Article (Mirabilia Ars)
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El Maestro and El Cortesano. Intermidiality in the literary and musical work of Luis de Milán
Gustavo Rocha CHRITARO
Original title: El Maestro e El Cortesano. Intermidialidade na obra literária e musical de Luis de Milán
Published in
Keywords: El Cortesano, El Maestro, Luis de Milán, Vihuela.
This paper focus its efforts on the analysis of the intermediality in the musical and literary poetics of Spanish vihuelista Luis de Milán (1500-1561). Parting from his two best-known publications, El Maestro (1535) and El Cortesano (1561), we carried out a comparative study of generative discursive strategies contained in each work. As support for approaching the musical primary sources, we used the work of Griffiths (1999 and 2005), as well as some commented transcriptions for guitar produced by Koonce (2008) and Chiesa (1974), while the approach to literary sources sought support Hart (1972).
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The murals of Siena’s Palazzo Pubblico. Paintings for a city at war
Jesús CANTERA MONTENEGRO, Clara Mª CASTREJÓN VELLÉ
Original title: Los frescos del Palazzo Pubblico de Siena. Pinturas para una ciudad en guerra
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Keywords: Ambrogio Lorenzetti, Good and Bad Government, Maestà, Medieval Italian frescos, Simone Martini.
Study of the Siena’s palace paintings as an example of a secular public interior in the Middle Ages and the social and political circumstances that influenced them in their iconography and symbolism, taking a special attention to Ambrogio Lorenzetti’s Good and Bad Government and Simone Martini’s Maestà.
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Marginals, schismatics, heretics: Their religious expression in fourth and fifth century patristics
Susana FIORETTI
Original title: Marginales, Cismáticos, herejes. Su expresión religiosa en la patrística de los siglos IV y V
Published in
Keywords: Christians, Marginals, Schismatics y heretics.
During the fourth century, once Constantine’s politics placed Christian worship on equal footing to Paganism, a fruitful and swift effort to create a corpus of doctrine and thought was carried out. Fourth-century Christians became increasingly vigilant with respect to their own Christian identity when they faced the rapid and sometimes incomplete conversion of the heathen, but fundamentally when facing internal divergences that were becoming more visible and problematic in this new political process. The century witnessed the emergence of numerous marginalized Christian movements that resisted the creation of a Catholic orthodoxy supported by the Empire. Hence, heresy was the hub of the problem, configured as a negative limit for orthodoxy. The “Constantinian Revolution” marked the beginning of the end of the old system, eclectic and tolerant of doctrinal matters, yielding to a religious centralization that would not be limited only to ritualism, but would also extend into the realm of personal behavior and belief. By transforming a persecuted faith into a stable Church, not only was it sought that it be present in society, but that it would control it. Hence, the absolute and exclusive conception of dogma constructed by the Church shows its inability to conceive as possible the coexistence of its preaching with other forms of truth. The center of the philosophical and theological universe was solidly occupied by the truth of the Church, who ended up becoming the arbiter of all discourse. The topic has come a long way and evolved to an intolerance that, undoubtedly, entailed a modification of Roman policies. Many of the works that we have analyzed are a registry of the Church’s struggle against its persecutors and against heretics, who were becoming the biggest threat to its continuity, as understood by many of its contemporaries.
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Interior decoration of lay public spaces in the Middle Ages
Jesús CANTERA MONTENEGRO, Ángela ORGANERO MANZANERO
Original title: Decoración de interiores públicos laicos en la Edad Media
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Keywords: Ambrogio Lorenzetti, European painting, Fiscal system, Florence and Siena, Political propaganda.
The secular presence on art during XIV century, reflects how artistics genres started a process of indipenditation of eclesiastic world. In Europe, in this age a fiscal system was stablished that aloud a fluence transmission of money to coffers. This made Florence and Siena gain a strong economic stability. With the total control of middle class, took place the building of Public Palace of Siena and the decoration of the Sala dei Nove by Ambrogio Lorenzetti. This frescos constitutes a unicum european painting because his conception and convey feelings, like one of famous manifiestion of political propaganda of Middle Age. Ambrogio, under allegorical, political, theological and philosophical pressure, put together a whole political ideology result of agreement between citizens.
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Humanism and medieval narrative in Max Weber´s iron cage: the case of Hayden White
Miguel Ángel SANZ LOROÑO
Original title: Humanismo y narrativas medievales en la jaula de hierro de Max Weber: el caso de Hayden White
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Keywords: Cold War, Philosophy of History, Weber, White.
This paper attempts to read the “content of the form” of the medievalist work published by Hayden White in his early academic career. Taking Max Weber as the main guide, White plotted the history of papal schism of 1130 with typical tools of social science: Weberian typology and narrative. Also, White began, from the contradictions and limits of the German sociologist, to develop a personal vision of the humanistic and moral function of historiography. The limits to his humanism that he found in Weber's quasi dystopian narrative of modernization, strongly embodied by the realities of the Cold War, were equally important for this development. Over time, these limitations (from political prohibition to antihumanism) led White from Max Weber to Benedetto Croce. Finally, the neo-Kantian dualism of Weber's epistemology, which dramatically embodied the ontological gap opened up by modernity, had developed by the humanist idealism of the Neapolitan philosopher.
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Introduction: The Power of Images. Ideas and functions of artistic representations
José María SALVADOR GONZÁLEZ
Original title: Presentación: El Poder de la Imagen. Ideas y funciones de las representaciones artísticas
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The Beauty and Love in Ibn Sīnā (980-1037)
Ricardo da COSTA, Evandro Santana PEREIRA
Original title: O Belo e o Amor em Ibn Sīnā (980-1037)
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Keywords: Aesthetics, Beauty., Ibn Sīnā, Love.
This paper analyses the subjects of Love and Beauty in the Risalah fi’l- ‘ishq (A Treatise on Love) of the philosopher Ibn Sīnā (980-1037).
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Yungang: a Chinese Buddha to the Romans
André BUENO
Original title: Yungang: um Buda Chinês para os Romanos
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Keywords: Ancient China, Buddhism, Buddhist Iconography, Intercultural Dialogue, Roman Empire.
The aim of this paper is to analyze the Akshobhya Buddha statue (in Chinese, Achurulai 阿閦如来), located in the cave 16 in Yungang Complex (Yungang Shiku 雲崗石窟), which is situated in northern China, and is built in 5th century CE. Our proposal is that this statue was sculpted to receive foreigners, especially the Romans, using an in Buddhist iconographic experience that incorporated elements Greco-Roman, Indian and Chinese.
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Two fragments of marmoreal sculpture in the archeological site of El Pozuelo (Llano de Olmedo, Valladolid)
Víctor Manuel CABAÑERO MARTÍN
Original title: Dos fragmentos de escultura marmórea procedentes del yacimiento de El Pozuelo (Llano de Olmedo, Valladolid)
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Keywords: Cauca, Faunus, Marble, Pan, Satyrs, Sculpture.
This paper offers a couple of sculpture fragments, found in El Pozuelo site (Llano de Olmedo, Valladolid). This place offers a wide chronology, supported by the pottery found on it, among all roman sites located into the Cauca city territory (Coca, Segovia, Hispania Citerior).
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Editorial: On issues of Art and Aesthetics
José María SALVADOR GONZÁLEZ
Original title: Sobre cuestiones de Arte y Estética
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