Ge-Conservación Nº 6/ 2014
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The Libro Verde: Blood Fictions from Early Modern Spain
INFORMATION TO USERS The negative microfilm of this dissertation was prepared and inspected by the school granting the degree. We are using this film without further inspection or change. If there are any questions about the content, please write directly to the school. The quality of this reproduction is heavily dependent upon the quality of the original material The following explanation of techniques is provided to help clarify notations which may appear on this reproduction. 1. Manuscripts may not always be complete. When it is not possible to obtain missing pages, a note appears to indicate this. 2. When copyrighted materials are removed from the manuscript, a note ap pears to indicate this. 3. Oversize materials (maps, drawings, and charts) are photographed by sec tioning the original, beginning at the upper left hand comer and continu ing from left to right in equal sections with small overlaps. Dissertation Information Service A Bell & Howell Information Company 300 N. Zeeb Road, Ann Arbor, Michigan 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9731534 Copyright 1997 by Beusterien, John L. All rights reserved. UMI Microform 9731534 Copyright 1997, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Titic 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission -
Imago Temporis Ii 2008
IMAGO TEMPORIS Medium Aevum II 2008 Lleida European Union Anglès.indd 1 08/06/2009 8:24:52 Editor Flocel Sabaté Scientific board David Abulafia, François Avril, Thomas N. Bisson, Marc Boone, Franco Cardini, Claude Carozzi, Enrico Castelnuovo, Giovanni Cherubini, Alan D. Deyermond, Peter Dronke, Paul Freedman, Claude Gauvard, Jean-Philippe Genet, Jacques Grand’Henry, Christian Guilleré, Eleazar Gutwirth, Albert G. Hauf, Hagen Keller, Dieter Kremer, Eberhard König, Peter Linehan, Georges Martin, Valentino Pace, Adeline Rucquoi, Teófilo Ruiz, Gennaro Toscano, Pierre Toubert, André Vauchez, Chris Wickham, Joaquín Yarza, Michel Zimmermann Editorial board Julián Acebrón, Stefano Asperti, Màrius Bernadó, Hugo O. Bizzarri, Maria Bonet, Joan J. Busqueta, Brian Catlos, Josep Antoni Clua, Pietro Corrao, Rita Costa Gomes, Ottavio Di Camillo, Luis Miguel Duarte, Francisco Javier Faci, Francesc Fité, Isabel Grifoll, Ariel Guiance, Amancio Isla, Nikolas Jaspert, Henrik Karge, Peter Klein, Adam Kosto, Matías López, Igor Philippov, Josefina Planas, Olivier Poisson, Philip D. Rasico, Jesús Rodríguez Velasco, Karen Stöber, Xavier Terrado, Marie-Claire Zimmermann Secretariat Ferran Arnó, Jesús Brufal, Laia Messegué, Gemma Ortiz Linguistic correction Chris Boswell Published by ‘Espai, Poder i Cultura’ Consolidated Medieval Studies Research Group (Universities of Lleida and Rovira i Virgili) www.medieval.udl.cat © Edicions de la Universitat de Lleida, 2008 Layout: Edicions i Publicacions de la UdL Cover design: cat & cas Printed in INO Reproducciones, SA ISSN 1888-3931 D L: L-115-2008 Anglès.indd 2 08/06/2009 8:24:52 IMAGO TEMPORIS. MEDIUM AEVUM Aims to contribute to a renewal of medieval studies with particular attention to the different conceptual aspects that made up the medieval civilisation, and especially to the study of the Mediterranean area. -
Gothic Architecture in Spain: Invention and Imitation
GOTHIC ARCHITECTURE IN SPAIN: INVENTION AND IMITATION Edited by: Tom Nickson Nicola Jennings COURTAULD Acknowledgements BOOKS Publication of this e-book was generously Gothic Architecture in Spain: Invention and Imitation ONLINE supported by Sackler Research Forum of The Edited by Tom Nickson and Nicola Jennings Courtauld Institute of Art and by the Office of Scientific and Cultural Affairs of the Spanish With contributions by: Embassy in London. Further funds came from the Colnaghi Foundation, which also sponsored the Tom Nickson conference from which these papers derive. The Henrik Karge editors are especially grateful to Dr Steven Brindle Javier Martínez de Aguirre and to the second anonymous reader (from Spain) Encarna Montero for their careful reviews of all the essays in this Amadeo Serra Desfilis collection. We also thank Andrew Cummings, Nicola Jennings who carefully copyedited all the texts, as well as Diana Olivares Alixe Bovey, Maria Mileeva and Grace Williams, Costanza Beltrami who supported this e-book at different stages of its Nicolás Menéndez González production. Begoña Alonso Ruiz ISBN 978-1-907485-12-1 Series Editor: Alixe Bovey Managing Editor: Maria Mileeva Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Vernon Square, Penton Rise, King’s Cross, London, WC1X 9EW © 2020, The Courtauld Institute of Art, London. Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. -
Slide Collection Catalogue
Catalogue of the Albert Hoxie Slide Collection Compiled by Kent Fielding Schull Summer 2001 Collection Owned by the Department of History, UCLA Introduction This catalogue is a guide to the contents of Albert Hoxie’s entire slide collection of over 160,000 slides of art and architecture from all periods and from around the world. It is ordered according to his method of organization. There are three major sections. Section I is organized according to Area, Painter, and Time Period, for example: if you wish to see if the collection contains the works of Titian, look under Italian Painters 16th Century. Section II consists of artists and artistic works other than paintings and is organized according to Place, Subject Type, and Time Period,1 therefore if you want the sculptural works of Michelangelo then look up under Italian Artists 16th Century. Section III consists of numerous slides taken of sites and architecture around the world. This section is organized according to country, town/city, and specific place.2 For example if you want to see if the collection holds slides of Christ’s Church College in Oxford, England; you would look under Central England, Oxford, Christ’s Church, etc.3 It is also possible to search the collection by using the binoculars icon in the Adobe Acrobat Reader (assuming you have the PDF form of this document). We strongly encourage faculty participation in the identification of slides. If you find an artist, area, or time period that is of interest and would like to use the slides or hasten the process of digitization, please contact Kent Schull: [email protected]. -
Medieval Institute Publications Board of Trustees of Western Michigan University Through Its Medieval Institute Publications Trustees of Princeton University
Medieval Institute Publications Board of Trustees of Western Michigan University through its Medieval Institute Publications Trustees of Princeton University THE CAPITALS OF SAN JUAN DE LA PEÑA: NARRATIVE SEQUENCE AND MONASTIC SPIRITUALITY IN THE ROMANESQUE CLOISTER Author(s): Pamela A. Patton Source: Studies in Iconography, Vol. 20 (1999), pp. 51-100 Published by: Board of Trustees of Western Michigan University through its Medieval Institute Publications Stable URL: http://www.jstor.org/stable/23923557 Accessed: 23-11-2015 18:21 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Medieval Institute Publications, Board of Trustees of Western Michigan University through its Medieval Institute Publications and Trustees of Princeton University are collaborating with JSTOR to digitize, preserve and extend access to Studies in Iconography. http://www.jstor.org This content downloaded from 140.180.254.7 on Mon, 23 Nov 2015 18:21:18 UTC All use subject to JSTOR Terms and Conditions THE CAPITALS OF SAN JUAN DE LA PENA: NARRATIVE SEQUENCE AND MONASTIC SPIRITUALITY IN THE ROMANESQUE CLOISTER Pamela A. Patton Rarely, if ever, can the sculpted capitals of a Romanesque cloister be shown conclusively to have been governed by a unified iconographie program. -
The Origins, History, and Development of the Tiento De Medio Registro from the Sixteenth to the Eighteenth Century
THE ORIGINS, HISTORY, AND DEVELOPMENT OF THE TIENTO DE MEDIO REGISTRO FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY By ©2015 HEATHER LYNN PAISAR Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degrees of Doctor of Philosophy and Doctor of Musical Arts. ________________________________ Chairperson, Dr. Paul Laird ________________________________ Co-chairperson, Dr. Michael Bauer ________________________________ Dr. James Higdon ________________________________ Dr. Roberta Freund Schwartz ________________________________ Dr. Scott Brandon Murphy ________________________________ Dr. Luis Corteguera Date Defended: May 12, 2015 The Dissertation Committee for Heather Lynn Paisar certifies that this is the approved version of the following dissertation: THE ORIGINS, HISTORY, AND DEVELOPMENT OF THE TIENTO DE MEDIO REGISTRO FROM THE SIXTEENTH TO THE EIGHTEENTH CENTURY ________________________________ Chairperson, Dr. Paul Laird ________________________________ Co-chairperson, Dr. Michael Bauer Date approved: May 12, 2015 ii ABSTRACT “The Origins, History, and Development of the Tiento de medio registro from the Sixteenth to the Eighteenth Century” The tiento de medio registro was one of the most popular types of organ music in the Iberian Peninsula from the late sixteenth century until the beginning of the eighteenth century. A subgenre of the tiento, this form was originally developed in the 1530s as a means to “try out” a lute -
Ge-Conservación Conservação | Conservation
GRUPO ESPAÑOL de CONSERVACIÓN Número International Institute forConservation 6 of historic and artistic works Ge-conservación Conservação | Conservation Año 2014 ISSN: 1989-8568 Dirección Editorial: Rocío Bruquetas Galán y Ana Calvo Manuel Consejo de Redacción: María Aguiar, Emilio Cano Ruíz, Emma García Alonso, Marisa Gómez González, Ana Laborde Marqueze, Emilio Ruiz de Arcaute Martínez, Margarita San An- drés Moya, Sandra Zetina Ocaña. Secretaria de Edición: Mª Concepción de Frutos Sanz Revisores: Manuel Blanco Domínguez; Ana Calvo; Cristina Escudero Remirez; Mª Antonia García Rodríguez; Mª Isabel Herráez; Pilar Ineba; María López Rey; Domingo Marquina; Guadalupe Pinar; Ana Shoebel Orbea. Webmaster GEIIC: Emma García Alonso Diseño página web: Pepe Nieto PEZRED Maquetación: Mª Concepción de Frutos Sanz y Emma García Alonso Traducción: María Aguiar Foto portada: Totocado atacameño (Morales, 2012). ©2014, Museo R.P. Gustavo Le Paige (I.I.A.M.), San Pedro de Atacama. ISSN: 1989-8568 Esta publicación utiliza una licencia Creative Commons Se permite compartir, copiar, distribuir y comunicar públicamente la obra con el reconocimiento expreso de su autoría y procedencia. No se permite un uso comercial de la obra original ni la generación de obras derivadas. Esta revista utiliza Open Journal Systems, software libre de gestión y publicación de revistas desarrollando, soportado y libremente distribuido por el Public Knowledge Project bajo Licencia Pública General GNU. GRUPO ESPAÑOL de CONSERVACIÓN International Institute forConservation of historic and artistic works GE-conservación no se responsabiliza de la información contenida en los artículos ni se identiica necesariamente con ellas. © La propiedad intelectual de los artículos pertenece a los autores, y los derechos de edición y publicación de este número son de Ge-conservación. -
Gothic-Architecture-In-Spain-List-Of
GOTHIC ARCHITECTURE IN SPAIN: INVENTION AND IMITATION Edited by: Tom Nickson Nicola Jennings COURTAULD Acknowledgements BOOKS Publication of this e-book was generously Gothic Architecture in Spain: Invention and Imitation ONLINE supported by Sackler Research Forum of The Edited by Tom Nickson and Nicola Jennings Courtauld Institute of Art and by the Office of With contributions by: Scientific and Cultural Affairs of the Spanish Embassy in London. Further funds came from the Colnaghi Foundation, which also sponsored the Henrik Karge conference from which these papers derive. The Javier Martínez De Aguirre editors are especially grateful to Dr Steven Brindle Encarna Montero and to the second anonymous reader (from Spain) Amadeo Serra Desfilis for their careful reviews of all the essays in this Nicola Jennings collection. We also thank Andrew Cummings, Diana Olivares who carefully copyedited all the texts, as well as Costanza Beltrami Alixe Bovey, Maria Mileeva and Grace Williams, Nicolás Menéndez González who supported this e-book at different stages of its Begoña Alonso Ruiz production. Series Editor: Alixe Bovey Managing Editor: Maria Mileeva Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Vernon Square, Penton Rise, King’s Cross, London, WC1X 9EW © 2020, The Courtauld Institute of Art, London. Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge.