Hispanic Research Journal-Iberian and Latin American Studies最新文献

{"title":"Optical Melancholy: Mechanics of Vision in the Poetry, Painting, and Photography of José María Eguren","authors":"Luis Rebaza-Soraluz","doi":"10.1080/14682737.2022.2061791","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061791","url":null,"abstract":"Abstract This essay studies the poetry, painting, and photographic work of the Peruvian José María Eguren. It offers the first interdisciplinary analysis of Eguren’s varied works and poetics, understanding them as a whole; locates Eguren within a process of cosmopolitan cultural modernity wider than that presented by literary studies; and shows ways in which early twentieth-century artistic productions transition from romantic fin de siècle concerns into mass media and technology. Specifically, this study explores the role of the senses in Eguren’s literary and visual works, analyses his understanding of the phenomena of vision and visuality during a period in which visual technology and the avant-garde seemed to have left behind the nineteenth century, and discusses the subject of literary and visual melancholy from an early twentieth-century point of view. It addresses the concept of fantasy and argues that Eguren, instead of presenting fantasy and melancholy as fin de siècle decadent phenomena, treats and explains them as processes of human understanding and thought closely linked to both the dynamics of optics and contemporary visual technology.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"495 - 516"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49006301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Architecture of the Islamic West: North Africa and the Iberian Peninsula, 700–1800.","authors":"Tom Nickson","doi":"10.1080/14682737.2022.2061797","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061797","url":null,"abstract":"In 1690 Muhammad ibn Abd al-Wahhab al-Wazir al-Ghassani embarked on an embassy to Habsburg Spain on a mission to ransom slaves and reclaim manuscripts, recording a widely read account of his journey, Rihlat al-Wazir fi Iftikak al-Asir (The Journey of the Minister to Ransom the Captive). In it, he carefully described a number of architectural wonders, including El Escorial, Aranjuez, and Toledo Cathedral. Of the Great Mosque of C ordoba, converted into a cathedral following the city’s conquest in 1236, he wrote:","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"542 - 544"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43287241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hilando entre lo sacro y lo profano: La colección de tapices del Palacio Caprotti","authors":"Ismael Mont Muñoz","doi":"10.1080/14682737.2022.2061787","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061787","url":null,"abstract":"RESUMEN En este artículo realizaremos un estudio del conjunto de tapices del Palacio Caprotti de la ciudad de Ávila, que resulta excepcional por su interés artístico, el valor del lugar en el que se encuentra, así como por reunir algunas de las problemáticas comunes de muchas colecciones de paños en España. Nos centraremos en aspectos como la procedencia de estos tapices, la cronología, la heráldica y la formación de la colección. Asimismo, realizaremos una aproximación estilística e iconográfica, focalizándonos en sus obras más destacadas. Con todo ello arrojaremos luz sobre esta desconocida colección y corregiremos algunos aspectos que tradicionalmente se han considerado sobre la misma.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"439 - 464"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49399465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Fame and Fortune of Gregorio Vásquez de Arce y Ceballos, Painter of Santafé, New Granada","authors":"A. Frassani","doi":"10.1080/14682737.2022.2061790","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061790","url":null,"abstract":"Abstract The article addresses related issues surrounding the artistic biography and production of Gregorio Vásquez, the most important painter of colonial Colombia, active in the latter part of the seventeenth and the first decade of the eighteenth century. Vásquez is a unique figure in Latin American art historiography because local historians researched and wrote about his life and works since at least the nineteenth century. His vast catalogue consists of almost five hundred paintings and includes a unique corpus of over a hundred drawings. Based on published and unpublished primary sources and chronicles, and the analysis of his painterly style and drawing techniques, it is argued that the painter’s abundant production and fame were both the means and result of artistic strategies devised by Vásquez and his followers throughout the eighteenth century in order to capitalize on the painter’s regional success.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"465 - 494"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49513527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Photographing the Unseen Mexico: Maya Goded’s Socially Engaged Documentaries.","authors":"Russell White","doi":"10.1080/14682737.2022.2061807","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061807","url":null,"abstract":"his limited spare time. The four main contributors have gathered the latest research and dispelled long-held assumptions and misreadings about the life of the artist. Jesusa Vega debunks the desire to see Goya and the Duchess of Alba as lovers, pointing out that the relationship was familial rather than romantic; McDonald gives us a new approach to the artist’s sketching techniques; while Chaparro and Cer on-Pe~ na, who have already published work addressing obscurities of the artist’s early life, show their expertise here in entries on individual pieces and remain questioning and open-minded, bringing out unresolved ambiguities in the narratives of each image. The late aquatint, Seated Giant, one of the most innovative designs Goya ever produced (item 48, 164) is related through technique and inspiration to Goya’s painting El Coloso (fig. 45, 164) which Professor Vega accepts as an authentic work, without any qualifiers (59). The painting, which is now attributed to Goya on the Prado label, having been previously thought to be the work of a pupil, is connected to the analysis of the print and here the writers only refer in a cursory way to the disagreement which has marred its authenticity. A slightly more tentative assessment appears in the catalogue entry which notes: “Goya’s authorship of that painting has been called into question [... ]. This view has been vigorously challenged and there is growing support for the painting to be returned to Goya” (164). Despite the vociferous clamor of the for-and-against arguments, as Goya writes tellingly on a drawing of a single figure standing in a desolate landscape and waving his arms: “No har as nada con clamar” (item 78, 232). Scrolling through Amazon lists of the many Goya biographies on sale, it is not unusual to find readers lamenting the sparse attention art historians of the past have paid to prints and drawings in their analyses of Goya’s career. Goya’s “recognition derives mainly from his accomplishments as a painter” (13), but the balance of his posthumous fame is tipping in favour of the new ascendancy of his long commitment to graphic design. There have in recent years been several important exhibitions of Goya’s works on paper, but this show and its accompanying catalogue give us a much clearer insight into the complexities of Goya’s life-long passion for graphic media.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"559 - 560"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45394220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cuerpos representados: Objetos de ciencia artísticos en España, siglos XVIII–XX.","authors":"Natasha Ruiz-Gómez","doi":"10.1080/14682737.2022.2061804","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061804","url":null,"abstract":"","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"554 - 555"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43086467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El universal Convite: Arte y Alimentación en la Sevilla del Renacimiento","authors":"J. Vega","doi":"10.1080/14682737.2022.2061799","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061799","url":null,"abstract":"","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"545 - 546"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43825027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ambassadors in Golden-Age Madrid: The Court of Philip IV through Foreign Eyes.","authors":"J. Massing","doi":"10.1080/14682737.2022.2061802","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061802","url":null,"abstract":"continues to tread its own path. Fracchia’s unifying theme is taken from the title of her book, which are the opening words of a sixteenth-century Afro-Hispanic proverb. A form of resistance, this formulation deliberately stood out against the premise of the time that regarded black Africans simply as commodities like any other; they were seen as “objects” and more than that often as symbols of status. And it was as such they were depicted in material culture, when seen for example in the background of portraits. In Fracchia’s own words: “To be a black person was to be a chattel, a piece of property” (13). At the same time, however, material culture itself could become a site of resistance, and Fracchia’s work also powerfully explores this, through the lens of this same phrase—“Black but human”—and supported by concrete examples. Chapters 2 and 3 discuss how, in part, the all-powerful Spanish church was complicit, and indeed encouraging of, these practices of slavery; on the other hand, the slaves were always supposed to be able to better their condition through baptism and acceptance of Christianity. There were specifically black religious confraternities from the fourteenth century onwards, which proliferated after the Council of Trent, and in which both slaves and freed considered themselves to be a “nation.” Throughout these chapters it is made clear how a recognizable iconography of slavery emerged in material culture through such visible symbols as chains and collars. But Fracchia is also able to use the evidence of material culture to build up a more rounded picture of the realities of slavery for which little other evidence survives, as in Chapter five which uses the macabre tale, Miracle of the Black Leg, to speculate on the violence of Iberian slavery in practice. Much of the reason behind the inclusion of black figures in works of art, however, was about their integration into the wider society of what had now become a vast and diffuse empire. This can be seen most obviously in the iconography of the Adoration of the Magi, but also in the canonization of “black saints” discussed in Chapter 3, such as Benedict of Palermo, himself the child of slaves, who became their patron saint. Appropriately, Fracchia’s final chapter focusses on a different iconic image, Vel azquez’s portrait of Juan de Pareja, who was not only a slave, but also an artist, providing far more information about this fascinating figure than has been available heretofore. This reviewer’s one possible criticism with the argument in toto is that Fracchia begins abruptly in 1480 and then restricts her investigation quasi-exclusively to mainland Spain, setting aside the vast scope of the Spanish Empire. Perhaps this will be the subject of her next book? That aside, Black But Human should be recommended as a valuable and innovative resource for appraising not only this controversial topic, but also the visual culture of Early Modern Spain, afresh. Piers Baker-Bates The Open U","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"549 - 551"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49416464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Idolizing Mary: Maya-Catholic Icons in Yucatán, Mexico.","authors":"M. Craveri","doi":"10.1080/14682737.2022.2061803","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061803","url":null,"abstract":"from Ottoman Turkey. It begins with Piero Boccardo’s study of the embassy of Anton Giulio Brignole-Sale who represented the Republic of Genoa, including first-hand accounts of the complexities of the negotiations with the Spanish court. Next, Paola Volpini covers the translatability of scientific discoveries through Galileo and Medicean diplomacy from 1612 to 1632; the original idea was to share Galileo’s discoveries, including the measurement of longitude, in exchange for the right for Florentine vessels to commerce with the New World without passing through Seville. This is followed by Jorge Fern andez-Santos and H€ useyin Serdar Tabako glu’s account of the visit of Ahmed Agha in 1649–50, discussing the ensuing unsuccessful negotiations as well as disreputable behavior of the envoy and his servants. Finally Mercedes Simal L opez deals with Fulvio Testi, a Modenese poet and envoy to Madrid in 1636, and his return in 1638 with Francesco I d’Este, Duke of Modena, on his official visit to Madrid. The book concludes with MiguelAngel Ochoa Brun’s Epilogue, a scholarly assessment and synthesis of Philip’s own ambassadors, of which Peter Paul Rubens is probably the most famous. The volume ends with a list of foreign diplomatic representatives sent to Philip IV by the principal European powers. This important and interesting book, written by twenty-one scholars from twelve countries, is a major achievement, forming a significant contribution to Spanish and wider European diplomatic studies, court interactions, and art patronage, both through the scope and rich use of sources, manuscript and printed. It is very beautifully produced and enriched by 287 colour illustrations introducing whenever possible portraits of the protagonists, for example Diego Vel azquez’s Francesco I d’Este of 1638 (Modena, Galleria Estense) and Camillo Massimo of 1649–50 (Kingston Lacey, National Trust).","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"552 - 553"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44945182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Latinoamérica en la prensa cultural rumana 1959–65: La historia de una instrumentalización política de la literatura","authors":"Ilinca Ilian","doi":"10.1080/14682737.2022.2040901","DOIUrl":"https://doi.org/10.1080/14682737.2022.2040901","url":null,"abstract":"RESUMEN Nos proponemos estudiar el proceso de la paulatina penetración de la literatura latinoamericana en Rumania al analizar los artículos, ensayos y traducciones publicados en la prensa cultural rumana entre 1959 y 1965, cuando se da el paulatino abandono de los preceptos del realismo socialista, que desfiguraron el espacio cultural de este país desde el inicio de la sovietización forzada, en 1946. Lo que nos interesa mostrar es que la literatura latinoamericana introducida por la traducción o reseñas, y que prácticamente había sido desconocida hasta la sexta década del siglo XX, se convirtió en un instrumento político que reflejaba a la perfección las tensiones del campo cultural de esta época y que, a la vez, revelaba el arduo camino hacia la conquista de la autonomía de lo estético.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"286 - 306"},"PeriodicalIF":0.1,"publicationDate":"2021-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41650996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}