Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.28922
Irene Valle Corpas
espanol«Lo paramos todo y reflexionamos» era un lema cantado por los insurrectos del 68 frances. Este episodio no fue solo un ejercicio de frenesi revolucionario sino tambien una llamada a la interrupcion de los ritmos cotidianos del capitalismo desarrollista y una negacion de sus relatos historicos. A partir de una introduccion al fenomeno seguida de un analisis de algunas cintas clave, indagaremos en la idea de la detencion en el imaginario del 68, cuyos ecos resuenan durante la decada siguiente. Las peliculas —L’An 01 de Doillon, Resnais y Rouch; Le Gai Savoir de Godard; In girum imus nocte et consumimur igni de Debord y Le fond de l’air est rouge de Marker— ilustran esa suspension salvifica del tiempo y ejemplifican las virtudes que se le atribuian, a saber, la liberacion de la vida del malsano compas de la produccion, la aspiracion a una mirada responsable y teoricamente informada o, finalmente, la potencia politica que puede contener la memoria. English«We stop everything and we think» was a slogan sung by the French insurrectionists of ‘68. This episode was not only an exercise in revolutionary frenzy but also a call for the interruption of the daily rhythms of developmental capitalism and a denial of its historical narratives. Starting with an introduction to the phenomenon followed by an analysis of some key films, I will investigate this idea of detention in the imaginary of ‘68, whose echoes resonate throughout the following decade. The films —L’An 01 by Doillon, Resnais and Rouch; Le Gai Savoir by Godard; In girum imus nocte et consumimur igni by Debord and Le fond de l’air est rouge by Marker— illustrate this saving suspension of time and exemplify the virtues attributed to it: the liberation of life from the insane tempo of production, the aspiration to a responsible and theoretically informed gaze or, finally, the political potential that memory can contain.
西班牙人“我们停止了一切并反思”是68年法国人起义者唱的座右铭。这一事件不仅是一场革命狂热的运动，也是一场要求中断发展资本主义日常节奏和否认其历史故事的呼吁。从对现象的介绍，然后对一些关键磁带的分析，我们将探讨在68年的想象中停下来的想法，其回声将在接下来的十年中回荡。电影-L'An 01 de Doillon，Resnais和Rouch；戈达尔的快乐知识；在Girum Imus Nocte et消费主义者Igni de Debord和Le fond de l'Air Est Rouge de Marker中，他们说明了这种暂停节省了时间，并举例说明了赋予它的优点，即从生产中解放出不健康的同伴的生命，渴望负责任和理论上知情的目光，或者最后，记忆中可能包含的政治力量。英语“我们停止一切，我们认为”是68年法国叛乱分子的口号。这一集不仅是革命狂热的练习，也是对发展资本主义日常节奏的中断和对其历史叙事的否认的呼吁。从介绍这一现象开始，然后分析一些关键电影，我将调查68年想象中的这种拘留想法，这种想法在接下来的几十年中引起了共鸣。电影-L'AN 01 by Doillon、Resnais和Rouch；戈达尔知道的快乐；在Girum Imus Nocte et Consumermur Igni by Debord和Le fond de l'Air Est Rouge by Marker中，说明了这种节省时间的暂停，并举例说明了归因于它的优点：将生命从疯狂的生产节奏中解放出来，渴望负责任和理论上知情的天然气，或者最后，记忆所包含的政治潜力。
{"title":"On arrêt tout et on réfléchit. La detención del tiempo en el cine del 68 francés: varias paradas para otra erótica de la existencia, otra mirada al cuerpo y otro pensamiento de la Historia","authors":"Irene Valle Corpas","doi":"10.5944/ETFVII.9.2021.28922","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.28922","url":null,"abstract":"espanol«Lo paramos todo y reflexionamos» era un lema cantado por los insurrectos del 68 frances. Este episodio no fue solo un ejercicio de frenesi revolucionario sino tambien una llamada a la interrupcion de los ritmos cotidianos del capitalismo desarrollista y una negacion de sus relatos historicos. A partir de una introduccion al fenomeno seguida de un analisis de algunas cintas clave, indagaremos en la idea de la detencion en el imaginario del 68, cuyos ecos resuenan durante la decada siguiente. Las peliculas —L’An 01 de Doillon, Resnais y Rouch; Le Gai Savoir de Godard; In girum imus nocte et consumimur igni de Debord y Le fond de l’air est rouge de Marker— ilustran esa suspension salvifica del tiempo y ejemplifican las virtudes que se le atribuian, a saber, la liberacion de la vida del malsano compas de la produccion, la aspiracion a una mirada responsable y teoricamente informada o, finalmente, la potencia politica que puede contener la memoria. English«We stop everything and we think» was a slogan sung by the French insurrectionists of ‘68. This episode was not only an exercise in revolutionary frenzy but also a call for the interruption of the daily rhythms of developmental capitalism and a denial of its historical narratives. Starting with an introduction to the phenomenon followed by an analysis of some key films, I will investigate this idea of detention in the imaginary of ‘68, whose echoes resonate throughout the following decade. The films —L’An 01 by Doillon, Resnais and Rouch; Le Gai Savoir by Godard; In girum imus nocte et consumimur igni by Debord and Le fond de l’air est rouge by Marker— illustrate this saving suspension of time and exemplify the virtues attributed to it: the liberation of life from the insane tempo of production, the aspiration to a responsible and theoretically informed gaze or, finally, the political potential that memory can contain.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41335170","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}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30464
Silvia García Alcázar
The main purpose of this article is to explore some of the literary pieces that alluded the monastery of San Juan de los Reyes (Toledo) during the 19th century. To do so, we will discuss the idea that had been spread about the Middle Ages due to the influence of the Romantic movement. Last but not least, we will analyze specific examples that have incorporated both Spanish (e.g. Becquer) and foreign authors (Gautier and Davillier, among others). The data and impressions each of these writers offered has contributed to shape our comprehension of a harsh period for the monument, which had been widely affected by several historical events, specially related to war.
{"title":"Gótico y romanticismo: el monasterio toledano de San Juan de los Reyes a través de la literatura romántica","authors":"Silvia García Alcázar","doi":"10.5944/ETFVII.9.2021.30464","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30464","url":null,"abstract":"The main purpose of this article is to explore some of the literary pieces that alluded the monastery of San Juan de los Reyes (Toledo) during the 19th century. To do so, we will discuss the idea that had been spread about the Middle Ages due to the influence of the Romantic movement. Last but not least, we will analyze specific examples that have incorporated both Spanish (e.g. Becquer) and foreign authors (Gautier and Davillier, among others). The data and impressions each of these writers offered has contributed to shape our comprehension of a harsh period for the monument, which had been widely affected by several historical events, specially related to war.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48973924","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}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30842
N. Rius
Between 1900 and 1930, amateur photography spread notoriously in Catalonia. This extension had particular roots among the wealthy classes who found a form of commitment to the nation in photography and hiking. In this articulation, between photography and nation, the stereoscopic format, which was very popular at the time, played a capital role. Stereoscopic allowed the taking of double photographs that, thanks to a viewfinder, offered a profound experience of immersion, transparency and physical transit. The article interrogates the processes of construction of national visual culture not only in terms of the productive instance of amateur photography but also in its observational and experiential instance, which places the body at the centre of the processes of construction of national identities and underlines the relevant role that photographic amateurism played in cultural Catalanism.
{"title":"Experiencias inmersivas y nación: la fotografía estereoscópica amateur en Cataluña 1900-1936","authors":"N. Rius","doi":"10.5944/ETFVII.9.2021.30842","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30842","url":null,"abstract":"Between 1900 and 1930, amateur photography spread notoriously in Catalonia. This extension had particular roots among the wealthy classes who found a form of commitment to the nation in photography and hiking. In this articulation, between photography and nation, the stereoscopic format, which was very popular at the time, played a capital role. Stereoscopic allowed the taking of double photographs that, thanks to a viewfinder, offered a profound experience of immersion, transparency and physical transit. The article interrogates the processes of construction of national visual culture not only in terms of the productive instance of amateur photography but also in its observational and experiential instance, which places the body at the centre of the processes of construction of national identities and underlines the relevant role that photographic amateurism played in cultural Catalanism.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46945951","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}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.28985
Sergi Doménech García
El presente trabajo aborda, en primer lugar, la mirada sobre los ataques iconoclastas desde la perspectiva del primer franquismo y la construccion del discurso de regeneracion nacional por medio de la idea del advenimiento de un nuevo tiempo cristiano. A continuacion, se estudia la restitucion al culto de las imagenes sagradas, seguido de un estudio del caso valenciano centrado principalmente en los ejemplos de la Virgen de los Desamparados y el Cristo del Grao como representantes de la activacion de geografias devocionales. Las dos tesis principales del articulo son que los actos de desagravio se organizaron con la intencion de construir un relato oficial de los actos iconoclastas y que funcionaron como un ejercicio de apropiacion del poder de la imagen sagrada por parte del nuevo orden politico.
{"title":"Del sacrilegio al desagravio. Culto y ritual de la imagen sagrada en la Valencia del primer franquismo","authors":"Sergi Doménech García","doi":"10.5944/ETFVII.9.2021.28985","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.28985","url":null,"abstract":"El presente trabajo aborda, en primer lugar, la mirada sobre los ataques iconoclastas desde la perspectiva del primer franquismo y la construccion del discurso de regeneracion nacional por medio de la idea del advenimiento de un nuevo tiempo cristiano. A continuacion, se estudia la restitucion al culto de las imagenes sagradas, seguido de un estudio del caso valenciano centrado principalmente en los ejemplos de la Virgen de los Desamparados y el Cristo del Grao como representantes de la activacion de geografias devocionales. Las dos tesis principales del articulo son que los actos de desagravio se organizaron con la intencion de construir un relato oficial de los actos iconoclastas y que funcionaron como un ejercicio de apropiacion del poder de la imagen sagrada por parte del nuevo orden politico.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45993724","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}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30984
A. Alberti
Resena de: Colorado Castellary, Arturo, Arte, botin de guerra. Expolio y diaspora en la posguerra franquista. Madrid, Catedra, 2021. ISBN: 978-84-376-4225-3, 352 pp.
{"title":"Reseña de: Colorado Castellary, Arturo, Arte, botín de guerra. Expolio y diáspora en la posguerra franquista","authors":"A. Alberti","doi":"10.5944/ETFVII.9.2021.30984","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30984","url":null,"abstract":"Resena de: Colorado Castellary, Arturo, Arte, botin de guerra. Expolio y diaspora en la posguerra franquista. Madrid, Catedra, 2021. ISBN: 978-84-376-4225-3, 352 pp.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48612937","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}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30600
R. G. Alonso
This article tries to establish how at the beginning of the 19th century, within the Madrid public entertainment billboard, phantasmagoria began to be announced as a new show that captured much interest in the press of the time. However, the details of what really involved this show, which had its technological origin in the magic lantern, encompasses beyond its own projection qualities. From the conjunction of different areas of cultural history, the fundamental objective of this study aims to contribute to the ideation and reflection of what said show could have supposed as an integrating element of total art, decades before Richard Wagner theorized about said condition of unification of the arts. From these premises, it is intended to explore the areas in which said public entertainment was developed as a phenomenon that stimulates visual fantasies that integrates various audiovisual, scenic, artistic, scientific and pseudoscientific functions and qualities.
{"title":"La configuración del espectáculo audiovisual en el Madrid de comienzos del siglo XIX: la fantasmagoría como preludio del arte total","authors":"R. G. Alonso","doi":"10.5944/ETFVII.9.2021.30600","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30600","url":null,"abstract":"This article tries to establish how at the beginning of the 19th century, within the Madrid public entertainment billboard, phantasmagoria began to be announced as a new show that captured much interest in the press of the time. However, the details of what really involved this show, which had its technological origin in the magic lantern, encompasses beyond its own projection qualities. From the conjunction of different areas of cultural history, the fundamental objective of this study aims to contribute to the ideation and reflection of what said show could have supposed as an integrating element of total art, decades before Richard Wagner theorized about said condition of unification of the arts. From these premises, it is intended to explore the areas in which said public entertainment was developed as a phenomenon that stimulates visual fantasies that integrates various audiovisual, scenic, artistic, scientific and pseudoscientific functions and qualities.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49177515","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}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.30379
S. Luna
espanolEl articulo aborda las tecnologias visuales de inmersion en la imagen desde los paradigmas de la Arqueologia de los Medios. Este paradigma posibilita componer una historia no lineal de los medios no dependiente del discurso de progresiva sofisticacion de la representacion dirigida teleologicamente a la consecucion de una imagen hiperreal y perfecta. De este modo, una de las materializaciones de la imagen inmersiva, el panorama decimononico, se reconecta con los desarrollos actuales de las realidades virtual, aumentada y mixta (asi como con otros ejemplos de otros contextos y epocas) y con las fuerzas culturales y socioeconomicas que condicionan a estos dispositivos inmersivos y a su especificidad como medios autonomos. Se abordan, desde los conceptos de inmersion, presencia y participacion, el alcance de una aproximacion transmedial a los dispositivos, practicas y experiencias de la cultura visual digital y el significado del cuestionamiento de los limites de la imagen establecidos por el marco. EnglishThe article approaches the visual technologies of immersion in the image from the paradigms of media archaeology. This paradigm makes it possible to compose a non-linear history of the media that is not dependent on the discourse of progressive sophistication of representation teleologically directed towards the achievement of a hyperreal and perfect image. In this way, one of the materialisations of the immersive image, the nineteenth-century panorama, is reconnected with current developments in virtual, augmented, and mixed realities (as well as other examples from other contexts and historical periods) and with the cultural and socio-economic forces that condition these immersive devices and their specificity as autonomous media. The article addresses, from the concepts of immersion, presence and participation, the scope of a transmedial approach to the devices, practices and experiences of digital visual culture and the significance of the questioning of the limits of the image established by the frame.
{"title":"Inmersión en la imagen: del panorama a las nuevas realidades digitales","authors":"S. Luna","doi":"10.5944/ETFVII.9.2021.30379","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.30379","url":null,"abstract":"espanolEl articulo aborda las tecnologias visuales de inmersion en la imagen desde los paradigmas de la Arqueologia de los Medios. Este paradigma posibilita componer una historia no lineal de los medios no dependiente del discurso de progresiva sofisticacion de la representacion dirigida teleologicamente a la consecucion de una imagen hiperreal y perfecta. De este modo, una de las materializaciones de la imagen inmersiva, el panorama decimononico, se reconecta con los desarrollos actuales de las realidades virtual, aumentada y mixta (asi como con otros ejemplos de otros contextos y epocas) y con las fuerzas culturales y socioeconomicas que condicionan a estos dispositivos inmersivos y a su especificidad como medios autonomos. Se abordan, desde los conceptos de inmersion, presencia y participacion, el alcance de una aproximacion transmedial a los dispositivos, practicas y experiencias de la cultura visual digital y el significado del cuestionamiento de los limites de la imagen establecidos por el marco. EnglishThe article approaches the visual technologies of immersion in the image from the paradigms of media archaeology. This paradigm makes it possible to compose a non-linear history of the media that is not dependent on the discourse of progressive sophistication of representation teleologically directed towards the achievement of a hyperreal and perfect image. In this way, one of the materialisations of the immersive image, the nineteenth-century panorama, is reconnected with current developments in virtual, augmented, and mixed realities (as well as other examples from other contexts and historical periods) and with the cultural and socio-economic forces that condition these immersive devices and their specificity as autonomous media. The article addresses, from the concepts of immersion, presence and participation, the scope of a transmedial approach to the devices, practices and experiences of digital visual culture and the significance of the questioning of the limits of the image established by the frame.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49495282","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}
Pub Date : 2021-10-15DOI: 10.5944/etfvii.9.2021.30346
Daniel Barba-Rodríguez, Fernando Zaparaín Hernández
En Christo and Jeanne-Claude se aprecia un salto conceptual de las primeras obras a los últimos proyectos. Vamos a comprobar cómo buscan trascender los límites disciplinares en un proceso de evolución que apenas dura veinte años. Nos centraremos en finales de los cincuenta y la década de los sesenta. En una primera etapa, que corresponde a su periodo de residencia en París, entienden el arte de una manera objetual. Un arte de vanguardia que tiene de referencia a figuras como Picasso y Duchamp. En un segundo momento, su idea transita del objeto al espacio artístico. Un cambio de mentalidad que coincide con un cambio de residencia. De París se trasladan a Nueva York, dónde descubrirán las posibilidades del espacio y trabajarán bajo la influencia de artistas como Pollock o los del Pop-Art. A partir de entonces, sus trabajos excederán los límites disciplinares, pudiendo recibir múltiples definiciones como la de instalación. Un entendimiento del arte de plena actualidad.
{"title":"Del objeto al espacio. La «indisciplina» de Christo and Jeanne-Claude","authors":"Daniel Barba-Rodríguez, Fernando Zaparaín Hernández","doi":"10.5944/etfvii.9.2021.30346","DOIUrl":"https://doi.org/10.5944/etfvii.9.2021.30346","url":null,"abstract":"En Christo and Jeanne-Claude se aprecia un salto conceptual de las primeras obras a los últimos proyectos. Vamos a comprobar cómo buscan trascender los límites disciplinares en un proceso de evolución que apenas dura veinte años. Nos centraremos en finales de los cincuenta y la década de los sesenta. En una primera etapa, que corresponde a su periodo de residencia en París, entienden el arte de una manera objetual. Un arte de vanguardia que tiene de referencia a figuras como Picasso y Duchamp. En un segundo momento, su idea transita del objeto al espacio artístico. Un cambio de mentalidad que coincide con un cambio de residencia. De París se trasladan a Nueva York, dónde descubrirán las posibilidades del espacio y trabajarán bajo la influencia de artistas como Pollock o los del Pop-Art. A partir de entonces, sus trabajos excederán los límites disciplinares, pudiendo recibir múltiples definiciones como la de instalación. Un entendimiento del arte de plena actualidad.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74923304","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}
Pub Date : 2021-10-15DOI: 10.5944/etfvii.9.2021.30307
Adolfo Baltar-Moreno
Reseña de: Denoyelle, Françoise, Arles, les rencontres de la photographie: une histoire française. Arlés, Art Book Magazines, 2019. ISBN: 978-28-216-0128-4, 252 pp.
resena来自:Denoyelle, francoise, Arles, les rencontres de la photography: une historire francaise。阿尔勒，艺术书籍杂志，2019年。= =地理= =根据美国人口普查，这个县的总面积是土地和水。
{"title":"Reseña de: Denoyelle, Françoise, Arles, les rencontres de la photographie: une histoire française","authors":"Adolfo Baltar-Moreno","doi":"10.5944/etfvii.9.2021.30307","DOIUrl":"https://doi.org/10.5944/etfvii.9.2021.30307","url":null,"abstract":"Reseña de: Denoyelle, Françoise, Arles, les rencontres de la photographie: une histoire française. Arlés, Art Book Magazines, 2019. ISBN: 978-28-216-0128-4, 252 pp.\u0000 ","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83502673","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}
Pub Date : 2021-10-15DOI: 10.5944/ETFVII.9.2021.31815
Javier Castiñeiras López
En el presente articulo se ofrece un estado de la cuestion actualizado acerca de la relacion del videojuego con el mundo de la cultura y de las disciplinas historicas. De manera concreta, se tratara de abordar el papel que la Historia del Arte Medieval puede ofrecer en el analisis y valoracion de estos objetos culturales a partir de una doble via definida, de una parte, por la Edad Media historica y, de la otra, por el Medievo recreado. La saga Assassin’s Creed y titulos como Bloodborne o A Plague Tale: Innocence ofrecen visiones muy particulares de la arquitectura medieval y neomedieval, susceptibles todas ellas de formar parte del canon de obras medievalizantes de la cultura contemporanea y, por lo tanto, de ser objeto de estudio para la Historia del Arte Medieval.
{"title":"Game Studies. Methodological Approaches from the History of Medieval Art: (English version)","authors":"Javier Castiñeiras López","doi":"10.5944/ETFVII.9.2021.31815","DOIUrl":"https://doi.org/10.5944/ETFVII.9.2021.31815","url":null,"abstract":"En el presente articulo se ofrece un estado de la cuestion actualizado acerca de la relacion del videojuego con el mundo de la cultura y de las disciplinas historicas. De manera concreta, se tratara de abordar el papel que la Historia del Arte Medieval puede ofrecer en el analisis y valoracion de estos objetos culturales a partir de una doble via definida, de una parte, por la Edad Media historica y, de la otra, por el Medievo recreado. La saga Assassin’s Creed y titulos como Bloodborne o A Plague Tale: Innocence ofrecen visiones muy particulares de la arquitectura medieval y neomedieval, susceptibles todas ellas de formar parte del canon de obras medievalizantes de la cultura contemporanea y, por lo tanto, de ser objeto de estudio para la Historia del Arte Medieval.","PeriodicalId":11829,"journal":{"name":"Espacio Tiempo y Forma. Serie VII, Historia del Arte","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43592331","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：