Bibliografias temáticas / Angers Cathedral

Literatura científica selecionada sobre o tema "Angers Cathedral"

Autor: Grafiati
Publicado: 26 de julho de 2024
Última modificação: 27 de julho de 2024

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Artigos de revistas sobre o assunto "Angers Cathedral"

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Demailly, Sylvie, Paulette Hugon, Marcel Stefanaggi e Witold Nowik. "The technique of the mural paintings in the choir of Angers Cathedral". Studies in Conservation 43, sup1 (1 de janeiro de 1998): 10–15. http://dx.doi.org/10.1179/sic.1998.43.supplement-1.10.

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Bernier, Ronald R., e Rachel Hostetter Smith. "Editors’ Introduction: Christianity and Latin American Art". Religion and the Arts 18, n.º 1-2 (2014): 1–4. http://dx.doi.org/10.1163/15685292-01801001.

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‭This brief introduction discusses the need for scholars to turn their attention to the intersections between art and Christianity in Latin America, and traces the origins of this special double-issue of Religion and the Arts to a one-day scholarly symposium entitled “Christianity and Latin American Art: Apprehension, Appropriation, Assimilation.” This symposium was sponsored by the Association of Scholars of Christianity in the History of Art (ASCHA), and held at the Cathedral of Our Lady of the Angels in Los Angeles, California, in February 2012.‬
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Stanfield-Mazzi, Maya. "Introduction to Part I: Time and its Transformations from the Old World to the New". Religion and the Arts 18, n.º 1-2 (2014): 5–10. http://dx.doi.org/10.1163/15685292-01801002.

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‭The four articles in Part I, Time and its Transformations from the Old World to the New, suggest that as Christianity was transmitted to the New World, this transmission necessitated new ways of conceiving of time and history. The articles thus point to new ways of thinking about the legacy of Christianity in Latin America. They also lead to a re-envisioning of the wider history of the Christian faith, a vision similarly expressed by artist Robert Graham on the doors of the Cathedral of Our Lady of the Angels in Los Angeles.‬
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León, Sebastián. ""¡A ver la comeria nueva / que la negla representa!": Villancicos de negros en la Bogotá virreinal". Bulletin of the Comediantes 74, n.º 1 (2022): 89–106. http://dx.doi.org/10.1353/boc.2022.a927750.

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Abstract: Sung inside and beyond the confines of cathedrals during the principal religious celebrations, the musical-poetic genre of the villancico took on a special vibrancy in the viceregal city of Santafé (today, Bogotá, Colombia) from the later sixteenth century onward. The singers themselves not only played (sung) the roles of angels and shepherds, but also of others, often adapted from stock comic characters, such as the "Negro" or "Negra" (Black man or woman), found in the widely popular short comic dramas of the Spanish-speaking world. This article studies the manuscript evidence of how the villancicos composed, sung, and performed in the Bogotá Cathedral attest to the contribution of the "black voices" that were heard in this viceregal metropolis, to be embodied in these pieces. I provide transcriptions and analysis of the poems, and even theatrical scripts, found in the musical scores of a corpus of "villancicos de nacimiento" preserved in the Archive of Bogotá's Cathedral. In turn, these musical-poetic works open a window through which to better understand devotional and festive practices in a stratified colonial society and, in so doing, can give us also a picture of performance practices developed by largely unheralded and mostly anonymous Black performers of the territory of New Granada (which coincides with present-day Panamá, Colombia, Venezuela, and Ecuador), which was administered through the Viceroyalty of Peru until 1717.
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Gallegos, Matthew E. "Cathedral of Our Lady of the Angels (review)". Catholic Historical Review 92, n.º 1 (2006): 149. http://dx.doi.org/10.1353/cat.2006.0092.

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JANG Tyson. "Lady of Our the Angels Cathedral: Type as Paradigm". Journal of Korea Intitute of Spatial Design 6, n.º 1 (março de 2011): 55–63. http://dx.doi.org/10.35216/kisd.2011.6.1.55.

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Cashner, Andrew A. "Imitating Africans, Listening for Angels". Journal of Musicology 38, n.º 2 (2021): 141–82. http://dx.doi.org/10.1525/jm.2021.38.2.141.

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Church ensembles of Spaniards across the Spanish Empire regularly impersonated African and other non-Castilian characters in the villancicos they performed in the Christmas Matins liturgy. Although some scholars and performers still mistakenly assume that ethnic villancicos preserve authentic Black or Native voices, and others have critiqued them as Spaniards’ racist caricatures, there have been few studies of the actual music or of specific local contexts. This article analyzes Al establo más dichoso (At the happiest stable), an ensaladilla composed by Juan Gutiérrez de Padilla for Christmas 1652 at Puebla Cathedral. In this performance his ensemble impersonated an array of characters coming to Christ’s mangers, including Indian farm laborers and African slaves. The composer uses rhythm to differentiate the speech and movement of each group, and at the climax he even has the Angolans and the angels sing together—but in different meters. Based on the first edition of this music, the article interprets this villancico within the social and theological context of colonial Puebla and its new cathedral, consecrated in 1649. I argue that through this music, members of the Spanish elite performed their own vision of a hierarchical and harmonious society. Gutiérrez de Padilla was himself both a priest and a slaveholder, and his music elevates its characters in certain ways while paradoxically also mocking them and reinforcing their lowly status. Building on Paul Ricoeur’s concept of the “three worlds of the text,” the article compares the representations imagined within the musical performance with archival evidence for the social history of the people represented and the composer’s own relationships with them (the world behind the text). Looking to the world projected “in front of” the text, I argue that these caricatured representations both reflected and shaped Spaniards’ attitudes toward their subjects in ways that actively affected the people represented. At the same time, I argue that Spanish representations mirrored practices of impersonation among Native American and African communities, especially the Christmastide Black Kings festivals, pointing to a more complex and contradictory vision of colonial society than what we can see from the slaveholder’s musical fantasy alone.
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Ryba, Grażyna. "Interpretacja jako inspiracja? Dekoracja drzwi do kruchty katedry poznańskiej". Artium Quaestiones, n.º 26 (19 de setembro de 2018): 171–93. http://dx.doi.org/10.14746/aq.2015.26.8.

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In the southern porch of the Poznań cathedral there is a swinging door etched inbronze and brass, made in 1972. Together with a bronze bas-relief placed above, itwas the most important element of the decoration of the passage from the residenceof Poznań archbishops to the cathedral. Both artworks were made by Ireneusz Daczkoand Bogdan Fijałkowski – graduates of the Poznań Academy of Fine Arts. Theirproject was inspired by Rev. Stefan Tomaszkiewicz, who supervised constructionwork in the cathedral, and Rev. Bolesław Dzierwa, involved in the restoration of thecathedral in Gniezno. Both priests developed an original iconographic program of the porch decoration, based upon angelistic, christological, and mariological symbolismand texts in Polish, Latin, and Greek.The figures of archangels Gabriel and Michael in the door panels have a borderwith inscriptions, monograms, angels, and zoomorphic motifs, and objects intertwinedwith climbing plants. The decoration of the door and the bas relief showingthe Assumption of Mary includes many references to the liturgy of the breviary,and points to the clergy as the recipients of the ideas represented in the porch iconography.The main argument of the paper is that the iconography of the Poznań door derivesfrom the texts by Lech Kalinowski and, above all, Zdzisław Kępiński, who in hisarticle, “The Symbolism of the Gniezno Door,” was the first to emphasize the significanceof the border and the connection of its decoration with the correspondent figuralpanels of the bronze Gniezno door.
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Stuard, Susan Mosher, e C. Stephen Jaeger. "The Envy of Angels: Cathedral Schools and Social Ideals in Medieval Europe, 950-1200." American Historical Review 101, n.º 2 (abril de 1996): 463. http://dx.doi.org/10.2307/2170419.

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Radding, Charles M., e C. Stephen Jaeger. "The Envy of Angels: Cathedral Schools and Social Ideals in Medieval Europe, 950-1200". History of Education Quarterly 36, n.º 3 (1996): 317. http://dx.doi.org/10.2307/369396.

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Teses / dissertações sobre o assunto "Angers Cathedral"

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Ableman, Joslyn Elise. "Imago Clipeata, the Liturgy, and Giovanni Pisano’s Man of Sorrows Lectern: A Classical Reappropriation in the Gothic Era". BYU ScholarsArchive, 2004. https://scholarsarchive.byu.edu/etd/8988.

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The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a “holy field”, or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni’s Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern’s clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar—both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa.
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Ableman, Joslyn Elise. "Imago Clipeata, the Liturgy, and Giovanni Pisano's Man of Sorrows Lectern: A Classical Reappropriation in the Gothic Era". BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/9018.

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The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a "holy field", or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni's Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern's clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar--both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa.
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Livros sobre o assunto "Angers Cathedral"

1

Delmas, Emmanuel. Angers. Paris: Éditions Place des victoires, 2020.

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2

Guitton, Aurélie. Chefs-d'œuvre de la Renaissance: Angers-Le Mans. Nantes]: DRAC des Pays de la Loire, 2021.

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3

Mathurin, Clémentine. Jean le Baptiste: Une histoire, des représentations (XVIe-XIXe siècle). Nantes]: DRAC, 2017.

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4

John, Nava. Cathedral tapestries: From proposal to installation : art of the cathedral, the Cathedral of Our Lady of the Angels, Los Angeles, California. [Los Angeles, Calif.?]: [publisher not identified], 2003.

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Mahony, Roger Michael. Cathedral of Our Lady of the Angels: Under construction. Strasbourg, France: Éditions du Signe, 2009.

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6

Weber, Francis J. Cathedral of Our Lady of the Angels. [Los Angeles, Calif.?]: Saint Francis Historical Society, 2004.

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Downey, Michael. The cathedral at the heart of Los Angeles. Collegeville, MN: Liturgical Press, 2002.

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8

Mark, Flaisher, Herbst Larry, Yap Kalika Nacion e Zvardoň František, eds. A short tour of the Cathedral of Our Lady of the Angeles, Los Angeles. Strasbourg, France: Éditions du Signe, 2002.

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9

Jaeger, C. Stephen. The envy of angels: Cathedral schools and social ideals in medieval Europe, 950-1200. Philadelphia: University of Pennsylvania Press, 1994.

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Akrotirianakis, Stavros Nicholas. Byzantium comes to southern California: The Los Angeles Greek community and the building of Saint Sophia Cathedral. Whittier, Calif: S.N. Akrotirianakis, 1994.

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Capítulos de livros sobre o assunto "Angers Cathedral"

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Morrison, Tessa. "The Dance of the Angels, the Mysteries of Pseudo-Dionysius and the Architecture of Gothic Cathedrals". In Metamorphosis, 299–319. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-1-4020-2643-0_23.

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Baxter, Ron. "The West Portal of Angers Cathedral". In Anjou, 138–50. Routledge, 2020. http://dx.doi.org/10.4324/9781003077152-11.

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Henry II. "56. Angers, Saint-Maurice Cathedral Chapter". In The Letters and Charters of Henry II, King of England 1154–1189, Vol. 1: Nos. 1–740, Beneficiaries A–C, editado por Nicholas Vincent. Oxford University Press, 2020. http://dx.doi.org/10.1093/oseo/instance.00275486.

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Mottram, Stewart. "‘Where ruine must reforme’?" In Ruin and Reformation in Spenser, Shakespeare, and Marvell, 132–64. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836384.003.0004.

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Chapter 4 sets John Denham’s response to the renovation of St Paul’s Cathedral in light of widening religious divisions among English protestants in the 1630s and early 1640s, reading Denham’s Coopers Hill (1642) alongside Denham’s other works from 1641–2, including his play, The Sophy. The chapter establishes that Denham’s ‘anger’, in Coopers Hill, at the monastic dissolutions under Henry VIII is best interpreted in light of Denham’s reaction to the threatened dissolution of cathedrals under reforms proposed by the Long Parliament in 1641. Denham’s anger at the monastic dissolutions has been dubbed Laudian, even ‘anti-Protestant’, but the chapter argues that his reaction is in fact a characteristically protestant response to the excesses of reformation iconoclasm, as first practised under Henry VIII, and, in the early 1640s, under Long Parliament presbyterianism. The chapter roots Denham’s pity for the monasteries within an English reformation tradition—stretching back through Herbert to Spenser—that was at once anti-catholic and anti-iconoclastic, and it shows how Denham’s praise for Laud’s cathedral restorations is derived from his understanding of the Caroline church as the rightful heir of the sobrieties of the Elizabethan religious settlement, as this settlement had been lauded by Spenser, Herbert, and other writers before him. Denham therefore uses ruined abbeys and restored cathedrals to represent two possible futures for the established church, at once celebrating the status quo and demonstrating the ease by which the violence of the early reformation could turn inwards, against the edifice of English protestantism that Laud had laboured to restore.
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"Cathedral of Our Lady of the Angels". In Sacred Buildings, 168–70. Birkhäuser, 2008. http://dx.doi.org/10.1007/978-3-7643-8276-6_48.

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Keck, David. "The Length of Scripture 1 Sacred History and the Creation". In Angels & Angelology in the Middle Ages, 13–27. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195110975.003.0002.

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Abstract Just as Christian history was illustrated in the portals of Notre Dame de Paris by sculptures of the biblical patriarchs, early church Fathers, and medieval saints, medieval Christians saw themselves in the context of an ongoing narrative that began in Genesis and would culminate in the Apocalypse. In viewing Abraham garbed as a medieval knight on the walls of a cathedral, they could figuratively see themselves in the narratives of Scripture. Relics, crusades, pilgrimages, and narratives of pilgrimages helped to establish a sense of an immediate connection be-tween medieval Europe and the stories of ancient Israel and the early church. These narratives, the length of Scripture, provided a discrete set of historical experiences that defined the world (past, present, and future), human spiritual growth, and beliefs about angels. It was possible indeed to see in the history of Israel and its encounters with celestial spirits the story of the “restoration of the whole human race.” Thus a late-eleventh-century pilgrims’ chant asking Christ to send an angel to lead them characteristically employs images from several biblical stories of angels guiding humans.
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"Appendix A. Moral Discipline and Gothic Sculpture: The Wise and Foolish Virgins of the Strassburpf Cathedral". In The Envy of Angels, 331–48. University of Pennsylvania Press, 1995. http://dx.doi.org/10.9783/9780812200300.331.

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Broughton, Laurel G. "Queen Mary and Medical Christendom". In Goddesses Who Rule, 233–48. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195121308.003.0015.

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Abstract On June 9, 1311, the people of Siena closed their shops and made holiday. Moving from the workshop of Duccio di Buoninsegna through the streets of the city to the Cathedral of the Assumption, they celebrated the completion of the great altarpiece the Maesta, or Virgin in Majesty. Layered with gold and rich pigments, Duccio’s masterpiece portrayed Mary in regal splendor, enthroned with the infant Jesus on her lap and surrounded by saints and angels. The panels placed above the large central image depicted scenes from Mary’s last days, her death, assumption, and coronation.
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"Chapter Two “People—Yes, Cathedrals—No!” in Los Angeles". In Apostles of Change, 56–88. University of Texas Press, 2021. http://dx.doi.org/10.7560/321980-006.

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Tokarska-Bakir, Joanna. "The Authorities". In Cursed, traduzido por Ewa Wampuszyc, 105–45. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501771484.003.0004.

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This chapter investigates the authorities in Kielce around the time of the pogrom. It begins by looking at the prewar secretary of the prewar populist agrarian People's Party (Stronnictwo Ludowe), Eugeniusz Wiślicz-Iwańczyk, as well as Colonel Władysław Sobczyński-Spychaj, a prewar member of the Communist Party of Poland. From the moment that Sobczyński joined Wiślicz, a turf war began in the symbolic heart of Kielce. The chapter considers the strained relations between the authorities and the Church in Kielce. A thorn in the authorities' side was Bishop Czesław Kaczmarek's supposed mentorship of the Kielce branch of the anticommunist National Armed Forces. The chapter also examines the reports from the Kielce cathedral, the authors of which unanimously agree that the anger of the Kielce parents, who were worried about the fate of their lost children, was justified and that only the form the anger took—a form caused by the resistance of the Jewish residents at 7 Planty Street who would not surrender to a search by the people—was too drastic. Finally, it discusses the Freedom and Independence Union and the blood libel.
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Trabalhos de conferências sobre o assunto "Angers Cathedral"

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Bustamante Montoro, Rosa, e Pablo Moreno Dopazo. "La accesibilidad física e intelectual en los itinerarios de visita a los conjuntos históricos: catedrales". In International Conference Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2009. http://dx.doi.org/10.5821/ctv.7524.

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La accesibilidad intelectual complementa la accesibilidad física y sensorial en la visita a los edificios históricos, entendida como la percepción de los valores histórico-artísticos. La escala arquitectónica de las catedrales, distancias horizontales, verticales y ángulos visuales, impiden apreciar detalles constructivos y decoraciones, y por otro lado, comprender la iconografía religiosa, si no se cuenta con información previa. En ambos casos, se requieren ayudas tecnológicas para un buen aprovechamiento de los itinerarios de visita. The intellectual accessibility complements the physical and sensory accessibility in the visit to the historical buildings, understood as the perception of the historical - artistic values. The architectural scale of the historical cathedral, horizontal and vertical distances and visual angles, they prevent from estimating constructive details and decorations, and on the other hand, from understanding the religious iconography, if one does not possess previous information. In both cases, technological helps are needed for a good utilization of the itineraries of visit.
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Simoncini, Chiara. "The Pentagon as the Constructed Form of the City". In FORTMED2024 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2024. http://dx.doi.org/10.4995/fortmed2024.2024.18056.

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The effectiveness of fortresses, until the fifteenth century, was tied to their height, as the most effective defensive actions involved the pouring of boiling objects and liquids from above. The subsequent development of heavy portable artillery systems questioned the traditional form of fortification, characterized by walls perpendicular to the ground. This recognition, found in the writings of Leon Battista Alberti in "Re Aedificatoria," emphasized that to increase effectiveness, defenses should be constructed along irregular lines, like the teeth of a saw. With Antonio and Giuliano da Sangallo, military architecture became a branch of geometry, and debates regarding the correct number of bastions to provide the best defensibility sparked numerous discussions in the transition between the fourteenth and fifteenth centuries. The radiocentric form, typical of the Renaissance city, was one of the reasons that led to the choice of the pentagon as a design solution for fortifications, as obtuse angles, unlike right angles, allowed for greater resistance to splaying.This very form became the generative element of the urban development of the city of Livorno, coinciding with the urban plan drafted by Bernardo Buontalenti. In the mid-1500s, Francesco I de' Medici decided to expand the town of Livorno, incorporating a new inhabited center within a system of powerful fortifications surrounded by a canal, giving the city a pentagonal shape, with the hypothetical center being the Cathedral. Thus, the pentagon, part of Buontalenti's design, now visible in the course of the canals surrounding the core in the water, built by Venetian craftsmen, became the city's form.
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