Jan Steen and The doctor’s visit: Classical Tradition in Golden Age Dutch painting (1st Part)

First one of a two-part analysis on the influence of the Classical Tradition on a favourite theme along the Dutch painters of the Golden Age, The doctor’s visit or The lovesick maiden, especially in the Leiden artist’s production, Jan Steen (1626-1679).

"Per aurem intrat Christus in Mariam". Aproximación iconográfica a la "conceptio per aurem" en la pintura italiana del Trecento desde fuentes patrísticas y teológicas

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.

The Re-Enchantment of Surrealism: Remedios Varo’s Visionary Artists

The visionary prowess of the artist was established, in both the visual and verbal arts, by the Symbolists in Fin de siècle France. This article asserts a continuity between the avowed spiritual dimension of their work and the visionary power of surrealist art asserted—despite strong resistance from the centre—by a group of renegade surrealists in the 1920s and beyond. To do so, it explores the artists that Spanish-born Mexican painter Remedios Varo (1908 – 1963) depicts in her work, demonstrating how they might be better understood when analysed in relation to Georges Ivanovich Gurdjieff’s (1866?-1949) esoteric aesthetics. In doing so, it reveals a neglected, postsecular trajectory in the history of surrealism.

‘Should we try to Self Remember while playing Snakes and Ladders?’: Dr. Gambit as Gurdjieff in Leonora Carrington’s The Hearing Trumpet (1950)

Arising from the Paris surrealist group, the English-born writer and painter Leonora Carrington (England 1917 - Mexico 2011) was perpetually suspicious of orthodoxy and she often pokes fun at, parodies, and, ultimately, upsets traditional hierarchies of power. In her work animals impart wisdom, Goddesses loom large, and domestic spaces become sites of occult power. In this paper I will investigate Carrington's suspicion of gurus with claims to esoteric truth. Carrington participated in Fourth Way groups run by students of Gurdjieff (Christopher Fremantle) and Ouspensky (Rodney Collin). However, while she had a deep interest in the teachings, Carrington remained suspicious of the group practices of the Fourth Way, as can be seen in Elena Poniatowska’s fictionalised biography Leonora (2015). This articles explores Carrington's contact with the ‘Work’ in order to shed light on the character of Dr. Gambit in her 1950 novel, The Hearing Trumpet, commonly thought to be a parody of Gurdjieff. In doing so, it will investigate Carrington’s feminist objections to the role of the guru, while also contributing to a discussion of the unease some felt toward the praxis of the Fourth Way, despite their attraction to the philosophy.

Analysis of the C-SOSI Instrument in a 9-1-1 Telecommunicator Population

Thesis (Master's)--University of Washington, 2016-08

Evaluation of Community-led Complementary Feeding and Learning Sessions

Thesis (Master's)--University of Washington, 2016-08

Time Delays on the Identification of the Need for CPR for Limited English Proficient 9-1-1 Callers

Thesis (Master's)--University of Washington, 2016-08

Picasso y Cornuty. La absenta como adicción cambiosecular europea

Electricity coined the nightlife in the European capital par excellence in the late nineteenth and early twentieth century: Paris. Under the artificial reflection dandies, elegant workers, and bohemians flocked to the new playground. Painters, converted to urban chroniclers, show pictorial modernity and vitality; in the canvas of Manet, Toulouse-Lautrec, Degas or Jean Béraud we see a common element: the glass of absinthe on the table. The absinthe took sacrosanct dyes in the daily living of Parisian habitants and became an indispensable ritual to Henri Albert Cornuty, a poet who was part of the Madrid bohemian and in the gallery of disinherited that Picasso painted in blue stage. A writer and a painter that bring us to the drink-image of the intelligentsia of the time; this elixir was attributed with hypnotic, aphrodisiac and hallucinogenic powers; the myth of absinthe was part of the imaginary Paris at end of the century, an iconography that continues shaping identity in the twenty-first century.

Marcadores culturais específicos presentes em produções culturais surdas

Dissertação apresentada à Escola Superior de Educação de Paula Frassinetti para obtenção do grau de Mestre em Ciências da Educação – Especialização em Educação Especial

Un cineasta pintor : Jacques Demy

La inagotable unión de cine y pintura encuentra un maravilloso ejemplo en el cineasta de la Nouvelle Vague francesa: Jacques Demy. Director que da al color un uso primordial en cada una de sus películas, teniendo una importancia fundamental para el desarrollo de la trama y la psicología de los personajes. Este uso simbólico y psicológico del color hace que las reflexiones de Wasili Kandinsky estén presentes en los trabajos del realizador. Y como ejemplo, su fi lm más emblemático: Los paraguas de Cherbourgo, en el que además podemos encontrar claras referencias a pintores como Matisse o Vermeer.

Catherine Tekakwitha et la peinture missionnaire : stratégies de conversion en Nouvelle-France au 17e siècle

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal

The Way We Mourned

The five short stories in this collection illustrate the insistence of the imagination in a foreign country. The protagonists deal with loss and exile of the human spirit, as well as language. In “View of the Taft Bridge”, a Chinese painter befriends a panda in the National Zoo in America’s capital. In “Early June before the Millennium”, an illicit student and teacher relationship unveils a painful history of the 1989 Tiananmen Square massacre. An adopted teenager finds her life unraveled at the presence of a new tenant who shares her ethnicity in “Girl in the Basement”. And the inertia of a housewife drives her desire to become a house cat, in “Catwoman”, until dream and reality become interchangeable. In “The Way We Mourned”, betrayal and memorial are closely knit in the wake of a close friend’s death. These stories search for connections to bridge “self” and “other”, as well as one’s present with a haunting past.

Buscando inspiración musical en el universo computacional

Throughout the history of western music, composers have relied on “outside-of-time” structures which have served as musical “prime matter” until the moment of their temporal inscription. These structures have traditionally been the scales, rhythmic values, formal schemes, harmonic rules, etc., that composers have employed over and over again. They are to the composer what marble is to the sculptor or colors are to the painter. The advent of computer technology has opened new avenues that allow composers to develop new structures and enlarge their creative horizon. I started my musical training at a very early age, and at the same time I had a lot of scientific curiosity. As soon as I had my first computer (a Commodore 64), I started to experiment, to establish relationships between scientific processes and the world of sound. To date, and following the footsteps of I. Xenakis (although from a different aesthetic perspective), my compositions have always been informed, to a lesser or greater degree, by some underlying scientific idea, and this task can hardly be achieved without computation. Furthermore, today, computer-composers open the possibility to access and use an ever-growing repository of musical material goes a step forward in this direction. And this raises many questions, some of them of a deep philosophical ground.

Jorge Afonso: uma interrogação essencial na pintura primitiva portuguesa

O pintor Jorge Afonso (c. 1480-1540) ocupou cargos da maior importância e foi mestre de alguns dos mais importantes artistas da primeira metade do século XVI. Por laços familiares, por ligações profissionais, ou como representante régio no fornecimento e controle de empreitadas, esteve no centro das grandes obras artísticas do seu tempo. Fez uma carreira como oficial de armaria dentro da reestruturação manuelina, o que o tornou, também do ponto de vista simbólico, uma figura importante da corte do Venturoso. A Jorge Afonso são atribuídas as grandes tábuas da Charola do Convento de Cristo de Tomar, oito pinturas do mosteiro da Madre de Deus e o retábulo do Convento de Jesus de Setúbal. A dissertação reanalisa os dados biográficos do pintor, estuda as pinturas incluindo o seu desenho subjacente, e reelabora a compreensão da pintura portuguesa do tempo, vista sob a influência desta figura tutelar; ABSTRACT: Jorge Afonso. An essential quest on Portuguese primitive painting. Painter Jorge Afonso (1480-1540), held positions of major importance and was master of some of the most remarkable artists of the first half of the 16th century. By family links, by professional connections or as Royal representative for the supply and control of works, he was at the very center of the great artistic works of his time. He built a career as Herald what made him an important figure in King D. Manuel’s court . To Jorge Afonso are attributed the large paintings of the ‘Christ’s Convent’ Ambulatory in Tomar, eight paintings from the ‘Madre de Deus’ monastery and the ‘Covent of Jesus’ altarpiece in Setubal. This dissertation reanalysis the painter biographical data, studies the paintings including its underdrawing and reconstructs the understanding of Portuguese painting of that time, perceived under the influence of this tutelary figure.

La compra de pintura por parte del maestro de obra: elementos cognitivos, afectivos, conductuales y de entorno

RESUMEN: A pesar del posicionamiento que la marca Pintuco tiene entre los consumidores, su participación en el mercado nacional viene cayendo en los últimos años. El presente trabajo aporta elementos para mejorar esta situación por medio de una mayor fidelización de los maestros de obra, en su calidad de influenciadores del proceso de compra de pintura. El objetivo de este trabajo es identificar los factores que influyen en este proceso y la relación que el maestro de obra tiene con la pintura a nivel cognitivo, afectivo, conductual y de entorno, usando técnicas como las metáforas de Zaltman, la cadena de medios y fines, y la observación etnográfica. El trabajo muestra que el maestro de obra se ve a sí mismo como un artista y un experto deseoso de compartir sus conocimientos con sus compañeros y ayudantes. También se identificaron los principales valores asociados a la pintura y a la labor de pintar, tales como el reconocimiento por parte de los clientes, la credibilidad, y la estabilidad para su familia al conseguir más clientes. Finalmente se vio un alto interés por el precio en el punto de venta. Es así como se proponen en tres estrategias para fidelizar a este grupo en torno a su experticia y necesidad de reconocimiento, estabilidad familiar y credibilidad: La Escuela del Maestro Pintuco, el plan de Maestro Recomendado Pintuco, y los Puntos de Venta Certificados Pintuco.