Muslim world via the Mediterranean. The Moor of Granada becomes a literary model that provides Europe with a positive image of the Arab-Muslim world. Idealized, tolerant and generous, the Moro is no longer simply a Spaniard, but a pretext for reflecting on religious diversity and the link between a people and a place
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Tuchscherer, Jean-Michel 1942. "Sponsus - SponsaChristus - Ecclesia : the illustrations of the Song of Songs in the Bible moralisée de Saint-Louis, Toledo, Spain, Cathedral Treasury, Ms. 1 and Paris, Bibliothèque Nationale, Ms. lat. 11560." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40269.
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Among the considerable manuscript production of the twelfth and thirteenth centuries, the Bible moralisee stands out by the number of miniatures and by the conception of the manuscript itself. The composition and many iconographical themes recall stained glass windows of contemporary cathedrals, such as Chartres, Sens, Bourges, or Canterbury in England.<br>The manuscript of the Bible moralisee to which this study is partly dedicated, is located in the Treasury of the Toledo cathedral chapter in Spain. This study deals also with the duplicate copy which was realized soon afterwards. The interpretation and illustrations of the verses vary in number according to the books of the Bible. Though being one of the smallest biblical books, the Song of Solomon is given outstanding consideration, more than any other book in the Bible. The central theme--the espousal of the Bride and the Bridegroom, Christ and Ecclesia being its allegory--enjoyed a considerable success in medieval theology. It corresponded to the courtly love atmosphere of its time. Abundant commentary literature and the development of mariology made this book even more popular. About a quarter of the commentary illustrations are dedicated to the theme Christus-Ecclesia. Ecclesia, always crowned, holds the chalice which confirms her sacramental significance. In no other known iconographical medieval programme has Ecclesia such a position.<br>The question raised by the problematic around this Bible is the eventual intention being at the origin of this order which, without any doubt, emanates from French royalty. Has it been produced to enhance the prestige of royalty? Is it a pedagogical work intended for the education of the royal children? Was it meant to be a royal political gift? The Ecclesia theme in the Bible is the exaltation of, or an hommage to the Church, spiritual or temporal, by the French royalty of the thirteenth century.
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Santa, Olalla Moya Pablo. "Conceptualismos en el espacio sud-atlántico: Redes de relaciones entre España y Latinoamérica, 1972-1982." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/671869.
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Desde un enfoque interdisciplinario de historia del arte espacial, cruzada y horizontal, esta investigación realiza un mapeo significativo de las redes de relaciones establecidas por los conceptualismos de Latinoamérica y España durante la década extendida de los anos setenta. Las circulaciones y encuentros se revisan desde las tres principales instancias que conforman el campo del arte conceptual: los agentes artísticos, los objetos y los medios que emplean, y las plataformas – instituciones y eventos – y teorías a través de las cuales se produce su reconocimiento. La emergencia y asentamiento del conceptualismo en el eje sud-atlántico se produce en un contexto particular demarcado por procesos políticos en el marco de la Guerra Fría tardía, como la presencia común de dictaduras a ambos lados del Atlántico, o el fomento del desarrollismo; también por procesos tecnológicos como los avances en las comunicaciones y los transportes en la Jet Age, que aceleran la conectividad local, nacional, regional e internacional, abriendo el mundo hacia la globalización; y finalmente por procesos generales en las artes, como la crisis del proyecto moderno-vanguardista que conduce a una paulatina deriva hacia la posmodernidad. Al revisar la confluencia de esas tres instancias artísticas con esos tres cortes del momento histórico, el conceptualismo queda definido, no de manera univoca sino a través de su evolución, como un modo de hacer arte especifico que se infiltra en el campo artístico hasta la actualidad.<br>From an interdisciplinary approach of spatial, crossed and horizontal art history, this research carries out a significant mapping of the relational networks established by the conceptualisms of Latin America and Spain during the extended decade of the seventies. The circulations and encounters are reviewed from the three main instances that make up the field of conceptual art: the artistic agents, the objects and media they employ, and the platforms -institutions and events- and theories through which their recognition is produced. The emergence and establishment of conceptualism in the South-Atlantic axis took place in a particular context marked by political processes within the framework of the late Cold War, such as the common presence of dictatorships on both sides of the Atlantic, or the promotion of developmentalism; also by technological processes such as the advancements in communications and transportation in the Jet Age, which accelerated local, national, regional and international connectivity, opening the world to globalization; and finally by general processes in the arts, such as the crisis of the modern-avantgardist project leading to a gradual drift towards postmodernity. By reviewing the confluence of these three artistic instances with these three cuts of the historical moment, conceptualism is defined, not in a univocal way but through its evolution, as a specific way of making art that infiltrates the artistic field up to the present day.
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Mellado, Corriente Marina. "THE ARCHITECTURE OF KNOWLEDGE: THE JESUIT COLLEGE OF OAXACA (XVI-XIX CENTURIES)." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4011.
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ABSTRACT
THE ARCHITECTURE OF KNOWLEDGE: THE JESUIT COLLEGE OF OAXACA (XVI-XIX CENTURIES).
By Marina Mellado Corriente, MA.
A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art Historical and Curatorial Studies at Virginia Commonwealth University.
Virginia Commonwealth University, 2015
Major Director: Michael Schreffler, Associate Professor, Department of Art History
The educational endeavor that the Jesuits – members of the religious order known as the Society of Jesus – carried out in Mexico in the course of the colonial period, when this territory belonged to the Viceroyalty of New Spain (sixteenth to nineteenth centuries), was exceptional. Even though this endeavor has been extensively studied, not much has been written about the edifices, and their significant artistic contents, that not only facilitated the endeavor, but also allowed it to thrive. With the aim of contributing to fill that gap in the scholarly literature, this study engages in an artistic and architectural examination of one among the dozens of school complexes that the Jesuits built and decorated in New Spanish territory: the College of Oaxaca. This establishment was the primary educational institution in one of the most prosperous cities of the viceroyalty, and it ranked third in importance among the colleges that the Jesuits founded in New Spain, representing a clear example of the process of spiritual, intellectual and material expansion that the Society of Jesus carried out in Spanish America. By locating, transcribing and interpreting primary sources (primarily inventories and commissions for works of art) that have not been noticed before or have remained unpublished, and by analyzing the material remains that have survived to this day, it has been possible to reveal that the former Jesuit complex – which today serves, simultaneously, as an apartment building, an indoor parking, a series of storefronts, and a church served by a community of Jesuits – once featured a significantly rich artistic and architectural program, the result of assimilating, but also of rejecting, local and Jesuit traditions. This program, unfortunately, has been progressively disappearing since the expulsion of the Jesuits from Oaxaca in 1767.
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Heredia, Martine. "L'art informel en Espagne : d'une praxis à la formulation d'une expérience du monde." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST1004.
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Le monde d’où émerge la peinture informelle est celui d’un temps où, après les horreurs de la Seconde Guerre mondiale, les artistes prennent conscience que l’art ne peut plus se faire de la même manière. En Espagne, ce monde est celui qui n’est pas encore guéri des séquelles de la Guerre Civile et qui a détruit toute forme de culture moderne. Si les artistes préfèrent prendre le parti de donner à voir les matériaux utilisés plutôt que des images identifiables, la peinture informelle ne repose pas pour autant sur un vide de la représentation. En donnant à voir alors la perception en train d’opérer, l’expérience qu’il fait du monde, le peintre tente de changer la façon de le voir. La première étape de ce travail a pour objet d’étudier le cas de l’Espagne comme phénomène singulier, les artistes s’insérant dans les grands courants de pensée européens, alors que l’Espagne sort tout juste de son isolement. Dans une perspective plus esthétique, la seconde étape analyse le processus de création en montrant que la question est de créer des images en l’absence d’images. Les options qui s’offrent à l’artiste passeront par la matière et par le geste ; aussi s’agit-il d’analyser comment les peintres s’attachent à mettre en valeur les matériaux et comment le geste sera déterminant pour établir ensuite une relation spécifique de l’homme à la matière. Dans une troisième étape, la réflexion s’efforce de caractériser la création comme un faire et une recherche à la fois. L’acte de peindre sera alors à envisager comme un effort qui vise à laisser être les choses telles qu’elles sont, en même temps qu’il permet au peintre d’ouvrir le monde qui est le sien<br>The world from which informal painting arises corresponds to a time, after the horrors of the Second World War, when artists became aware that art could not be performed the same way as before. In Spain it reflects the world that has not yet been healed of the sequels of the Civil War as well as the world that has wiped out any form of modern culture. If the artists would rather have the material they use be seen than be plainly identified images, informal painting, nevertheless, does not rest on the absence of representation. That is why getting us to see his perception in the making and the experience he derives from the world, the painter is trying to change the way it is seen. The first stage of this work aims at studying the example of Spain as a unique phenomenon, its artists were involved in the great European movement of thought while Spain had just broken out of its isolation. From a closer aesthetic angle, the second stage analyses the creative process and shows that what matters is to create images out of their absence. The options available to the artist will encompass matter and action; what is at stake, thus, is the analysis of the attempt by painters to emphasize the importance of material, to show how action will be a determining factor to establish, after, a specific relation from man to matter. In a third stage, reflection tries to characterize creation as both the act of making and a quest. The act of painting will therefore have to be considered as an effort meant to leave things be as they are, while, at the same time, it will enable the artist to open up the world that is his universe
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Kinch, Brittanie A. "The Functionality of Early Modern Collections." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/69.
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The following research records the functionality of collections of wealthy individuals in an effort to clarify the current system of collection categorization. Although many functions were indeed possible, this research will be restricted to the discussion of collections in which objects reveal the collector’s devotional, social, and intellectual curiosity. These classifications reflect the most prevalent themes initiated by my research on collections of royal and affluent collectors during the Early Modern Period, and as such are the three most rational means of discussing collections as functional, working, tools.
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Fauvey, Jordane. "La réception de l'œuvre de Joaquín Sorolla de 1881 à 2009." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1037/document.
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La thèse de M. Jordane Fauvey explore un siècle élargi de réception critique de l'ouvre du peintre espagnol Joaquin Sorolla (1863-1923) depuis sa première participation à l'Exposition Nationale de Madrid en 1881, jusqu'à la récente présentation en Espagnede sa dernière oeuvre majeure, Vision de Espaça, de 2007 à 2009. En exploitant comme source principale la collection de presse du Musée Sorolla de Madrid (4.068 articles), l'auteur situe la naissance médiatique de Sorolla en 1895, l'année de son premier succès parisien. Il retrace son parcours de "savonnier" dans les capitales européennes et met tout particulièrement en évidence le paradoxe suivant : Alors que sa peinture lumineuse et dynamique perce à l'étranger, elle est rejetée à Madrid<br>Mr Jordan Fauvey's thésis explorés a large century of critical réception of the Spanish painter Joaquïn Sorolla's work tram his first participation to the National Exhibition in Madrid in 1 881 to the récent introduction of his lest major work, Vision of Spain, from2007 to 2009. Exploiting as principal source the press collection of the Sorolla Museum in Madrid (4.068 articles), the author situates Sorolla's mediatised birth in 1895,the year of his fîrst Parisian Success. He recountsh is way in the Europeanc apitale' salons and particularly highlights the following paradox: Although his bright and dynamic painting becomes famous abroad, ït is rejected in Maadrid
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Alves, Syntia Pereira. "Teatro de García Lorca: a arte que se levanta da vida." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/3363.
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Previous issue date: 2011-12-09<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>Was Federico García Lorca a political agent? This is the question that frames the research here presented. However, this question must be split in two in order to be properly answered: first, who was García Lorca, taking into account his life and work; second, the several possibilities for political action. Politics is not restricted to the institutional realm, but permeates individual and societal relationships, being present both in public and private affairs, touching and being touched by art. A tragic artist, Federico García Lorca constitutes the main focus of this research. To find the politics in Lorca, it is essential to understand the relationship between his art and his life and society. With that in mind, the investigation starts from both external and internal analyses of Lorca's works. The external analysis explores Spain before its Civil War, given the importance of the period which is mirrored in Lorca's works. For internal analysis, the theatrical pieces Yerma and The House of Bernarda Alba were analyzed to investigate both the relationships among characters, and the social conventions shown in these works. Furthermore, a number of conferences and interviews with the author are employed in a dialogue with the theatrical works, with the goal of understanding his relationships with art and society. García Lorca's art, voiced by flamenco, communicated with his society and received an answer: death by firing squad. Lorca wasn't limited to his own time and space, but survives today, be it through his deeply disquieting art, or be it through his still mystery-shrouded death<br>Federico García Lorca foi um agente político? Sobre este questionamento se desenvolve a presente pesquisa. Porém, para responder a essa pergunta, é fundamental dividi-la em duas, voltando um olhar para quem foi García Lorca levando em consideração sua vida e obra e outro olhar para as diversas possibilidades de atuação da política. A política não está apenas no âmbito institucional, mas permeia as relações dos indivíduos e sociedades, se faz presente nos âmbitos público e privado, alcançando e sendo alcançada pela arte. Artista trágico, Federico García Lorca é o foco central deste estudo. Para buscar a política em Lorca, é fundamental entender a relação de sua arte com a sociedade e a vida do escritor. Para tanto, a investigação parte de uma análise externa e uma análise interna a obra de Lorca. A análise externa mapeia a Espanha que antecede a Guerra Civil Espanhola, tendo em vista a importância desta época que se encontra refletida na obra de Lorca. Para análise interna foram escolhidas as obras teatrais Yerma e A casa de Bernarda Alba, sobre as quais é feita uma análise das relações das personagens entre si e os códigos sociais que essas obras expõem. Além disso, são usadas para dialogar com as obras teatrais algumas conferências e entrevistas do autor, com a finalidade de entender sua relação com a arte e com a sociedade. A arte de García Lorca, entoada pelo flamenco, dialogou com sua sociedade e recebeu resposta desta: seu fuzilamento. Mas Lorca não coube em seu tempo e espaço e transborda para os dias de hoje, seja por sua arte, profundamente inquietante, seja por sua morte, até hoje envolta em mistérios
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Börner, Franziska. "Auf der Suche nach Spanien." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/392704.
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Das wissenschaftliche Interesse an der Iberischen Halbinsel hat eine lange Tradition in Deutschland. Deutsche Forscher und Gelehrte haben früh damit begonnen, Aspekten der spanischen Kultur auf den Grund zu gehen, sei es im Bereich der Sprache, Literatur, Kunst oder Politik. Bis heute haben sie damit einen entscheidenden Beitrag zur Wahrnehmung und Rezeption Spaniens in Europa geleistet. Neben Literaten und Naturwissenschaftlern waren es vor allem Kunsthistoriker, die ab der zweiten Hälfte des 19. Jahrhunderts verstärkt das Land bereisten und gezielt Feldforschung betrieben. Die dabei entstandenen Aufzeichnungen, Tagebücher, Reiseberichte, Dokumentationen und späteren Publikationen haben entscheidenden Einfluss auf die Rezeption der spanischen Kunst und Kultur in Deutschland und darüber hinaus gehabt. Die deutsche Reiseliteratur über Spanien ist bereits Gegenstand zahlreicher literaturwissenschaftlicher Untersuchungen gewesen, die Reisebeschreibungen und Schriften von kunsthistorischer Seite aus hingegen nicht.
Mit dieser Arbeit wird ein Überblick geschaffen, der exemplarisch die Hauptentwicklungslinien der kunsthistorischen Spanienrezeption nachzeichnet und in einen breiteren Kontext insbesondere im Zusammenhang mit der Imagologie und Literaturwissenschaft stellt. Die zu untersuchenden Texte sind Ergebnis einer konstruierten Reiseerfahrung, die insbesondere durch das jeweilige Spanienbild des Autors und die kunstpolitische Auseinandersetzung mit demselben geprägt ist.
Die Untersuchung der Quellentexte konzentriert sich somit auf die folgenden Punkte:
o Analyse und Charakterisierung des jeweiligen im Quellentext formulierten Spanienbildes als imagologisches Paradigma.
o Analyse der Darstellung der spanischen Kunst und Künstler in den Quellentexten und der damit verbundenen Entwicklung von spanischen Künstlermythen im Untersuchungszeitraum, die wiederum in Wechselwirkung mit der Entwicklung des Spanienbildes stehen.
o Analyse der kunstpolitischen Aussage des jeweiligen Autors im Zusammenhang mit der zeitgenössischen Kunstdebatte, insbesondere auch im Vergleich der spanischen Kunst mit anderen Kunstnationen Europas und deren Bedeutung für die Moderne.
Bei den zu untersuchenden Quellentexten dieser Arbeit handelt es sich sowohl um kunsthistorische Forschungsliteratur als auch um literarische Reiseberichte und -briefe von Kunsthistorikern oder Kunstkritikern. Hiermit treffen das Gebiet der Reiseliteratur und das der wissenschaftlichen Kunstgeschichtsschreibung in einem Thema aufeinander und fast alle Quellentexte bewegen sich zwischen wissenschaftlicher Dokumentation und literarischer Fiktion. Es gilt daher zunächst den Stand der Reiseliteraturforschung über Spanien zu prüfen und respektive des genannten Forschungszeitraums den kunsthistorischen Forschungsstand zur spanischen Kunst und zu den deutschen Kunsthistorikern, die über Spanien geforscht haben, zusammenzufassen, um schließlich anhand einer exemplarischen Textauswahl ein aussagekräftiges Ergebnis sowohl für die Kunstgeschichte als auch für die Imagologie zu erhalten. Die Arbeit ist chronologisch aufgebaut und beginnt mit einer Vorbetrachtung über die
Entwicklung des Spanienbildes und die frühen wissenschaftlichen Reisen der Familie Humboldt um 1800. Darauf folgen vier Hauptthemenblöcke: Zunächst wird das Phänomen des Orientalismus in der ersten Hälfte des 19. Jahrhunderts betrachtet. Daran schließt eine exemplarische Darstellung des Begreifens der spanischen Identität um die Jahrhundertmitte am Beispiel von Johann Gottlob von Quandt und dessen spätromantischen Reiseberichts an. Als Drittes werden sowohl Carl Justis Reiseerfahrung anhand von dessen Reisebriefen als auch sein Schlüsselwerk, die Velázquez‐Monographie (1888), hinsichtlich seines Spanienbildes und der Bildung von Künstlermythen untersucht. Der vierte Themenblock konzentriert sich auf die Spanienreise des Kunstkritikers Julius Meier‐Graefe, die dortige Mythifizierung El Grecos und deren Bedeutung im Kontext der zeitgenössischen Kunstdebatte um Impressionismus und Expressionismus. Den Abschluss der Arbeit bildet ein Ausblick auf die historischen Romane Lion Feuchtwangers, die Themen der spanischen Kunst, Kultur, Politik und Gesellschaft zum Gegenstand haben und einen überzeitlichen, grenzenüberschreitenden Bezug herstellen. Die historische Reflektion Feuchtwangers und der kritische Bezug zur Gegenwart sind hierbei im Zusammenhang mit der ebenfalls historischen Rückbesinnung der kunsthistorischen Forschungsarbeit zu Spanien zu sehen, die stets in direkter Wechselbeziehung mit der zeitgenössischen Debatte und Situation des Autors zu verstehen ist.<br>Scientific interest for the Iberian Peninsula has a long tradition in Germany. German researchers early started to study aspects of the Spanish culture, whether in the field of language, literature, art or politics. A part from writers and scientists, art historians were one of the main groups who increasingly visited the country in the second half of the 19th century. They published their experiences, diaries and letters which had a great influence on the reception of Spanish art and culture in Germany. This study tries to give an overview of the main lines of development of the art historical investigation and reception of Spain during the 19th century. Therefore the investigation combines art historical methods with imagological and literary aspects. The structure of the investigation is chronological: In the first half of the 19th century, the phenomenon of Orientalism dominated the perception of Spain nearly all over Europe. It was followed by a huge romantic interested which can be studied in the diary of the journey of Johann Gottlob von Quandt. The text of Quandt is an example for the idealizing representation of the Spanish identity in the middle of the century. Afterwards, the German art historian Carl Justis published his letters of travel and a few years later his main work, a great monographic study about Velazquez (1888). Justi's texts illustrate the German image of Spain during German Empire and had an important influence on the formation of myths concerning Spanish artists. The fourth part of the investigation focuses on the Spanish journey of the art critic Julius Meier-Graefe, the mythification of El Greco and the contemporary discussion about Impressionism and Expressionism. The last part is dedicated to the historical novels of Lion Feuchtwanger written after the Second World War which show a special image of Spain searching answers in the past for complicated contemporary questions.
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Assier, Mathilde. "La promotion des beaux-arts en Espagne (1853-1898). Soutenir les beaux-arts en temps de crise." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL091.
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Cette thèse s’attache à mettre en lumière l’organisation du système des beaux-arts et les conditions de production des œuvres d’art en Espagne entre 1853 et 1898, autour de trois pôles principaux : Madrid, Barcelone et Séville. Dans cette période de crise politique et économique, généralement envisagée sous le prisme du paradigme du retard ou de l’échec, la désillusion des artistes fut une réalité. Loin de conduire à la passivité, elle engendra un désir de « régénération » culturelle, de nombreuses controverses sur la manière d’encourager les arts ainsi que tout un jeu de comparaisons et de regards portés vers l’étranger. Ce bouillonnement intellectuel fut à l’origine d’un renouveau des structures de promotion des arts se traduisant par la création de musées, d’expositions, de concours ou par la concession de pensions. L’analyse des missions artistiques de la Maison royale, du ministère du Développement, des députations, des associations artistiques et des sociétés économiques des amis du pays s’appuie sur des études de cas et révèle les acteurs à l’œuvre : petits ou hauts fonctionnaires, artistes méconnus ou renommés, hommes politiques. Fondé sur un vaste travail de recherche en archives, ce parcours dans le paysage des arts espagnols permet de mieux comprendre quels furent les objectifs, les conséquences et les spécificités de l’encouragement public et privé de l’art, d’un point de vue régional et national, dans un contexte de construction de l’État-Nation<br>This dissertation aims to bring to light the organization of the fine arts system and the conditions under which works of art were produced in Spain between 1853 and 1898, centering on three leading cities: Madrid, Barcelona, and Seville. During this period of political and economic crisis, usually understood through the lens of the paradigm of Spanish backwardness or failure, the artists’ disenchantment was considerable. However, far from driving them into passive resignation, this spurred a desire for cultural "regeneration," born of countless debates over the way in which the arts should be supported and a keen interest in comparison with what was happening abroad. This intellectual exuberance led to a renewal of the institutions promoting the arts, giving way to the creation of museums, exhibitions, contests, and grants. The analysis of the artistic missions of the royal household, the Ministry of Development, diputaciones (provincial governments), societies of artists, and the various Economic Societies of Friends of the Country, relies on case studies and reveals the agents at work: senior and junior civil servants, not-known or famous artists, and politicians. Rooted in broad archival research, this journey through the world of Spanish art enriches our understanding of the goals, consequences, and specific features of the public and private support of the arts on a regional and national scale and within the context of the construction of the nation-state
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Blayo, Nicolas. "La fictionnalisation de l'histoire par la direction artistique dans le cinéma espagnol." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30071.
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La fictionnalisation de l’histoire récente dans le cinéma espagnol de la démocratie est abordée sous l’angle de sa représentation par les directeurs artistiques à qui, au cinéma, incombe la responsabilité de tout l’aspect visuel du film. L’étude de ce métier, peu traitée dans la production scientifique de la recherche cinématographique, nous intéresse dans son évolution depuis les années 30 jusqu’à nos jours. Elle permet de mettre en lumière les mécanismes qui sont à l’œuvre pour représenter l’histoire au cinéma, du franquisme à la démocratie.L’objectif de la thèse est de démontrer l’importance fondamentale de la direction artistique dans le film historique, de dégager les implications idéologiques qu’elle sous-tend et de déceler les caractéristiques esthétiques qui varient selon les époques, les intentionnalités et les styles des concepteurs des décors<br>The fictionalization of recent history in the Spanish cinema of democracy is approached in terms of its representation by the art directors who, in cinema, are responsible for all the visual aspects of the film. The study of this issue, little discussed in the scientific production of film studies, interests us in its development since the 30s until the current time. It makes possible to highlight the mechanisms that are at work to represent history in cinema, from Francoism to democracy.The aim of the thesis is to demonstrate the fundamental importance of art direction in the historical film, to identify the ideological implications that underlies and detect the aesthetic characteristics that vary according to eras, styles and intentions of production designers