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Bibliografias temáticas / Angers Cathedral

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Artigos de revistas

Literatura científica selecionada sobre o tema "Angers Cathedral"

Autor: Grafiati

Publicado: 26 de julho de 2024

Última modificação: 27 de julho de 2024

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Artigos de revistas sobre o assunto "Angers Cathedral"

1

Demailly, Sylvie, Paulette Hugon, Marcel Stefanaggi, and Witold Nowik. "The technique of the mural paintings in the choir of Angers Cathedral." Studies in Conservation 43, sup1 (1998): 10–15. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.10.

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2

Bernier, Ronald R., and Rachel Hostetter Smith. "Editors’ Introduction: Christianity and Latin American Art." Religion and the Arts 18, no. 1-2 (2014): 1–4. http://dx.doi.org/10.1163/15685292-01801001.

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‭This brief introduction discusses the need for scholars to turn their attention to the intersections between art and Christianity in Latin America, and traces the origins of this special double-issue of Religion and the Arts to a one-day scholarly symposium entitled “Christianity and Latin American Art: Apprehension, Appropriation, Assimilation.” This symposium was sponsored by the Association of Scholars of Christianity in the History of Art (ASCHA), and held at the Cathedral of Our Lady of the Angels in Los Angeles, California, in February 2012.‬

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3

Stanfield-Mazzi, Maya. "Introduction to Part I: Time and its Transformations from the Old World to the New." Religion and the Arts 18, no. 1-2 (2014): 5–10. http://dx.doi.org/10.1163/15685292-01801002.

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‭The four articles in Part I, Time and its Transformations from the Old World to the New, suggest that as Christianity was transmitted to the New World, this transmission necessitated new ways of conceiving of time and history. The articles thus point to new ways of thinking about the legacy of Christianity in Latin America. They also lead to a re-envisioning of the wider history of the Christian faith, a vision similarly expressed by artist Robert Graham on the doors of the Cathedral of Our Lady of the Angels in Los Angeles.‬

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4

León, Sebastián. ""¡A ver la comeria nueva / que la negla representa!": Villancicos de negros en la Bogotá virreinal." Bulletin of the Comediantes 74, no. 1 (2022): 89–106. http://dx.doi.org/10.1353/boc.2022.a927750.

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Abstract: Sung inside and beyond the confines of cathedrals during the principal religious celebrations, the musical-poetic genre of the villancico took on a special vibrancy in the viceregal city of Santafé (today, Bogotá, Colombia) from the later sixteenth century onward. The singers themselves not only played (sung) the roles of angels and shepherds, but also of others, often adapted from stock comic characters, such as the "Negro" or "Negra" (Black man or woman), found in the widely popular short comic dramas of the Spanish-speaking world. This article studies the manuscript evidence of ho

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5

Gallegos, Matthew E. "Cathedral of Our Lady of the Angels (review)." Catholic Historical Review 92, no. 1 (2006): 149. http://dx.doi.org/10.1353/cat.2006.0092.

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6

JANG Tyson. "Lady of Our the Angels Cathedral: Type as Paradigm." Journal of Korea Intitute of Spatial Design 6, no. 1 (2011): 55–63. http://dx.doi.org/10.35216/kisd.2011.6.1.55.

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7

Cashner, Andrew A. "Imitating Africans, Listening for Angels." Journal of Musicology 38, no. 2 (2021): 141–82. http://dx.doi.org/10.1525/jm.2021.38.2.141.

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Church ensembles of Spaniards across the Spanish Empire regularly impersonated African and other non-Castilian characters in the villancicos they performed in the Christmas Matins liturgy. Although some scholars and performers still mistakenly assume that ethnic villancicos preserve authentic Black or Native voices, and others have critiqued them as Spaniards’ racist caricatures, there have been few studies of the actual music or of specific local contexts. This article analyzes Al establo más dichoso (At the happiest stable), an ensaladilla composed by Juan Gutiérrez de Padilla for Christmas

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8

Ryba, Grażyna. "Interpretacja jako inspiracja? Dekoracja drzwi do kruchty katedry poznańskiej." Artium Quaestiones, no. 26 (September 19, 2018): 171–93. http://dx.doi.org/10.14746/aq.2015.26.8.

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In the southern porch of the Poznań cathedral there is a swinging door etched inbronze and brass, made in 1972. Together with a bronze bas-relief placed above, itwas the most important element of the decoration of the passage from the residenceof Poznań archbishops to the cathedral. Both artworks were made by Ireneusz Daczkoand Bogdan Fijałkowski – graduates of the Poznań Academy of Fine Arts. Theirproject was inspired by Rev. Stefan Tomaszkiewicz, who supervised constructionwork in the cathedral, and Rev. Bolesław Dzierwa, involved in the restoration of thecathedral in Gniezno. Both priests d

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9

Stuard, Susan Mosher, and C. Stephen Jaeger. "The Envy of Angels: Cathedral Schools and Social Ideals in Medieval Europe, 950-1200." American Historical Review 101, no. 2 (1996): 463. http://dx.doi.org/10.2307/2170419.

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10

Radding, Charles M., and C. Stephen Jaeger. "The Envy of Angels: Cathedral Schools and Social Ideals in Medieval Europe, 950-1200." History of Education Quarterly 36, no. 3 (1996): 317. http://dx.doi.org/10.2307/369396.

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