Realidades 3 matilde perez12/20/2023 En este artículo se indaga cómo, cuándo y porqué se inicio esta tradición de marginación del gótico español, concluyendo que se remonta al historiador de la arquitectura victoriano James Fergusson. more Las historias del arte generales escritas por historiadores anglosajones presentan un mapa de la arquitectura gótica en el que España brilla por su ausencia. Las historias del arte generales escritas por historiadores anglosajones presentan un mapa de la. It also placed the interaction between Islamic and Christian works and artists at the heart of the study of Spanish medieval art and architecture. Although Pitt does not appear mentioned in printed histories of Gothic architecture, his refutation of the theory was crucial for the rejection of an Arab origin of the Gothic where it mattered most, in the medievalist avant-garde at Cambridge. It argues that Thomas Pitt had the mission to determine whether this theory was supported by Spanish medieval monuments. This article draws attention to a different and earlier version of the theory which proposed Spain as the cradle of the Gothic. One of the most popular theories argued that the Gothic had an Arab origin, a theory that has been traditionally attributed to Christopher Wren. more The article examines the Observations in a Tour to Portugal & Spain, 1760, by John Earl of Strathmore & Thomas Pitt, Esq., in the context of the discussions about the origin of the Gothic in the eighteenth century. The article examines the Observations in a Tour to Portugal & Spain, 1760, by John Earl of Strath. NB The text includes numerous passages in italics that were not intended by the author and should be disregarded as intentional emphasis in the construction of the arguments. It is argued that these lithographs are intermediaries between the viewer and a reality whose conception in mediated by prevalent discourses on nature, the Gothic style, national identity, and the aesthetic experience. This paper explores the picturesque gaze in the lithographs from España artística y monumental (1842-1850), as a code for recognizing reality and able to generate meaning. NB El texto de la comunicación incluye numerosos pasajes en cursiva ajenos a las intenciones del autor y no deben ser considerados como énfasis intencionados. Se argumenta que estas litografías son intermediarias entre el espectador y una realidad mediatizada por los discursos prevalentes en la época acerca de la naturaleza, el gótico, la identidad nacional y la experiencia estética. more Esta comunicación explora la mirada pintoresca en las litografías de la España artística y monumental (1842-1850) como un código de reconocimiento de la realidad y capaz de generar significados. Esta transformación transcendental es analyzada en este ensayo a través de los mecanismos inherentes a las prácticas de recuerdos colectivos, prestando atención especial a cómo las memorias que estaban ya previamente associadas con Franco y la cruz fueron recordades y transformadas con el fin de legitimizar y explicar su autoridad y visión de España.Įsta comunicación explora la mirada pintoresca en las litografías de la España artística y monume. En ese momento, la Cruz de la Victoria transformó a Franco en un salvador de España providencial y carismático, mientras que la cruz se convirtió en el símbolo de su engrandecida victoria en la Guerra Civil. El acto en si no tendría mas que una relevancia anecdótica a no ser que se examine bajo la perspectiva de la formación de memorias nacionales, en cuyo caso revela la compleja agencia de la Cruz de la Victoria como un objeto capaz de generar memorias. This momentous transformation is analyzed in this essay through the mechanisms inherent in practices of collective remembrance, paying special attention to how the memories already embodied by the cross and Franco were recalled and transformed in order to explain and legitimize his authority and vision of Spain.Įl 5 de Septiembre de 1942, Francisco Franco desfiló enarbolando la Cruz de la Victoria (908) en Oviedo como acto final de una procesión religiosa que formaba parte de la commemoración de la muerte de Alfonso II. At that moment, the Victory Cross transformed Franco into a charismatic and providential saviour of Spain, while the cross became the symbol of his aggrandized victory in the Civil War. The act per se had no value beyond the anecdotal, but when examined from the perspective of the formation of national memories it reveals the complex agency that the Victory Cross had as a memory object. more On September 5, 1942, Francisco Franco paraded the Victory Cross (908) in Oviedo as the closing act of a religious procession which was part of a commemoration of the death of Alfonso II. On September 5, 1942, Francisco Franco paraded the Victory Cross (908) in Oviedo as the closing a.
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