Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

In our preview article (Castillo, López 2016) we focused on role of people with disabilities, both in Ancient Egypt and classical Greece, their economic, social and political situation. In this second part we are going to discuss the topics left aside in the first article which are the references to dwarfs in relation to Egyptian divinities and their religious function and finally the image of ritual lameness and its ideological function within the aristocracy, representation very present in the imaginary of Mediterranean societies.

The representation of music (as a sound element) in the plane of painting is complicated, if not impossible. When this happens, painter’s intention is include musical scenes pretend to idealize the sound of the scene or give some special meaning to said musical scene. These musical snapshots, by themselves, can give the general set of the pictorial work a characteristic that is alien to it, even contrary; this is why in the proposed examples of El Bosco and Brueghel we observe how the musical scenes allow us to contradict the general sense of the panels, even contradicting the meaning a priori that the viewer could elucidate.    

The following article aims to analyze, from the perspective of the theory and methodology of the art as a discipline, the chapter that Arnold Hauser dedicates to the Impressionism in his Social History of Art. To do so, a critical study is going to be made, considering the historical context in which this work was born and putting the whole thing in relation to the different schools of theory and methodology of the art, including the latest visual studies.  

Frederic Leighton is mostly recognised as President of the Royal Academy in the latter half of the nineteenth century, exhibiting large scale figurative paintings of a high degree of finish. Scholarship has, however, overlooked his plein air paintings created during his frequent voyages to Italy, Spain, Egypt and Greece, to name a few. As Leighton’s oil sketches comprised of over 200 canvases and boards, their significance to his oeuvre is paramount and needs to be clearly articulated. Using the example of An Outcrop in the Campagna, this article explores how the three aspects – nature, science and myth – merged in Leighton’s vision of landscape. The painting’s composition and technique are examined, as well as the influence of Leighton’s circle, exemplified by Giovanni Costa and the Etruscan School of Art. Finally, Victorian solar physics and thermodynamics are presented as an important context for the symbolic dimension of Leighton’s landscapes.    

The present text has the goal to fulfill a study about the exhibition Inside Out: New Chinese Art celebrated in New York between 1998-1999. Taking the exhibition as a case of study is possible to deep around the entrance of the Contemporary Chinese Art in Western, essentially throughout the 90s. Different factors must be taken into account, such as the historic time, the sociopolitical context, the economic interests, the innovative discourse of the show or its transcendence for the followings shows. Those elements have driven the exhibition as a significant event within the Contemporary Chinese Art History and its entrance in Western.    

The constructive history of the building is complemented by the constant renovation and maintenance works carried out there. These minor interventions, of which the closures of Seville was witness, provide unpublished data related to the work of the master builders who worked at the service of these religious institutions. The present article is presented as the main objective of the dissemination of the list of alarifes masters who work in the performance of minor functions, at the service of the community of Franciscan Clarisse sisters of the sevillian convent of Santa Inés during the 16th century.    

The artist Germán Mourgues B., due to the socio-political circumstances that Chile lived from 1973 develops his work to the margin of the official circuits of the art. To create, away from currents, fashions or styles, an interesting work that has not been sufficiently relieved in the country yet. He tried — transversely — the rescue of the vernacular culture, taking legends, myths and local iconographic expressions and investigating what exist of universal in them. These topics cross, in its work, with those of the gnostic, the esoteric and the alchemy. Making use of different ways of expression he creates a work very rich in content and deep originality. In this work is analyzed, from the symbols, his pictorial work created in the last decade of his life (one of his least well-known facets), making possible through it the access to his personal world view.    

This article is based on the Peruvian Cronwell Jara’s Montacerdos to investigate the topics of monstrosity and animality, by basing the thoughts mainly on the ideas of Foucault and Agamben. Using biopolitics as a transversal concept, an attempt will be made to identify the characteristics that bind them with monstrosity and animality in the characters of Montacerdos, mainly with Yococo, main character of the story. Starting with him, questions about the category of monster and its relationship with Homo Sacer will be answered, as well as about the boundaries between human and animal. Finally, an attempt will be made to identify the modalities in which biopower acts in the story and what resistance strategies the characters offer.  

During the 14th Century, possibly because of the crisis that Europe suffered during these years, a series of changes in the mentality arose in relation with the devotion and the relationship of the faithful with God. A new and intimist religious sentiment developed and it changed the way in which people perceived death. Individualism lead to a preference for the judgement of the soul in the precise moment of the death of the individual as opposed to the collective Final Judgement which was extremely important in previous centuries. These changes in the mentality regarding death transformed the funeral rites, that adapted to the new ideas. It also had a heavy influx on art, especially in the sepulchres.