In recent years numerous scholars in disciplines not traditionally associated with theology have promoted an interesting thesis. They maintain that one particular Christian doctrine, the Incarnation, had an inordinate influence on the shape of Western culture. The doctrine, they say, was so radical that it mandated an epistemological break with pagan society's perception of the universe and forced Christians to form a new culture. As medieval society worked out the consequences of the doctrine, it gave birth to those attitudes, institutions, and actions that define modern Western culture. The claims are well argued, but it is a historically untested thesis. How the Doctrine of Incarnation Shaped Western Culture is a response to the situation. It investigates whether the presence of the doctrine had the definitive effect on Western culture that so many scholars claim it did. It searches early Christian and medieval sources for evidence and concludes that the doctrine had a dominant effect on the developing culture. No other idea was as omnipresent or pervasive in Western society during its formative stage as the Incarnation doctrine. The doctrine was influential in the establishment of every major facet of Western culture. Its paradox, irrationality, and juxtaposition of opposites created a tension that cried out for resolution, and society responded accordingly. The ideas within the doctrine acted as catalysts for cultural change. As a result, the West developed its most characteristic traits and forged a path that was uniquely its own.
The Modern Castrato: Gaetano Guadagni and the Coming of a New Operatic Age chronicles the career of the most significant castrato of the second half of the eighteenth-century. Guadagni may have been the only singer of the time fully able to understand the demands and opportunities of this reform, as well to possess the intelligence and self-knowledge to realize that it suited his skills, limitations and temperament perfectly--making him the first castrato to embrace the concepts of modern singing.
An exploration of ways of looking in Renaissance Florence, where works of art were part of a complex process of social exchange Renaissance Florence, of endless fascination for the beauty of its art and architecture, is no less intriguing for its dynamic political, economic, and social life. In this book Patricia Lee Rubin crosses the boundaries of all these areas to arrive at an original and comprehensive view of the place of images in Florentine society. The author asks an array of questions: Why were works of art made? Who were the artists who made them, and who commissioned them? How did they look, and how were they looked at? She demonstrates that the answers to such questions illuminate the contexts in which works of art were created, and how they were valued and viewed. Rubin seeks out the meeting places of meaning in churches, in palaces, in piazzas--places of exchange where identities were taken on and transformed, often with the mediation of images. She concentrates on questions of vision and visuality, on "seeing and being seen." With a blend of exceptional illustrations; close analyses of sacred and secular paintings by artists including Fra Angelico, Fra Filippo Lippi, Filippino Lippi, and Botticelli; and wide-ranging bibliographic essays, the book shines new light on fifteenth-century Florence, a special place that made beauty one of its defining features.
This volume presents a collection of essays by leading Gluck scholars which highlight the best of recent and classic contributions to Gluck scholarship, many of which are now difficult to access. Tracing Gluck?s life, career and legacy, the essays offer a variety of approaches to the major issues and controversies surrounding the composer and his works and range from the degree to which reform elements are apparent in his early operas to his contribution to changing perceptions of Hellenism. The introduction identifies the major topics investigated and highlights the innovatory nature of many of the approaches, particularly those which address perceptions of the composer in the nineteenth and twentieth centuries. This volume, which focuses on one of the most fascinating and influential composers of his era, provides an indispensable resource for academics, scholars and libraries.
The story of artists in Western Canada, and how they changed the face of Canadian art “Listen to the visual voices of artists. They tell us so poignantly who we are, what we must cherish, and what we must address as a society.” Patricia Bovey Throughout her remarkable career as a gallery director, curator, and author, Patricia Bovey has tirelessly championed the work of Western Canadian artists. Western Voices in Canadian Art brings this lifelong passion to a crescendo, delivering the most ambitious survey of Western Canadian Art to date. Beginning with the earliest European-trained artists in Western Canada, and moving up to present day, Bovey amplifies the depth, scope, and importance of the diverse artists (both settler and Indigenous) whose distinct voices have contributed to the Western Canadian artistic tradition. Bovey then adopts a thematic approach, richly informed by her knowledge and experience, connecting art and artists through time and across provincial boundaries. Insights from Bovey’s studio visits and conversations with artists enhance our understandings of the history and trajectory of, and impetus for Canadian artistic creation. Lavishly illustrated with over 250 works reproduced in full colour, Western Voices in Canadian Art is a book that needs to be seen, and its artists and art celebrated.
The book discusses the relation between the Icelanders and the mediaeval Norwegian kings, as it appears in sagas and legal texts. By reassessing legal material and the sagas of Möðruvallabók, it finds the Icelanders partly subjects of the king, and partly beyond his power.
Existe-t-il une ou des definitions a l'identite metisse ? Un metis est-il un etre acculture ou multiculturel ? Doit-il jouer des diverses facettes de ses origines pour se construire une personnalite ou doit-il choisir un camp, nier une partie du sang qui coule dans ses veines ? Quelle patrie peut-il revendiquer ? A l'ere de la multiplication des voyages et des echanges internationaux instantanes, ne sommes-nous pas tous plus ou moins metis Notre vie, notre travail, nos repas, nos mots ne sont-ils pas tous plus ou moins marques par des influences etrangeres Pouvons-nous, aujourd'hui, nous definir par rapport a UN territoire, a une zone geographique UNIQUE ?
Christoph Willibald Gluck composed for operas in such a way that served the story and related the poetic quality of music. He possessed a gift for creating unity between the art forms that comprise a ballet or opera. This bibliography and guide ties together the different writings on this artist, providing faster access to the information on his life and work.
The brash young artist James Ensor painted Christ's Entry into Brussels in 1889 during a period of extraordinary artistic and political fomentation in his native Belgium. It is one of the most dazzling, innovative, and perplexing paintings created in Europe in the late nineteenth century, rivaling any work of its period in audacity and ambition. Huge in scale, complex in design and execution, and brimming with social commentary, the startling canvas presents a scene filled with clowns, masked figures, and--barely visible amid the swirling crowds--the tiny figure of Christ on a donkey entering the city of Brussels. This insightful volume examines the painting in light of Belgium's rich artistic, social, political, and theological debates in the late nineteenth century, and in the context of James Ensor's exceptional career, in order to decipher some of the painting's messages and meanings.
Belladone Lablonde, l'ecri-vaine fantaisiste, a entrepris d'animer un atelier d'ecriture en college ! - Le college Jack et Bill Planche ! Curieux comme nom, vous ne trouvez pas ? Installee au C.D.I., la classe de 6e se lance dans un intense brain storming... - Oui... enfin... vu les gamins, je fais ce que je peux, hein ! Et comme d'habitude avec la blonde dejantee, rien ne se passe comme prevu... - Ca ne serait pas du Belladone, sinon ! La seance a peine debutee qu'un cadavre est retrouve ! - Mais heureusement, grace a mes series tele preferees, je suis hyper calee en enquete policiere ! Ah oui... vraiment...?
Entre Pina Colada et Macarena, Belladone profite bien de la vie à Tahiti avec son voisin et amoureux Chrysostome ! Mais il est déjà temps de rentrer pour préparer les « Bella Book Awards », l'émission de télé consistant à voter pour son auteur jeunesse préféré. Belladone est activement secondée par Gaby la bibliothécaire, ainsi que par sa nouvelle amie Capucine, la libraire rencontrée sur le tournage de « Qui veut épouser ma fille ? ».Ensemble, elles ont minutieusement examiné les photos de ces messieurs... et hum, leuroeuvre aussi, bien sûr ! La soirée promet d'être un succès !Mais dans l'ombre, un détracteur envoie de terribles lettres de menace à la blonde fantaisiste... Et en plein direct, un événement inattendu vient bouleverser notre héroïne et tous ses amis !Qui donc peut bien vouloir du mal à Belladone ? Et comment va-t-elle se dépêtrer de cettedangereuse situation ?
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