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Journal articles on the topic 'Spanish Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Neulander, Judith S., Donna Pierce, and Marta Weigle. "Spanish New Mexico: The Spanish Colonial Arts Society Collection." Journal of American Folklore 111, no. 442 (1998): 453. http://dx.doi.org/10.2307/541064.

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2

De Cid, Dolores, and William Flint Smith. "Spanish American Folklore and the Arts." IALLT Journal of Language Learning Technologies 9, no. 4 (January 24, 2019): 7–20. http://dx.doi.org/10.17161/iallt.v9i4.8939.

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3

Salazar, Theresa. "Ansel Adams and Spanish Colonial arts." History of Photography 22, no. 2 (June 1998): 161–68. http://dx.doi.org/10.1080/03087298.1998.10443872.

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4

de las Casas, Walter. "Curriculum Guide for Spanish Native Language Arts." Hispania 70, no. 2 (May 1987): 370. http://dx.doi.org/10.2307/343379.

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5

Ruyter, Nancy Lee Chalfa. "Spanish dance." Dance Chronicle 14, no. 2-3 (January 1991): 234–37. http://dx.doi.org/10.1080/01472529108569069.

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6

Cuadrado-García, Manuel, and Carmen Pérez-Cabañero. "Programming Practices in the Spanish Performing Arts Market." Journal of Euromarketing 17, no. 1 (February 20, 2008): 69–76. http://dx.doi.org/10.1300/j037v17n01_06.

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7

Smith, Paul Julian. "Spanish Cinema Roundup." Film Quarterly 66, no. 1 (2012): 5–8. http://dx.doi.org/10.1525/fq.2012.66.1.5.

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8

Kovacs, Katherine S. "Demarginalizing Spanish film." Quarterly Review of Film and Video 11, no. 4 (December 1989): 73–82. http://dx.doi.org/10.1080/10509209009361328.

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9

Montaner, Josep Maria. "Selected Spanish Projects." Architectural Design 77, no. 5 (2007): 102–9. http://dx.doi.org/10.1002/ad.524.

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10

Díaz, Erin M. "Expanding the Spanish Classroom: The ‘Art’ in Liberal Arts." Hispania 99, no. 3 (2016): 436–48. http://dx.doi.org/10.1353/hpn.2016.0070.

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11

Pelegrín, Marta Albalá, and Esther Fernández. "Introduction: Spanish Classical Theater Across the Arts and Practices." Hispanófila 198, no. 1 (June 2023): 5–10. http://dx.doi.org/10.1353/hsf.2023.a901024.

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12

Baer, Kurt. "Spanish Colonial Art in the California Missions." Americas 18, no. 1 (July 1989): 33–54. http://dx.doi.org/10.2307/979751.

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Art work throughout almost the entire history of the Church has been primarily didactic. Man was taught through the arts of sculpture, painting, mosaic, and stained glass, all that he should know of the creation of the world, the dogmas of religion, the virtues, the hero-saints, and during the middle ages especially, the range of the sciences, the arts and crafts. Thus, in the latter half of the eighteenth century when the Franciscans came to the remote outposts in California, they brought with them the pictures and statues by which the simple and ignorant Indian might learn, through his eyes, much of what he was to know of his new faith. “Through the medium of art the highest conceptions of theologian and scholar penetrated to some extent the minds of even the humblest of the people.”

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13

Thomas, Katherine. "Flamenco and Spanish Dance." Dance Research Journal 34, no. 1 (2002): 98. http://dx.doi.org/10.2307/1478139.

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14

Kinder, Marsha. ": Behind the Spanish Lens: Spanish Cinema under Fascism and Democracy . Peter Besas." Film Quarterly 40, no. 1 (October 1986): 30–36. http://dx.doi.org/10.1525/fq.1986.40.1.04a00080.

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15

LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art." Journal of American Studies 47, no. 2 (April 17, 2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.

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During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.

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16

Barko-Alva, Katherine. "Enseñando en español: The need to support dual language bilingual education teachers' pedagogical language knowledge." Annual Review of Applied Linguistics 42 (March 2022): 18–24. http://dx.doi.org/10.1017/s0267190521000106.

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AbstractDual language bilingual education (DLBE) teachers, depending on the modality of the program, teach content areas (i.e., language arts, science, math, social studies) in a language other than English (LOTE) and English. DLBE teachers, who teach in Spanish, should be supported by school districts in meaningful ways. These districts should be equipped to provide the necessary academic and professional development for the DLBE teachers. This paper explores the increasing need to support DLBE teachers’ metalinguistic awareness as well as pedagogical language knowledge (see Bunch, 2013) in Spanish. Guided by Charmaz’ (2006) constructivist grounded theory, this paper analyzed ten transcribed audio interviews with a single DLBE teacher. Interview data included video-taped classroom observations (i.e., preplanning and postlesson implementation), robust field memos, and student artifacts. Data analysis suggested the need for further clarification as far as the teacher's own pedagogical language knowledge (PLK; Bunch, 2013) in Spanish. However, data also indicated that this particular educator was able to negotiate the linguistic and content demands of teaching language arts in Spanish by seeking multifaceted resources and using the full extent of her linguistic repertoire.

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17

Alvargonzález, David. "The idea of substantive arts." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 1 (July 20, 2021): 135–51. http://dx.doi.org/10.36253/aisthesis-11912.

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The Spanish philosopher Gustavo Bueno coined the expression “substantive arts” to refer to those arts that do not serve any immediate, mundane or practical purpose. In this paper, I briefly present this idea and put forward a definition of the substantive arts as an alternative to those used until now. Starting from the assumption that since the end of the 18th century there has been a set of arts that have their own substantivity, I expound on certain criteria widely used as distinctive features to define the substantive arts. I subsequently put forward an alternative intensional criterion to characterize the substantive arts. To end, I draw some corollaries following from the application of this criterion.

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18

Buse, Peter, Núria Triana-Toribio, and Andrew Willis. "The Spanish ‘popular auteur’." New Cinemas: Journal of Contemporary Film 2, no. 3 (December 1, 2004): 139–48. http://dx.doi.org/10.1386/ncin.2.3.139/1.

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19

Tatspaugh, Patricia E., and Thomas Kyd. "The Spanish Tragedy." Theatre Journal 37, no. 2 (May 1985): 232. http://dx.doi.org/10.2307/3207078.

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20

Salomon, C. R. "The Spanish Connection." Theater 32, no. 2 (January 1, 2002): 80–81. http://dx.doi.org/10.1215/01610775-32-2-80.

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21

Zhdanov, S. S., and I. V. Gauzer. "MYTH-IMAGES OF SPANISH PAINTERS IN WORKS BY P.G. ANTOKOLSKY." Culture and Text, no. 53 (2023): 92–104. http://dx.doi.org/10.37386/2305-4077-2023-2-92-104.

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The paper deals with myth-images of Spanish painters Diego Velazquez and Pablo Picasso in texts by P.G. Antokolsky with regard to relation of these images with the Spanish myth of Russian culture as well as with the tradition of representing the Spanish paintings personosphere in Russian literature. Ambivalence of author’s interpreting the images of painters characterized with some elements of the ‘black legend’ is stated. Relation between the images of the Spanish painters and the motif of immortal arts is determined. The myth-image of Picasso that is highly significant for Antokolsky is also marked with the motif of creator-groundbreaker being a personalization of the XX century.

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22

Das, Bitasta, and Jaime López-Díez. "India and Spain, two cinematic strangers ten years after Zindagi Na Milegi Dobara." Miguel Hernández Communication Journal 13 (July 28, 2022): 429–49. http://dx.doi.org/10.21134/mhjournal.v13i.1471.

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Abstract The aim of this research is to study the relationships between Indian and Spanish film industries. The study focuses on films with the presence of Indian culture in Spanish movies, Spanish culture in Indian movies, the impact of a significant movie in these relationships, Zindagi Na Milegi Dobara, and the success of Indian movies in the Spanish screens. The methodology has been the review of literature on Indian and Spanish films, as well as an analysis of the data offered by the Spanish Institute of Cinematography and Audiovisual Arts. The results show that despite the institutional efforts in both countries, the links remain anecdotical. The relevance of this study is that it shows the contradiction of Indian film industry being one of the biggest in the world, while being mostly unknown, and unexhibited, in Spain.

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23

De España, Rafael. "Images of the Spanish Civil War in Spanish feature films, 1939–1985." Historical Journal of Film, Radio and Television 6, no. 2 (January 1986): 223–36. http://dx.doi.org/10.1080/01439688600260231.

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24

Martínez Sánchez, Santiago. "The Spanish Bishops and Nazism during the Spanish Civil War." Catholic Historical Review 99, no. 3 (2013): 499–530. http://dx.doi.org/10.1353/cat.2013.0171.

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25

London, John. "Twentieth‐Century Spanish stage design." Contemporary Theatre Review 7, no. 3 (January 1998): 25–56. http://dx.doi.org/10.1080/10486809808568465.

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26

Guest, Ivor. "Théophile Gautier on Spanish dancing." Dance Chronicle 10, no. 1 (January 1986): 1–101. http://dx.doi.org/10.1080/01472528608568938.

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27

Kinder, Marsha. "Review: Behind the Spanish Lens: Spanish Cinema under Fascism and Democracy by Peter Besas." Film Quarterly 40, no. 1 (1986): 30–36. http://dx.doi.org/10.2307/1212303.

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28

Alkorta, Itziar. "Spanish Legal Reproscape: The Making of a Bio-Industry." Law, Technology and Humans 3, no. 1 (May 4, 2021): 123–32. http://dx.doi.org/10.5204/lthj.1489.

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Europe accounts for the largest number of assisted reproduction treatments (ARTs) in the world, with 56 percent of the global reproductive market quota, followed by Asia (23 percent) and North America (15 percent). However, Europe’s legal landscape of reproductive bio-commodities is a patchwork of permissive and restrictive countries, one of the main reasons for the transnational movement to access ARTs. Spain is the main destination for European middle- and upper-class couples seeking egg donation. The use of legislation has been a significant feature in making Spain a leading country in the global reproscape. This paper aims to understand the specific role of several undetermined legal concepts used by the Spanish regulation, such as “compensation” or “best interest of the child” in making global reproductive bio-commodities.

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29

Cardullo, Bert. "Spanish and American." Hudson Review 48, no. 3 (1995): 476. http://dx.doi.org/10.2307/3851856.

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30

Canet, Fernando. "Contemporary Spanish Cinema." Hispanic Research Journal 15, no. 1 (February 2014): 1–9. http://dx.doi.org/10.1179/1468273713z.00000000077.

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31

Santos Rovira, José María. "Attitudes to Spanish language variation. A study on Portuguese students of Spanish as a Foreign Language." Language Learning in Higher Education 13, no. 2 (October 1, 2023): 535–50. http://dx.doi.org/10.1515/cercles-2023-2023.

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Abstract Drawing on data collected via a web-based survey, this study investigates the attitudes of SFL (Spanish as a Foreign Language) learners in Portugal towards four Spanish varieties. A verbal guise experiment was designed to collect students’ perceptions of language variation. The sample comprised 196 undergraduate students from the School of Arts and Humanities of the University of Lisbon (Portugal). The results show that Portuguese students of SFL have a clear preference for the Castilian variety, as it obtained the highest rates in all domains (power, personal qualities, and status). Unexpectedly, factors such as participants’ age or sex did not influence the answers given.

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32

Milanich, Jerald T. "Native societies and Spanish empire in the 16th-century American Southeast." Antiquity 66, no. 250 (March 1992): 140–52. http://dx.doi.org/10.1017/s0003598x00081151.

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But from what nation did those ancients derive their origin? How numerous were they? How long did they occupy these regions? When, and by what means, were they exterminated? Would they have lost the well known arts, especially agriculture, pottery and salt making – arts so easy to preserve, and so necessary? And to imagine that the whole people became extinct by pestilence, or some other awful catastrophe, is an extravagant hypothesis, not supported by any precedent in the annals of mankind. M. FISKE (1820: 305, 307)

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33

Kinder, Marsha. "The Spanish oedipal narrative fromRazatoBilbao." Quarterly Review of Film and Video 13, no. 4 (January 1991): 67–94. http://dx.doi.org/10.1080/10509209109361386.

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34

Belbel, María José. "Mother Campin Spanish." American Anthropologist 120, no. 4 (November 15, 2018): 859–61. http://dx.doi.org/10.1111/aman.13129.

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35

Connolly, Kathleen Honora. "Deaf Culture and the Performing Arts in Spain: Rozalén and La Niña de los Cupones." Journal of Gender and Sexuality Studies / Revista de Estudios de Género y Sexualidades 45, no. 1 (May 1, 2019): 73–94. http://dx.doi.org/10.14321/jgendsexustud.45.1.0073.

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Abstract This paper analyzes how singer-songwriter Rozalén, her collaborator Beatriz Romero, and Deaf flamenco performer María Ángeles Narváez (La Niña de los Cupones) create performances that reach both Deaf and hearing audiences. I will consider how these performances can be transformative in building new interpretive frameworks in Spanish society in which to incorporate Deaf language and culture. These frameworks challenge models of disability that pathologize individuals with impairments and expand upon traditional performance practices and aesthetics in order to incorporate Spanish Sign Language.

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36

Edwards, Gwynne. "Theatre Workshop and the Spanish Drama." New Theatre Quarterly 23, no. 4 (November 2007): 304–16. http://dx.doi.org/10.1017/s0266464x0700022x.

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In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practitioners, sought to integrate the elements of speech, stage design, movement, music, and lighting into a harmonious whole. Indeed, even though Lorca and Littlewood worked independently of each other, their ideas on the nature and function of theatre were very similar, while Lorca's touring company, La Barraca, employed methods very close to those of Theatre Union and Theatre Workshop. Gwynne Edwards was until recently Professor of Spanish at the University of Wales, Aberystwyth, and is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca have been published by Methuen Drama, as well as translations of seventeenth-century Spanish and modern Latin American plays. Many of these have also had professional productions.

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37

Gutiérrez-García, Carlos, Ander Jiménez-Landazuri, María Teresa Gómez-Alonso, and Eugenio Izquierdo. "Martial arts and combat sports in the Spanish No-Do newsreels." Revista de Artes Marciales Asiáticas 11, no. 2s (September 29, 2016): 108. http://dx.doi.org/10.18002/rama.v11i2s.4195.

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38

Bailey, Gauvin Alexander. "Ambivalent Identities: Catholicism, the Arts, and Religious Foundations in Spanish America." Latin American Research Review 48, no. 1 (2013): 191–204. http://dx.doi.org/10.1353/lar.2013.0010.

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39

Schon, Isabel. "Stimulating an Appreciation of the Arts through Noteworthy Books in Spanish." Childhood Education 73, no. 6 (September 1997): 372–74. http://dx.doi.org/10.1080/00094056.1997.10521142.

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40

Beck, Lauren, and Alena Robin. "Latin American Art, Visual and Material Culture in the Long Eighteenth Century: An Introduction." Arts 10, no. 4 (November 12, 2021): 76. http://dx.doi.org/10.3390/arts10040076.

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The temporal frame of this Special Issue of Arts—the long eighteenth century—comprises a complex period of development in the Spanish colonies of Latin America that reverberates throughout the region’s visual culture [...]

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41

Tippey, Brett. "‘Genuine Invariants’: The Origins of Regional Modernity in Twentieth-Century Spain." Architectural History 56 (2013): 299–342. http://dx.doi.org/10.1017/s0066622x00002525.

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During the decades that followed the loss in 1898 of Spain's last colony, Spanish architecture languished in a turbulent search for identity. In this search, some architects argued for a return to the historic architecture of the Spanish colonial empire, while others followed the progressive ideas of the Congrès Internationaux d'Architecture Moderne (CIAM). Finally, in the mid-1940s, Spain's architects began to progress towards a successful reconciliation of these two seemingly opposed camps. A critical moment occurred in 1947 with the publication of Fernando Chueca Goitia's watershed textInvariantes Castizos de la Arquitectura Española (Genuine Invariants of Spanish Architecture).In this text, which Chueca conceived as a pocket reference for Spain's Modern architects, he described Spain as a unique place where the diverse architecture of Christian Europe and Islamic North Africa coalesced into a new — and essentially Spanish — whole. In it, he called on Spain's architects to move beyond superficial considerations of both history and modernity, and to arrive at a genuine, self-critical identity for Spanish architecture.

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42

D'Lugo, Marvin. ": Spanish Film under Franco . Virginia Higginbotham." Film Quarterly 42, no. 3 (April 1989): 56–58. http://dx.doi.org/10.1525/fq.1989.42.3.04a00160.

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43

Saumell, Mercè, Jill Pythian, and Maria M. Delgado. "Performance groups in contemporary Spanish theatre." Contemporary Theatre Review 7, no. 4 (January 1998): 1–30. http://dx.doi.org/10.1080/10486809808568478.

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44

Fernandez-Galiano, Luis. "Spanish Architecture: A Family Portrait." Journal of Architectural Education (1984-) 45, no. 4 (July 1992): 235. http://dx.doi.org/10.2307/1425191.

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45

Boon, Jessica A. "Transactional Economy in Spanish Mysticism." Material Religion 11, no. 3 (July 3, 2015): 395–97. http://dx.doi.org/10.1080/17432200.2015.1082726.

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46

Fouz-Hernández, Santiago. "100 Years of Spanish Cinema." Historical Journal of Film, Radio and Television 30, no. 3 (September 2010): 450–52. http://dx.doi.org/10.1080/01439685.2010.509969.

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47

Kotenko, V. "THE PICASSO OF OUR FOOTBALL: REALIZATION OF INTERDISCURSIVITY THROUGH ARTISTIC MODALITIES IN THE SPANISH DISCOURSE OF FOOTBALL." Writings in Romance-Germanic Philology, no. 1(48) (July 5, 2022): 149–62. http://dx.doi.org/10.18524/2307-4604.2022.1(48).259825.

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The purpose of this article is to illustrate the implementation of areas of interdiscursivity of the Spanish-language football discourse through the perspective of the categories of arts. The study is empirical and aims to trace the tendency to interdiscursivity, which is embodied through metaphors in the period of 2012-2021. By its nature, sports football discourse is an open and subjective construct, which is also characterized by an obvious social nature and carries on itself a sign of the society in which it functions. The study of this phenomenon requires an interdisciplinary approach, which is implemented in a constant dialogue with other discourses. The article presents a number of examples from the press (Marca, As, Mundo Deportivo, Sport, El País, El Mundo, rtve.es) and books on football, which demonstrate an open nature of the Spanish-language football discourse and the implementation of interdiscourse in field of arts in general (the game as a work of art, as crafts), and its specific fields. In particular, we trace the involvement of painting and fine arts, famous artists, literature (epic, poetry, ode, myth, allusions to famous works), theater and cinema. Special attention should be paid to the Spanish picaresque, music in the broadest sense, including ballet and dance, music groups, Spanish cultural realities (flamenco, Spain as a country of autonomies, national literature and gastronomy, holidays, the world of bullfighting). The pragmatic function of such markers in football articles is to verbalize a vivid picture of a sports event on paper, increase the drama of victory or defeat, celebrate the victory of the winners or criticize their behavior or actions, which in turn becomes possible due to the adjacency of sports football discourse with an artistic one.

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48

Auslander, Lisa, and Maggie Beiting-Parrish. "Cultivating a Culture of Bilingualism: Evaluating a Home Language Arts Curriculum for SIFE." Languages 6, no. 4 (October 15, 2021): 170. http://dx.doi.org/10.3390/languages6040170.

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This study is a mixed-methods exploratory study of a Spanish Home Language Arts (HLA) pilot curriculum designed for Students with Interrupted Education (SIFE) as it was implemented across six different schools in New York State during the 2019–2020 school year before the onset of COVID-19. The focus of the study was to observe whether the HLA curriculum improved teacher practice in the increased use of the gradual release of responsibility and the curriculum-prescribed protocols. Another goal was to examine whether the use of the curriculum helped to improve student writing and bilingual literacy. A final goal of the study was to survey teachers on their perceptions of the curriculum, especially in how the lesson design fostered student engagement and collaboration with others. The results of the internal evaluation showed that the teachers improved in their practice, especially in the areas of gradual release and increased student time on task. The students were able to develop specific text analysis and writing skills using instructional protocols used in the home language and in English that were transferable across classroom contexts. In addition, the lessons encouraged students to leverage literacy skills and background knowledge in Spanish as a way to support learning new skills in both Spanish and English. Finally, the study showed that the use of the curriculum increased student engagement and collaboration in the classroom.

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49

Keown, Dominic. "Book Reviews : Spanish Studies." Journal of European Studies 30, no. 118 (June 2000): 249–50. http://dx.doi.org/10.1177/004724410003011820.

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50

Smith, Paul Julian. "Book Reviews : Spanish Studies." Journal of European Studies 30, no. 120 (December 2000): 446–48. http://dx.doi.org/10.1177/004724410003012029.

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