The "Rosary Cantorales" of Early Modern Spain
Author | : Lorenzo Francisco Candelaria |
Publisher | : |
Total Pages | : 372 |
Release | : 2001 |
Genre | : Gregorian chants |
ISBN | : |
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Author | : Lorenzo Francisco Candelaria |
Publisher | : |
Total Pages | : 372 |
Release | : 2001 |
Genre | : Gregorian chants |
ISBN | : |
Author | : Lorenzo F. Candelaria |
Publisher | : University Rochester Press |
Total Pages | : 260 |
Release | : 2008 |
Genre | : Art |
ISBN | : 9781580462051 |
"The Rosary Cantoral: Ritual and Social Design in a Chantbook from Early Renaissance Toledo presents a model for realizing the fuller significance of illuminated music manuscripts as cultural artifacts, and offers unprecedented insights into the social and devotional life of Toledo, Spain, around the turn of the sixteenth century. After solving the mystery of the Rosary Cantoral's origins, subsequent essays probe the meaning and cultural significance of the manuscript's iconography (including a border decoration after Albrecht Durer), its rare Spanish chants for the Mass, and two striking musical works for multiple voices (one by Josquin Desprez and another on "L'homme arme"). Ultimately, this book focuses on the extraordinary circumstances that engendered the compilation of the Rosary Cantoral around 1500: a system of patronage between a brotherhood of suspected heretics and a religious house that was a key supporter of the Inquisition in Toledo."--BOOK JACKET.
Author | : Carolyn Muessig |
Publisher | : |
Total Pages | : 307 |
Release | : 2020 |
Genre | : History |
ISBN | : 0198795645 |
Francis of Assisi's reported reception of the stigmata on Mount La Verna in 1224 is almost universally considered to be the first documented account of an individual miraculously and physically receiving the five wounds of Christ. The early thirteenth-century appearance of this miracle, however, is not as unexpected as it first seems. Interpretations of Galatians 6:17--I bear the marks of the Lord Jesus Christ in my body--had been circulating since the early Middle Ages in biblical commentaries. These works perceived those with the stigmata as metaphorical representations of martyrs bearing the marks of persecution in order to spread the teaching of Christ in the face of resistance. By the seventh century, the meaning of Galatians 6:17 had been appropriated by bishops and priests as a sign or mark of Christ that they received invisibly at their ordination. Priests and bishops came to be compared to soldiers of Christ, who bore the brand (stigmata) of God on their bodies, just like Roman soldiers who were branded with the name of their emperor. By the early twelfth century, crusaders were said to bear the actual marks of the passion in death and even sometimes as they entered into battle. The Stigmata in Medieval and Early Modern Europe traces the birth and evolution of religious stigmata and particularly of stigmatic theology, as understood through the ensemble of theological discussions and devotional practices. Carolyn Muessig assesses the role stigmatics played in medieval and early modern religious culture, and the way their contemporaries reacted to them. The period studied covers the dominant discourse of stigmatic theology: that is, from Peter Damian's eleventh-century theological writings to 1630 when the papacy officially recognised the authenticity of Catherine of Siena's stigmata.
Author | : Benito Rial Costas |
Publisher | : BRILL |
Total Pages | : 446 |
Release | : 2012-11-09 |
Genre | : Technology & Engineering |
ISBN | : 9004235744 |
This volume seeks to enhance our understanding of printing and the book trade in small and peripheral European cities in the 15th and 16th centuries through a number of specific case studies.
Author | : Kathleen E. Nelson |
Publisher | : |
Total Pages | : 312 |
Release | : 2011 |
Genre | : Church music |
ISBN | : |
Author | : David Joseph Rothenberg |
Publisher | : |
Total Pages | : 400 |
Release | : 2004 |
Genre | : Church music |
ISBN | : |
Author | : Loretta Victoria Ramirez |
Publisher | : Penn State Press |
Total Pages | : 257 |
Release | : 2024-05-23 |
Genre | : Social Science |
ISBN | : 0271098546 |
The Wound and the Stitch traces a history of imagery and language centered on the concept of woundedness and the stitching together of fragmented selves. Focusing particularly on California and its historical violences against Chicanx bodies, Loretta Victoria Ramirez argues that woundedness has become a ubiquitous and significant form of Chicanx self-representation, especially in late twentieth-century print media and art. Ramirez maps a genealogy of the female body from late medieval Iberian devotional sculptures to contemporary strategies of self-representation. By doing so, she shows how wounds—metaphorical, physical, historical, and linguistic—are inherited and manifested as ongoing violations of the body and othered forms of identity. Beyond simply exposing these wounds, however, Ramirez also shows us how they can be healed—or rather stitched. Drawing on Mesoamerican concepts of securing stability during lived turmoil, or nepantla, Ramirez investigates how creators such as Cherríe Moraga, Renee Tajima-Peña, Guillermo Gómez-Peña, and Amalia Mesa-Bains repurpose the concept of woundedness to advocate for redress and offer delicate, ephemeral moments of healing. Positioning woundedness as a potent method to express Chicanx realities and transform the self from one that is wounded to one that is stitched, this book emphasizes the necessity of acknowledgment and ethical restitution for colonial legacies. It will be valued by scholars and students interested in the history of rhetorics, twentieth-century Chicanx art, and Latinx studies.
Author | : Christine Getz |
Publisher | : Indiana University Press |
Total Pages | : 370 |
Release | : 2013-07-08 |
Genre | : Music |
ISBN | : 0253007968 |
Burdened by famine, the plague, and economic hardship in the 1500s, the troubled citizens of Milan, mindful of their mortality, turned toward the veneration of the Virgin Mary and the creation of evangelical groups in her name. By 1594 the diversity of these lay religious organizations reflected in microcosm the varied expressions of Marian devotion in the Italian peninsula. Using archival documents, meditation and music books, and iconographical sources, Christine Getz examines the role of music in these Marian cults and confraternities in order to better understand the Church's efforts at using music to evangelize outside the confines of court and cathedral through its most popular saint. Getz reveals how the private music making within these cults, particularly among women, became the primary mode through which the Catholic Church propagated its ideals of femininity and motherhood.