Please use this identifier to cite or link to this item:
http://ricaxcan.uaz.edu.mx/jspui/handle/20.500.11845/3121Full metadata record
| DC Field | Value | Language |
|---|---|---|
| dc.contributor | 1013025 | en_US |
| dc.contributor.advisor | María del Carmen Fernández Galán Montemayor | en_US |
| dc.contributor.author | Salvador Alejandro Lira Saucedo | en_US |
| dc.coverage.spatial | Global | en_US |
| dc.creator | Padilla Medina, Karen Arantxa | - |
| dc.date.accessioned | 2023-02-08T17:52:52Z | - |
| dc.date.available | 2023-02-08T17:52:52Z | - |
| dc.date.issued | 2021-10-12 | - |
| dc.identifier | info:eu-repo/semantics/publishedVersion | en_US |
| dc.identifier.uri | http://ricaxcan.uaz.edu.mx/jspui/handle/20.500.11845/3121 | - |
| dc.description | Baroque visual culture is overflowing with dynamism in the forms of space, the search for dramatic effects, the play of light and shadow, the ingenious resources that the search for dramatic effects, the play of light and shadow, the ingenious resources that allow astonishment and persuasion, among other qualities of the rhetoric that and persuasion, among other qualities of rhetoric that allowed the development of artifices in literature, such as the development of artifices in literature such as the hybrid verbovisual genre called emblematics. emblematic. Not only modern thought allowed the emergence of this genre, but also the invention to proliferate this genre. the invention to proliferate this genre had been created in 1440: the printing press. Andrea Alciato (1492-1550) is often referred to as the father of emblematics, since it was his book it was his book from which the emblem book model was taken, created by a "publishing accident". "publishing accident". This author in 1520 made some translations of the Planudea Anthology, a compilation of Byzantine epigrams from the 13th century. It is thought that the humanist Conrad Peutinger (1465-1547) had the initiative to print 104 of the translations of the epigrams that he had translated. of the epigrams that Alciatus had made, in the printing house where Heinrich Steyner was the bookseller in charge and who who decided to illustrate the epigrams with woodcuts, without consulting the author. This idea was polished and remained with the approval of the Bolognese jurist until the 1534 edition. In this way, the emblematic in its conception in what was called in many spaces in many places "in the manner of Alciato" was made up of a pictura, an epigramma and a mote, in the also called triplex emblem. | en_US |
| dc.description.abstract | La cultura visual barroca está desbordada de dinamismo en las formas del espacio, la búsqueda de efectos dramáticos, los juegos de luz y sombra, los recursos ingeniosos que permiten el asombro y la persuasión, entre otras cualidades de la retórica que permitieron el desarrollo de artificios en la literatura como el género híbrido verbovisual denominado emblemática. No sólo el pensamiento moderno permitió el surgimiento de este género, pues el invento para proliferar dicho género había sido creado en 1440: la imprenta. Se suele nombrar a Andrea Alciato (1492-1550) como el padre de la emblemática ya que fue su libro a partir del cual se tomó el modelo de libro de emblemas, creado por un “accidente editorial”. Tal autor en 1520 realizó unas traducciones de la Antología Planudea, una compilación de epigramas bizantinos del s. XIII. Se piensa que el humanista Conrad Peutinger (1465-1547) tuvo la iniciativa de hacer una impresión de 104 de las traducciones de los epigramas que había hecho Alciato, en la imprenta donde Heinrich Steyner era el librero encargado y quien decidió ilustrar los epigramas con xilografías, sin consultar al autor. Esta idea se pulió y quedó con el visto bueno del jurista bolonés hasta la edición de 1534. De esta manera, la emblemática en su concepción en lo que se le denominó en muchos espacios “a la manera de Alciato” se conformó de una pictura, un epigramma y un mote, en el también denominado emblema triplex. 1 | en_US |
| dc.language.iso | spa | en_US |
| dc.publisher | Universidad Autónoma de Zacatecas | en_US |
| dc.relation.uri | generalPublic | en_US |
| dc.rights | Attribution-ShareAlike 3.0 United States | * |
| dc.rights.uri | http://creativecommons.org/licenses/by-sa/3.0/us/ | * |
| dc.subject.classification | HUMANIDADES Y CIENCIAS DE LA CONDUCTA [4] | en_US |
| dc.subject.other | emblemática | en_US |
| dc.subject.other | música | en_US |
| dc.subject.other | armonía | en_US |
| dc.subject.other | arte | en_US |
| dc.title | La emblemática musical y su recepción en el Misal de Juan Del Vado | en_US |
| dc.type | info:eu-repo/semantics/masterThesis | en_US |
| Appears in Collections: | *Tesis*-- M. en Inv. Humanísticas y Educativas | |
Files in This Item:
| File | Description | Size | Format | |
|---|---|---|---|---|
| La Emblemática Musical Y Su Recepción En El Misal De Juan Del Vado.pdf | Tesis | 4,44 MB | Adobe PDF | View/Open |
This item is licensed under a Creative Commons License
