Pub Date : 2019-06-27DOI: 10.1080/24741604.2019.1621097
Hilary Macartney
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.
本文考察了威廉·斯特林·麦克斯韦爵士(1818-1878)对艺术跨学科性的现代理解的卓越贡献，这是早期现代西班牙和哈布斯堡帝国艺术家多方面角色的基础。作为第一部按时间顺序排列的西班牙艺术史，通过展示视觉艺术、文学和戏剧之间的密切联系——实际上是相互依存——以及教会和国家的赞助，将艺术置于语境中，斯特林的《西班牙艺术家编年史》(1848)在新兴的艺术史学科中赢得了先锋地位。我们追溯了斯特林对节日和艺术的兴趣的演变，以及它们之间的相互关系，引用了他早期在欧洲大陆旅行的证据，他出版的作品，以及他对西班牙艺术和节日书籍的杰出收藏，尤其是他保存和序言的Torre Farfán的Fiestas de Sevilla(1671-1672)的多份副本。因此，尽管他当时被批评为“徘徊在”艺术家在短暂的节日和庆祝活动中的角色描述上，但这里认为，斯特林现在可以被视为19世纪当代艺术史方法与早期现代戏剧和表演心态之间的重要联系。
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Pub Date : 2019-06-26DOI: 10.1080/24741604.2019.1622323
Carmen González-Román
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.
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Pub Date : 2019-01-02DOI: 10.1080/24741604.2019.1588549
Jordana Blejmar
Abstract Scholars interested in post-dictatorship culture in Argentina have focused mainly on two modes of representing ‘disappearance’, namely the photographs of the victims exhibited in commemorations and the silhouettes that originated during the 1983 event called the siluetazo. In this article I focus on a third visual strategy of memory: the figure of the doll. I analyse photographs, paintings and performances which, during and after the 1976–1983 dictatorship, have used dolls to represent the nation’s unburied bodies. I present photographs, silhouettes and dolls as all being part of an aesthetic of the Doppelgänger, characterized by similar issues of replication and phantasmagoria. I look at dolls’ spectral quality and also at their role in performances that were considered by some to be controversial ‘spectacularizations’ of terror. I argue, however, that these works were never just provocative but played an important role in discussions about play, memory and visual culture in Argentina and beyond.
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Pub Date : 2019-01-02DOI: 10.1080/24741604.2019.1589747
Vanessa Ceia
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.
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Pub Date : 2019-01-02DOI: 10.1080/24741604.2019.1591696
María Nieves Rupérez Almajano
Abstract El cabildo y la ciudad de Lima no escatimaron medios para el proceso de canonización del arzobispo Mogrovejo. Gracias a ello el despliegue de recursos artísticos para dar a conocer su figura y su aportación a la evangelización del Nuevo Mundo fue enorme, alcanzando su momento de inflexión en los años inmediatos a la beatificación en 1679. Para las celebraciones festivas y la creación de imágenes, desde retratos hasta completas series narrativas grabadas, se recurrió a renombrados artífices, no tanto por razones devocionales, sino como parte de una política propagandística y diplomática ineludible. Sólo en un segundo momento algunos de esos tipos iconográficos se usaron con una finalidad cultual, como refleja su recepción en América y España. Con este artículo se pretende reunir y precisar esa rica producción, en parte olvidada.
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Pub Date : 2019-01-02DOI: 10.1080/24741604.2019.1589266
Dilys Jones, C. Perriam
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.
本文将最近的三部加泰罗尼亚电影置于身份，变化和小或“少数民族”国家的分类讨论框架中。它建立在以前对威尔士和巴斯克电影的工作基础上，该工作提出了一种分类系统，旨在加强电影与小民族或少数民族文化中身份之间联系的概念化。该系统使用了三个模态概念:保存，与父权制、乡村景观、集体乡村身份和刻板印象有关;反转，与景观的表现或集体身份的表达所产生的意义的复杂性和模糊性有关;而后民族主义则与不和谐、无地方性和对集体历史的相关性或方向的怀疑有关。使用分类分析Los últimos días (David and Álex Pastor, 2013)， Segon origen (Carles Porta, 2015)和Estiu 1993 (Carla Simón, 2017)，以探索个人或社区的危机和变化如何与更广泛的过渡和回归过程联系起来。它借鉴了Raymond Williams和Manuel Castells之前的图式，并特别强调了在小民族或少数民族文化背景下对后民族概念的细微差别。
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Pub Date : 2019-01-02DOI: 10.1080/24741604.2019.1584499
M. Marr
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.
摘要与Álex de la Iglesia作品中其他地方发生的许多不幸的身体摔倒形成对比的是，主人公在《la chispa de la vida》（2011）中可怕地摔倒在钢钉上，这不仅仅是为了黑色幽默而上演的卡通噱头。罗伯托是一名失业的广告主管，他身上由此形成的不动状态，寓言式地成为了电影核心的社会经济自负，（根据米切尔和斯奈德关于残疾是“叙事假体”的理论）成为了电影作为银幕故事的不太可能的运动来源。本文将《拉奇斯帕》与西班牙电影在流动中的悠久传统（与不动产有关的电影话语）联系起来，考察这部电影对西班牙最近的ladrillo半身像的及时而不同寻常的讽刺，以及它对媒体和流行文化叙事表征的自觉反思：故事被捕捉，就像主角自己的身体一样，在《机动战士》的阴谋中，就像《拉奇斯帕》本身是一个基于职业、经济和身体不动的银幕故事一样。
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Pub Date : 2019-01-02DOI: 10.1080/24741604.2019.1598713
Martín Sorbille
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Pub Date : 2018-07-03DOI: 10.1080/24741604.2018.1496701
Luis Ramón-Laca
Abstract Se estudian en este artículo tres retratos de Vicente Carducho: primero, el retrato de la colección Stirling Maxwell, Pollok House, Glasgow; segundo, el grabado de Pedro Perret conservado en la Real Biblioteca, Madrid; y, finalmente, el retrato vendido recientemente en Madrid, el cual perteneció anteriormente al Marqués de Torrecilla. Estos tres retratos se estudian en el contexto del renovado interés despertado en los últimos años por la obra de Carducho y a la luz de las ideas de este artista-teórico vertidas en sus Diálogos de la pintura, obra publicada en Madrid en 1633.
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