‘Por una gentil floresta’: Invention, Discovery and Desire in a Fifteenth-Century Villancico

2021 ◽  
Vol 98 (5) ◽  
pp. 453-469
Author(s):  
E. MICHAEL GERLI
Keyword(s):  
Fifteenth Century ◽  
Textual Criticism ◽  
Rich Source ◽  
Close Reading ◽  
Social Significance ◽  
Work Of Art ◽  
Art Form ◽  
Human Understanding

We persistently fail to appreciate the very status of cancionero poetry as an innovative art form, as literature worthy of serious analysis, and as an intellectual and humanistic pursuit. The villancico ‘Por una gentil floresta’, attributed to both the Marqués de Santillana and Suero de Ribera, is a case in point, a composition that is very well known but grossly underappreciated as a work of art, a cultural commentary, or for its social significance. It exists in multiple incarnations, in both the manuscript and early printed traditions of the cancioneros, attesting to its ample circulation and popularity. While the object of intense philological enquiry regarding issues of authorship, transmission, and possible influence, the numerous studies dedicated to this villancico do not foreclose further discussion of it to achieve greater appreciation of its artistic and human complexity. Close reading illustrates the abundant literary, thematic and cultural possibilities it offers, and allows us to articulate the wealth, intricacy, human understanding and artistic significance of fifteenth-century Castilian courtly verse; possibilities that reach well beyond philology and textual criticism and prove it a rich source for fruitful interpretation that exemplifies the kind of poetry and hermeneutical potential that can be found in the cancioneros.

St Francis for Protestants

2016 ◽  
Author(s):  
Henk Os
Keyword(s):  
Fifteenth Century ◽  
Mystical Experience ◽  
Religious Art ◽  
Work Of Art

Lorenzo Monaco's striking fifteenth-century portrayal of the stigmatisation of St. Francis was once owned by the art collector Otto Lanz. What prompted Lanz to buy Monaco's painting in the 1920s? Was it simply because he saw it as a beautiful, unique work of art? Or was there something more-could Lanz have been drawn in by the mystical experience that the painting depicts? In this essay, Henk van Os attempts to uncover the motivation for Otto Lanz's purchase, in the process raising provocative questions about our relationship to religious art in a more secular era.

My Reference Is Prejudiced: David Lamelas's Publication

ARTMargins ◽  
2013 ◽  
Vol 2 (3) ◽  
pp. 31-62
Author(s):  
Daniel R. Quiles
Keyword(s):  
Buenos Aires ◽  
Conceptual Art ◽  
Close Reading ◽  
The West ◽  
Critical Mode ◽  
Written Responses ◽  
Art Form ◽  
West European

This article addresses David Lamelas's 1970 work Publication, arguing that it represents a subtle critique of the internationalization of conceptual art by a recent entrant into the West European milieu. Exhibited at Nigel Greenwood Gallery in London after the artist's 1968 relocation from Argentina, Publication consists of thirteen written responses to three statements about the possible use of “language as an Art Form” that were sent by Lamelas to international figures in conceptual art such Daniel Buren, Gilbert and George, Lucy Lippard, and Lawrence Wiener. A close reading of this and others of Lamelas's experiments works leading up to this moment reveals affinities with earlier artistic experiments in Buenos Aires, the artist's original context, that have anything but membership in a preexisting movement or the adoption of an established genre as their goal. Between the years 1965 and 1968, Lamelas was part of a group of artists associated with the Torcuato di Tella Institute and the writer Oscar Masotta, who advocated an analytical and antagonistic “dematerialization,” in which prevailing tendencies were to be systematically examined, voided from within, and superseded. In Buenos Aires, Lamelas experimented with breaking his works into sections as a way of calling attention to given objects of attention—a practice of “signaling” that is also present in Publication. Invariably, these works were positioned in critical relationship to those of his peers, applying Masotta's model to each new milieu. In what follows, I compare select works of Lamelas with his contemporaries in Buenos Aires and abroad between 1964 and 1970, contending that Publication represents one of the first appearances of a specifically Argentine, and highly critical, mode of conceptualism in the international art field.

scholarly journals KAJIAN FILOSOFIS LONTAR CALONARANG

2018 ◽  
Vol 2 (1) ◽  
pp. 274
Author(s):  
I Gusti Ayu Widayanti ◽  
I Made Surada ◽  
I Made Adi Brahman
Keyword(s):  
Literary Work ◽  
Social Function ◽  
Cultural Preservation ◽  
Work Of Art ◽  
Literary Works ◽  
Art Form ◽  
The People ◽  
The Social ◽  
Black Magic ◽  
The Village

<p><em>Lontar Calonarang's literary works is a work of art. Calonarang term other than as one of the works of literature, Calonarang also means characterization</em><em> </em><em>or the name of a man in the play known as Rangda ing Girah. Calonarang is also known as art form such as wayang pacalonarangan and in staging pacalonarangan dance drama. Lontar Calonarang is a lontar manuscript that specifically tells about Calonarang revenge using black magic against the people in Girah village. This is because the people in the village of Girah no one wants to marry Calonarang child is Ratna Manggali. Lontar Calonarang literary work is interesting to read and researched because this literary work has a philosophical meaning of construct so easy to be understood in depth. </em></p><p><em>The results that can be obtained from this literary work are Teachings contained in lontar Calonarang include Rwa Bhineda, Catur Asrama, and Tantra. The function of the teachings contained in the Calonarang lontar is the religious function, the social function, and the function of cultural preservation. While the philosophical meaning derived from this literary work is the meaning of balance, meaning of education, and the meaning of divinity.</em><strong><em></em></strong></p>

Landart plein air “Between Sand and Foam” – Between the Everyday and the Ephemera

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Bissera Valeva ◽  
Keyword(s):  
Financial Support ◽  
High Tide ◽  
Research Fund ◽  
Work Of Art ◽  
Art Form ◽  
The Everyday ◽  
Traditional Artists

The text focuses on the realization of the plein air as a part of a larger project (ARTguments) implemented with the financial support of the Research Fund of Sofia University. The art form “landart” was chosen not by chance. It is characteristic for artists to “argue”, to transform their ephemeral visual sensations into art installations – materialized in nature, digitally stored emotional provocations, which also rely on the “co-authorship” of the elements. The pictorial focus is on “unnecessary”, discarded, marginalized objects, without utilitarian application, but discovered and recognized as necessary in the process of creating a work of art. This is the so called by Juri Lotman process of renaming “external” to the artistic installation elements in which they “invade” from the outside world implanting themselves in the imaginary space of the visual work. The art event aims to unite different artists as a way of expression, to gather and impose diverse, even dissimilar concepts.The forum realizes conceptual works by traditional artists, materializes the artistic reaction viewed from different angles, meets a random audience with non-randomly created installations, and last but not least, embodies different works as different visual emotion. The concept of the plein air is subordinated to the philosophy of Khalil Gibran and in particular to his sentences from the eponymous edition „Sand and Foam“:“I am forever walking upon these shores, Between the sand and the foam, The high tide will erase my foot prints,And the wind will blow away the foam...”

Londoners and London Mendicants in the Late Middle Ages

1996 ◽  
Vol 47 (3) ◽  
pp. 446-477 ◽  
Author(s):  
Jens Röhrkasten
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Rapid Development ◽  
Rapid Expansion ◽  
Spiritual Needs ◽  
Social Significance ◽  
Way Of Life ◽  
Late Middle Ages ◽  
The People ◽  
General Answer

Much attention has been paid to the role and functions of the mendicant orders in their urban environment. Among the topics discussed have been the friars' importance for urban development, their coexistence with other religious institutions, their economic practices and their relations with the secular authorities. As far as their spiritual and social significance is concerned their spectacular success and rapid development in the thirteenth century are generally accepted. There were some setbacks, particularly in towns where the Dominicans or Franciscans became involved in the suppression of heresy, but these had little impact on the rapid expansion of the orders. Members from all social groups, academics as well as aristocrats, merchants and artisans as well as the poor, felt the attraction of their sermons and way of life, some to such an extent that they decided to join one of the orders. But while the attraction of the mendicant ideal in the decades following the friars' arrival is undisputed, the problem of their importance for the religious life of the late medieval urban population is far more difficult to discuss. While there are assertions that the friars remained particularly popular, the orders' decline and their need of reform were already obvious in the fourteenth century and the various efforts to bring about a reinvigoration confirm this impression. In the fifteenth century famous mendicant preachers from Vincent Ferrer and Bernardino of Siena to Girolamo Savonarola attracted large crowds in many parts of Europe, but was this indicative of the population's general attitude towards the orders? Were the mendicants still perceived by the people as responding to their spiritual needs? How did the public react to signs of decadence, to disputes among the brothers? A general answer to such questions needs to be based on a large number of local studies and this is still a task for the future.

Art and Republicanism

1998 ◽  
pp. 62-66
Author(s):  
Fernando Inciarte
Keyword(s):  
Special Reference ◽  
General Introduction ◽  
Work Of Art ◽  
Western Art ◽  
Art Form ◽  
End Of Art ◽  
Aristotelian Tradition ◽  
Platonic Tradition

Republicanism is contrasted with liberalism with special reference to the notions of presence, absence and representation. The contrast is more conspicuous in the Platonic tradition of republicanism than it is in the Aristotelian tradition, the former being more likely to degenerate into some form of totalitarianism. Examples thereof are given in accordance with the distinction between a strong and a soft iconoclasm, as it is found both in Antiquity and in Eastern and Western Europe’s quest for absolute presence or—as in avantgarde art of modernity—for absolute self-presence of the work of art. Having left such political and artistic utopias behind it, the pendulum is now swinging back in the direction of representation, but no longer in the illusionist sense which has dominated Western art form the Renaissance to the beginning of our century. Tied to the question of iconoclasm is the debate about the end of art inaugurated by Hegel in the general introduction to his Aesthetics and resumed in our days.

scholarly journals Revisiting Walter Benjamin’s “The Task of the Translator” in Light of His Concept of Criticism in German Romanticism1

2012 ◽  
Vol 24 (1) ◽  
pp. 103-123 ◽  
Author(s):  
James St. André
Keyword(s):  
Twentieth Century ◽  
Translation Studies ◽  
Close Reading ◽  
German Romanticism ◽  
Work Of Art ◽  
Doctoral Thesis ◽  
Definition Of

Walter Benjamin’s essay “The Task of the Translator,” the most widely cited twentieth century philosophical statement on translation, is commonly seen as one of the most opaque and misunderstood essays in the field. This paper uses a close reading of Benjamin’s doctoral thesis, “The Concept of Criticism in German Romanticism,” to throw light on his thoughts on translation. I argue that the German Romantics’ definition of art, and art’s relation to criticism, are crucial to understanding why Benjamin conceived of translation as an “afterlife” of the work of art, why he believed that translatability is an innate quality of the work of art, and why he speaks of translation as moving the work of art onto a higher plane. I read Benjamin’s own essay on translation as a sort of “criticism” which seeks to “translate” the philosophical ideals of the Romantics, and thus give them an afterlife, and then reflect upon the implications for translation studies today.

scholarly journals Landscape as an expression of cultural identity and its interpretation as an art form

2012 ◽  
Vol 60 (8) ◽  
pp. 127-132
Author(s):  
Pavel Kostrhun
Keyword(s):  
Cultural Identity ◽  
Scientific Knowledge ◽  
Cognitive Process ◽  
Work Of Art ◽  
Scientific Methods ◽  
Art Form ◽  
Human Intention

The essay elaborates the thesis that reality, in its universality, cannot be captured by descriptive scientific methods. Whatever we see as reality is conditioned by human intention and subject to historical and temporal circumstances. The text suggests the possibility that our landscape awareness could be extended to include the artistic reflection, focusing on objects whose structure is seemingly less clear and graspable, and preferring thinking more abstract than contextual. Despite the progress in, and the extent of, scientific knowledge – or because of it – we realize that such knowledge has its limits, presupposed and insurmountable. One of the meanings of a valuable work of art – a result of the cognitive process of its own kind – is that it gives us an information more or less accurate on something that is beyond our practical and theoretical experience, something elusive and yet existing. A possibility is also suggested that through artistic exploration and understanding of the landscape, a nation’s cultural identity can manifest itself.

scholarly journals A Trip Through the Mind Jail

2021 ◽  
Vol 14 (1) ◽  
Author(s):  
Santiago Vidales Martínez (208–29)
Keyword(s):  
Textual Criticism ◽  
Art Theory ◽  
Work Of Art ◽  
The Mind

This essay attends to the poetry of Chicanx activist raúlrsalinas (1934–2008), specifically his most transgressive and innovative works which appear in A Trip Through the Mind Jail y Otras Excursions. I approach Salinas’s poetic works as textual events following Joseph Grigely’s reflections in Textualterity: Art, Theory and Textual Criticism where he conceives of texts as works in motion that frame the work of art as polytextual and comprised of multiple iterations.

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