Baroque art flourished in seventeenth-century Seville during a tumultuous period of economic decline, social conflict, and natural disasters. This volume explores the patronage that fueled this frenzy of religious artistic and architectural activity and the lasting effects it had on the city and its citizens. Amanda Wunder investigates the great public projects of sacred artwork that were originally conceived as medios divinos—divine solutions to the problems that plagued Seville. These commissions included new polychromed wooden sculptures and richly embroidered clothing for venerable old images, gilded altarpieces and monumental paintings for church interiors, elaborate ephemeral decorations and festival books by which to remember them, and the gut renovation or rebuilding of major churches that had stood for hundreds of years. Meant to revive the city spiritually, these works also had a profound real-world impact. Participation in the production of sacred artworks elevated the social standing of the artists who made them and the devout benefactors who commissioned them, and encouraged laypeople to rally around pious causes. Using a diverse range of textual and visual sources, Wunder provides a compelling look at the complex visual world of seventeenth-century Seville and the artistic collaborations that involved all levels of society in the attempt at its revitalization. Vibrantly detailed and thoroughly researched, Baroque Seville is a fascinating account of Seville’s hard-won transformation into one of the foremost centers of Baroque art in Spain during a period of crisis.
Amanda Glauert revisits Beethoven’s songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe. The book offers readers a rich exploration of the poetical and philosophical context in which Beethoven found himself when composing songs. It also offers detailed commentaries on possible responses to specific songs, responses designed to open up new ways for performing, hearing and appreciating this provocative song repertoire. This study will be of great interest to researchers of Beethoven; German song; aesthetics of words and music.
Baroque art flourished in seventeenth-century Seville during a tumultuous period of economic decline, social conflict, and natural disasters. This volume explores the patronage that fueled this frenzy of religious artistic and architectural activity and the lasting effects it had on the city and its citizens. Amanda Wunder investigates the great public projects of sacred artwork that were originally conceived as medios divinos—divine solutions to the problems that plagued Seville. These commissions included new polychromed wooden sculptures and richly embroidered clothing for venerable old images, gilded altarpieces and monumental paintings for church interiors, elaborate ephemeral decorations and festival books by which to remember them, and the gut renovation or rebuilding of major churches that had stood for hundreds of years. Meant to revive the city spiritually, these works also had a profound real-world impact. Participation in the production of sacred artworks elevated the social standing of the artists who made them and the devout benefactors who commissioned them, and encouraged laypeople to rally around pious causes. Using a diverse range of textual and visual sources, Wunder provides a compelling look at the complex visual world of seventeenth-century Seville and the artistic collaborations that involved all levels of society in the attempt at its revitalization. Vibrantly detailed and thoroughly researched, Baroque Seville is a fascinating account of Seville’s hard-won transformation into one of the foremost centers of Baroque art in Spain during a period of crisis.
TRENDS IN LINGUISTICS is a series of books that open new perspectives in our understanding of language. The series publishes state-of-the-art work on core areas of linguistics across theoretical frameworks, as well as studies that provide new insights by approaching language from an interdisciplinary perspective. TRENDS IN LINGUISTICS considers itself a forum for cutting-edge research based on solid empirical data on language in its various manifestations, including sign languages. It regards linguistic variation in its synchronic and diachronic dimensions as well as in its social contexts as important sources of insight for a better understanding of the design of linguistic systems and the ecology and evolution of language. TRENDS IN LINGUISTICS publishes monographs and outstanding dissertations as well as edited volumes, which provide the opportunity to address controversial topics from different empirical and theoretical viewpoints. High quality standards are ensured through anonymous reviewing. To discuss your book idea or submit a proposal, please contact Birgit Sievert.
TRENDS IN LINGUISTICS is a series of books that open new perspectives in our understanding of language. The series publishes state-of-the-art work on core areas of linguistics across theoretical frameworks as well as studies that provide new insights by building bridges to neighbouring fields such as neuroscience and cognitive science. TRENDS IN LINGUISTICS considers itself a forum for cutting-edge research based on solid empirical data on language in its various manifestations, including sign languages. It regards linguistic variation in its synchronic and diachronic dimensions as well as in its social contexts as important sources of insight for a better understanding of the design of linguistic systems and the ecology and evolution of language. TRENDS IN LINGUISTICS publishes monographs and outstanding dissertations as well as edited volumes, which provide the opportunity to address controversial topics from different empirical and theoretical viewpoints. High quality standards are ensured through anonymous reviewing.
The New York Times bestselling authors of Celebutantes return with a dazzling new novel set among the star-studded crowds of the Cannes Film Festival, where everyone's hoping to discover, sign, screw or become the Next Big Thing. And a three-picture deal would be nice. Lola Santisi—CEO of a struggling fashion line, reformed Actorholic and daughter of Hollywood Royalty—is now not only bicoastal, she's Bi-Lolar: That is the condition which causes her to swing like a pendulum between the opposing poles of the fashion world in New York and the real world with her Doctor Boyfriend in Los Angeles. She hardly knows which shoe fits her anymore: the Louboutin stiletto or the Croc. As Lola tries to launch Julian Tennant's new dress line, it looks like they're about to get their next big break: his wedding dresses have been chosen to feature in the top film at the Cannes Film Festival. And suddenly Lola is staging a full-blown couture show on a yacht – in the middle of the Med. Think those super models had trouble walking down the catwalks at Fashion Week? With an unexpected finale twist, this time it's Lola who's tumbling off the runway. Having recently endured a disastrous break-up with Lola's brother Christopher, Kate Woods, Lola's BFF and CAA's rising star agent, is newly single, and focused 24-7 on her clients. The only thing worse than thinking it was a good idea for Kate to date Lola's brother, is thinking it was a good idea for Kate to put one of her most loose-cannon clients, Nic Knight, in Lola's father's movie. Among Kate's other mega star clients is Saffron Sykes whose appearance on the cover of Vain magazine in Julian Tennant could be the difference between Julian Tennant, Inc. weathering the economy or going bust. As Lola fights to survive the Cannes Film Festival, will she get swept into the French Riviera's riptide of glamour and superficiality? Are real love and couture mutually exclusive? Or can Lola have it all – the good doctor and her Louboutins. With her father and brother vying for the same prize, her mother starring in her new reality show, and one heartbroken girlfriend about to declare motherhood, it's all on Lola to come up with the answers. And it's going to take more than one of her mother's prosperity chants to save the day.
”You furnish the pictures and I’ll furnish the war.” This famous but apocryphal quote, long attributed to newspaper magnate William Randolph Hearst, encapsulates fears of the lengths to which news companies would go to exploit visual journalism in the late nineteenth century. From 1870 to 1900, newspapers disrupted conventional reporting methods with sensationalized line drawings. A fierce hunger for profits motivated the shift to emotion-driven, visual content. But the new approach, while popular, often targeted, and further marginalized, vulnerable groups. Amanda Frisken examines the ways sensational images of pivotal cultural events—obscenity litigation, anti-Chinese bloodshed, the Ghost Dance, lynching, and domestic violence—changed the public's consumption of the news. Using intersectional analysis, Frisken explores how these newfound visualizations of events during episodes of social and political controversy enabled newspapers and social activists alike to communicate—or challenge—prevailing understandings of racial, class, and gender identities and cultural power.
Fragile Settlements compares the processes by which colonial authority was asserted over Indigenous people in south-west Australia and prairie Canada from the 1830s to the early twentieth century. At the start of this period, there was an explosion of settler migration across the British Empire. In a humanitarian response to the unprecedented demand for land, Britain’s Colonial Office moved to protect Indigenous peoples by making them subjects under British law. This book highlights the parallels and divergences between these connected British frontiers by examining how colonial actors and institutions interpreted and applied the principle of law in their interaction with Indigenous peoples on the ground. Fragile Settlements questions the finality of settler colonization and contributes to ongoing debates around jurisdiction, sovereignty, and the prospect of genuine Indigenous-settler reconciliation in Canada and Australia.
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