Reseña de la obra de Nava Rodríguez, Teresa y Ángel Pazos-López eds. Museos y universidades. Espacios compartidos para la educación, la inclusión y el conocimiento. Gijón: Trea, 2020 [ISBN: 978-84-18105-31-9]
Nava rodriguez, Teresa y angel pazos - lopez eds的作品评论。博物馆和大学。教育、包容和知识的共享空间。gijon: Trea, 2020 [ISBN: 978-84-18105-31-9]
{"title":"Nava Rodríguez, Teresa y Ángel Pazos-López eds. Museos y universidades. Espacios compartidos para la educación, la inclusión y el conocimiento. Gijón: Trea, 2020 [ISBN: 978-84-18105-31-9]","authors":"Diana Avellaneda","doi":"10.5209/eiko.80514","DOIUrl":"https://doi.org/10.5209/eiko.80514","url":null,"abstract":"Reseña de la obra de Nava Rodríguez, Teresa y Ángel Pazos-López eds. Museos y universidades. Espacios compartidos para la educación, la inclusión y el conocimiento. Gijón: Trea, 2020 [ISBN: 978-84-18105-31-9]","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83503887","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}
The Roman asàrotos òikos (“Unswept Floor/Room”) mosaics, which were discovered in Italy and in Tunisia, and date from the end of the first to the sixth century AD, showcase a seemingly popular theme: scraps of food that had fallen (or were thrown) under the table during the banquet, colourfully displayed, appealing and appetising to the eyes. These mosaics are, in fact, Roman variations on a famous prototype created by Sosus in Hellenistic Pergamon, which was never discovered. The Roman mosaics reveal a unique tension between the display of impersonal, mundane reality in an illusory manner and the use of irony and disguised symbolism. The depiction of everyday life and elements that carry various symbolic meanings in trompe-l’œil prompts an interpretive reading of the artwork. The use of visual deception not only forms the ground for contemplative thought, but also enriches the reading by adding more layers of veiled meanings that need to be recognised and decoded by the viewers. This particular combination of aesthetics and iconography forms complex allegorical content. This article focuses on the asàrotos òikos mosaics which were discovered in Italy, and their particular combination of a popular theme, symbolism and illusionism.
{"title":"In the Guise of the Popular: the Deceptive Image of the Asàrotos Òikos Mosaics","authors":"Ehud Fathy","doi":"10.5209/eiko.77366","DOIUrl":"https://doi.org/10.5209/eiko.77366","url":null,"abstract":"The Roman asàrotos òikos (“Unswept Floor/Room”) mosaics, which were discovered in Italy and in Tunisia, and date from the end of the first to the sixth century AD, showcase a seemingly popular theme: scraps of food that had fallen (or were thrown) under the table during the banquet, colourfully displayed, appealing and appetising to the eyes. These mosaics are, in fact, Roman variations on a famous prototype created by Sosus in Hellenistic Pergamon, which was never discovered. The Roman mosaics reveal a unique tension between the display of impersonal, mundane reality in an illusory manner and the use of irony and disguised symbolism. The depiction of everyday life and elements that carry various symbolic meanings in trompe-l’œil prompts an interpretive reading of the artwork. The use of visual deception not only forms the ground for contemplative thought, but also enriches the reading by adding more layers of veiled meanings that need to be recognised and decoded by the viewers. This particular combination of aesthetics and iconography forms complex allegorical content. This article focuses on the asàrotos òikos mosaics which were discovered in Italy, and their particular combination of a popular theme, symbolism and illusionism.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78600460","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}
Il “Sacro Catino”, oggetto esotico giunto a Genova intorno al 1100, riceve diverse identificazioni tra XII e XIII secolo: da manufatto meraviglioso a santo Graal, reliquia della Passione. Analizzando le identificazioni del catino alla luce del dialogo con il mondo letterario, questo saggio indaga la trasformazione di temi esclusivi e complessi in elementi della memoria cittadina. L’articolo si concentra dapprima sull’appropriazione del motivo del Graal, e mostra come proprio il trattamento visuale che il tema riceve nei romanzi arturiani fa di questa letteratura il veicolo ideale per identificare il catino con il Graal e visualizzare così dogmi e misteri eucaristici. La seconda parte prende in esame il luogo in cui l’associazione catino-Graal viene fissata, la Chronicadell’arcivescovo di Genova Jacopo da Varagine, e descrive come quest’opera sia all’origine della costruzione di una scenografia monumentale dedicata ai miti di fondazione genovesi che trova posto nella cattedrale e alla quale partecipa anche il catino. Il catino è dunque coinvolto in un rapporto di circolarità tra letteratura tradizionalmente destinata a pochi e monumentalizzazione dei temi letterari e al contempo è testimonianza visuale e tangibile di strategie che sfruttano la gradazione di piani culturali high e low per la costruzione della memoria collettiva.
{"title":"High cultures e low cultures visualizzate: le metamorfosi del “Sacro Catino” di Genova tra temi cavallereschi e miti di fondazione","authors":"Ilaria Molteni","doi":"10.5209/eiko.78846","DOIUrl":"https://doi.org/10.5209/eiko.78846","url":null,"abstract":"Il “Sacro Catino”, oggetto esotico giunto a Genova intorno al 1100, riceve diverse identificazioni tra XII e XIII secolo: da manufatto meraviglioso a santo Graal, reliquia della Passione. Analizzando le identificazioni del catino alla luce del dialogo con il mondo letterario, questo saggio indaga la trasformazione di temi esclusivi e complessi in elementi della memoria cittadina. L’articolo si concentra dapprima sull’appropriazione del motivo del Graal, e mostra come proprio il trattamento visuale che il tema riceve nei romanzi arturiani fa di questa letteratura il veicolo ideale per identificare il catino con il Graal e visualizzare così dogmi e misteri eucaristici. La seconda parte prende in esame il luogo in cui l’associazione catino-Graal viene fissata, la Chronicadell’arcivescovo di Genova Jacopo da Varagine, e descrive come quest’opera sia all’origine della costruzione di una scenografia monumentale dedicata ai miti di fondazione genovesi che trova posto nella cattedrale e alla quale partecipa anche il catino. Il catino è dunque coinvolto in un rapporto di circolarità tra letteratura tradizionalmente destinata a pochi e monumentalizzazione dei temi letterari e al contempo è testimonianza visuale e tangibile di strategie che sfruttano la gradazione di piani culturali high e low per la costruzione della memoria collettiva.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74282770","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}
Reseña de la obra de Cordez, Philippe. Treasure, Memory, Nature. Church Objects in the Middle Ages. London-Turnhout: Brepols-Harvey Miller Publishers, 2020 [ISBN: 978-1-912554-61-4]
Reseña de la obra de Cordez, Philippe。宝藏，记忆，自然。中世纪的教堂物品。伦敦- turnhout: Brepols-Harvey Miller出版社，2020 [ISBN: 978-1-912554-61-4]
{"title":"Cordez, Philippe. Treasure, Memory, Nature. Church Objects in the Middle Ages. London-Turnhout: Brepols-Harvey Miller Publishers, 2020 [ISBN: 978-1-912554-61-4]","authors":"Francisco de Asís García García","doi":"10.5209/eiko.79531","DOIUrl":"https://doi.org/10.5209/eiko.79531","url":null,"abstract":"Reseña de la obra de Cordez, Philippe. Treasure, Memory, Nature. Church Objects in the Middle Ages. London-Turnhout: Brepols-Harvey Miller Publishers, 2020 [ISBN: 978-1-912554-61-4]","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78430078","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}
The Jesuit Mission in Japan was characterized by the establishment of the first painting Seminario in the Far East supervised by the Italian Jesuit Painter Giovanni Cola, who arrived in Nagasaki from Rome in 1583. The activity of the painting school focused on the production of sacred images needed for the Missionaries' evangelization effort, and it soon became a hub of Renaissance technology. European pigments were made available to Japanese and Chinese painters who trained at the Jesuit facility. New archaeometric studies have enabled to present in this work, for the first time, a renewed interpretation of historical records, also revealing, along with documentary evidence, that Arie, a place located in Kyushu, where the Seminario stayed between 1595 and 1597, played a major role as it hosted the first European glass workshop in the Far East. The systematic use of pigments introduced at Arie influenced the production of scared images both in Japan and China. However, the overall technological transfer proved an asymmetrical process due to the fierce persecution of Christians from 1614, and, as a consequence, local production of imported pigments will not start until the lifting of the ban on Christianity in 1873 with the return of Europeans to Japan.
{"title":"The Art of the Jesuit Mission in 16th-Century Japan: The Italian Painter Giovanni Cola and the Technological Transfer at the Painting Seminario in Arie","authors":"R. Montanari","doi":"10.5209/eiko.76742","DOIUrl":"https://doi.org/10.5209/eiko.76742","url":null,"abstract":"The Jesuit Mission in Japan was characterized by the establishment of the first painting Seminario in the Far East supervised by the Italian Jesuit Painter Giovanni Cola, who arrived in Nagasaki from Rome in 1583. The activity of the painting school focused on the production of sacred images needed for the Missionaries' evangelization effort, and it soon became a hub of Renaissance technology. European pigments were made available to Japanese and Chinese painters who trained at the Jesuit facility. New archaeometric studies have enabled to present in this work, for the first time, a renewed interpretation of historical records, also revealing, along with documentary evidence, that Arie, a place located in Kyushu, where the Seminario stayed between 1595 and 1597, played a major role as it hosted the first European glass workshop in the Far East. The systematic use of pigments introduced at Arie influenced the production of scared images both in Japan and China. However, the overall technological transfer proved an asymmetrical process due to the fierce persecution of Christians from 1614, and, as a consequence, local production of imported pigments will not start until the lifting of the ban on Christianity in 1873 with the return of Europeans to Japan.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78491306","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}
After the expeditions of wealthy merchants and Franciscan missionaries during the 14th century, the Chinese empire under Ming rule did not engage profusely with the European world, and vice versa. This period of artistic and intellectual silence and detachment was broken in the late 16th century when the Jesuit missionaries reconnected two worlds –Europe and China– reactivating previous medieval commercial, artistic, and intellectual routes. Silk –the product par excellence commercialized along the routes connecting China and Europe– was then accompanied by other precious products, including Chinese ceramics reaching various European courts and European paintings that reached the Ming court in Beijing. This paper addresses the complex and challenging popularization of Roman Catholicism through objects and images during the early modern era. In particular, it focuses on the diffusion of devotional images and objects used by Roman Catholic missionaries and the religious practices related to them.
{"title":"From the Altar to the Household. The Challenging Popularization of Christian Devotional Images, Objects, and Symbols in 16th and 17th Century China","authors":"Antonio De Caro","doi":"10.5209/eiko.77135","DOIUrl":"https://doi.org/10.5209/eiko.77135","url":null,"abstract":"After the expeditions of wealthy merchants and Franciscan missionaries during the 14th century, the Chinese empire under Ming rule did not engage profusely with the European world, and vice versa. This period of artistic and intellectual silence and detachment was broken in the late 16th century when the Jesuit missionaries reconnected two worlds –Europe and China– reactivating previous medieval commercial, artistic, and intellectual routes. Silk –the product par excellence commercialized along the routes connecting China and Europe– was then accompanied by other precious products, including Chinese ceramics reaching various European courts and European paintings that reached the Ming court in Beijing. This paper addresses the complex and challenging popularization of Roman Catholicism through objects and images during the early modern era. In particular, it focuses on the diffusion of devotional images and objects used by Roman Catholic missionaries and the religious practices related to them.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81161225","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}
La visualidad de la Templanza surge en el medievo con el predominio de las tendencias italianas. Durante los siglos XV y XVI, surgió un nuevo tipo iconográfico para la Templanza dentro del ámbito francés de la “nueva visualidad”, aportando nuevos atributos. Dicha innovación no es más que la manifestación icónica de las características que los pensadores atribuyen a esta virtud. El presente estudio versa sobre la aparición, análisis, continuidad y variación del tipo iconográfico de la Templanza en la “nueva visualidad”. De este modo, la innovación visual es explicada a partir de su relación con las fuentes escritas y la continuidad y variación de las imágenes.
{"title":"El tipo iconográfico de la Templanza en la “nueva visualidad”","authors":"María Montesinos Castañeda","doi":"10.5209/eiko.77729","DOIUrl":"https://doi.org/10.5209/eiko.77729","url":null,"abstract":"La visualidad de la Templanza surge en el medievo con el predominio de las tendencias italianas. Durante los siglos XV y XVI, surgió un nuevo tipo iconográfico para la Templanza dentro del ámbito francés de la “nueva visualidad”, aportando nuevos atributos. Dicha innovación no es más que la manifestación icónica de las características que los pensadores atribuyen a esta virtud. El presente estudio versa sobre la aparición, análisis, continuidad y variación del tipo iconográfico de la Templanza en la “nueva visualidad”. De este modo, la innovación visual es explicada a partir de su relación con las fuentes escritas y la continuidad y variación de las imágenes.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90954193","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}
El presente trabajo pretende acercarse al universo iconográfico de la orden carmelita descalza, a través de dos modelos auspiciados por los santos reformadores. En concreto, las representaciones pasionistas de Cristo atado a la columna y la de Jesús Nazareno, con enorme difusión en los conventos propios tras formar parte de las experiencias místicas de santa Teresa de Jesús y san Juan de la Cruz. Tales fundamentos, junto al aporte de nueva documentación inédita, servirán como punto de partida para dilucidar la confusión y errores de adscripción a los que ha sido sometida la escultura de Jesús Nazareno de la iglesia parroquial de Benamejí (Córdoba). Vinculada en los últimos años al buen hacer del escultor antequerano Antonio del Castillo, se descubre ahora que esta obra no corresponde a la que hiciera en 1695 para el desaparecido convento carmelita de Nuestra Señora de los Remedios. Equivale, más bien, al Cristo amarrado a la columna localizado en la misma parroquial, el otrora denominado Jesús de los Remedios, que simultaneaba ambas iconografías al actuar con los atavíos y elementos de la Pasión.
本作品旨在通过神圣改革者赞助的两个模型来接近迦密派的肖像宇宙。具体来说，基督被绑在柱子上的激情形象和拿撒勒人耶稣的形象，在成为耶稣的圣特蕾莎和十字架上的圣约翰的神秘体验的一部分后，在修道院中广泛传播。这些基础，连同新的未发表的文献的贡献，将作为一个起点，以澄清混淆和错误的归属，耶稣拿撒勒诺的教区教堂benameji (cordoba)。近年来，这幅作品与安特奎拉雕塑家安东尼奥·德尔·卡斯蒂略(Antonio del Castillo)的出色工作有关，现在人们发现，这幅作品与1695年为现已不复存在的卡梅尔修道院(carmelite)创作的作品并不相符。相反，它相当于被绑在柱子上的基督，位于同一个教区，以前被称为jesus de los Remedios，这两种肖像同时与耶稣受难的服装和元素一起工作。
{"title":"Simultaneidad iconográfica en la escultura barroca: Antonio del Castillo y la errónea autoría del Jesús Nazareno de Benamejí (Córdoba)","authors":"Sergio Ramírez González","doi":"10.5209/eiko.75247","DOIUrl":"https://doi.org/10.5209/eiko.75247","url":null,"abstract":"El presente trabajo pretende acercarse al universo iconográfico de la orden carmelita descalza, a través de dos modelos auspiciados por los santos reformadores. En concreto, las representaciones pasionistas de Cristo atado a la columna y la de Jesús Nazareno, con enorme difusión en los conventos propios tras formar parte de las experiencias místicas de santa Teresa de Jesús y san Juan de la Cruz. Tales fundamentos, junto al aporte de nueva documentación inédita, servirán como punto de partida para dilucidar la confusión y errores de adscripción a los que ha sido sometida la escultura de Jesús Nazareno de la iglesia parroquial de Benamejí (Córdoba). Vinculada en los últimos años al buen hacer del escultor antequerano Antonio del Castillo, se descubre ahora que esta obra no corresponde a la que hiciera en 1695 para el desaparecido convento carmelita de Nuestra Señora de los Remedios. Equivale, más bien, al Cristo amarrado a la columna localizado en la misma parroquial, el otrora denominado Jesús de los Remedios, que simultaneaba ambas iconografías al actuar con los atavíos y elementos de la Pasión.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83174110","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}
Mónica R. Ravelo García, Álvaro A. Cárdenas Castro, Jaime Villanueva Donoso
En el presente artículo analizamos un conjunto de obras de la artista cubano-mexicana Marta María Pérez Bravo y sistematizamos su trabajo en general partiendo de las evoluciones temáticas, estéticas y técnicas a lo largo del tiempo. Aplicamos la perspectiva del arte de resistencia, la metodología cualitativa y el método de análisis de discurso. Analizamos distintos asuntos imbricados en las obras y que la validan como un arte crítico o de resistencia situado, sobre todo, en el contexto cubano. Muestra de ello es que transforma los paradigmas estéticos vigentes; reelabora las prácticas religiosas históricamente discriminadas; cuestiona la construcción del género en Cuba y la desigual participación de la mujer en las prácticas religiosas y en la sociedad;expone problemáticas políticas y sociales como la libertad de expresión y las prácticas clandestinas de sobrevivencia económica. Paralelamente, notamos las significaciones ontológicas, artísticas y políticas del uso de los aparatos tecnológicos para la plasmación de las imágenes, tanto en la fotografía como en el video, en el paso de las variantes análoga a digital.
在这篇文章中，我们分析了古巴-墨西哥艺术家Marta maria perez Bravo的一组作品，并将她的作品从主题、美学和技术的演变中系统化。本文采用了抵抗艺术的视角、定性方法论和话语分析方法。我们分析了作品中交织在一起的不同问题，这些问题证实了它是一种批判艺术或抵抗艺术，尤其是在古巴的背景下。它改变了当前的审美范式，证明了这一点;重新阐述历史上受歧视的宗教习俗;它质疑古巴的性别结构和妇女在宗教活动和社会中的不平等参与;它揭露政治和社会问题，如言论自由和经济生存的秘密做法。在这篇文章中，我们讨论了在摄影和视频中使用技术设备来塑造图像的本体论、艺术和政治意义，从模拟到数字的变化。
{"title":"Credos, cuerpo, institución y el uso de los aparatos tecnológicos en la obra de resistencia de Marta María Pérez Bravo","authors":"Mónica R. Ravelo García, Álvaro A. Cárdenas Castro, Jaime Villanueva Donoso","doi":"10.5209/eiko.76731","DOIUrl":"https://doi.org/10.5209/eiko.76731","url":null,"abstract":"En el presente artículo analizamos un conjunto de obras de la artista cubano-mexicana Marta María Pérez Bravo y sistematizamos su trabajo en general partiendo de las evoluciones temáticas, estéticas y técnicas a lo largo del tiempo. Aplicamos la perspectiva del arte de resistencia, la metodología cualitativa y el método de análisis de discurso. Analizamos distintos asuntos imbricados en las obras y que la validan como un arte crítico o de resistencia situado, sobre todo, en el contexto cubano. Muestra de ello es que transforma los paradigmas estéticos vigentes; reelabora las prácticas religiosas históricamente discriminadas; cuestiona la construcción del género en Cuba y la desigual participación de la mujer en las prácticas religiosas y en la sociedad;expone problemáticas políticas y sociales como la libertad de expresión y las prácticas clandestinas de sobrevivencia económica. Paralelamente, notamos las significaciones ontológicas, artísticas y políticas del uso de los aparatos tecnológicos para la plasmación de las imágenes, tanto en la fotografía como en el video, en el paso de las variantes análoga a digital. \u0000 ","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75605751","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}
Reseña de la obra de Gómez de la Serna, Ramón. Buen Humor. Relatos ilustrados. Vitoria-Gasteiz: Sans Soleil Ediciones, 2020 [ISBN: 978-84-121578-5-7]
gomez de la Serna的作品评论，ramon。精神抖擞。开明的故事。维多利亚-加斯泰兹:没有太阳的版本，2020 [ISBN: 978-84-121578-5-7]
{"title":"Gómez de la Serna, Ramón. Buen Humor. Relatos ilustrados. Vitoria-Gasteiz: Sans Soleil Ediciones, 2020 [ISBN: 978-84-121578-5-7]","authors":"Laurie-Anne Laget","doi":"10.5209/eiko.79480","DOIUrl":"https://doi.org/10.5209/eiko.79480","url":null,"abstract":"Reseña de la obra de Gómez de la Serna, Ramón. Buen Humor. Relatos ilustrados. Vitoria-Gasteiz: Sans Soleil Ediciones, 2020 [ISBN: 978-84-121578-5-7]","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74662409","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}
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