Bulletin of Spanish Visual Studies最新文献_第9页

Lingering over Graphic Descriptions of Grand State Ceremonials and Festivities: Stirling Maxwell and the Role of the Artist in Golden-Age Spain* 徘徊在盛大的国家仪式和节日的图形描述上：斯特林·马克斯韦尔和艺术家在西班牙黄金时代的角色*

Bulletin of Spanish Visual Studies Pub Date : 2019-06-27 DOI: 10.1080/24741604.2019.1621097

Hilary Macartney

{"title":"Lingering over Graphic Descriptions of Grand State Ceremonials and Festivities: Stirling Maxwell and the Role of the Artist in Golden-Age Spain*","authors":"Hilary Macartney","doi":"10.1080/24741604.2019.1621097","DOIUrl":"https://doi.org/10.1080/24741604.2019.1621097","url":null,"abstract":"Abstract This article examines the remarkable contribution of Sir William Stirling Maxwell (1818–1878) towards a modern understanding of the interdisciplinarity of the arts which was fundamental to the multi-faceted role of the artist in Early Modern Spain and the Habsburg empire. As the first chronological history of Spanish art, which contextualized art by demonstrating the close links—indeed interdependence—between the visual arts, literature and theatre, and the patronage of Church and State, Stirling’s Annals of the Artists of Spain (1848) earned a pioneering place in the emerging discipline of art history. We trace the evolution of Stirling’s interest in both festivals and art, and their interrelationship, citing evidence from his early travels on the Continent, his published works, and his outstanding collections of Spanish art and of festival books, focusing especially on the multiple copies of Torre Farfán’s Fiestas de Sevilla (1671–1672) which he conserved and prefaced. Thus, although he was criticized at the time for ‘lingering over’ descriptions of the role of artists in ephemeral festivals and celebrations, it is argued here that Stirling can now be seen as an important nineteenth-century link between current art historical approaches and Early Modern mentalities of theatricality and performativity.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"3 1","pages":"189 - 204"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2019.1621097","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42282106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Teatralidad y performatividad: perspectivas conceptuales-metodológicas para el análisis de las artes visuales y escénicas de los siglos XVI–XVIII* 戏剧性和表演性：16-18世纪视觉和表演艺术分析的概念-方法论视角*

Bulletin of Spanish Visual Studies Pub Date : 2019-06-26 DOI: 10.1080/24741604.2019.1622323

Carmen González-Román

{"title":"Teatralidad y performatividad: perspectivas conceptuales-metodológicas para el análisis de las artes visuales y escénicas de los siglos XVI–XVIII*","authors":"Carmen González-Román","doi":"10.1080/24741604.2019.1622323","DOIUrl":"https://doi.org/10.1080/24741604.2019.1622323","url":null,"abstract":"Abstract Teatralidad y performatividad son dos conceptos que podrían ampliar la perspectiva de análisis a la hora de abordar las manifestaciones artísticas de los siglos XVI–XVIII. El término ‘teatralidad’, como categoría estética o como constante estilística asociada a determinados períodos o manifestaciones artísticas, ha sido empleado con bastante frecuencia por los historiadores del arte en el análisis del arte barroco. ‘Performatividad’ es un concepto emergente en los estudios culturales europeos que cuenta aún con escaso desarrollo en el ámbito de la Historia del arte en el entorno hispánico y en los estudios sobre el arte de la Edad Moderna. Dicho concepto abre, no obstante, nuevas posibilidades tanto para el análisis estético de los objetos artísticos como para el estudio de los rituales, ceremonias, fiestas y representaciones teatrales. Estos dos conceptos favorecen un amplio abanico de posibilidades de análisis en torno a cualidades y características de determinados acontecimientos u objetos culturales que guardan relación con el teatro o con otras formas de ‘presentación’. Tales manifestaciones no necesariamente la entendemos relacionadas directa, unívoca o explícitamente con el teatro o la fiesta, sino también con todos aquellos procesos de hibridación que acontecen en los espacios intersticiales entre el arte y la vida.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"3 1","pages":"175 - 186"},"PeriodicalIF":0.0,"publicationDate":"2019-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2019.1622323","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42100250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Spectres and Spectacles of Disappearance: The Figure of the Doll in Argentina’s Memoryscapes 幽灵与消失的眼镜:阿根廷记忆风景中的娃娃形象

Bulletin of Spanish Visual Studies Pub Date : 2019-01-02 DOI: 10.1080/24741604.2019.1588549

Jordana Blejmar

引用次数: 1

Punctures and Molecular Politics: Topographies of the Body in Iván Zulueta’s Arrebato (1979) 刺穿与分子政治:Iván Zulueta的《Arrebato》(1979)中身体的地形

Bulletin of Spanish Visual Studies Pub Date : 2019-01-02 DOI: 10.1080/24741604.2019.1589747

Vanessa Ceia

{"title":"Punctures and Molecular Politics: Topographies of the Body in Iván Zulueta’s Arrebato (1979)","authors":"Vanessa Ceia","doi":"10.1080/24741604.2019.1589747","DOIUrl":"https://doi.org/10.1080/24741604.2019.1589747","url":null,"abstract":"Abstract This article examines Iván Zulueta’s topographical representations of heroin consumption in Arrebato (1979), a cult-classic of Spanish cinema and pivotal work of the Movida madrileña. In the film, the injection of heroin is coupled with an external, visual effect on characters’ bodies—represented through colour, make-up, clothing and characters’ physiological responses—establishing a bidirectional flow between their subjective, molecular experience with drugs and their outward, physical appearances. By visualizing the effects of an illicit drug, Zulueta creates a superficial, or epidermic, lexicon for otherwise invisible corporeal experiences induced by drug use. Furthermore, by materially breaching the body with a syringe, injecting themselves with drugs and molecularly altering their subjectivities and identities at whim, the characters in Arrebato question the epistemological barrier between interiority and exteriority and challenge and evade fixed delineations of the body and of identity as defined by social legislation of the time. As such, the punctured and porous bodies in Arrebato, like those in similar works by maldito artists of the Movida, can be read, topographically, as an affront to social order and established systems of (bio)power in post-Franco Spain.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"3 1","pages":"1 - 19"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2019.1589747","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46160570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

De América a Roma: producción artística para la beatificación del Arzobispo Mogrovejo 从美国到罗马:莫格罗维霍大主教宣福礼的艺术作品

Bulletin of Spanish Visual Studies Pub Date : 2019-01-02 DOI: 10.1080/24741604.2019.1591696

María Nieves Rupérez Almajano

引用次数: 0

Changing Identity in Small or Minority Nations: Three Recent Catalan Films 小民族或少数民族身份的变化:最近的三部加泰罗尼亚电影

Bulletin of Spanish Visual Studies Pub Date : 2019-01-02 DOI: 10.1080/24741604.2019.1589266

Dilys Jones, C. Perriam

{"title":"Changing Identity in Small or Minority Nations: Three Recent Catalan Films","authors":"Dilys Jones, C. Perriam","doi":"10.1080/24741604.2019.1589266","DOIUrl":"https://doi.org/10.1080/24741604.2019.1589266","url":null,"abstract":"Abstract The article places three recent Catalan films in a framework of classificatory discussion of identity, change and small or ‘minority’ nationhood. It builds on previous work on Welsh and Basque film which proposes a system of classification designed to enhance the conceptualisation of links between film and identity in small or minority national cultures. That system uses three modal concepts: the Preserved, connected with patriarchy, rural landscape, collective rural identity and stereotypical representations; Reversal, connected with complexities and ambiguities of meaning as produced by representations of landscape or expressions of collective identity; and the postnational, connected to qualities of discordance, placelessness, and scepticism about the relevance or direction of collective history. Los últimos días (David and Álex Pastor, 2013), Segon origen (Carles Porta, 2015) and Estiu 1993 (Carla Simón, 2017) are analysed using the categorization in order to explore how crises and changes in individuals or communities link to wider processes of transition and regression. It draws on previous schematizations by Raymond Williams and Manuel Castells and places particular emphasis on nuancing the conceptualisation of the postnational in the small or minority cultural context.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"3 1","pages":"67 - 93"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2019.1589266","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44691593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Annual Index, Volume III (2019) 年度索引，第三卷(2019)

Bulletin of Spanish Visual Studies Pub Date : 2019-01-02 DOI: 10.1080/24741604.2019.1606554

引用次数: 0

(Im)mobility at the Movies: el paro, Property and Prosthesis in Álex de la Iglesia’s La chispa de la vida (2011)* （IM）电影中的流动性：教会亚历克斯的失业、财产和假肢是生命的火花（2011年）*

Bulletin of Spanish Visual Studies Pub Date : 2019-01-02 DOI: 10.1080/24741604.2019.1584499

M. Marr

{"title":"(Im)mobility at the Movies: el paro, Property and Prosthesis in Álex de la Iglesia’s La chispa de la vida (2011)*","authors":"M. Marr","doi":"10.1080/24741604.2019.1584499","DOIUrl":"https://doi.org/10.1080/24741604.2019.1584499","url":null,"abstract":"Abstract In contrast with the many luckless physical falls elsewhere in Álex de la Iglesia’s oeuvre, the protagonist’s macabre plunge onto a steel spike in La chispa de la vida (2011) is more than a cartoonish gag staged merely in the service of dark humour. The resultant form of immobility wrought upon the body of Roberto, an unemployed advertising executive, allegorically serves as the socio-economic conceit at the heart of the film, and (following Mitchell and Snyder’s theory of disability as ‘narrative prosthesis’) as an unlikely source of the film’s very motion as a screen story. At once contextualizing La chispa in relation to a long tradition of Spanish cine inmobiliario (cinema discursively engaged with immovable property), this essay will examine the film’s timely and unusual satirical take on Spain’s recent ladrillo bust, as well as its self-conscious reflections on media and popular culture’s narrative representations thereof: stories caught up, like the main character’s own body, in the machinations of inmobiliaria, much as La chispa itself is a screen story predicated on professional, financial and physical immobility.","PeriodicalId":37212,"journal":{"name":"Bulletin of Spanish Visual Studies","volume":"3 1","pages":"47 - 65"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/24741604.2019.1584499","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49152309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

La ética de la voz-Real y la autoamputación de la lengua en Tiempo de revancha 语音伦理-重演时语言的真实和自我计算

Bulletin of Spanish Visual Studies Pub Date : 2019-01-02 DOI: 10.1080/24741604.2019.1598713

Martín Sorbille

引用次数: 0

Sobre retratos de Vicente Carducho

Bulletin of Spanish Visual Studies Pub Date : 2018-07-03 DOI: 10.1080/24741604.2018.1496701

Luis Ramón-Laca

引用次数: 0