Добірка наукової літератури з теми "Francisco (1617?-1698?)"

En este trabajo se analizan los años iniciales del sacerdote Francisco Otal en las arquidiócesis de Lima y La Plata. Su carrera eclesiástica, que lo condujo de doctrinero en San Francisco de Chiuchiu hasta racionero de la catedral de La Plata, estuvo precedida por una trayectoria como músico y cantor, facilitada por la fuerza interpretativa de su registro como capón tiple. Fue precisamente este "oficio de ángeles" en que acercó a Francisco Otal tanto a las capillas catedralicias de Lima y La Plata como a los prelados y miembros de los cabildos eclesiásticos. Ahora bien, su primer nombramiento en Lima, en 1613, estuvo muy cercano y coincidió con los años iniciales del proceso de extirpación de idolatrías. Francisco Otal conoció a sus principales protagonistas, entre ellos al arzobispo Bartolomé Lobo Guerrero y a otras autoridades eclesiásticas, diáconos y extirpadores de terreno como Francisco de Ávila, que seguramente le predicaron esta forma de evangelización que se movía de la persuasión a la compulsión. A Francisco de Ávila lo volvería a encontrar en La Plata, en 1618, al igual que a los discursos de extirpación de idolatría que incorporó el primer sínodo platense (1619-1690). Estas experiencias estuvieron en la base de su actividad de extirpación en Atacama y también le permitieron definir nuevas estrategias de posicionamiento en el interior de las redes eclesiásticas de La Plata. Abstract This paper analyzes the early years of the priest Francisco Otal in the Archdiocese of Lima and La Plata. His ecclesiastical career, which led him to doctrinero in San Francisco de Chiuchiu to racionero of the Cathedral of La Plata, was preceded by a career as a musician and singer, helped by the interpretative strength og his record as tiple capon. It was this «officio of angels» which approached to Francisco de Otal to both the cathedral chapels of Lima and La Plata as to the prelates and members of church councils. As a consequence, his first appointment in Lima, in 1613, was very close and coincided with the early years of the process of extirpation of idolatry. Francisco Otal met its main protagonists, including the Archbishop Bartolomé Lobo Guerrero and other ecclesiastical authorities, deacons and field ground as Francisco de Avila that will surely preached this form of evangelization moving from persuasion to compulsion. Francisco de Avila met him agin in La Plata, in 1618, as well as speeches rejecting of idolatry which incorporated the first platense synod (1619-1690). Both experiences were the basis for its activity in Atacama rejecting and also allowed him to define new strategies for positioning himself within church networks of La Plata.

Presentamos uno de los episodios totalmente desconocidos de la Capilla Real de Granada durante parte del siglo XVII. Se trata de la conversión del espejo-custodia de la reina Isabel en relicario para un supuesto clavo de la cruz de Cristo, en contra del parecer de los capellanes reales, quienes lucharán para que retornara a ostensorio, sin marginar el clavo para el que encargarán un busto de Ecce Homo a Pedro de Mena (1628-1688). El artista, según lo hasta ahora conocido, al irse a Málaga, en 1658, no lo había hecho, realizándolo Bernardo Francisco de Mora (1614-1684).

Francisco Gómez de Sandoval y Rojas (1553-1625), V marqués de Dénia y I duque de Lerma, emprendió una importante transformación de su palacio valenciano de Dénia desde no mucho antes de 1611 y hasta los comienzos de los años 20 del siglo XVII. Las reformas constructivas y las labores de equipamiento de la casa, que se intensificaron entre 1616 y 1618, estuvieron destinadas a dar alojamiento digno al rey Felipe III en la frustrada visita real a Dénia para la celebración de Cortes del Reino de València. Así, a partir de una vista desconocida de Dénia y documentación de archivo inédita pretendemos redefinir las cronologías de unas arquitecturas prácticamente desaparecidas y poco estudiadas, reconstruir los espacios que las conformaban y determinar la sistematización de bienes que se custodiaron en su interior y exterior.

One of the most extraordinary stories to have survived from seventeenthcentury county Clare is that of Dermot McBruodin, the so-called ‘mad friar’ of Ennis. This story has received the attention of antiquaries and historians and has come down to us primarily in translated excerpts from the original Latin text. This article provides an account of the life and ministry of the Clare-born Franciscan friar, Dermot McBruodin, who returned to Ireland from studies in Spain in 1575. The author of this life was a kinsman and confrère who published it as part of a larger work in 1669. Presented here is a full translation of the life of Dermot McBruodin which details his arrest, trial and acquittal in 1603, along with a contextualisation of his life and activities. Also presented is a discussion about the author’s motivation for recording McBruodin’s life, which was written some 50 years after the friar’s death.

The San Francisco Bay Area Rapid Transit District (BART) recently revised the techniques it uses to collect data on qualitative areas of performance that are difficult to measure, such as station cleanliness, train cleanliness, graffiti removal, and restroom cleanliness. This paper documents the methodological changes implemented by BART and compares the accuracy of the new and the old techniques. Empirical evidence is presented demonstrating that the new data collection methods yield more reliable and objective statistics than the old system of measurement. Findings from this study suggest that reliable measurement of qualitative areas is possible. When carefully collected, these kinds of measurements can become an important component of an organization’s overall strategy to monitor and improve service quality.

Drawing on the ideas of Gérard Genette, this article argues for the value of reading translations as “hypertexts,” or as works grafted onto earlier texts (“hypotexts”), on the basis of the intriguing case study of The Admirable Life of the Holy Virgin S. Catharine of Bologna (1621), translated by Catherine Magdalen Evelyn of the Gravelines Poor Clares. Little-known today despite Evelyn’s importance as the most prolific female translator of the early Stuart period, this publication sublimates the voice of the translator through its laconic paratextual materials and its misattribution of Evelyn’s work to another nun. In spite of this carefully engineered authorial opacity, the stakes of Evelyn’s translation become clearer when it is read as part of a hypertextual system of Franciscan writings published in English, French, Italian, and Portuguese over the course of the sixteenth and seventeenth centuries. An analysis of how her text is grafted onto this series of hypotexts through bibliography, intertextuality, and translation results in a detailed, albeit speculative, account of Evelyn’s motivations for reading, translating, and publishing The Admirable Life. This seemingly modest publication is thus revealed as a rich hypertext that participated in a wider European project to chronicle the history of the Franciscan order. A concluding discussion of hypertextuality in early modern England briefly gestures more broadly toward the relevance of this method for studies of Renaissance literature.

Resumen Este artículo indaga por las variantes introducidas por Francisco de Quevedo en dos sonetos del Heráclito cristiano (1613), los famosos salmos XVII y XIX, cuyas versiones finales aparecen en la musa Polimnia de El Parnaso español (1648). Con el análisis comparativo de las incidencias temáticas, estilísticas y estructurales de las variantes, se concluye la existencia de un criterio estético común en los movimientos operados por el poeta. Con ello, se detalla por qué las variantes aportan una mejoría de ciertas directrices expresivas ya presentes en las versiones primigenias.

The rationale behind the current research and development of interface standards for the public transit industry is explored. Recent efforts to define an information systems architecture for public transit have not sufficiently discussed the underlying need for information system standards and what impacts these standards might have on the transit industry as well as on vendors. Both advantages and disadvantages to the development of these standards are identified. For public transit agencies, there appears to be a well-reasoned yet unsupported belief that interface standards will be beneficial for systems integration. To explore the impacts for vendors, a survey was developed and fielded to learn about the characteristics of products and vendor attitudes toward interface standards. The results, though not conclusive, suggest that vendors are willing to consider standards; however, needed product customization and more comprehensive systems are important factors weighing against open interface standards. Also reported are three case studies of recent technology applications in the San Francisco Bay Area in which experiences with technical system design and systems integration are described. These case studies strongly suggest that key factors such as market timing, vendor-agency communication, and “learning by doing” affect the development of interface requirements and standards for the transit industry.

Francisco Santos est un modeste soldat de la garde du roi d’Espagne. Il a quarante ans lorsque son premier roman, « Día y noche de Madrid », est édité dans la capitale de l’empire catholique. Acteur et témoin de la vie des madrilènes de condition inférieure, sous Philippe IV et Charles II de Habsbourg, il publie dix-sept titres, de 1663 à 1697. Certains de ces textes sont réédités, des volumes sont exportés. Dans ses fictions, Santos combine la narration en prose, la poésie et le théâtre ; il critique et satirise les mœurs de ses contemporains, selon une morale pieuse contre-réformiste. Sans formation académique mais nourri par la lecture des grands noms de la littérature espagnole, cet autodidacte parvient à construire une carrière professionnelle d’écrivain à succès. L’enquête que propose cette thèse met ainsi en lumière le paradoxe d’une société d’Ancien Régime qui, arrivée au crépuscule de son Siècle d’Or, permet à l’un de ses sujets les plus humbles de devenir un auteur fécond, miroir de son époque et reflet d’un patrimoine littéraire partagé par ses lecteurs. Grâce aux outils de la sociologie de la littérature, ce travail explore le tissu social, les sphères culturelles, politiques et religieuses, ainsi que les débats qui agitent l’Espagne au temps des derniers souverains de la Maison d’Autriche. Dans quelle mesure sa naissance à Madrid, son réseau de sociabilité composé de soldats et d’officiers, d’amis et de soutiens appartenant à l’Église et à la petite noblesse, influencent-ils son écriture ? Tente-t-il d’élaborer une ligne éditoriale avec ses libraires et ses imprimeurs ? Le vide de créativité de la fiction narrative en prose oriente-t-il ses choix formels et thématiques ? Courageux et opiniâtre, Santos met à profit son talent de narrateur et sa sensibilité, pour susciter l’imaginaire du lecteur. Il s’approprie et il combine les expérimentations et les innovations de ses prédécesseurs. Quelle source d’inspiration et d’emprunts constituent, pour lui, Alemán, Cervantès, Lope de Vega, Quevedo, Saavedra Fajardo, Salas Barbadillo, Pérez de Montalbán, Castillo Solórzano, Vélez de Guevara, Zabaleta, Gracián et Calderón ? Qu’emprunte-t-il aussi à la satire populaire et littéraire, aux écrits religieux, à la prédication dévote, à l’iconographie sacrée, à la littérature d’emblèmes et aux récits d’évènements ? Attentif aux débats qui agitent la société de son temps, Santos nourrit sa littérature de dévotions en vogue ‒ cultes des saints, des anges, des âmes du purgatoire ‒, il contribue spontanément à l’exaltation de la « pietas austriaca » ‒ tout particulièrement l’Immaculée Conception, la Sainte Eucharistie et la Sainte Croix ‒ ; il multiplie dans ses textes les appels à la charité et à l’ordre morale, les réflexions sur le coût de la vie, sur les tentatives de réformes opérées par la Monarchie. Pauvre, il représente les miséreux avec dignité. Santos connaît une réussite commerciale non négligeable, de son vivant et jusqu’au XIXe siècle, en Espagne et à l’étranger. Il inspire Lesage, Torres Villarroel et Lizardi. Depuis le XXe siècle, il intéresse divers bibliographes et spécialistes de la littérature, qui voient dans sa production une expression précoce du costumbrisme ou encore un épiphénomène de la picaresque. Aussi, des études fragmentaires et des éditions critiques ponctuelles ont été publiées. En 2017, García Santo-Tomás signale l’absence d’un travail global et approfondi sur Francisco Santos et son œuvre. La présente thèse y remédie, en apportant un éclairage nouveau et complet sur les enjeux sociaux, éditoriaux, politiques, économiques et religieux auxquels se confronte un humble espagnol, pour construire une carrière d’écrivain professionnel, dans le dernier tiers du XVIIe siècle. Cette étude contribue ainsi à affiner les connaissances sur la société espagnole, la fiction narrative en prose, sa matérialité, et l’historiographie de l’Espagne
Francisco Santos was a modest soldier in the Spanish king's guard. He was forty years old when his first novel, "Día y noche de Madrid", was published in the capital of the Catholic empire. As an actor and a witness to the life of the lower classes in Madrid under Philip IV and Charles II of Habsburg, he published seventeen fiction works between 1663 and 1697. Some of these texts were republished, and volumes were exported. In his production, Santos combined prose narrative, poetry and drama; he criticized and satirized the morals of his contemporaries, according to a pious counter-reformist moral. With no academic training but nourished by reading the great names of Spanish literature, this self-taught man managed to build a successful professional career as a writer. The investigation proposed in this thesis thus highlights the paradox of an Ancien Régime society which, having reached the twilight of its Golden Age, allows one of its humblest subjects to become a fruitful author, a mirror of his time and a reflection of a literary heritage shared by his readers. Using the tools of the sociology of literature, this work explores the social fabric, the cultural, political and religious spheres, as well as the debates that agitated Spain at the time of the last sovereigns of the House of Austria. To what extent did his birth in Madrid, his social network of soldiers and officers, friends and supporters from the Church and the lower nobility, influence his writing? Did he attempt to develop an editorial line with his booksellers and printers? Did the creative vacuum of narrative prose fiction guide his formal and thematic choices? Courageous and stubborn, Santos used his talent as a narrator and his sensitivity to arouse the reader's imagination. He appropriated and combined the experiments and innovations of his predecessors. What sources of inspiration and borrowings did he draw from Alemán, Cervantes, Lope de Vega, Quevedo, Saavedra Fajardo, Salas Barbadillo, Pérez de Montalbán, Castillo Solórzano, Vélez de Guevara, Zabaleta, Gracián and Calderón? What else did he borrow from popular and literary satire, from religious writings, from devout preaching, from sacred iconography, from literature of emblems and from accounts of events? Attentive to the debates that agitated the society of his time, Santos filled his fiction works with devotions in vogue - cults of saints, angels, souls in purgatory -; he spontaneously contributed to the exaltation of the "pietas austriaca" - especially the Immaculate Conception, the Holy Eucharist and the Holy Cross -; he multiplied in his texts the appeals to charity and moral order, the reflections on the cost of living, on the attempts at reform made by the Monarchy. Poor, he showed poverty with dignity.Santos enjoyed considerable commercial success during his lifetime and into the 19th century, both in Spain and abroad. He inspired Lesage, Torres Villarroel and Lizardi. Since the twentieth century, he has been of interest to various bibliographers and literary specialists, who see his production as an early expression of costumbrism or as an epiphenomenon of the picaresque. In this regard, fragmentary studies and occasional critical editions have been published. In 2017, García Santo-Tomás pointed out the absence of a global and in-depth work on Francisco Santos and his work. The present thesis remedies this, shedding new and comprehensive light on the social, editorial, political, economic and religious issues that a humble Spaniard faced in building a career as a professional writer in the last third of the 17th century. This study thus contributes to refining knowledge about Spanish society, narrative prose fiction, its materiality, and the historiography of Spain

Le De pictura ueterum (1694) est l'ouvrage paradoxal d'un humaniste d’Europe du nord : cette histoire de la peinture antique écrite à l'usage des modernes ne mentionne aucune œuvre mais se fonde sur la rhétorique et la philosophie antiques. Après avoir situé l'auteur et l'œuvre dans leur contexte, nous proposons une traduction, accompagnée de notes qui mettent en évidence les sources du texte. Notre commentaire dégage la théorie propre à l'auteur : pédagogie de l'art inspirée de la rhétorique antique (Cicéron, Quintilien), théorie de l'imagination et de la mimesis (statut de l'image), théorie du langage pictural (comparaison entre la peinture, la poésie, la rhétorique), pédagogie de la contemplation (effets de la peinture sur le spectateur; le regard critique). Nous aboutissons à la conclusion que ce traité qui nourrira la réflexion esthétique classique est à la charnière entre le baroque et le classicisme; il propose un langage pictural qui mêle le jaillissement et la stylisation formelle; il propose une esthétique synthétique qui trouve ses sources dans l'aristotélisme, le stoïcisme et surtout le néo-platonisme
The De pictura ueterum (1694) is the paradoxical book of a northern-European humanist: this history of painting written for the moderns' sake makes no mention of real masterpiece, but quotes rhetorical and philosophical treatises of antiquity. This study has three parts: a biography of the author and a study of the genesis of the book; a translation in French, with notes that emphasize the antique sources and a commentary. This commentary shows what the specific theory of the book is: a pedagogy of art that comes from antique rhetoric (Cicero, Quintilian), a theory of imagination and mimesis (statute of image), a theory of pictorial language (comparison between picture, poetry, and discourse), a pedagogy of artistic contemplation (effects of picture on the spectator; critical point of view). This tract that will be very influential on classical esthetics is to be located at the crossing of baroque and classicism: it proposes a pictorial language full of movement, but also stylized, a synthetical esthetic mainly neoplatonistic

Le Traître puni et Don Félix de Mendoce, traductions de 1700, Le Point d’honneur et Don César Ursin, adaptations de 1702 et 1707, constituent le premier corpus signifiant de l’œuvre de Lesage. En se penchant au début du XVIIIe s. Sur des comedias du Siècle d’Or, une de Lope de Vega (Guardar y guardarse), une de Calderón (Peor está que estaba), deux de Rojas Zorrilla (La traición busca el castigo, No hay amigo para amigo), Lesage ne commet pas d’erreur d’appréciation : il choisit lucidement un genre désuet pour se livrer à une entreprise ambitieuse de rénovation de la scène française, qu’autoriserait l’alliance raisonnée des réussites française et espagnole. Né d’un projet didactique, clairement exprimé dans la préface de 1700, ce théâtre reste avant tout celui d’un praticien, attentif à l’évolution des goûts du public et des formes littéraires, qui se forge une technique d’adaptation dans la pratique. La confrontation des éditions de 1700 et 1739, la découverte et l’exploitation de manuscrits inédits, du premier Point d’honneur à L’Arbitre des différends, matérialisent les retours successifs sur un texte déjà second, en vue d’une accommodation aux diverses scènes concurrentes de l’époque. Palimpseste par nature et vocation, l’écriture, toujours ludique chez Lesage, est aussi, essentiellement, critique. Soumettant toute influence à un examen systématique, elle s’en nourrit pour affirmer son originalité, choisit d’explorer des pistes, en refuse d’autres. L’hommage s’y fait de façon détournée, empruntant volontiers la voie de la parodie. L’édition de ce premier théâtre invite à découvrir des textes oubliés pour pénétrer plus avant dans la connaissance de Lesage
Le Traître Puni and Don Félix de Mendoce, in their translated versions of 1700, and Le Point d’Honneur and Don Cesar Ursin, in their adaptations of 1702 and 1707, constitute the first significant corpus of Lesage’s works. By focusing his study in the early 1700’s on the comedias of the Golden Century (Lope de Vega’s Guardar y Guardarse, Calderón’s Peor Está Que Estaba, and Rojas Zorilla’s La Traición Busca El Castigo and No Hay Amigo Para Amigo), Lesage’s choice is quite deliberate. He lucidly selects an outmoded genre to better seat his ambitious enterprise of renewal of French theatre based on a well-reasoned synthesis of French and Spanish successes. Finding its roots in a didactic project that he clearly expresses in the preface of 1700, this theatre remains above all that of a practitioner in tune with the evolution of public taste and litterary forms, who builds his adaptation technique through practice. The collation of the 1700 and 1739 editions, the discovery and exploitation of unpublished manuscripts – from the first Point d’Honneur to L’Arbitre des différends, bring forth the successive returns to an already secondhand text, to better adapt to the different competing theatres of the time. Palimpsest in nature and vocation, Lesage’s writing, always playful in style, is also essentially critic. Every influence is systematically examined, dissected: directions are explored, others shunned, leading to a solidly original style. Hommage is paid rather obliquely, often willfully playing with parody. The publication of this first theatre invites the reader to discover forgotten texts, towards a deeper understanding of Lesage

Le mythe de la Toison d'or est le récit d'une aventure maritime jusqu'au bout du monde pour y rapporter un emblème de royauté. Chassé par un oncle usurpateur, Jason triomphe des épreuves qui lui sont imposées grâce à l'amour de la magicienne Médée. Tamis des orpailleurs, trésor caché, parchemin sacré, constellation ou Saint-Graal, le bélier volant qui sauva Hellé et Phryxos de la noyade a été l’objet de nombreuses interprétations.En 1430, le duc de Bourgogne, Philippe le Bon, fonde l'ordre de la Toison d'or pour fédérer les princes de la chrétienté. À l'issue de la cérémonie d'intronisation, un collier est remis au nouveau chevalier. Pourtant, l'évêque de Chalon se récrie face au choix de ce héros parjure, et l'on décide de lui adjoindre Gédéon, dont les brebis s'étaient couvertes de rosée mariale, en signe de la victoire prochaine sur les mécréants.Par le jeu des alliances matrimoniales, le titre de Souverain de l'ordre échoit à Charles Quint qui ajoute à ses armoiries le « Plus Oultre ». Lors de la bataille de Lépante, en 1571, la Galera Real Argo proclame, à coups de décorations, fresques, statues et devises, le projet de la monarchie catholique de terrasser le dragon qui s'est emparé des territoires chrétiens, assimilés au mouton doré du mythe.Quand la saga des Argonautes arrive sur les planches du théâtre auriséculaire, elle jouit d'un immense avantage. Le héros est connu dans son aspect le plus lumineux et le traitement bourguignon alimente la résistance face aux hérétiques de toutes sortes.Si le mythe se prête aux innovations les plus spectaculaires et relaie les valeurs de la monarchie, il entretient une singulière relation avec la politique menée par ses princes, tandis que les guerres laissent attendre l'âge d'or tant espéré, que la dette se creuse, que la cour mène un train de vie dispendieux et que la corruption gagne progressivement toute la société.Avec l'Art Nouveau de faire des comédies, Lope de Vega ouvre une brèche qui permet de voir derrière les ors et les fastes de la cour la lente désagrégation de la monarchie
The story of Jason is a most ancient myth and survives in various forms. A more widespread interpretation relates the myth of the fleece to a method of washing gold from streams. More often, the Golden Fleece represents royal power, the spring-hero or a book on alchemy. According to Apollonius of Rhodes, a flying golden ram rescued Phrixus and Helle as their stepmother wantedto kill them. Phrixus safely reached Colchis where he sacrificed the ram and gave its skin to Aetes. Meanwhile, Pelias had usurped the throne of Eson and as his son reclaimed it, sent him to fetch the Golden Fleece. Jason assembled a remarkable group of heroes on board the Argo. At Colchis, the witch Medea helped Jason to complete the mortal tasks. Upon returning, she plotted the death of Jason's uncle, so both took refuge with their children in Corinth. There, the hero betrayed her as he fell in love with Creusa. The witch got rid of this rival, burnt the palace and slaughtered their chidren.In 1430, the Duke of Burgundy founded the Order of the Golden Fleece. As a shield, a sheepskin was suspended from a jeweled collar of firesteel linked by flints. But the choice of Jason caused controversy, so Bishop of Chalon linked it to the fleece of Gideon. As part of the Burgundian inheritance, the Order was a welcomed instrument to the ambitious Habsburgs to strengthen the bonds and Charles V added as a motto « Plus Oultre ».Performances of the Spanish Golden Age Theater were used to develop the ideology of the Catholic Monarchy. When Lope de Vega published el “Arte nuevo”, he introduced the tradition of the « Mirror for Prince » giving opportunity to express one's point of view, despite the censure

Autora de una sola comedia, hasta donde sabemos, Leonor de la Cueva y Silva tuvo una vida que ocupó casi todo el siglo XVII (1611-1705). Mujer longeva, que ya escribía en 1628 un soneto epitafio a su tío, Francisco de la Cueva (ca. 1550-1628), todavía en 1689 compuso varios poemas a la muerte de la reina María Luisa de Orléans, esposa de Carlos II. Una vida, por lo que puede apreciarse, casi coincidente en el tiempo con la de Calderón de la Barca (1600-1681). Sin embargo, su obra se ha solido relacionar con la producción de Lope de Vega.

Chapter 6 turns to Philemon Holland’s (1552–1637) enormous Romane Historie (1600), the first full-scale translation of Livy into English, completed in the final years of the sixteenth century. This chapter examines the use to which Francis Nethersole (bap. 1587, d. 1659) put Holland’s Tudor translation at the height of the English Civil War. Nethersole’s appeal to Livy in 1648 formed part of an ever-intensifying engagement with the AUC in the mid-seventeenth century. Nethersole harnessed sections from Books 8 and 9 of the AUC to a contemporary debate among the Parliamentarians concerning the punishment of Delinquents. These selections from Holland’s Livy are located in the wider context of the intense engagement with Livy’s history in the mid-seventeenth century, from Leveller pamphlets celebrating the expulsion of kings to royalist defences of absolute monarchy. With his account of Rome’s transition from monarchy to a consular republic, Livy was readily exploited in debates concerning the government and constitution of England, serving as one of the most prominent authorities of political thought during the English Civil War.