Papers by Revista Eviterna - Universidad de Málaga
Revista Eviterna, 2022
Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi... more Resumen: A nadie escapa cómo el estatus de celebridad de la pintora barroca Artemisia Gentileschi (Roma, 1593-Nápoles, 1653) ha alcanzado una altura que supera, si no eclipsa, la fortuna crítica que alcanzó en vida. Metamorfoseada en 'heroína caravaggesca' y referente feminista desde los años setenta del siglo XX, ha sido objeto de una proliferación de análisis y estudios realizados desde ópticas y soportes diferentes. La violación perpetrada por parte de su maestro Agostino Tassi es definida como evento causal de su vida y obra y concentra buena parte de los focos que ciegan la mirada última sobre la artista más allá del mito. Si bien ninguna de las 'ficciones de Artemisia' prescinde por completo de material fáctico de la vida de la pintora, todas dan mayor valor a la construcción de un sujeto dramático cuya existencia se estructura como una narrativa. Con el telón de fondo del barroco italiano, Artemisia (Agnès Merlet, Francia/Italia, 1997) combina las convenciones narrativas del Künstlerroman o novela de artista, la monografía y la autobiografía ficticia para ofrecer un ejemplo particular, y cuanto menos polémico, del género del biopic. La sinopsis de Artemisia orbita en torno a la lucha de su protagonista por lograr el éxito como pintora pese a las flagrantes desigualdades que sufre en virtud de su sexo al mismo tiempo que experimenta su despertar sexual.
EVITERNA, REVISTA DE HUMANIDADES, ARTE Y CULTURA INDEPENDIENTE, 2018
RESUMEN: Partiendo del mito de Apolo, el mito de Dioniso y los atributos estéticos con que Nietzs... more RESUMEN: Partiendo del mito de Apolo, el mito de Dioniso y los atributos estéticos con que Nietzsche dotó a dichas deidades en El nacimiento de la tragedia, se han encontrado correspondencias entre lo apolíneo y lo dionisiaco, el ánima y ánimus jungianos, y el yin y el yang del Tao Te Ching. Lo apolíneo/dinisiaco, ánima/ánimus y yin/yang, desde sus puntos de nexo, funcionarán como atributos estéticos con el fin de llegar a una mejor comprensión psico-estética y metafísica de la figura del artista y su obra de arte.
PALABRAS CLAVE: Teoría del arte, comprensión Artista y obra de arte, Unión de disciplinas, Estética, Metafísica, Jung.
ABSTRACT: Starting from the myths of Apollo and Dionysius and the aesthetic attributes of Nietzsche, given to the deities in the The Birth of Tragedy, some connections were found between the Apollonian and Dionysian, the anima and animus of Jung and the ying and yang of Tao Te Ching. The link points of the Apollonian and Dionysian, the Anima and Animus and the Ying and Yang will serve as aesthetical attributes for the purpose of forming a better psycho-aesthetical and metaphysical understanding of the figure of the Artist and their artworks.
KEYWORDS: Art Theory, and Understanding of Artwork, Merging Disciplines, Aesthetics, Metaphysics, Jung.
Eviterna, 2020
There is a gap regarding the Spanish American pre-colonial context from the landscape studies poi... more There is a gap regarding the Spanish American pre-colonial context from the landscape studies point of view, conceived in a cultural sense. Literature directly refers us to Alexander von Humboldt as the main developer and to the Hudson River school as the greatest exponent. However, a critical study in cultural landscape before the visual production of scientific voyages and expeditions, could result in a new approach to the landscape genre and the mapping of nature. This paper proposes an approach to those previous representations, when landscape was not yet a landscape.
Revista Eviterna, 2018
Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of th... more Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of the nineteenth century, exhibiting large scale figurative paintings of a high degree of finish. Scholarship has, however, overlooked his plein-air paintings created during frequent voyages to Italy, Spain, Egypt and Greece, to name a few. As Leighton’s oil sketches comprised over 200 canvases and boards, their significance to his oeuvre is paramount and needs to be clearly articulated. Using the example of 'An Outcrop in the Campagna', this article explores how the three aspects – nature, science and myth – merged in Leighton’s vision of landscape. The painting’s composition and technique are examined, as well as the influence of Leighton’s circle, exemplified by Giovanni Costa and the Etruscan School of Art. Finally, Victorian solar physics and thermodynamics are presented as an important context for the symbolic dimension of Leighton’s landscapes.
Eviterna, Revista de Humanidades, Arte y Cultura Independiente - ISSN: 2530-6014, 2019
This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections betwe... more This article examines Francesca Woodman and Rebecca Horn's oeuvre, establishing connections between their work, their work and their biographies, their artworks and their selves. In their art practices, they create prison-like and claustrophobic environments that reflect their inner selves, their traumas and their anxieties. Through the embodiment of space, they portray themselves, thus blurring the limits between inner self and outer world, between body and space. By closely analysing their work and their lives, this article sets forth the idea that their work can be read as a dynamic and visual autobiography, as kinetic and psychological self-portraits of these two female artists.
RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición e... more RESUMEN El presente artículo pretende dar una visión global sobre el Tribunal de la Inquisición en el s. XVI en Barcelona a partir de fuentes secundarias actuales y de archivo. Se explican las características del Tribunal bajo el inquisidor Fernando de Loaces y las especiales demandas que presentaron a las Cortes en diferentes momentos, 1510, 1512 y 1515-16. Asimismo, se muestran los principales delitos perseguidos y el proceso llevado a cabo para determinar sus castigos. ABSTRACT This paper gives a global vision about Tribunal of Inquisition in Barcelona, XVI c. as it is explained by primary and secondary sources. It is explained special features of Inquisition in Barcelona in s. XVI under Fernando de Loaces and the demands to the Cortes in 1510, 1512 and 1515-1516. It is showed main crimes committed, process and punishments applied KEY WORDS: Inquisition, Barcelona, XVI c., Cortes de Monzón, Fernando de Loaces. La vigilancia de la fe siempre ha existido así como la intolerancia a la forma de pensar, o en el contexto que nos ocupa, de creer del otro. Recordemos las persecuciones de los primeros tiempos del Cristianismo o la crisis iconoclasta del siglo VIII que supuso la destrucción de un gran número de obras de arte y el precedente a la separación de las Iglesias ortodoxa y católica (1054). Todas ellas tienen en común una visión del diferente como algo extraño, poco conocido y, por tanto, malo y necesario de ser eliminado.
Revista Eviterna, 2020
La Catedral Basílica de la Santa Cruz y Santa Eulalia de Barcelona es uno de los hitos del barrio... more La Catedral Basílica de la Santa Cruz y Santa Eulalia de Barcelona es uno de los hitos del barrio gótico de la ciudad, especialmente por su fachada, un monumento en el paisaje. Sin embargo, se trata de una fachada neogótica construida en un contexto de expansión del medievalismo en distintos sectores de la sociedad, materializado en la arquitectura por el neogótico; además, el contexto de celebración de la Exposición Universal en la ciudad, en el año de 1888, fomentóel mecenazgo arquitectónico en Barcelona. La nueva fachada, creada bajo concurso promovido por el banquero Manuel Girona, sustituía el muro del siglo XV, construidofrente a la imposibilidad de ejecución del proyecto original por cuestiones económicas. Aunque la temática de la reconstrucción de la fachada sea bastante explorada por la historiografía, buscaremos tratar específicamente el ámbito temporal, de las permanencias y rupturas. Discutiremos las particularidades y aproximaciones estéticas, materiales e ideológicas entre la fachada gótica original,proyectada por el maestro Carlí en el siglo XV, que jamás llegó a ser construida, y el proyecto realmente efectuadoen el siglo XIX, llevado a cabo por José Oriol Mestres. Analizaremosla relación entre el gótico y el neogótico en aquel edificio, entre la EdadMedia y su recreación contemporánea; consideraremos las nuevas posibilidades constructivas del ochocientos aplicadas a aquella significativa intervención y problematizaremos sus intenciones sobre la Catedral en cuanto herencia histórica y memoria plausible de manipulaciones.
RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, s... more RESUMEN: Durante el siglo XIV, quizá debido a la fuerte crisis que sufrió Europa en este siglo, se dieron una serie de cambios en la mentalidad colectiva que afectaron a la devoción y al tipo de relación que el fiel tenía con Dios. Imperó una mística más intimista y esto se refleja en la visión que se tenía de la muerte. El individualismo hizo que se tendiera a priorizar el juicio del alma en el momento mismo de la muerte frente a la importancia que había tenido el Juicio Final, colectivo, en siglos anteriores. Estos cambios de mentalidad en relación con la muerte se dejaron sentir en el ritual funerario, que cambió adaptándose a las nuevas ideas. También ejerció influencia en el arte, especialmente en los sepulcros.
ABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art.
Recibido el 15 de junio de 2017; revisado el 10 de julio de 2017; aceptado el 18 de julio de 2017... more Recibido el 15 de junio de 2017; revisado el 10 de julio de 2017; aceptado el 18 de julio de 2017; publicado el 01 de septiembre de 2017 RESUMEN: La extraordinaria capacidad de 'reinvención' que la pintura está desarrollando en las últimas décadas permite afirmar su plena vitalidad: un interesante proceso de redefinición que se proyecta en parámetros intrínsecos al lenguaje pictórico o en otros hasta ahora poco tratados, proporcionando al resultado final pluralidad, matices, polisemia y pertinencia. Potencialidades que han de ponerse en relación con la era tecnológica actual, contaminada por recursos cibernéticos, digitales y fotográficos. Dos artistas noveles, Federico Miró y Alejandro Martín, plantean en sus indagaciones plásticas un giro de tuerca al fascinante mundo de la creación pictórica. El estudio de propuestas históricas les lleva en cada caso a descubrir individualmente nuevos caminos que bordean lo figurativo y lo abstracto, con puntos en común pero también con notables divergencias. Y la luz, siempre la luz, actuando de sugestivo vehículo para concretizar imágenes o comprobar de qué manera su proyección y reflejo sobre determinados elementos pueden ser objeto de nuevas percepciones.
Eviterna, 2020
Resumen: Este trabajo tiene como objetivo estudiar el fenómeno de la censura religiosa en la Anti... more Resumen: Este trabajo tiene como objetivo estudiar el fenómeno de la censura religiosa en la Antigua Roma, haciendo hincapié en los principales episodios que condujeron a la destrucción o cremación de libros mágico-religiosos. Siguiendo un enfoque diacrónico, la primera parte del estudio se centra en las persecuciones llevadas a cabo en época republicana, destinadas a reprimir la difusión de nuevos cultos, evitar su codificación por escrito y mantener el orden tradicional. La segunda parte, en cambio, examina las transformaciones producidas en época imperial y la puesta en práctica de una práctica censora enfocada a proteger los intereses del princeps y eliminar a rivales políticos. Con ello llegaremos a la conclusión de que la censura religiosa constituyó un fenómeno excepcional sujeto circunstancias muy específicas, debido entre otros factores a la ausencia de un órgano institucional especializado en la censura y al peso de la tradición oral sobre la cultura escrita y literaria.
Abstract: The aim of this paper is to study the phenomenon of religious censorship in the Ancient Rome, making emphasis on the main events that led to the destruction or burning of magic-religious books. From a diachronic perspective, the first part of the study dealts with the persecutions arranged by republican authorities in order to constrain the introduction of new cults, avoid harm coming from its writings and keep safe the
[ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de ... more [ESP] La Casa Behrens, construida en 1901 por el arquitecto y diseñador Peter Behrens, es uno de los mejores ejemplos de “obra de arte total” en la Historia del Arte. Sin embargo, más allá del logro de una estética total, es decir, la armonía visual y espacial entre cada uno de los elementos que componen la casa, su planificación incluye aspectos que enlazan con la arquitectura moderna del siglo XX, así como con una dimensión social de la obra de arte total que se fue configurando a lo largo del siglo pasado. El análisis de esta obra, basado en el libro que le dedicó el propio Behrens, pretende profundizar en los aspectos propuestos, desentrañando la riqueza teórica y formal que contiene la obra.
[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work.
Peter Behrens y el rostro de la industria moderna, 2019
[ESP] El trabajo de Behrens para AEG no solo dio lugar a la considerada primera identidad corpora... more [ESP] El trabajo de Behrens para AEG no solo dio lugar a la considerada primera identidad corporativa de una empresa, sino que le convirtió en pieza fundamental del eje modernizador de la industria a principios del siglo XX. Este artículo aborda mediante algunos ejemplos el análisis de las relaciones entre lo moderno y lo clásico en las propuestas de Behrens, construyendo un hilo que explora la superación de las problemáticas de su tiempo, en ocasiones, mediante la adecuación y reinterpretación de elementos y conceptos propios de otras épocas.
[ENG] Behrens' work for AEG not only gave rise to the so-called first corporate identity of a company, but also made it a fundamental part of the modernising axis of industry at the beginning of the 20th century. This article uses a few examples to approach the analysis of the connections between the modern and the classical in Behrens' proposals, building a thread that explores overcoming the problems of his time, sometimes through the adaptation and reinterpretation of elements and concepts from other eras.
Eviterna. Revista de humanidades, arte y cultura independiente, 2018
El presente texto tiene como objetivo realizar un estudio sobre la exposición Inside Out: New Chi... more El presente texto tiene como objetivo realizar un estudio sobre la exposición Inside Out: New Chinese Art celebrada entre los años 1998-1999 en Nueva York. Y es que al tomar la muestra como caso de estudio, es posible profundizar en torno a la entrada del arte contemporáneo chino en Occidente, fundamentalmente a lo largo de la década de los noventa. Diferentes factores como el momento histórico, el contexto socio-político, los intereses económicos, el novedoso discurso expositivo y su trascendencia para las siguientes exhibiciones de temática similar hicieron que la muestra se considere, actualmente, un acontecimiento significativo para la historia del arte chino contemporáneo y su introducción en Occidente.
The present text has the goal to fulfill a study about the exhibition Inside Out: New Chinese Art celebrated in New York between 1998-1999. Taking the exhibition as a case of study is possible to deep around the entrance of the Contemporary Chinese Art in Western, essentially throughout the 90s. Different factors must be taken into account, such as the historic time, the sociopolitical context, the economic interests, the innovative discourse of the show or its transcendence for the followings shows. Those elements have driven the exhibition as a significant event within the Contemporary Chinese Art History and its entrance in Western.
Revista Eviterna, 2020
Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebr... more Alfred Tennyson (1809-1892) escribe en 1833 el que se convertiría en uno de sus poemas más célebres, La Dama de Shalott. En él, recuperaría la figura de la Doncella de Astolat creada por Sir Thomas Malory en La muerte de Arturo (1485). Pronto se convertiría en uno de los motivos iconográficos preferidos de artistas prerrafaelitas y victorianos del siglo XIX y principios del XX. Tanto el poema como las imágenes, se tomaron como ilustraciones de actitudes victorianas hacia la reclusión de las mujeres en el área doméstica y la privación de su sexualidad.
Alfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. Likewise, both the poem and the pictures have been taken as illustrations of Victorian attitudes toward women and their sexuality.
Resumen: El presente artículo intenta documentar y precisar diferentes aspectos sobre una arquite... more Resumen: El presente artículo intenta documentar y precisar diferentes aspectos sobre una arquitectura religiosa del siglo XVI: la iglesia de San Miguel de Melilla. Este edificio, ya desaparecido, presentaba la singularidad de ser uno de los escasos ejemplos del gótico tardío construidos en el continente africano, por lo que viene a sumarse a otras obras levantadas por españoles y portugueses en este contexto geográfico. Explicar su origen, principales vicisitudes y, finalmente, cómo fue demolida para levantar una iglesia nueva, son objetivos de este trabajo, así como documentar los vestigios todavía existentes de la antigua construcción que nos permiten apreciar algunas de sus características. Abstract: This article intends to illustrate and list several features of a religious oriented architecture reflected in the 16th century San Miguel church of Melilla (North Africa). The church from which almost nothing remains, was a very peculiar building since it was one of the few examples among those built by Portuguese and Spaniards of clear late Gothic style in the African continent. To describe its origins, its different ups and downs and eventually how it was demolished so to give room to a new church are the main goals
Revista Eviterna, 2020
En la época victoriana se experimentó un paroxismo del culto a la muerte. En ese anhelo de domina... more En la época victoriana se experimentó un paroxismo del culto a la muerte. En ese anhelo de dominar y contener la arbitrariedad de esta, el arte tuvo un papel indiscutible. Una atmósfera fúnebre pobló como un topos poético el universo estético victoriano y más especialmente el prerrafaelista. Tanto es así que una de las posturas adoptadas por la sociedad victoriana a la hora de representar la muerte consistió en la poetización e idealización del cadáver femenino, generalmente con una índole fetichista. Esta se efectuó a través de diferentes modos narrativos, poseyendo especial predicamento la muerte acuática y la muerte durmiente.
In the Victorian era there was a paroxysm of the cult of death. In that desire to dominate and contain the arbitrariness of it, art played an important role. In the Victorian aesthetic universe and more especially the pre-Raphaelite, one of the positions when it comes to representing death consisted in the poetization and idealization of the female corpse, specifically with a fetishistic nature. This was carried out through different narrative modes: aquatic death and sleeping death.
Revista Eviterna, 2017
A veces lo familiar puede convertirse en siniestro. Aquellas situaciones vividas antaño que pudi... more A veces lo familiar puede convertirse en siniestro. Aquellas situaciones vividas antaño que pudieron ser, bien hogareñas, bien confortables, de repente pueden tornarse en pesadillas que, una y otra vez, vienen a golpear nuestras mentes, e incluso, martirizarlas.
Maurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias. Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.
Sea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.
Sometimes, family scenes can become into sinister scenes. Situations that could be as homey or comfortable, can suddenly turn into nightmares that, again and again, come to hit our minds, and even to martyr them.
Maurizio Cattelan, in Bidibidobidiboo (1996), seems to be trying to get closer to hidden areas of his most intimate memories, or his deepest or most intense experiences. Death, anguish, uneasiness… are among many others, some ideas that come into our minds when we contemplate his work.
Anyway, there is no doubt that the author, with this work, gets to perfection that we wonder about it, and it´s not easy that we can mark the thin line that separates the shocking from the sinister.
Revista Eviterna, 2017
El presente trabajo versa sobre la plasmación de las ideas humanistas del Renacimiento italiano d... more El presente trabajo versa sobre la plasmación de las ideas humanistas del Renacimiento italiano de la 2ª mitad del s. XV en la pintura sevillana de los ss. XVI y XVII. El discurso se articula en base a una serie de reflexiones sobre cómo el pensamiento neoplatónico de los humanistas italianos quedó plasmado en las formas artísticas italianas, europeas y españolas y, en particular, en la obra de Francisco Pacheco, en concreto sus pinturas en la “Casa de Pilatos” de Sevilla: La Apoteosis de Hércules. A través del estudio iconográfico y la interpretación de su discurso iconológico, se establecen concordancias entre el pensamiento humanista y los principios del cristianismo con el fin de transmitir un mensaje moralizante.
The currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th & 17th Centuries, specifically the Academy of Francisco Pacheco del Río. The speech is structured by some reflections on how the neoplatonic thoughts of the first Italian humanists scholars, were reflected on Italian, European and Spanish art forms and, in particular, the academy of the mentioned painter and his paintings at the "House of Pilatos" in Seville: The Apotheosis of Hercules. Through the iconographic study and interpretation of his speech, concordances between humanist ideas and the principles of Christianism are established in order to convey a moralizing message.
Revista Eviterna, 2020
Sommario: Il Seicento napoletano fu caratterizzato da un così grande fermento culturale e artisti... more Sommario: Il Seicento napoletano fu caratterizzato da un così grande fermento culturale e artistico da meritarsi l'appellativo di Secolo d'Oro. Una miriade di architetti, scultori, pittori e artigiani diedero vita a opere di grande pregio che cambiarono per sempre il volto della capitale del Viceregno. Tra i pittori ai tempi più apprezzati, come dimostrano le tante opere che oramai fanno parte del suo catalogo, ma per tanto tempo caduti nell'oblio, anche per la quasi totale assenza di dati documentari, c'è sicuramente Antonio De Bellis: un artista che dagli anni '70 del Novecento ha stuzzicato l'interesse degli studiosi entrando anche a far parte della rosa di pittori coinvolti nella vexata quaestio sull'identità del Maestro degli Annunci ai pastori. Spesso confuso con il Cavallino, a riprova della qualità di molte sue opere, dal quale si discosta per un certo arcaismo persistente in tutta la sua opera, il suo percorso artistico affonda le radici nel Naturalismo di matrice caravaggesca, 'napoletanizzato' da Battistello, Filippo Vitale e dal deus ex machina della pittura di quel periodo nella città partenopea, Jusepe de Ribera. E seguendo le orme di quest'ultimo, come tanti altri partecipa a quella rivoluzione coloristica che arriva da un lato da Roma, tramite la riscoperta dei Maestri veneti del '500 da parte di un gruppo di pittori francesi, primo fra tutti Poussin, e dall'altro dalle tele piene di luce 'mediterranea' del Van Dyck.
Revista Eviterna, 2020
La próxima película del director Denis Villeneuve, Dune, ha mostrado una creciente aceptación por... more La próxima película del director Denis Villeneuve, Dune, ha mostrado una creciente aceptación por parte de varios sectores de su potencial audiencia; en común estos sectores se manifiestan anuentes sobre la compatibilidad del director con la película que está pronta a estrenarse, sobre todo debido al género cinematográfico (épica) que ésta aborda. El presente artículo constituye un estudio que pretende responder al por qué la aceptación unánime ha creado expectativas tan altas y al cómo las muestras prediscursivas de Villeneuve que se han mediatizado han garantizado hasta ahora la satisfacción de los estándares de calidad esperados. Se estudia la cuestión planteada desde la teoría aristotélica sobre el ethos retórico y su influencia en la anuencia del público; se toman en consideración el estudio de los conceptos compatibles con el ethos para obtener conclusiones certeras y hacer que el núcleo de la cuestión analizada sea más claro: la "metaficción" como elemento prediscursivo de formulación diegética, las "comunidades interpretativas" como receptoras y conformadoras de un marco de valores de referencia relacionados con la metaficción del filme y la "seudo-interactividad" como proceso para generar anuencia y enfatizar el ethos del autor. Se ha inferido primordialmente que Dune puede convertirse en un triunfo de colectivización metaficcional capaz de fomentar una apreciación más centrada en la calidad de la propuesta que en la trama.
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Papers by Revista Eviterna - Universidad de Málaga
PALABRAS CLAVE: Teoría del arte, comprensión Artista y obra de arte, Unión de disciplinas, Estética, Metafísica, Jung.
ABSTRACT: Starting from the myths of Apollo and Dionysius and the aesthetic attributes of Nietzsche, given to the deities in the The Birth of Tragedy, some connections were found between the Apollonian and Dionysian, the anima and animus of Jung and the ying and yang of Tao Te Ching. The link points of the Apollonian and Dionysian, the Anima and Animus and the Ying and Yang will serve as aesthetical attributes for the purpose of forming a better psycho-aesthetical and metaphysical understanding of the figure of the Artist and their artworks.
KEYWORDS: Art Theory, and Understanding of Artwork, Merging Disciplines, Aesthetics, Metaphysics, Jung.
ABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art.
Abstract: The aim of this paper is to study the phenomenon of religious censorship in the Ancient Rome, making emphasis on the main events that led to the destruction or burning of magic-religious books. From a diachronic perspective, the first part of the study dealts with the persecutions arranged by republican authorities in order to constrain the introduction of new cults, avoid harm coming from its writings and keep safe the
[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work.
[ENG] Behrens' work for AEG not only gave rise to the so-called first corporate identity of a company, but also made it a fundamental part of the modernising axis of industry at the beginning of the 20th century. This article uses a few examples to approach the analysis of the connections between the modern and the classical in Behrens' proposals, building a thread that explores overcoming the problems of his time, sometimes through the adaptation and reinterpretation of elements and concepts from other eras.
The present text has the goal to fulfill a study about the exhibition Inside Out: New Chinese Art celebrated in New York between 1998-1999. Taking the exhibition as a case of study is possible to deep around the entrance of the Contemporary Chinese Art in Western, essentially throughout the 90s. Different factors must be taken into account, such as the historic time, the sociopolitical context, the economic interests, the innovative discourse of the show or its transcendence for the followings shows. Those elements have driven the exhibition as a significant event within the Contemporary Chinese Art History and its entrance in Western.
Alfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. Likewise, both the poem and the pictures have been taken as illustrations of Victorian attitudes toward women and their sexuality.
In the Victorian era there was a paroxysm of the cult of death. In that desire to dominate and contain the arbitrariness of it, art played an important role. In the Victorian aesthetic universe and more especially the pre-Raphaelite, one of the positions when it comes to representing death consisted in the poetization and idealization of the female corpse, specifically with a fetishistic nature. This was carried out through different narrative modes: aquatic death and sleeping death.
Maurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias. Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.
Sea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.
Sometimes, family scenes can become into sinister scenes. Situations that could be as homey or comfortable, can suddenly turn into nightmares that, again and again, come to hit our minds, and even to martyr them.
Maurizio Cattelan, in Bidibidobidiboo (1996), seems to be trying to get closer to hidden areas of his most intimate memories, or his deepest or most intense experiences. Death, anguish, uneasiness… are among many others, some ideas that come into our minds when we contemplate his work.
Anyway, there is no doubt that the author, with this work, gets to perfection that we wonder about it, and it´s not easy that we can mark the thin line that separates the shocking from the sinister.
The currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th & 17th Centuries, specifically the Academy of Francisco Pacheco del Río. The speech is structured by some reflections on how the neoplatonic thoughts of the first Italian humanists scholars, were reflected on Italian, European and Spanish art forms and, in particular, the academy of the mentioned painter and his paintings at the "House of Pilatos" in Seville: The Apotheosis of Hercules. Through the iconographic study and interpretation of his speech, concordances between humanist ideas and the principles of Christianism are established in order to convey a moralizing message.
PALABRAS CLAVE: Teoría del arte, comprensión Artista y obra de arte, Unión de disciplinas, Estética, Metafísica, Jung.
ABSTRACT: Starting from the myths of Apollo and Dionysius and the aesthetic attributes of Nietzsche, given to the deities in the The Birth of Tragedy, some connections were found between the Apollonian and Dionysian, the anima and animus of Jung and the ying and yang of Tao Te Ching. The link points of the Apollonian and Dionysian, the Anima and Animus and the Ying and Yang will serve as aesthetical attributes for the purpose of forming a better psycho-aesthetical and metaphysical understanding of the figure of the Artist and their artworks.
KEYWORDS: Art Theory, and Understanding of Artwork, Merging Disciplines, Aesthetics, Metaphysics, Jung.
ABSTRACT: During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres. KEYWORDS: Crisis of the 14th Century, death, devotio moderna, macabre art.
Abstract: The aim of this paper is to study the phenomenon of religious censorship in the Ancient Rome, making emphasis on the main events that led to the destruction or burning of magic-religious books. From a diachronic perspective, the first part of the study dealts with the persecutions arranged by republican authorities in order to constrain the introduction of new cults, avoid harm coming from its writings and keep safe the
[ENG] The Behrens House was built in 1901 by the architect and designer Peter Behrens and it still being nowadays one of the best examples of “total work of art” in the History of Art. However, beyond the achievement of a total aesthetic, that is, the visual and spatial harmony between each of the elements that make up the house, its planning includes aspects that link with the modern architecture of the 20th century, as well as with a single dimension social of the total work of art that was configured over the past century. The analysis of this work, based on the book that Behrens himself dedicated, seeks to deepen the proposed aspects, unraveling the theoretical and formal wealth contained in the work.
[ENG] Behrens' work for AEG not only gave rise to the so-called first corporate identity of a company, but also made it a fundamental part of the modernising axis of industry at the beginning of the 20th century. This article uses a few examples to approach the analysis of the connections between the modern and the classical in Behrens' proposals, building a thread that explores overcoming the problems of his time, sometimes through the adaptation and reinterpretation of elements and concepts from other eras.
The present text has the goal to fulfill a study about the exhibition Inside Out: New Chinese Art celebrated in New York between 1998-1999. Taking the exhibition as a case of study is possible to deep around the entrance of the Contemporary Chinese Art in Western, essentially throughout the 90s. Different factors must be taken into account, such as the historic time, the sociopolitical context, the economic interests, the innovative discourse of the show or its transcendence for the followings shows. Those elements have driven the exhibition as a significant event within the Contemporary Chinese Art History and its entrance in Western.
Alfred Tennyson (1809-1892) wrote in 1833 what would become one of his most famous poems, The Lady of Shalott. In it, he recovers the figure of the Maid of Astolat created by Sir Thomas Malory in The Death of Arthur (1485). Soon she would become one of the favorite iconographic motifs of pre-Raphaelite and Victorian artists of the 19th and early 20th centuries. Likewise, both the poem and the pictures have been taken as illustrations of Victorian attitudes toward women and their sexuality.
In the Victorian era there was a paroxysm of the cult of death. In that desire to dominate and contain the arbitrariness of it, art played an important role. In the Victorian aesthetic universe and more especially the pre-Raphaelite, one of the positions when it comes to representing death consisted in the poetization and idealization of the female corpse, specifically with a fetishistic nature. This was carried out through different narrative modes: aquatic death and sleeping death.
Maurizio Cattelan, en su obra Bidibidobidiboo (1996) parece pretender acercarnos a recónditas zonas de sus más íntimos recuerdos, de sus más profundas experiencias, de sus más intensas vivencias. Muerte, angustia, desazón… son, entre otras muchas, algunas ideas que nos vienen a la mente cuando contemplamos su obra.
Sea como fuere, no cabe duda de que su autor, con esta obra, consigue a la perfección que nos interroguemos sobre la misma, y que no consigamos marcar aquella delgada línea que separa lo impactante de lo siniestro.
Sometimes, family scenes can become into sinister scenes. Situations that could be as homey or comfortable, can suddenly turn into nightmares that, again and again, come to hit our minds, and even to martyr them.
Maurizio Cattelan, in Bidibidobidiboo (1996), seems to be trying to get closer to hidden areas of his most intimate memories, or his deepest or most intense experiences. Death, anguish, uneasiness… are among many others, some ideas that come into our minds when we contemplate his work.
Anyway, there is no doubt that the author, with this work, gets to perfection that we wonder about it, and it´s not easy that we can mark the thin line that separates the shocking from the sinister.
The currently study relates the different translations of the Renaissance humanist ideas of the 2nd half of 16th Century, from Italy to Seville´s painting school of 16th & 17th Centuries, specifically the Academy of Francisco Pacheco del Río. The speech is structured by some reflections on how the neoplatonic thoughts of the first Italian humanists scholars, were reflected on Italian, European and Spanish art forms and, in particular, the academy of the mentioned painter and his paintings at the "House of Pilatos" in Seville: The Apotheosis of Hercules. Through the iconographic study and interpretation of his speech, concordances between humanist ideas and the principles of Christianism are established in order to convey a moralizing message.
PALABRAS CLAVE: Literatura griega, Literatura española, Intertextualidad, Sofistas, La Celestina.
ABSTRACT: The main aim this paper tries to focus on is the idea of comparing two different pieces of art, being both written in two diverse centuries and socio-political contexts: one of them in the ancient Greek and the other one in medieval Spain. If we get closer to this idea, we are trying to highlight the existence of new approaches to universal literature when it comes to comparative research, which might help to erase the concept of “national” literatures.
KEYWORDS: Greek literature, Spanish literature, Intertextuality, Sophism, The Celestina.
ABSTRACT: Throughout the following lines we aim to answer why the Puerto Rican history of literature has always been predominantely male in spite of the existence of female writers during the first half-century of the 20th century. Thus, the deep analysis of the Puerto Rican literature written in the 1930 and 1940s, the literary canon and the lack of female names into it, especially Julia de Burgos, whose work has been relevant enough for the academics to review literature histories to make a change in order to add the missing females names into antologies.
ABSTRACT: It is well known that many poets tend to use popular beliefs when it comes to create their pieces of works about historical charaters. No wonder then Spanish poet Ana Rossetti has taken Gilles de Rais' collective imaginary to write her poem in which she depictes the sexual activity and the homicides that have tipically been attached to the French noble throughout history. This paper aims to analyse how Rossetti manages to introduce De Rais' figure into her poem, focusing on his vicious appetite for young boys, and how she, in closing, comes back to the literary topic of sex and death.
Abstract. In this article we have proceeded to the study of the different dressmakers at the service of Queen Maria Luisa de Parma. One of the factors that will have great importance in the Royal Wardrobe of the sovereign is the insertion of the first dressmakers, who not only made dresses but also textile accessories such as belts, clothes, bands, bags, etc. This series of creators not only made dresses for the sovereign, but are suppliers of garments and fabrics for the royal family. Among the most relevant dressmakers we find Rose Bertin, being a dressmaker for Queen Marie Antoinette and Maria Luisa, in addition to Maria Moulinier and Darguins, Ana Launay and the first male dressmaker, Joseph Martin, who first seized the queen and later court dresses. Through the work of the unpublished documentation consulted in the archives, we know that the work of the dressmakers is no longer carried out in anonymity, but that their work begins to be valued as a creation that reveals great inventiveness and mathematical knowledge, geometry and sewing. From the 19th century on, the figure of dressmaker will be fully established as one of the most important trades in the textile industry.
Eviterna. Revista Universitaria de Humanidades, Arte y Cultura. n.º 8, Septiembre, 2019, ISSN-e: 2530-6014
Abstract. In this article we have proceeded to the study of the different merchants at the service of Queen Elisabeth of Farnese.One of the most striking aspects is the amount of fabrics that were sent to the entire royal family, the most important being taffetas and silks embroidered with different ornamental motifs. Among the most important merchants are Martin Boucher, Manuel Merino and Pedro Fernandez de Recas, who were very important men for the construction of the royal image of the queen.
Eviterna. Revista Universitaria de Humanidades, Arte y Cultura. n.º 5, Marzo, 2019, ISSN: 2530-6014
ABSTRACT: The ars plumaria, artistic manifestation born in the prehispanic period, continues to astound because of the delicacy of feathers and the high degree of perfection achieved by amantecas. Feathers were considered in Mexico's prehispanic past a precious material related to aesthetic and religious symbolism, closely linked to the spiritual and ritual life. The amantecayotl, the technique of making mosaics with feathers, reached its peak of perfection in the sixteenth century and continued to flourish after Tenochtitlan's conquest and during the Spanish domination, although during the nineteenth century only survived in small nuclei of production. The purpose of this article is to draw attention to the survival of ars plumaria in the nineteenth century through a first rapprochement to the Emblema nacional exploring its material features and iconographic motif. Also, it is proposed the revaluation of ars plumaria objects produced during the nineteenth century, whose study is still pending in the History of Art in Mexico.