Via Hispania’ a European Cooperation
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Las Aventuras Del Capitán Alatriste De Arturo Pérez-Reverte
Universiteit Gent Faculteit Letteren en Wijsbegeerte Master in de taal- en letterkunde: Iberoromaanse talen Las aventuras del capitán Alatriste de Arturo Pérez-Reverte Un estudio comparativo entre las novelas y la adaptación cinematográfica de Agustín Díaz Yanes Masterproef Promotor: Véronique Victor Prof. Dr. P. Collard Academiejaar 2007-2008 Agradecimientos Primero, quería agradecer sumamente a mi director de tesina, Prof. Dr. Patrick Collard la sugerencia de las novelas de Arturo Pérez-Reverte para presente trabajo de investigación, la formulación de observaciones, la corrección y mejoras propuestas. También quiero dar las gracias a Edit Corominas Garcia porque ha leído algunos capítulos y introducido cambios favorables. Además, le agradezco a mi novio Thomas la ayuda con la disposición. Finalmente, doy las gracias a él, a mis padres, a mis hermanas y a mis amigos por su apoyo y consejo. 3 Índice ÍNDICE.................................................................................................................................................................. 3 INTRODUCCIÓN ................................................................................................................................................ 5 PRIMERA PARTE: LAS AVENTURAS DEL CAPITÁN ALATRISTE ........................................................... 8 1. DATOS GENERALES ..................................................................................................................................... 9 1.1 EL AUTOR..................................................................................................................................................... -
Transatlantic Empires Syllabus
UNIVERSITY OF COLORADO AT COLORADO SPRINGS DEPARTMENT OF HISTORY FALL 2013 BEYOND THE PILLARS OF HERCULES: THE TRANS-ATLANTIC EMPIRES OF SPAIN AND PORTUGAL (1450 – 1750) Course: HIST 4280: Trans-Atlantic Empires Professor: Dr. Roger L. Martínez Course Section: 001 Office: Columbine Hall 2046 Call#: 32994 Office Hours: -Tue, 12:00-2:00 pm Course Room: Columbine 116 -Additional hours by appt. Course Time: Wed, 1:40-4:20 pm Telephone: 719-255-4070 Course Site: UCCS Blackboard Email: [email protected] Writing Fellow: Angie Knipe Email: [email protected] COURSE DESCRIPTION: In 1516, Spanish Emperor Charles V proudly proclaimed the motto, "Plus Ultra", to signal to the world that Spain intended to surpass the Roman Empire by going beyond the Pillars of Hercules (the Straits of Gibraltar). Unlike the Romans, who considered the strait to be the extent of the known world, Spain ventured across the Atlantic Ocean. In the process, they encountered the Americas and established a global empire. This course will investigate the Spanish and Portuguese kingdoms' earliest encounters with the New World, the formation of colonial settlements and governments, and the bi-directional flow of people and goods. Additionally, the class will focus intensely on the cultural and religious challenges that vexed Europe and the Americas during this era. Specifically, we will explore the massive Catholic- Protestant wars on the European continent, as well as the war for souls that took place in Inquisitorial chambers. REQUIRED TEXTS AND READINGS: o Kamen, Henry. Empire: How Spain Became a World Power, 1492-1763. ISBN-13: 978-0060932640 o Perez-Mallaina, Pablo E. -
Colección Ca2mcentro De Arte Dos De Mayo
Colección Centro de Arte Dos de Mayo CA2Mde la Comunidad de Madrid Colección CA2M Volumen I 2010 COMUNIDAD DE MADRID CA2M CENTRO DE ARTE CATÁLOGO DOS DE MAYO Presidenta | President Diseño Editorial | Editorial Design Esperanza Aguirre Gil de Biedma Director Miguel Ángel Rebollo. Incubadora Ferran Barenblit Vicepresidente y Consejero de Coordinación | Coordination Cultura y Deporte | Vicepresident Colección | Collection Cecilia Casares. Incubadora and Regional Minister of Culture María Eugenia Arias Estevez, María and Sport Eugenia Blázquez Rodríguez, Carmen Textos | Tetxs Ignacio González González Fernández Fernández, Asunción Francisco Carpio, José Manuel Costa, Lizarazu de Mesa Andrés Isaac Santana, Kristian Leahy, Viceconsejera de Cultura Alberto Martín, Mariano Mayer, Regional Deputy Minister of Exposiciones | Exhibitions Mariano Navarro, José María Parreño, Culture Ignacio Macua Roy, Casilda Ybarra Abel H. Pozuelo, Virginia Torrente, Concha Guerra Martínez Satrústegui Elena Vozmediano Directora General de Archivos, Difusión | Diffusion Corrección | Proofreading Museos y Bibliotecas | Managing Mara Canela Fraile, Laura Hurtado Lola Mayo Director of Archives, Museums and Libraries Educación y Actividades Públicas Traducción | Translation Isabel Rosell Volart Education and Public Programs Lambe & Nieto Colección María Eguizabal Elías, Carlos Granados, Centro de Arte Dos de Mayo Subirector General de Museos Victoria Gil-Delgado Armada, Pablo Fotografias | Photographies de la Comunidad de Madrid Deputy Managing Director of Martínez Manuel Blanco, Estudio Blázquez, CA2M Museums Víctor Muñoz, Alfonso de la Torre Álvaro Martínez-Novillo Gestión y Administración Management and Administration Diseño y Maquetación | Design Asesora de Artes Plásticas | Mar Gómez Hervás, Olvido Martín Juanjo López Fine Arts Adviser López Lorena Martínez de Corral Impresión | Printing CA2M Centro de Arte Dos de Mayo Artes Gráficas Palermo S.L. -
Battleground Perceptions in the Portuguese Early Modern Atlantic
WIH0010.1177/0968344517725540War in HistoryDantas da Cruz 725540research-article2018 Original Article War in History 1 –26 From Flanders to Pernambuco: © The Author(s) 2018 Reprints and permissions: Battleground Perceptions in sagepub.co.uk/journalsPermissions.nav https://doi.org/10.1177/0968344517725540DOI: 10.1177/0968344517725540 the Portuguese Early Modern journals.sagepub.com/home/wih Atlantic World Miguel Dantas da Cruz Instituto de Ciências Sociais – Lisbon University, Portugal Abstract This article addresses the way the Portuguese experience in the seventeenth-century battlefields of Flanders, during the Iberian Union (1580–1640), reshaped Portuguese military thought and culture. It argues that their traditional martial perceptions – almost exclusively based in imperial experiences, especially against the Muslims in North Africa and in India – were transformed by the direct exposure to Spanish military endeavours in Europe. It also argues that the experience in Flanders resurfaced in the South Atlantic, in all its religious and political dimensions, transforming the prestige of Brazil as a battlefield. Finally, the article revisits the way the Flanders experience poisoned Spanish–Portuguese relations. Keywords Portuguese Atlantic, Iberian Union, War of Flanders, martial imaginary, battleground perceptions Introduction King Sebastian, in his attempt to go to North Africa, to attack the Moors himself, beyond being moved by the zeal of exalting the Catholic Faith, and spreading the Christian religion, had the example of all of his ancestors, who were always the Generals of their own Arms, and the first ones to attack. King John I went in person to take Ceuta with his four sons in a massive fleet. Afonso V went himself three times…to carry on with the war on the Berber Coast, where he achieved many victories… Manuel I was also determined to go there, carrying on with this Corresponding author: Miguel Dantas da Cruz, Instituto de Ciências Sociais – Lisbon University, Av. -
The Migration of an Emblem Through the Example of the Cross of Burgundy
The migration of an emblem through the example of the cross of Burgundy by Patrice de La Condamine Abstract The choice for the subject of this paper, The migration of an emblem through the example of the cross of Burgundy, needs an explanation. The purpose of this subject is double. The first one, as the first part of the title indicates, is to show the migration of the emblems, showing that they follow the movements of populations. The second purpose is to explain this reality through an example: the cross of Burgundy. This choice seems to be all the more appropriate since the country which welcomes us was one of the first to receive this emblem on its ter - ritory, in historic circumstances that everybody knows. The story could begin with Once upon a time, there was a cross... The Burgundian native land I do not pretend to know everything about the origins of the cross of Burgundy, how - ever I can talk about its history. First, its name ‘Cross of Burgundy’ does not let any doubt 1 about its origin: Burgundy, the actual region situated in the east of France. On the graphic aspect, it’s a saltirewise cross, called a Saint-Andrew’s cross 2, which is particular, as on the edges of its four limbs some small branch-like offshoots from the main cross can be noticed. That is why this emblem is also called “croix écotée”, 6 in The saltire of Burgundy French. Originally, it represented two crossed tree trunks of which the branches had been cut off, so that only the sawn-off ends remained. -
Diego Velázquez, Portrait of the Marquesa De Leganés, 1630 Oil on Canvas, 37.3 X 28.5 In
Diego Velázquez, Portrait of the Marquesa de Leganés, 1630 Oil on canvas, 37.3 x 28.5 in. (94.6 x 72.4 cm.) New York Private Collection A previously unknown painting by Diego Velázquez has been discovered in a private collection in New York. The portrait is of a sumptuously costumed notable of the Spanish Imperial Court (Fig. 1), signed lower right and dated 1630. The year 1630 was a period of experimentation and transition for Velázquez. Peter Paul Rubens, a friend and mentor of Velázquez, had only recently left his diplomatic post in Madrid (during which the two spent considerable time together) to return to Antwerp. Velázquez’s works began to explore classical and mythological themes. He acquired a renewed interest in the works of Titian, Tintoretto, and other Italian masters, leaving Spain for the first time to study the great collections of the duchies and princedoms of Italy. This portrait is unusual in that its subject is something of a mystery. Nearly every extant portrait by Velázquez is of an easily recognizable member of the family or court of King Philip IV, or that of his favored minister, the Count-Duke de Olivares. The subject of this portrait is clearly wealthy and of high status. She is dressed in fine satins and lace, and with jewels and accoutrements that suggest the exotic splendor and luxury of the Orient. These ostentatious details make it all the more notable that the subject bears no immediate likeness to a member of the royal family. We suggest that the portrait may be that of Marquesa Polyxena Spinola Guzman de Leganés. -
2018 FESTIVAL PROGRAMME Spanishfilmfestival.Com #Spanishfilmfest 1 2 PRESENTED BY
REEL INSPIRACIÓN 2018 FESTIVAL PROGRAMME spanishfilmfestival.com #spanishfilmfest 1 2 PRESENTED BY THANK YOU TO OUR GENEROUS SPONSORS SUPPORTING PARTNERS MEDIA PARTNERS CULTURAL PARTNER CATERERING PARTNERS 3 LUNES DE LOCOS! ENJOY DISCOUNTED TICKETS ON MONDAYS DURING THE FESTIVAL See pages 33 – 47 for details *Offer not valid public holidays. Offer not available in Hobart and Perth. Check Ticketing for details. 4 SPONSORS ....................................3 REEL DIRECTORAS OPENING NIGHT Júlia Is .........................................28 The Tribe ....................................6-7 Singled [Out] ...............................29 Summer 1993 .............................30 SPECIAL EVENT The Bastards’ Fig Tree .................31 No Filter .................................... 8-9 The Open Door ............................32 CLOSING NIGHT SESSIONS AND TICKETING Pan’s Labyrinth.......................10-11 SYDNEY/MELBOURNE CONTENTS Ticketing & booking ....................33 REEL RETROSPECTIVE SYDNEY Session times .......... 34-36 Bigas Luna Tribute ......................12 MELBOURNE Session times ... 37-40 Jamón, Jamón .............................13 Bigas x Bigas, Golden Balls, BRISBANE Ticketing & booking ...41 The Tit & the Moon ......................14 BRISBANE Session times ....... 42-43 REEL ESPAÑOL CANBERRA Ticketing & booking ..44 Abracadabra ...............................15 CANBERRA Session times ...........45 Dying ...........................................16 Gold ............................................17 ADELAIDE Ticketing -
Archived at the Flinders Academic Commons
Archived at the Flinders Academic Commons http://dspace.flinders.edu.au/dspace/ This is the publisher’s version of this article. The original can be found at: http://www.ehlt.flinders.edu.au/deptlang/fulgor/ Flinders University Languages Group Online Review Volume 4, Issue 1, November 2009 http://ehlt.flinders.edu.au/deptlang/fulgor/ ISSN 1446–9219 The Spanish Empire and “los tercios” as seen in Arturo Pérez-Reverte’s El sol de Breda (1998:2003) John C. Mc Intyre (University of Strathclyde) Abstract Pérez-Reverte‟s Alatriste novels seek to educate young Spaniards about their Golden Age. In El sol de Breda, set in 1624-1625, Spanish armies fight to suppress the Dutch Protestant revolt. Narrator Íñigo is a teenage page to the experienced soldier, Alatriste. Traditional commentators like Elliott already see imperial decline, whereas Kamen emphasises that the Spanish Crown could always raise loans and armies. Pérez- Reverte‟s series favours the traditional interpretation. The narrator accuses monarchy, aristocracy and clergy of major failures of leadership. American silver brought only extravagance, the conquistador‟s „get-rich-quick‟ mentality rejected honest work and aristocratic favourites as ministers failed to halt the widespread corruption and incompetence, while Spain persisted in seeing itself as crusading guardian of Catholicism. By 1624 Spain‟s crack regiments were a superb military machine. Soldiers mainly from Germany, Lombardy and Sicily fought brilliantly in Italy, France and Flanders in spite of appalling conditions – including the non-payment of wages, which triggered numerous campaign-weakening mutinies. Spanish military skill could not finally resist the humour and doggedness of the Dutch revolt: in 1648 the Provinces will gain independence from Spain. -
9780805088359EX.Pdf
Henry Holt and Company, LLC Publishers since 1866 175 Fifth Avenue New York, New York 10010 www .henryholt .com Henry Holt® and ® are registered trademarks of Henry Holt and Company, LLC. Copyright © 2011 by Anthony Bailey All rights reserved. Library of Congress Cataloging- in- Publication Data Bailey, Anthony, 1933– Velázquez and the surrender of Breda / Anthony Bailey.—1st ed. p. cm. “A John Macrae book.” Includes bibliographical references and index. ISBN 978-0-8050-8835-9 1. Velázquez, Diego, 1599–1660. 2. Painters—Spain—Biography. I. Velázquez, Diego, 1599–1660. II. Title. ND813.V4B26 2011 759.6—dc22 [B] Henry Holt books are available for special promotions and premiums. For details contact: Director, Special Markets. First Edition 2011 Designed by Meryl Sussman Levavi Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 I. The Turfship. Breda. 1590 he wing of a butterfly beats, we are told, and a mil- T lion aftereff ects later, far away, a tidal wave happens. In the chain of causation that matters here, what could be taken for a starting point was not an insect wing- beat but a spade cut, as a rectangular piece of peat was sliced from soggy ground and placed onto a barrow from which it was then loaded onto a high- sided barge, heaped up, turf upon turf, in a pile that resembled an earthen shed, hollow inside, though only a few were aware of this fact. From the riverbank, where the loading was taking place, the ship’s cargo looked like a solid stack. -
16Th and 17Th Century Spain
16th and 17th century Spain 01a Apse of Sant Climent de Taüll, a fresco from Church of St. Climent de Taüll The rooms of the Museu Nacional d'Art de Catalunya also feature a particularly outstanding example of European Romanesque art: the remarkable, original and extraordinarily expressive paintin1gs from the Apse of Sant Climent de Taüll, including the famous Pantocrator or Christ in Majesty, an undisputed masterpiece from the 12th century that forms tangibleevidence of the creative power of Catalan painting. -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Luis de Morales (1510?-1586) 02 Pieta 1516. The most popular Spanish painter of the early 17th Century, called by his contemporaries "The Divine", because of the religious intensity of his paintings. From the Renaissance he also frequently used sfumato modeling, and simple compositions, but combined them with Flemish style precision of details. His subjects included many devotional images, including the Virgin and Child. ------------------------------------------------------------------------------------------------------------------------------ El Greco Self Portrait 1595-1600 Doménikos Theotokópoulos (1541 – 1614), most widely known as El Greco, was a painter, sculptor and architect of the Spanish Renaissance. El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. -
Siegecraft and Surrender: the Law and Strategy of Cities and Targets
Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 1999 Siegecraft and Surrender: The Law and Strategy of Cities and Targets Matthew C. Waxman Columbia Law School, [email protected] Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Military, War, and Peace Commons, and the National Security Law Commons Recommended Citation Matthew C. Waxman, Siegecraft and Surrender: The Law and Strategy of Cities and Targets, 39 VA. J. INT'L. L. 353 (1999). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/592 This Article is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. Siegecraft and Surrender: The Law and Strategy of Cities as Targets MATrHEW C. WAXMAN* TABLE OF CONTENTS I. Introduction ................................................................... 354 II. Cities as Territory: Early Modern Europe and the Duke of Alva's Campaign Through the Netherlands ...................... 357 A. The City in Early Modem Europe ................................... 357 B. The Laws of Siege Warfare ............................................... 360 C. The Duke of Alva and the Dutch Revolt: The Convergence of Law and Strategy ............................... 364 III. Cities as Nationhood: Sherman's March Through the Confederate -
Before Photography
Before Photography- Part 1 Diego Rodríguez de Silva y Velázquez By Mario Sarra A few facts about Velázquez: -was born in Sevilla in 1599 -worked as an apprentice at the workshop of Francisco Pacheco -in 1619 Married Pacheco’s daughter -in 1623 was appointed court painter in Madrid after painting a portrait of the king -1629 traveled to Italy where he studied Raphael, Michelangelo, and Titian -1631 appointed palace superintendent -1652 appointed palace chamberlain -1659 Invested Knight of the Order of Saint James Whom or what did Velázquez paint? Everyday People… El vendedor de agua de Sevilla The Waterseller of Seville, c 1618-22, 2 of 3 versions shown Left: Apslet House, London Above: Walters Art Museum, Baltimore, each 41 x 31 inches La vieja friendo huevos Old Women Frying Eggs, 1618, National Gallery of Scotland, Edinburgh, 39 x 67 inches El almuerzo Peasants at the Table, c 1620, Museum Of Fine Arts, Budapest, Hungary, 44 x 38 inches Everyday people... Visited by mythological figures Los borrachos (el triunfo de Baco) The Drunkards (The Triumph of Bacchus), 1628, Museo del Prado, Madrid, 65 x 89 inches Painted for King Philip IV for 100 ducats. Las hilanderas (The Fable of Arachne) 1697, Museo del Prado, Madrid, 66 x 99 inches Painted for Don Pedro de Arce as gift to Philip IV. Apolo en la fragua de volcano Apollo in the Forge of Vulcan, 1630, Museo del Prado, Madrid, 88 x 144 inches Myth by Themselves La Venus del espejo Venus at her Mirror (Rokeby Venus), c 1647-1651 National Gallery, London, 48 x 70 inches Painted while in Rome.