Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061791
Luis Rebaza-Soraluz
Abstract This essay studies the poetry, painting, and photographic work of the Peruvian José María Eguren. It offers the first interdisciplinary analysis of Eguren’s varied works and poetics, understanding them as a whole; locates Eguren within a process of cosmopolitan cultural modernity wider than that presented by literary studies; and shows ways in which early twentieth-century artistic productions transition from romantic fin de siècle concerns into mass media and technology. Specifically, this study explores the role of the senses in Eguren’s literary and visual works, analyses his understanding of the phenomena of vision and visuality during a period in which visual technology and the avant-garde seemed to have left behind the nineteenth century, and discusses the subject of literary and visual melancholy from an early twentieth-century point of view. It addresses the concept of fantasy and argues that Eguren, instead of presenting fantasy and melancholy as fin de siècle decadent phenomena, treats and explains them as processes of human understanding and thought closely linked to both the dynamics of optics and contemporary visual technology.
本文研究了秘鲁作家jossore María Eguren的诗歌、绘画和摄影作品。它提供了第一个跨学科的分析伊古伦的各种作品和诗学，理解他们作为一个整体;将《伊古仁》置于比文学研究更广阔的世界性文化现代性进程中;并展示了二十世纪早期的艺术作品如何从浪漫的最终结局转向大众媒体和技术。具体而言，本研究探讨了感官在伊古伦文学和视觉作品中的作用，分析了他在视觉技术和前卫艺术似乎已经落后于19世纪的时期对视觉和视觉现象的理解，并从20世纪早期的角度讨论了文学和视觉忧郁的主题。它阐述了幻想的概念，并认为Eguren并没有将幻想和忧郁呈现为最后的颓废现象，而是将它们视为人类理解和思考的过程，并将其解释为与光学动力学和当代视觉技术密切相关的过程。
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Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061797
Tom Nickson
In 1690 Muhammad ibn Abd al-Wahhab al-Wazir al-Ghassani embarked on an embassy to Habsburg Spain on a mission to ransom slaves and reclaim manuscripts, recording a widely read account of his journey, Rihlat al-Wazir fi Iftikak al-Asir (The Journey of the Minister to Ransom the Captive). In it, he carefully described a number of architectural wonders, including El Escorial, Aranjuez, and Toledo Cathedral. Of the Great Mosque of C ordoba, converted into a cathedral following the city’s conquest in 1236, he wrote:
1690年，穆罕默德·伊本·阿卜杜勒·瓦哈布·瓦齐尔·加萨尼前往哈布斯堡王朝的西班牙大使馆，执行赎回奴隶和收回手稿的任务，并记录了他的旅程，《大臣赎回俘虏之旅》(rihat al-Wazir fi Iftikak al-Asir)。在书中，他仔细地描述了许多建筑奇观，包括埃斯科里亚尔、阿兰胡埃斯和托莱多大教堂。在1236年奥多巴被征服后被改造成大教堂的奥多巴大清真寺中，他写道:
{"title":"Architecture of the Islamic West: North Africa and the Iberian Peninsula, 700–1800.","authors":"Tom Nickson","doi":"10.1080/14682737.2022.2061797","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061797","url":null,"abstract":"In 1690 Muhammad ibn Abd al-Wahhab al-Wazir al-Ghassani embarked on an embassy to Habsburg Spain on a mission to ransom slaves and reclaim manuscripts, recording a widely read account of his journey, Rihlat al-Wazir fi Iftikak al-Asir (The Journey of the Minister to Ransom the Captive). In it, he carefully described a number of architectural wonders, including El Escorial, Aranjuez, and Toledo Cathedral. Of the Great Mosque of C ordoba, converted into a cathedral following the city’s conquest in 1236, he wrote:","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"542 - 544"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43287241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061787
Ismael Mont Muñoz
RESUMEN En este artículo realizaremos un estudio del conjunto de tapices del Palacio Caprotti de la ciudad de Ávila, que resulta excepcional por su interés artístico, el valor del lugar en el que se encuentra, así como por reunir algunas de las problemáticas comunes de muchas colecciones de paños en España. Nos centraremos en aspectos como la procedencia de estos tapices, la cronología, la heráldica y la formación de la colección. Asimismo, realizaremos una aproximación estilística e iconográfica, focalizándonos en sus obras más destacadas. Con todo ello arrojaremos luz sobre esta desconocida colección y corregiremos algunos aspectos que tradicionalmente se han considerado sobre la misma.
{"title":"Hilando entre lo sacro y lo profano: La colección de tapices del Palacio Caprotti","authors":"Ismael Mont Muñoz","doi":"10.1080/14682737.2022.2061787","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061787","url":null,"abstract":"RESUMEN En este artículo realizaremos un estudio del conjunto de tapices del Palacio Caprotti de la ciudad de Ávila, que resulta excepcional por su interés artístico, el valor del lugar en el que se encuentra, así como por reunir algunas de las problemáticas comunes de muchas colecciones de paños en España. Nos centraremos en aspectos como la procedencia de estos tapices, la cronología, la heráldica y la formación de la colección. Asimismo, realizaremos una aproximación estilística e iconográfica, focalizándonos en sus obras más destacadas. Con todo ello arrojaremos luz sobre esta desconocida colección y corregiremos algunos aspectos que tradicionalmente se han considerado sobre la misma.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"439 - 464"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49399465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061790
A. Frassani
Abstract The article addresses related issues surrounding the artistic biography and production of Gregorio Vásquez, the most important painter of colonial Colombia, active in the latter part of the seventeenth and the first decade of the eighteenth century. Vásquez is a unique figure in Latin American art historiography because local historians researched and wrote about his life and works since at least the nineteenth century. His vast catalogue consists of almost five hundred paintings and includes a unique corpus of over a hundred drawings. Based on published and unpublished primary sources and chronicles, and the analysis of his painterly style and drawing techniques, it is argued that the painter’s abundant production and fame were both the means and result of artistic strategies devised by Vásquez and his followers throughout the eighteenth century in order to capitalize on the painter’s regional success.
{"title":"The Fame and Fortune of Gregorio Vásquez de Arce y Ceballos, Painter of Santafé, New Granada","authors":"A. Frassani","doi":"10.1080/14682737.2022.2061790","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061790","url":null,"abstract":"Abstract The article addresses related issues surrounding the artistic biography and production of Gregorio Vásquez, the most important painter of colonial Colombia, active in the latter part of the seventeenth and the first decade of the eighteenth century. Vásquez is a unique figure in Latin American art historiography because local historians researched and wrote about his life and works since at least the nineteenth century. His vast catalogue consists of almost five hundred paintings and includes a unique corpus of over a hundred drawings. Based on published and unpublished primary sources and chronicles, and the analysis of his painterly style and drawing techniques, it is argued that the painter’s abundant production and fame were both the means and result of artistic strategies devised by Vásquez and his followers throughout the eighteenth century in order to capitalize on the painter’s regional success.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"465 - 494"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49513527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061807
Russell White
his limited spare time. The four main contributors have gathered the latest research and dispelled long-held assumptions and misreadings about the life of the artist. Jesusa Vega debunks the desire to see Goya and the Duchess of Alba as lovers, pointing out that the relationship was familial rather than romantic; McDonald gives us a new approach to the artist’s sketching techniques; while Chaparro and Cer on-Pe~ na, who have already published work addressing obscurities of the artist’s early life, show their expertise here in entries on individual pieces and remain questioning and open-minded, bringing out unresolved ambiguities in the narratives of each image. The late aquatint, Seated Giant, one of the most innovative designs Goya ever produced (item 48, 164) is related through technique and inspiration to Goya’s painting El Coloso (fig. 45, 164) which Professor Vega accepts as an authentic work, without any qualifiers (59). The painting, which is now attributed to Goya on the Prado label, having been previously thought to be the work of a pupil, is connected to the analysis of the print and here the writers only refer in a cursory way to the disagreement which has marred its authenticity. A slightly more tentative assessment appears in the catalogue entry which notes: “Goya’s authorship of that painting has been called into question [... ]. This view has been vigorously challenged and there is growing support for the painting to be returned to Goya” (164). Despite the vociferous clamor of the for-and-against arguments, as Goya writes tellingly on a drawing of a single figure standing in a desolate landscape and waving his arms: “No har as nada con clamar” (item 78, 232). Scrolling through Amazon lists of the many Goya biographies on sale, it is not unusual to find readers lamenting the sparse attention art historians of the past have paid to prints and drawings in their analyses of Goya’s career. Goya’s “recognition derives mainly from his accomplishments as a painter” (13), but the balance of his posthumous fame is tipping in favour of the new ascendancy of his long commitment to graphic design. There have in recent years been several important exhibitions of Goya’s works on paper, but this show and its accompanying catalogue give us a much clearer insight into the complexities of Goya’s life-long passion for graphic media.
他有限的业余时间。四位主要撰稿人收集了最新的研究成果，消除了长期以来对这位艺术家生活的假设和误读。耶稣·维加(Jesusa Vega)揭穿了人们把戈雅和阿尔巴公爵夫人看作恋人的想法，指出他们的关系是家族性的，而不是浪漫的;麦克唐纳为我们提供了一种新的方法来了解艺术家的素描技巧;而Chaparro和Cer on- pe ~ na已经发表了关于艺术家早期生活模糊的作品，他们在个人作品中展示了他们的专业知识，并保持了质疑和开放的态度，在每个图像的叙述中带来了未解决的模糊性。已故的aquatint，《坐着的巨人》是戈雅创作过的最具创新性的设计之一(第48,164项)，从技术和灵感上讲，它与戈雅的《El Coloso》(图45,164项)有关，Vega教授认为这幅画是真品，没有任何修饰(59项)。这幅画，现在在普拉多的标签上被认为是戈雅的作品，之前被认为是一个学生的作品，与版画的分析有关，这里的作者只是粗略地提到了损害其真实性的分歧。在目录条目中出现了一个稍显试探性的评估，其中写道:“戈雅对这幅画的作者身份受到质疑……］. 这一观点受到了强烈的挑战，越来越多的人支持将这幅画归还戈雅”(164)。尽管赞成和反对的争论吵吵闹闹，戈雅在一幅画上生动地写道:“No har as nada con clamar”，画中有一个人站在荒凉的风景中，挥舞着他的手臂。翻阅亚马逊(Amazon)上出售的许多戈雅传记，不难发现读者在哀叹，过去的艺术史学家在分析戈雅的职业生涯时，很少关注版画和素描。戈雅的“知名度主要来自他作为画家的成就”(13)，但他死后的名声正逐渐向他长期致力于平面设计的新优势倾斜。近年来，戈雅的几次重要的纸上作品展览，但这次展览及其附带的目录让我们更清楚地了解戈雅一生对平面媒体的热情的复杂性。
{"title":"Photographing the Unseen Mexico: Maya Goded’s Socially Engaged Documentaries.","authors":"Russell White","doi":"10.1080/14682737.2022.2061807","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061807","url":null,"abstract":"his limited spare time. The four main contributors have gathered the latest research and dispelled long-held assumptions and misreadings about the life of the artist. Jesusa Vega debunks the desire to see Goya and the Duchess of Alba as lovers, pointing out that the relationship was familial rather than romantic; McDonald gives us a new approach to the artist’s sketching techniques; while Chaparro and Cer on-Pe~ na, who have already published work addressing obscurities of the artist’s early life, show their expertise here in entries on individual pieces and remain questioning and open-minded, bringing out unresolved ambiguities in the narratives of each image. The late aquatint, Seated Giant, one of the most innovative designs Goya ever produced (item 48, 164) is related through technique and inspiration to Goya’s painting El Coloso (fig. 45, 164) which Professor Vega accepts as an authentic work, without any qualifiers (59). The painting, which is now attributed to Goya on the Prado label, having been previously thought to be the work of a pupil, is connected to the analysis of the print and here the writers only refer in a cursory way to the disagreement which has marred its authenticity. A slightly more tentative assessment appears in the catalogue entry which notes: “Goya’s authorship of that painting has been called into question [... ]. This view has been vigorously challenged and there is growing support for the painting to be returned to Goya” (164). Despite the vociferous clamor of the for-and-against arguments, as Goya writes tellingly on a drawing of a single figure standing in a desolate landscape and waving his arms: “No har as nada con clamar” (item 78, 232). Scrolling through Amazon lists of the many Goya biographies on sale, it is not unusual to find readers lamenting the sparse attention art historians of the past have paid to prints and drawings in their analyses of Goya’s career. Goya’s “recognition derives mainly from his accomplishments as a painter” (13), but the balance of his posthumous fame is tipping in favour of the new ascendancy of his long commitment to graphic design. There have in recent years been several important exhibitions of Goya’s works on paper, but this show and its accompanying catalogue give us a much clearer insight into the complexities of Goya’s life-long passion for graphic media.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"559 - 560"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45394220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061804
Natasha Ruiz-Gómez
{"title":"Cuerpos representados: Objetos de ciencia artísticos en España, siglos XVIII–XX.","authors":"Natasha Ruiz-Gómez","doi":"10.1080/14682737.2022.2061804","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061804","url":null,"abstract":"","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"554 - 555"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43086467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061799
J. Vega
{"title":"El universal Convite: Arte y Alimentación en la Sevilla del Renacimiento","authors":"J. Vega","doi":"10.1080/14682737.2022.2061799","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061799","url":null,"abstract":"","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"545 - 546"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43825027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061802
J. Massing
continues to tread its own path. Fracchia’s unifying theme is taken from the title of her book, which are the opening words of a sixteenth-century Afro-Hispanic proverb. A form of resistance, this formulation deliberately stood out against the premise of the time that regarded black Africans simply as commodities like any other; they were seen as “objects” and more than that often as symbols of status. And it was as such they were depicted in material culture, when seen for example in the background of portraits. In Fracchia’s own words: “To be a black person was to be a chattel, a piece of property” (13). At the same time, however, material culture itself could become a site of resistance, and Fracchia’s work also powerfully explores this, through the lens of this same phrase—“Black but human”—and supported by concrete examples. Chapters 2 and 3 discuss how, in part, the all-powerful Spanish church was complicit, and indeed encouraging of, these practices of slavery; on the other hand, the slaves were always supposed to be able to better their condition through baptism and acceptance of Christianity. There were specifically black religious confraternities from the fourteenth century onwards, which proliferated after the Council of Trent, and in which both slaves and freed considered themselves to be a “nation.” Throughout these chapters it is made clear how a recognizable iconography of slavery emerged in material culture through such visible symbols as chains and collars. But Fracchia is also able to use the evidence of material culture to build up a more rounded picture of the realities of slavery for which little other evidence survives, as in Chapter five which uses the macabre tale, Miracle of the Black Leg, to speculate on the violence of Iberian slavery in practice. Much of the reason behind the inclusion of black figures in works of art, however, was about their integration into the wider society of what had now become a vast and diffuse empire. This can be seen most obviously in the iconography of the Adoration of the Magi, but also in the canonization of “black saints” discussed in Chapter 3, such as Benedict of Palermo, himself the child of slaves, who became their patron saint. Appropriately, Fracchia’s final chapter focusses on a different iconic image, Vel azquez’s portrait of Juan de Pareja, who was not only a slave, but also an artist, providing far more information about this fascinating figure than has been available heretofore. This reviewer’s one possible criticism with the argument in toto is that Fracchia begins abruptly in 1480 and then restricts her investigation quasi-exclusively to mainland Spain, setting aside the vast scope of the Spanish Empire. Perhaps this will be the subject of her next book? That aside, Black But Human should be recommended as a valuable and innovative resource for appraising not only this controversial topic, but also the visual culture of Early Modern Spain, afresh. Piers Baker-Bates The Open U
{"title":"Ambassadors in Golden-Age Madrid: The Court of Philip IV through Foreign Eyes.","authors":"J. Massing","doi":"10.1080/14682737.2022.2061802","DOIUrl":"https://doi.org/10.1080/14682737.2022.2061802","url":null,"abstract":"continues to tread its own path. Fracchia’s unifying theme is taken from the title of her book, which are the opening words of a sixteenth-century Afro-Hispanic proverb. A form of resistance, this formulation deliberately stood out against the premise of the time that regarded black Africans simply as commodities like any other; they were seen as “objects” and more than that often as symbols of status. And it was as such they were depicted in material culture, when seen for example in the background of portraits. In Fracchia’s own words: “To be a black person was to be a chattel, a piece of property” (13). At the same time, however, material culture itself could become a site of resistance, and Fracchia’s work also powerfully explores this, through the lens of this same phrase—“Black but human”—and supported by concrete examples. Chapters 2 and 3 discuss how, in part, the all-powerful Spanish church was complicit, and indeed encouraging of, these practices of slavery; on the other hand, the slaves were always supposed to be able to better their condition through baptism and acceptance of Christianity. There were specifically black religious confraternities from the fourteenth century onwards, which proliferated after the Council of Trent, and in which both slaves and freed considered themselves to be a “nation.” Throughout these chapters it is made clear how a recognizable iconography of slavery emerged in material culture through such visible symbols as chains and collars. But Fracchia is also able to use the evidence of material culture to build up a more rounded picture of the realities of slavery for which little other evidence survives, as in Chapter five which uses the macabre tale, Miracle of the Black Leg, to speculate on the violence of Iberian slavery in practice. Much of the reason behind the inclusion of black figures in works of art, however, was about their integration into the wider society of what had now become a vast and diffuse empire. This can be seen most obviously in the iconography of the Adoration of the Magi, but also in the canonization of “black saints” discussed in Chapter 3, such as Benedict of Palermo, himself the child of slaves, who became their patron saint. Appropriately, Fracchia’s final chapter focusses on a different iconic image, Vel azquez’s portrait of Juan de Pareja, who was not only a slave, but also an artist, providing far more information about this fascinating figure than has been available heretofore. This reviewer’s one possible criticism with the argument in toto is that Fracchia begins abruptly in 1480 and then restricts her investigation quasi-exclusively to mainland Spain, setting aside the vast scope of the Spanish Empire. Perhaps this will be the subject of her next book? That aside, Black But Human should be recommended as a valuable and innovative resource for appraising not only this controversial topic, but also the visual culture of Early Modern Spain, afresh. Piers Baker-Bates The Open U","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"549 - 551"},"PeriodicalIF":0.1,"publicationDate":"2021-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49416464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-03DOI: 10.1080/14682737.2022.2061803
M. Craveri
from Ottoman Turkey. It begins with Piero Boccardo’s study of the embassy of Anton Giulio Brignole-Sale who represented the Republic of Genoa, including first-hand accounts of the complexities of the negotiations with the Spanish court. Next, Paola Volpini covers the translatability of scientific discoveries through Galileo and Medicean diplomacy from 1612 to 1632; the original idea was to share Galileo’s discoveries, including the measurement of longitude, in exchange for the right for Florentine vessels to commerce with the New World without passing through Seville. This is followed by Jorge Fern andez-Santos and H€ useyin Serdar Tabako glu’s account of the visit of Ahmed Agha in 1649–50, discussing the ensuing unsuccessful negotiations as well as disreputable behavior of the envoy and his servants. Finally Mercedes Simal L opez deals with Fulvio Testi, a Modenese poet and envoy to Madrid in 1636, and his return in 1638 with Francesco I d’Este, Duke of Modena, on his official visit to Madrid. The book concludes with MiguelAngel Ochoa Brun’s Epilogue, a scholarly assessment and synthesis of Philip’s own ambassadors, of which Peter Paul Rubens is probably the most famous. The volume ends with a list of foreign diplomatic representatives sent to Philip IV by the principal European powers. This important and interesting book, written by twenty-one scholars from twelve countries, is a major achievement, forming a significant contribution to Spanish and wider European diplomatic studies, court interactions, and art patronage, both through the scope and rich use of sources, manuscript and printed. It is very beautifully produced and enriched by 287 colour illustrations introducing whenever possible portraits of the protagonists, for example Diego Vel azquez’s Francesco I d’Este of 1638 (Modena, Galleria Estense) and Camillo Massimo of 1649–50 (Kingston Lacey, National Trust).
源自奥斯曼土耳其。书的开头是皮耶罗·博卡多对热那亚共和国代表安东·朱利奥·布里格诺尔-塞尔大使馆的研究，包括与西班牙法院复杂谈判的第一手资料。接下来，保拉·沃尔皮尼(Paola Volpini)介绍了从1612年到1632年，通过伽利略和美第奇外交，科学发现的可译性;最初的想法是分享伽利略的发现，包括经度的测量，以换取佛罗伦萨船只无需经过塞维利亚就可以与新大陆进行贸易的权利。接下来是Jorge Fern andez-Santos和H - useyin Serdar Tabako glu对1649-50年Ahmed Agha访问的描述，讨论了随后不成功的谈判以及特使和他的仆人的不体面行为。最后，梅塞德斯·西马尔·L·洛佩兹讲述了摩德纳诗人富尔维奥·泰斯蒂(Fulvio Testi) 1636年出使马德里的故事，以及他在1638年与摩德纳公爵弗朗西斯科·I·德埃斯特(Francesco I d’este)正式访问马德里时的回归。这本书以米格尔·安赫尔·奥乔亚·布朗的后记结尾，这是对菲利普自己的大使的学术评估和综合，其中彼得·保罗·鲁本斯可能是最著名的。该书最后列出了欧洲主要列强派往菲利普四世的外国外交代表名单。这本重要而有趣的书，由来自12个国家的21位学者撰写，是一项重大成就，对西班牙和更广泛的欧洲外交研究、宫廷互动和艺术赞助做出了重大贡献，无论是通过范围还是丰富的来源、手稿和印刷品。它的制作非常精美，并通过287幅彩色插图丰富了主人公的肖像，例如迭戈·维尔斯克斯1638年的弗朗西斯科·德·埃斯特(摩德纳，埃斯特塞画廊)和1649-50年的卡米洛·马西莫(金斯顿莱西，国民信托基金会)。
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Pub Date : 2021-07-04DOI: 10.1080/14682737.2022.2040901
Ilinca Ilian
RESUMEN Nos proponemos estudiar el proceso de la paulatina penetración de la literatura latinoamericana en Rumania al analizar los artículos, ensayos y traducciones publicados en la prensa cultural rumana entre 1959 y 1965, cuando se da el paulatino abandono de los preceptos del realismo socialista, que desfiguraron el espacio cultural de este país desde el inicio de la sovietización forzada, en 1946. Lo que nos interesa mostrar es que la literatura latinoamericana introducida por la traducción o reseñas, y que prácticamente había sido desconocida hasta la sexta década del siglo XX, se convirtió en un instrumento político que reflejaba a la perfección las tensiones del campo cultural de esta época y que, a la vez, revelaba el arduo camino hacia la conquista de la autonomía de lo estético.
{"title":"Latinoamérica en la prensa cultural rumana 1959–65: La historia de una instrumentalización política de la literatura","authors":"Ilinca Ilian","doi":"10.1080/14682737.2022.2040901","DOIUrl":"https://doi.org/10.1080/14682737.2022.2040901","url":null,"abstract":"RESUMEN Nos proponemos estudiar el proceso de la paulatina penetración de la literatura latinoamericana en Rumania al analizar los artículos, ensayos y traducciones publicados en la prensa cultural rumana entre 1959 y 1965, cuando se da el paulatino abandono de los preceptos del realismo socialista, que desfiguraron el espacio cultural de este país desde el inicio de la sovietización forzada, en 1946. Lo que nos interesa mostrar es que la literatura latinoamericana introducida por la traducción o reseñas, y que prácticamente había sido desconocida hasta la sexta década del siglo XX, se convirtió en un instrumento político que reflejaba a la perfección las tensiones del campo cultural de esta época y que, a la vez, revelaba el arduo camino hacia la conquista de la autonomía de lo estético.","PeriodicalId":42561,"journal":{"name":"Hispanic Research Journal-Iberian and Latin American Studies","volume":"22 1","pages":"286 - 306"},"PeriodicalIF":0.1,"publicationDate":"2021-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41650996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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