Historical Significance Group 11 Agon Basha & Rehan Hussain
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Problems of the Baroque in 1975
T HESAVRVS BOLETÍN DEL INSTITUTO CARO Y CUERVO TOMO XXX Mayo-Agosto 1975 NÚMERO 2 PROBLEMS OF THE BAROQUE IN 1975 The following article does not try to continué the "Cri- tical survey of the Baroque theories" which I presented in this periodical IV (1948), 461-491, since this survey actually was continued in my book Estudios sobre el Barroco (Madrid, Gre- dos 1966, second edition 1973). Today I am rather interested in actual problems generally recognized as central, and in the attempt at their Solutions. There is agreement now on the fact that the transition from Renaissance to Baroque is such a slow process that it filis a whole period (roughly 1520 to 1600) which art historians cali Mannerism. One tried there- fore first to find criteria for the distinction of these two histo- rical phaenomena, Mannerism and Baroque, and to explain their fundamental differences and their possible overlappings. The second problem was, how the thus chronologically new- ly fixed Baroque fades out into something new which some believe to be the Classicism (particularly in France), which others, like the art historians, believe to be the Rococó. The latter still very debated concept supposes in retrospect a kind of coincidence between Classicism and Baroque. Furthermore, envisioning all this from a European and comparative view- point supposes time lags between the domination of a style trend in different countries, supposes the concept of dying and 210 HELMUT HATZFELD BICC, XXX, 1975 upcoming literatures, supposes the reckoning with the un- settled question of originis, and most of all, the importance of the psychological and sociological background which can- not be everywhere the same. -
Barcelona and the Paradox of the Baroque by Jorge Luis Marzo1
Barcelona and the Paradox of the Baroque By Jorge Luis Marzo1 Translation by Mara Goldwyn Catalan historiography constructed, even from its very beginnings, the idea that Catalunya was not Baroque; that is, Baroque is something not very "proper" to Catalunya. The 17th and 18th centuries represent the dark Baroque age, in contrast with a magnificent Medieval and Renaissance era, during which the kingdom of Catalunya and Aragón played an important international role in a large part of the Mediterranean. The interpretation suggests that Catalunya was Baroque despite itself; a reading that, from the 19th century on - when it is decided that all negative content about Baroque should be struck from the record in order to transform it into a consciously commercial and urban logo - makes implicit that any reflection on such content or Baroque itself will be schizophrenic and paradoxical. Right up to this day. Though the (always Late-) Baroque style was present in buildings, embellishments and paintings, it however did not have an official environment in which to expand and legitimate itself, nor urban spaces in which to extend its setup (although in Tortosa, Girona, and other cities there were important Baroque features). The Baroque style was especially evident in rural churches, but as a result of the occupation of principle Catalan plazas - particularly by the Bourbon crown of Castile - principal architectonic realizations were castles and military forts, like the castle of Montjuic or the military Citadel in Barcelona. Public Baroque buildings hardly existed: The Gothic ones were already present and there was little necessity for new ones. At the same time, there was more money in the private sphere than in the public for building, so Baroque programs were more subject to family representation than to the strictly political. -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Catalan Modernism and Vexillology
Catalan Modernism and Vexillology Sebastià Herreros i Agüí Abstract Modernism (Modern Style, Modernisme, or Art Nouveau) was an artistic and cultural movement which flourished in Europe roughly between 1880 and 1915. In Catalonia, because this era coincided with movements for autonomy and independence and the growth of a rich bourgeoisie, Modernism developed in a special way. Differing from the form in other countries, in Catalonia works in the Modern Style included many symbolic elements reflecting the Catalan nationalism of their creators. This paper, which follows Wladyslaw Serwatowski’s 20 ICV presentation on Antoni Gaudí as a vexillographer, studies other Modernist artists and their flag-related works. Lluís Domènech i Montaner, Josep Puig i Cadafalch, Josep Llimona, Miquel Blay, Alexandre de Riquer, Apel·les Mestres, Antoni Maria Gallissà, Joan Maragall, Josep Maria Jujol, Lluís Masriera, Lluís Millet, and others were masters in many artistic disciplines: Architecture, Sculpture, Jewelry, Poetry, Music, Sigillography, Bookplates, etc. and also, perhaps unconsciously, Vexillography. This paper highlights several flags and banners of unusual quality and national significance: Unió Catalanista, Sant Lluc, CADCI, Catalans d’Amèrica, Ripoll, Orfeó Català, Esbart Català de Dansaires, and some gonfalons and flags from choral groups and sometent (armed civil groups). New Banner, Basilica of the Monastery of Santa Maria de Ripoll Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 506 Catalan Modernism and Vexillology Background At the 20th International Conference of Vexillology in Stockholm in 2003, Wladyslaw Serwatowski presented the paper “Was Antonio Gaudí i Cornet (1852–1936) a Vexillographer?” in which he analyzed the vexillological works of the Catalan architectural genius Gaudí. -
The Historical Background of Catalan Separatism: the Case of Occitania
Przegląd Narodowościowy / Review of Nationalities • nr 10/2020 • A new wave of separatism in the world ISSN 2084-848X (print) • ISSN 2543-9391 (on-line) • DOI 10.2478/pn-2020-0011 Rozalia Sasor* Jagiellonian University, Kraków, Poland https://orcid.org/0000-0003-1461-8453 The historical background of Catalan separatism: The case of Occitania Introduction Provencal troubadours are widely known, however not everyone realizes that the type of lyric that made them famous was popular not only in the relatively small region of Provence and treating it as a part of history of French literature is a methodological sim- plification. The poetry of troubadours, with its characteristic metric forms and themes – the most famous being naturally the concept of fin’amor, courtly love – belongs to the original, native works of the whole langue d’Oc area, meaning not only Occitania, but also the Crown of Aragon. The political domination of the counts of Barcelona, and later the kings of Catalan-Aragonese Crown in the region beyond the Pyrenees not only fa- cilitated the intermingling of cultures in this area. It also led to the creation of one, com- mon, Occitan-Catalan cultural environment, where the poets of Languedoc, Provence and Catalonia travelled between the noble courts and composed songs in the same style and language. Due to this it makes more historical sense to include their poetry not in the history of French literature, but Catalan literature that in the 14th century still used Occitan language, alien to the works of langue d’oïl. The same fact makes understand- able the claims of Catalan people regarding the separateness of their own culture from the culture of Castille, at least with regard to the Middle Ages. -
Global Command Series
GLOBAL COMMAND SERIES v3.0 A Global War Expansion Designed by Will Henson Revision by Hans van der Leeuw & Delaja Schuppers Overview v3.0 HBG’s Spanish Civil War version 3.0 (SCW3.0) expansion provides a new set of rules, pieces and markers to play out this epic conflict within a game of Global War! Here you will find rules for Intervention by foreign powers, new consequences players face for victory (or defeat!), a set of advanced rules for the event markers of which some represent the different historical Factions that got involved in this bloody conflict that ended Spain’s colonial power. 2 Spanish Civil War Set Contents Republican (Plum colored) Nationalist (Yellow colored) · 8 Infantry · 8 Infantry · 2 Motorized Infantry · 2 Motorized Infantry Opel · 4 Artillery 122mm · 4 Artillery 75-7 Veld · 2 Light Armor T-26 · 2 Light Armor 38t · 2 Medium Armor T-34 · 2 Medium Armor Pz III · 2 Fighters I-16 · 2 Fighters FW-190 · 1 Tactical Bomber Su-2 · 1 Cruiser · 1 Medium Bomber IL-4 · 1 Transport · 1 Cruiser · 2 Destroyers · 1 Transport · 1 Battleship España-Class (3D · 2 Destroyers Printed) (Black colored) (Brown colored) · 2 Anti-Aircraft Artillery · 2 Anti-Aircraft Artillery · 1 Air transport (Condor Legion) Markers for specific units Markers for general purpose · 6 Spanish Blue Division Markers · 1 set of 10 Nationalist Roundels · 2 German Condor Legion Markers · 1 set of 10 Republican Roundels · 1 Italian Aviazione Legionaria · 5 Cavalry Markers · 1 Soviet Voluntary Pilots Marker · 5 Mountain Infantry Markers · 1 French Voluntary Pilots Marker · 8 Militia Markers · 6 Communist International Brigade Markers · 2 Army of Africa Markers 12 Event Markers · 4 CTV Markers Battleship España 3 War in Neutral Spain 1. -
7. Catalan Gas Mask
Level: 2n de Subject: Social Science (History) Batxillerat A History of the Spanish Civil War (1936-1939) in 30 Objects Timing: 12 Author: Ricard Expósito i Amagat sessions Institut AICLE / CLIL La Garrotxa 7. Catalan gas mask. “F.A.P.” type produced by “La Protectora” located in Roses de Llobregat (= Sant Feliu de Llobregat, Barcelona). Extremely scarce. Author’s collection. In Sant Feliu de Llobregat, fuses1 were also produced for the “Comitè d’Indústries de Guerra de Catalunya” (War Industries Commission).2 “In the First World War the feared artillery and devastating machine guns may have caused more casualties, but for many soldiers the most detested weapon was – gas”.3 Twenty years later, the use of poison gas in the SCW was a very real fear. As a result both soldiers and civilians were issued with gas masks. But poison gas was not used, at least at a large scale. - Why wasn’t poison gas used? Before you answer, read C. N. Trueman, “Poison Gas And World War Two”, historylearningsite.co.uk. The History Learning Site, 6 Mar 2015. 16 Aug 2016. Accessed August 30, 2016. 1 Espoletes, “f. [DE] [LC] Aparell que es col·loca a l'ogiva d'un projectil, a la boca d'una bomba, d'una granada, etc., i serveix per a fer esclatar la càrrega”, DIEC2. 2 F. J. de Madariaga Fernández, Las industrias de guerra de Cataluña durante la Guerra Civil, tesi doctoral dirigida per J. Sánchez Cervelló, Universitat Rovira i Virgili, 2003, p. 705. “Del pintallavis a la bala”, M. Montserrat Besses (dir.) and M. -
Alicante's Cultural Guide
Table of Contents Country Profile: Spain ..................................................................................................................................1-6 Country Overview: History, Quick Facts, Government, Educational System…………………..........................................2-4 Alicante Overview: History, Quick Facts, Economy....................................................................................................4-6 Practical Information ...................................................................................................................................6-9 Making Phone Calls .......................................................................................................................................................6 Emergency Numbers .....................................................................................................................................................7 Handling Money...........................................................................................................................................................7-8 Weather........................................................................................................................................................................8-9 Being a North American Abroad .................................................................................................................9-12 Culture Shock..................................................................................................................................................................9 -
WW2-Spain-Tripbook.Pdf
SPAIN 1 Page Spanish Civil War (clockwise from top-left) • Members of the XI International Brigade at the Battle of Belchite • Bf 109 with Nationalist markings • Bombing of an airfield in Spanish West Africa • Republican soldiers at the Siege of the Alcázar • Nationalist soldiers operating an anti-aircraft gun • HMS Royal Oakin an incursion around Gibraltar Date 17 July 1936 – 1 April 1939 (2 years, 8 months, 2 weeks and 1 day) Location Spain Result Nationalist victory • End of the Second Spanish Republic • Establishment of the Spanish State under the rule of Francisco Franco Belligerents 2 Page Republicans Nationalists • Ejército Popular • FET y de las JONS[b] • Popular Front • FE de las JONS[c] • CNT-FAI • Requetés[c] • UGT • CEDA[c] • Generalitat de Catalunya • Renovación Española[c] • Euzko Gudarostea[a] • Army of Africa • International Brigades • Italy • Supported by: • Germany • Soviet Union • Supported by: • Mexico • Portugal • France (1936) • Vatican City (Diplomatic) • Foreign volunteers • Foreign volunteers Commanders and leaders Republican leaders Nationalist leaders • Manuel Azaña • José Sanjurjo † • Julián Besteiro • Emilio Mola † • Francisco Largo Caballero • Francisco Franco • Juan Negrín • Gonzalo Queipo de Llano • Indalecio Prieto • Juan Yagüe • Vicente Rojo Lluch • Miguel Cabanellas † • José Miaja • Fidel Dávila Arrondo • Juan Modesto • Manuel Goded Llopis † • Juan Hernández Saravia • Manuel Hedilla • Carlos Romero Giménez • Manuel Fal Conde • Buenaventura Durruti † • Lluís Companys • José Antonio Aguirre Strength 1936 -
The Romanesque Heritage of the Vall De Boí
The Romanesque heritage of the Vall de Boí NIO M O UN IM D R T IA A L • P • W L O A I R D L D N World Heritage Site H O E M R I E TA IN G O E • PATRIM United Nations Catalan Romanesque Educational, Scientific and Churches of the Vall de Boí Cultural Organization inscribed on the World Heritage List in 2000 A little history As from the 9th century, the land to the south of shown by the act of consecration which Ramon the Pyrenees became organised into counties Guillem, bishop of Roda-Barbastro, ordered to that depended on the Frankish kingdom and be painted on a column of the church of Sant were part of the “Marca Hispánica” or Hispanic Climent in Taüll in 1123, as a symbol of the Mark. However, in the 10th century the Catalan territory’s control. counties gradually removed themselves from the Carolingian Empire and eventually achieved A few years later, in 1140, a pact was signed political and religious independence. by both bishoprics. Most of the parishes in the Vall de Boí became part of the Urgell bishopric, The Vall de Boí, or Boí Valley, formed part of one with only the church of l’Assumpció in Cóll of these counties: that of Pallars-Ribagorça, continuing to belong to Roda-Barbastro. At the belonging to the house of Toulouse until same time as this re-structuring of the territory, the end of the 9th century. When the county was happening a new social order was also became independent, there started a complex taking shape: feudalism. -
RECONQUEST and REPOPULATION Ence Close to the Church of a Spring Enclosed by Ma- from North Africa Who Overthrew the Visigothic King- Sonry of the Same Period
RECONQUEST AND REPOPULATION ence close to the church of a spring enclosed by ma- from North Africa who overthrew the Visigothic king- sonry of the same period. It is likely that the site was dom in 711. Modern historians have questioned the part of a royal estate. validity of this traditional concept, but Derek Lomax ROGER COLLINS pointed out that the Reconquest was “an ideal invented by Spanish Christians soon after 711” and developed Bibliography in the ninth-century kingdom of Asturias. Given the failure of the Muslims to occupy the Collins, R., Early Medieval Spain: Unity in Diversity, entire Iberian Peninsula, several tiny, independent 400–1000. London, 1983, 108–45. kingdoms and counties emerged in the foothills of the Navascue´s, J. M. de. La dedicacio´n de San Juan de Ban˜os. Palencia, 1961. Cantabrian and Pyrenees mountains, namely, Asturias, Thompson, E. A. The Goths in Spain. Oxford, 1969, Leo´n, Castile, Navarre, Arago´n, and Catalonia. The 199–210. idea of reconquest originated in Asturias, where King Pelayo (718–737), the leader of a hardy band of moun- taineers, proclaimed his intention to achieve the salus RECEMUND Spanie—the “salvation of Spain”—and the restoration Bishop of Elvira and caliphal secretary (mid-tenth cen- of the Gothic people. His victory over the Muslims at tury). Known to the Arabs as Rabi ibn Sid al-Usquf, Covadonga in 722 is traditionally taken as the begin- the Christian Recemund served as a secretary under ning of the Reconquest. A ninth-century chronicler af- the caliph Abd al-Rah.ma¯n III (929–961). -
Law, Liturgy, and Sacred Space in Medieval Catalonia and Southern France, 800-1100
Law, Liturgy, and Sacred Space in Medieval Catalonia and Southern France, 800-1100 Adam Christopher Matthews Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 1 ©2021 Adam Christopher Matthews All Rights Reserved 2 Abstract Law, Liturgy, and Sacred Space in Medieval Catalonia and Southern France, 800-1100 Adam Christopher Matthews With the collapse of the Visigothic kingdom, the judges of Catalonia and southern France worked to keep the region‘s traditional judicial system operable. Drawing on records of judicial proceedings and church dedications from the ninth century to the end of the eleventh, this dissertation explores how judges devised a liturgically-influenced court strategy to invigorate rulings. They transformed churches into courtrooms. In these spaces, changed by merit of the consecration rite, community awe for the power infused within sacred space could be utilized to achieve consensus around the legitimacy of dispute outcomes. At the height of a tribunal, judges brought litigants and witnesses to altars, believed to be thresholds of Heaven, and compelled them to authenticate their testimony before God and his saints. Thus, officials supplemented human means of enforcement with the supernatural powers permeating sanctuaries. This strategy constitutes a hybridization of codified law and the belief in churches as real sacred spaces, a conception that emerged from the Carolingian liturgical reforms of the ninth century. In practice, it provided courts with a means to enact the mandates from the Visigothic Code and to foster stability. The result was a flexible synthesis of law, liturgy, and sacred space that was in many cases capable of harnessing spiritual and community pressure in legal proceedings.