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

The period of sanitary crisis produced by COVID-19 has revealed fissures in social and economic terms, with educational practice being one of the main agents affected. This unprecedented crisis has led to a reflection on the part of educators who must ask themselves what/who they are educating for and how to do so from a pedagogical point of view. Thus, a substantial remodelling of the educational system implies recognising our immediate context, a hybrid and mediatised space where the analogue and the digital merge: a postdigital context. From a philosophical perspective, the postdigital establishes a critical look towards technology, media and communication networks, and therefore, it is susceptible to be implemented in the art education classroom in response to the postmodern curriculum that demands a critical pedagogy and a questioning of the established. This text presents a reflection from a post-digital, educational and artistic point of view through an action carried out with Primary Education students during the 2020/2021 academic year, an academic year marked by digital technology, the reconfiguration of teaching and a massive consumption of audiovisual culture. The results of the proposed practice lead to an understanding of the arts as a vehicle for social criticism and transformation of the collective imaginary. In this way, a series of artistic actions were generated through collective experimentation and intercreation, involving a public that receives the work and gives it meaning.

In this work we present an analysis of the mode of production of independent theatre at the intersection between material conditions and artists' conceptions, from the role of theatre director. We review the concept of independent theatre from a historical and legal perspective, based on the territorial practices that are the focus of our attention. We present a conceptualisation of the role of the director as a propositional figure: this allows us to differentiate types of objectives for scenic projects, making the production of a play more complex as the only possible horizon. Finally, we recognise directorial proccedings related to the dynamics of group work and describe the material conditions and uses of these resources in the field of independent theatre.

The Consolidated Teaching Innovation Group ATESI (Art, Territory, Teaching Strategy, Sustainability and Social Intervention – GINDOC-UB/162) of the University of Barcelona proposes, among others, a line of work on artistic materials and related practices in danger of disappearance. From knowledge of the traditional artistic trades, an enhancement of elements such as ancient and medieval inks, their current use in higher art education through various subjects and their expansion outside the university is proposed. This article presents, precisely, an example of the implementation of the teaching-learning methodology of traditional inks, a practical approach to its manufacture and an example of its results.

Leaving a record of what is about to disappear is an exercise not only for the seekers, a group of women who search the bowels of the earth to find their relative as a result of the forced and systematic disappearance in Mexico whose actions reveal to us that there are places , objects and subjects of the disappearance. This objectification made memory allows us to grasp what escapes, what is not talked about, to make visible and take a position in the face of a situation that affects thousands of families since before the war on drug trafficking was declared. Added to this work are some documentary makers who contribute from the denunciation, from the portrait of reality or from the discursive narrative and who, like paradoxes, respond to a specific time or space, the last 20 years of low intensity war.

ABSTRACT: This article1 seeks to interpret the representation of Mary’s house shaped like a palace in some images of the Annunciation from an iconographic point of view, in the light of Greek Patrology, I start by analyzing some texts used by many Greek-Eastern Fathers to interpret several expressions such as domus Sapientiae, palatium Regis, aula regia, domicilium Trinitatis, and other similar terms alluding to some sumptuous dwelling reserved for God or the king. Taking these textual findings into account, I then analyze seven 15thcentury Annunciations in which Mary’s house in Nazareth is represented as a palace or a magnificent building. From the comparative analysis between these texts and these images, I conclude that the house of Mary depicted like a palace in pictures of the Annunciation symbolizes the supernatural incarnation of God the Son in Mary’s womb, as well as Mary’s virginal divine motherhood. KEYWORDSDomus Sapientiae; Christ’s Incarnation; Mary’s Divine Motherhood; Annunciation; Greek Patrology; Marian Iconography. RESUMEN: Este artículo busca interpretar iconográficamente, a la luz de la Patrología Griega, la representación de la casa de María en forma de palacio en algunas imágenes de la Anunciación. Para ello partimos del análisis de textos mediante los cuales muchos Padres Greco-Orientales interpretan en sentido cristológico y mariológico expresiones como domus Sapientiae, palatium Regis, aula regia, domicilium Trinitatis, y otros términos similares alusivos a suntuosas moradas reservadas para Dios o para el rey. Teniendo en cuenta esos hallazgos textuales, analizamos luego siete Anunciaciones del siglo XV en los que la casa de María en Nazaret aparece representada como un palacio o un suntuoso edificio. Del análisis comparativo entre esos textos y esas imágenes, concluimos que la casa de María representada en forma de palacio en imágenes de la Anunciación simboliza la sobrenatural encarnación de Dios Hijo en el vientre de María, así como la virginal maternidad divina de María. PALABRAS CLAVESDomus Sapientiae; Encarnación de Dios Hijo; Maternidad divina de María; Anunciación; Patrología Griega; iconografía mariana.

ABSTRACT: This study broaches the iconographic program of the Campo Real palace in Jerez de la Frontera (ca. 1535-1545). After a brief exposition of the life of Pedro de Benavente Cabeza de Vaca, who commissioned the palace, this study analyses the cultural context of the work, establishing Barthelemy Chasseneuz’s book Catalogus Gloriae Mundi (1529) as the main iconographic source of the program. This discovery allows us to reconstruct its now fragmentary iconographic attributes and to posit the main keys to discover its meaning. In addition, this study proposes the Humanist Bernardino de Riberol as the conceptual author of the program, and his Libro contra la ambición (1556) as an essential source to reconstruct the meaning of the program, which has been extensively analyzed by other authors. KEYWORDSCampo Real Palace; Pedro de Benavente; Iconographic Program; Bernardino de Riberol. RESUMEN: Este trabajo analiza el programa iconográfico del palacio de Campo Real de Jerez de la Frontera (ca. 1535-1545). Tras trazar un breve retrato de su comitente, Pedro de Benavente Cabeza de Vaca, abordamos el contexto cultural en que se fraguó la obra y señalamos por primera vez la fuente iconográfica empleada: el Catalogus Gloriae Mundi de Barthelemy Chasseneuz (1529). A través de este hallazgo nos aproximamos a los atributos originales –hoy fragmentarios– de la obra, y damos a conocer las claves generales de su significado. Así mismo, el humanista Bernardino de Riberol es propuesto como autor conceptual del conjunto y su Libro contra la ambición de 1556 como un recurso esencial para reconstruir el discurso del programa, al que numerosos autores se han aproximado. PALABRAS CLAVESPalacio de Campo Real; Pedro de Benavente; Programa iconográfico; Bernardino de Riberol.

ABSTRACT: This study undertakes an iconographic study of the program of virtues that appears in the nave of the transept of the church of San Isidoro de Úbeda; designed by Alonso Barba in the last third of the 16th century and executed by Sebastián de Solís around 1593. For a proper analysis of the object of this research, I have gathered various literary sources that have allowed me to identify them; they include the ethical-political thought of Antiquity, from Plato to Aristotle, to Seneca or Plutarch; the texts of western Christianity such as the Epistles of Saint Paul; the humanism of Juan Luis Vives and of Erasmus of Rotterdam. Likewise, in this article I indicate the iconographic origin of each of the virtues, some of which arose in Carolingian times, and later received the figurative contributions of French and Italian art. KEYWORDSMoral Allegory; Virtues; Iconography; Literary Sources; Church of San Isidoro; Úbeda. RESUMEN: Nuestro trabajo pretende abordar un estudio iconográfico sobre el programa de virtudes que figura en la nave del crucero de la iglesia de San Isidoro de Úbeda; diseñada por Alonso Barba en el último tercio del siglo XVI y culminada por Sebastián de Solís hacia 1593. Para un correcto análisis del objeto de nuestra investigación, hemos recogido diversas fuentes literarias que nos han permitido identificarlas; partiendo del pensamiento ético-político de la Antigüedad, desde Platón a Aristóteles, hasta Séneca o Plutarco; los textos del cristianismo occidental mediante las Epístolas de San Pablo; sin olvidar el humanismo de Juan Luis Vives o Erasmo de Rotterdam. Asimismo, en el presente artículo señalaremos el origen iconográfico de cada una de las virtudes, surgidas algunas de ellas en tiempos carolingios, para posteriormente recibir las aportaciones figurativas del arte francés e italiano. PALABRAS CLAVESAlegoría Moral; Virtudes; Iconografía; Iconología; Fuentes literarias; Iglesia de San Isidoro; Úbeda.

ABSTRACT: Following the path outlined in «La emblemática subsidiaria de la mitología didáctica: Alciato en El Teatro de los Dioses de la Gentilidad», this study analyzes the role played by Francisco Vélez de Arciniega’s Historia de los animales mas recebidos en el uso de la medicina as a mediator between Alciato’s Emblemata and Baltasar de Vitoria’s El Teatro de los Dioses de la Gentilidad. KEYWORDSAlciato; Baltasar de Vitoria; Francisco Vélez de Arciniega; Author; Auctor, Authorial; Authority; Auctoritas; Intertextuality; Influence; Translation; Version. RESUMEN: Continuando con la senda trazada en «La emblemática subsidiaria de la mitología didáctica: Alciato en El Teatro de los Dioses de la Gentilidad», este trabajo estudia el papel que juegan Francisco Vélez de Arciniega y su La Historia de los animales mas recebidos en el uso de la medicina como mediadores entre los Emblemata de Alciato en El Teatro de los Dioses de la Gentilidad de Baltasar de Vitoria. PALABRAS CLAVESAlciato; Baltasar de Vitoria; Francisco Vélez de Arciniega; Autor; Auctor; Autoridad; Auctoritas; Intertextualidad; Influencia; Traducción, Versión.

ABSTRACT: In this study I propose that the floral motifs in the margins of the Newberry Library Book of Hours ms. 52, beyond their function as mere ornamental luxury, have a profound theological meaning related specifically to the Virgin and the history of redemption, and formed a metatext of meanings that alluded to the healing properties of plants and flowers. During the Low Middle Ages, through sensory experiences in the practices of prayer, the idea of paradise as an imagined place of communion, peace and health was evoked and reinforced. KEYWORDSVirgin Mary; Books of Hours; Religious Art; Ornaments; Flowers. RESUMEN: En este estudio propongo que los motivos vegetales en los márgenes del libro de horas de la Biblioteca Newberry ms. 52, además de funcionar como ornamentos de lujo y tener un profundo significado teológico especialmente relacionado con la Virgen y con la historia de la redención, formaban un meta texto de significados que aludía a las propiedades curativas de las plantas y flores. Durante la Baja Edad Media, por medio de experiencias sensoriales en las prácticas de oración se evocaba y reforzaba la idea del paraíso como un lugar imaginado de comunión, paz y perfecta salud. PALABRAS CLAVESVirgen María; Libros de Horas; Arte religioso; Ornamentos; Flores.

Abstract: The Hispanic emblematic tradition possesses a deep doctrine both moral and political. Its symbolics explanation of virtues rests on a metaphysical background. It is possible and advisable a metaphysical reading of Empresas Morales by Juan de Borja, as well as his other main works. In them, an implied Philosophy is portrayed through images and Latin mottos. This is specially reinforced in the exposition of the virtue of humility. KEYWORDSImprese; Empresas Morales; Juan de Borja; Doctrine; Metaphysical background; Humility. Resumen: La tradición emblemática hispánica posee una profunda doctrina moral y política. Su exposición simbólica de las virtudes descansa sobre un trasfondo metafísico. Es posible y conveniente una lectura metafísica de las Empresas Morales de Juan de Borja, como de otras obras sapienciales. En ellas, a través de imágenes y lemas latinos, se representa una filosofía sobreentendida. Esto se confirma de manera especial en la exposición de la virtud de la humildad. PALABRAS CLAVESEmpresa; Empresas Morales; Juan de Borja; Doctrina; Trasfondo metafísico; Humildad.