Relevant bibliographies by topics / Mozarabic art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Mozarabic art'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

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Journal articles on the topic "Mozarabic art"

1

Hilsdale, Cecily. "Towards a Social History of Art: Defining "Mozarabic"." Medieval Encounters 5, no. 3 (1999): 272–88. http://dx.doi.org/10.1163/157006799x00088.

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AbstractMedieval Spanish art posed a particular problem for art historians due to the difficulty in reconciling strcmg formal differences between perceived Classicism on the one hand and foreign "Mozarabic" elements on the other. The connotations of such formal designations reveal much about larger perceptions of historical development at the beginning of this century. The term "Mozarabic" in early essays by Meyer Schapiro among others attained its definition solely in opposition to other earlier and later styles. It was understood in a pejorative light as the inferior counterpart to other for
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Reilly, Bernard F. "The Mozarabic Cardinal: The Life and Times of Gonzalo Perez Gudiel (review)." Catholic Historical Review 90, no. 4 (2004): 769–70. http://dx.doi.org/10.1353/cat.2005.0070.

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Pick, Lucy K. "Liturgical Renewal in Two Eleventh-Century Royal Spanish Prayerbooks." Traditio 66 (2011): 27–66. http://dx.doi.org/10.1017/s0362152900001112.

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In recent decades, transformations in medieval Christian liturgical practices have been explored for what they can tell scholars about cultural change. Shifts in ritual can indicate changing values and beliefs as well as mark the power of external influences. One relatively momentous shift in liturgical practice was the decision of Alfonso VI, king of Castilla-León at Burgos in 1076, after years of pressure from Pope Gregory VII, to begin the transition from the use of the Old Spanish liturgy (also called the Mozarabic, Visigothic, or Hispanic rite) within his domain in favor of the Roman litu
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Marshall, Peter K. "Cronica mozarabe de 754. José Eduardo Lopex Pereira." Speculum 60, no. 1 (1985): 173–74. http://dx.doi.org/10.2307/2852164.

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Molénat, Jean-Pierre. "Tolède vue par les chroniqueurs Rodrigo Jiménez de Rada et Pero López de Ayala, rapprochés de leurs prédécesseurs, de langue arabe, latine ou romane." Mélanges de la Casa de Velázquez Tome 44, no. 1 (2014): 179–97. http://dx.doi.org/10.3917/mcv.441.0179.

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Jiménez de Rada et López de Ayala, l’un et l’autre en rapport de manière plus ou moins étroite avec la cité du Tage, rapportent l’histoire de la ville et son organisation après 1085, en y introduisant de notables distorsions. Celles-ci sont difficiles à comprendre autrement qu’en prenant en compte la volonté des auteurs d’effacer certains aspects de l’histoire urbaine, dont le plus notable est la persistante arabisation d’une partie importante, sinon majoritaire, de la population chrétienne de la ville, désignée comme « mozarabe », après sa reprise sur les musulmans et l’exode de la presque to
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Constable, Olivia Remie, and Thomas E. Burman. "Religious Polemic and Intellectual History of the Mozarabs, c. 1050-1200." Journal of the American Oriental Society 116, no. 2 (1996): 316. http://dx.doi.org/10.2307/605742.

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Zorgati, Ragnhild J. "Mozarabs in Medieval and Early Modern Spain: Identities and Influences. Richard Hitchcock." Speculum 84, no. 4 (2009): 1062. http://dx.doi.org/10.1017/s0038713400208518.

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Aillet, Cyrille. "Les mozarabes : christianisme et arabisation dans la péninsule Ibérique entre leixe et le xiie siècle." Mélanges de la Casa de Velázquez, no. 36-2 (November 15, 2006): 331–35. http://dx.doi.org/10.4000/mcv.2557.

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Johnston, Mark D. "Religious Polemic and the Intellectual History of the Mozarabs, c. 1050- 1200.Thomas E. Burman." Speculum 71, no. 2 (1996): 397–99. http://dx.doi.org/10.2307/2865427.

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Fletcher, Richard. "Religious polemic and the intellectual history of the Mozarabs, C 1050–1200. By Thomas E. Burman. (Brill's Studies in Intellectual History, Vol. 52.) pp. xvi, 407. Leiden etc., E.J. Brill, 1994. NLG 165, US $94.50." Journal of the Royal Asiatic Society 7, no. 1 (1997): 131–32. http://dx.doi.org/10.1017/s1356186300008439.

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Dissertations / Theses on the topic "Mozarabic art"

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Tevesz, Maria. "L'arc dans les constructions haut-médiévales des régions nord occidentales du pourtour méditerranéen : étude d'historiographie et d'histoire de l'architecture." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30062/document.

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L’étude présentée ici a pour but d’analyser la manière d’utiliser l’arc outrepassé, en plan et en élévation, et l’arc en retrait sur ses piliers, dans une région et dans un temps pragmatiquement défini du monde méditerranéen particulièrement riche en éléments architecturaux de ce type. L’arc en retrait n’est pas inconnu dans la recherche mais, faute d’identification précise et donc de terminologie adaptée, il a été confondu avec l’arc outrepassé sous des dénominations différentes. Faisant l’objet de diverses théories dans l’historiographie, ces deux types d’arcs ont été utilisés comme argument
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Poole, Kevin Ray. "Visualizing apocalypse image and narration in the tenth-century Gerona Beatus Commentary on the apocalypse /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1153502367.

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Silva, Rocha Jorge Manuel Gomes da. "L'Image dans le Beatus de Lorvão: figuration, composition et visualité dans les enluminures du Commentaire de l'Apocalypse attribué au scriptorium du monastère de São Mamede de Lorvão-1189." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210535.

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L’Apocalypse de Lorvão appartient au cycle des commentaires illustrés de la vision de Jean aujourd’hui connus sous le nom de «Beatus». Ces œuvres d’exégèse, enluminées surtout dans le nord de la péninsule Ibérique pendant l’occupation musulmane, constituent un ensemble pictural à l’identité artistique indéniable. Cependant, le manuscrit copié et illustré dans le scriptorium du monastère de São Mamede de Lorvão en 1189 diverge à plusieurs reprises des options iconographiques des autres codex et les solutions picturales et stylistiques de l’oeuvre portugaise se détachent significativement de cel
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Noack-Haley, Sabine. "Mozarabischer Baudekor /." Mainz am Rhein : P. von Zabern, 1991. http://catalogue.bnf.fr/ark:/12148/cb35743742p.

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Books on the topic "Mozarabic art"

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Sáiz, Javier Sáinz. El arte prerrománico en Castilla y León. Ediciones Lancia, 1995.

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2

Mentré, Mireille. La peinture mozarabe: Un art chrétien hispanique autour de l'an 1000. Desclée de Brouwer, 1995.

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Corso, di cultura sull'arte ravennate e. bizantina (34th 1987 Ravenna Italy). XXXIV corso di cultura sull'arte ravennate e bizantina: Seminario internazionale di studi su "Archeologia e arte nella Spagna tardoromara, visigota e mozarabica", Ravenna, 4-11 aprile 1987. Edizioni del Girasole, 1987.

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Arte y arquitectura en España 500-1200. Catedra, 1994.

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La miniature chrétienne dans l'Espagne des trois cultures: Le Beatus de Gérone. Harmattan, 2008.

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Giannerini, Pierre-Louis. Amour et érotisme dans la sculpture romane. La Louve éditions, 2009.

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Giannerini, Pierre-Louis. Amour et érotisme dans la sculpture romane. presses d'Ipadour [printing], 2000.

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Giannerini, Pierre-Louis. Amour et érotisme dans la sculpture romane. La Louve éditions, 2009.

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9

Ier, Bibliothèque royale Albert, and Europalia (1985 : Brussels, Belgium), eds. Los Beatos: Europalia 85 España, 26 septembre-30 novembre 1985, Chapelle de Nassau, Bibliothèque royale Albert Ier. La Bibliothèque, 1985.

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1936-, Yarza Joaquín, ed. La miniatura medieval en la Península Ibérica. Nausícäa, 2007.

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Book chapters on the topic "Mozarabic art"

1

Tilghman, Benjamin C. "6. The Sign within the Form, the Form without the Sign: Monograms and Pseudo- Monograms as Abstractions in Mozarabic Antiphonaries." In Abstraction in Medieval Art. Amsterdam University Press, 2021. http://dx.doi.org/10.1515/9789048542673-009.

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Hiley, David. "Gregorian Chant and Other Chant Repertories." In Western Plainchant. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198162896.003.0008.

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Abstract In this chapter I shall attempt to summarize the relationship of Gregorian chant to other types of early chant in the West, so that Gregorian chant itself may be understood in a rather broader context than would otherwise be possible. Something of the similarities and differences in liturgy between Roman, Milanese, Old Spanish (Mozarabic), and Gallican uses has been indicated in previous chapters (VI.4-5). Now the musical aspects of this relationship are sketched in.
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Levy, Kenneth. "La Tin Chant Outside the Roman Tradition." In The Early Middle Ages to 1300. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193163294.003.0003.

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Abstract During the centuries before the Carolingian Emperors imposed a single, ostensibly Roman, liturgical and musical usage throughout their domains, the various regions of Western Europe were served by distinctive local plainchant repertories. Four such repertories have come down to us essentially complete: (1) the Frankish-Roman, socalled ‘Gregorian’ chant that was spread during the sixth to eighth centuries from Rome, then during the eighth and ninth centuries from the Frankish centres of liturgical diffusion to become the universal plainchant dialect of the Latin Church; (2) the Urban-Roman or ‘old Roman’ chant, the chant used at Rome itself up to the late twelfth century; (3) the Milanese or ‘Ambrosian’ chant, used in the dioceses of Milanese Lombardy; and (4) the Hispanic, Old Spanish, Visigothic, or ‘Mozarabic’ chant of the Iberian peninsula. Vestiges of some other chant dialects have survived from the Beneventan and Campanian zones of southern Italy as well as from the Abruzzi, Ravenna, and other regions of the Italian centre and north. From outside Italy there are traces of the 'Gallican' chant that was native to the West Frankish kingdom until the later eighth century, and of the 'Celtic' chant that made its way to the Continent with the early Irish missions. If the unifying ideal of the Carolingians had been rigorously carried out, there would be none of the earlier dialects remaining other than the Frankish-Roman. But liturgical traditions die hard, and the European regions held on to certain local usages even after they were nominally expunged.
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Conference papers on the topic "Mozarabic art"

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Navarro‑Gómez, Pere, and Sílvia Veà-Vila. "Multiculturalism and onomastics in the comarcas along the lower course of the river Ebro." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/42.

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This study analyses the names of places and people of diverse origins collected from the documents which outline the territory from the mouth of the river Ebro (running into the sea) in Catalonia, and the adjacent part of the Aragon strip. These place names and anthroponyms are based on Latin onomastics, influenced by the Arabization of the Iberian Peninsula which occurred in the eighth century and the subsequent cultural and linguistic Catalanization. It is possible to observe that the primitive Latin element is evident in names of Mozarabic origin, and that there are many Arab, and some Hebr
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