955 resultados para Pintura del Renaixement


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En las páginas que conforman este trabajo hemos pretendido dibujar la línea que define el arquetipo de la mujer fatal encarnado en el personaje parabíblico de Lilith. Durante más de 3000 años, primero a través de relatos mitológicos, representaciones artísticas ornamentales o rituales, y narraciones folclóricas, y después desde la literatura y la pintura, la imagen arquetípica de la femme fatale ha estado presente en el imaginario colectivo occidental. A lo largo de todos estos milenios, Lilith y su arquetipo han reunido en sí una serie de mitemas o características que podemos dividir en dos tipos o niveles: estructurales, que son aquellos sin cuya presencia no es posible hablar del arquetipo mítico de la mujer fatal, a saber, la sexualidad visible y agresiva y su deseo de dañar a otros, principalmente a los hombres; y en segundo lugar, los mitemas ornamentales o circunstanciales, muchas veces propios de un paradigma determinado (clásico o romántico, por ejemplo) que pueden fluctuar en su representación y que nos ayudan a situar el arquetipo en el tiempo y el espacio. Hemos concretado el mito original de Lilith como la encarnación de una lección moral simbólicamente relatada. Pese a que los matices de significado que este mito revela pueden tener mínimas variaciones a lo largo del tiempo (a las que que hemos denominado mitemas circunstanciales u ornamentales), la base sobre la que se desarrolla es pétreamente invariable: la mujer fuerte es peligrosa para el hombre y para la sociedad en la que vive. Con respecto a los mitemas estructurales, Lilith se define desde los inicios como la representación conceptual de lo que de agresivo existe en la psique femenina. Tanto desde sus inicios como las terribles diosas mesopotámicas Istar o Inanna, representaciones de mujeres guerreras y sanguinarias, como en su desarrollo dentro del mito hebreo, del que conocemos un mayor número de detalles con respecto a sus hábitos de devoradora de niños y semen y cruel torturadora de hombres, hasta sus herederas en la literatura clásica, claros ejemplos de crueldad (Medea, Clitemnestra...)...

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El propósito fundamental de esta investigación es desvelar el papel que juega la figura humana en su acción como caminante, dentro de la pintura de paisaje del autor y monje ch́an: Shitao. En este contexto, quisiera proponer también un análisis y estudio de dos de los cinco rollos verticales de pintura atribuidos a este autor y catalogados con los números 6087 y 6088, en los que aparece la figura del eremita integrada en el paisaje: rollos pertenecientes a la Colección Complutense de la Donación Prieto de la Facultad de Psicología. Para el estudio de dichas obras se parte de una primera datación y clasificación realizada por la Universidad Complutense. Por lo tanto el primer objetivo de la investigación es la observación de la representación pictórica de la figura del caminante en el paisaje y la relación que se establece entre ambos. Este objetivo servirá de punto de partida para desvelar si los rollos pertenecientes a Shitao, en los que se representa esta imagen plástica, pueden ser catalogados dentro de la pintura contemplativa y meditativa creada en el contexto del pensamiento filosófico taoísta y budista ch́an. Es en este sentido que tanto la relación de la figura pintada en su entorno natural, como la relación del artista con el paisaje que representa, se encuentran ambas dentro del mismo ámbito espiritual. En este entorno, la naturaleza es para el maestro ch́an una fuente de conocimiento y es en ella dónde nace el camino místico que conduce al encuentro con la Vacuidad: el iniciado ha de introducirse en ella y recorrer su vía espiritual simbolizada gráficamente en la pintura de paisaje por la imagen del camino...

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Introducción"Heroes al gusto y libros de moda", un título que evoca en quien lo lee, viejas preguntas a la documentación consultada en archivos y bibliotecas nacionales y por que no, guardando las distancias a Jean Louis Flandrin, cuando en su artículo "Historia de la alimentación: Por una apliación de las perspectivas", decía: "Al observar las obras maestras de la pintura y de la escultura, o al escuchar la música antigua, el especialista siente un placer artístico, Lo mismo sucede al historiador de la cocina que al cocinar con recetas antiguas puede descubrir fórmulas culinarias que deleitarían nuestro gusto actual. Aquel pescado en gelatina o aquella pasta de manzana preparada según las recetas italianas del siglo XIV o aquel sorbete al cilantro del siglo XVII me han llegado a entusiasmar tanto como gastrónomo, como el descubrimiento de de Boticelli olvidado en el sótano de una tienda de antigüedades entusiasmaría a un aficionado a la pintura."...

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This article focuses on the influence cinema has had on literature, since as we have seen, the arrival of filmmakers led to a cultural revolution. The world of cinema was joined to other traditional arts, suchs as painting and literature, which man had already used to express his ideas and feelings. Cinema forms part of the new 20th century trends, influencing the poets of creating new imagery and metaphors which so greatly enhanced their work.

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Universidade Estadual de Campinas . Faculdade de Educação Física

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En este trabajo fueron determinados experimentalmente el calor específico, conductividad térmica, difusividad térmica y densidad del jugo de lulo en el rango de contenido de agua de 0.55 a 0.90 (p/p en base húmeda) y en temperaturas variando de 4 a 78.6 °C. La conductividad térmica y el calor específico fueron obtenidos utilizando el mismo aparato - una célula constituida de dos cilindros concéntricos - operando en estado estacionario y no- estacionario, respectivamente. La difusividad térmica fue obtenida a través del método de Dickerson y la densidad determinada por picnometria. Tanto la temperatura como el contenido de agua presentaron una fuerte influencia en los datos experimentales de las propiedades termofísicas del jugo de lulo. Los resultados obtenidos fueron utilizados para obtener modelos matemáticos y predecir estas propiedades en función de la concentración y la temperatura.

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The present research deals with two mural paintings made in 1947 with the fresco technique by Fulvio Pennacchi in the Catholic Chapel of the Hospital das Clínicas (São Paulo City, Brazil), namely the Virgin Annunciation and the Supper at Emmaus. This study regards the materials and painting techniques used by the artist, based on historical research,on in situ observations and laboratory analytical techniques (stereomicroscopy,scanning electron microscopy with an energy dispersive spectrometer, X-ray diffractometry, electron microprobe, images obtained with UV-light), aiming to improve the methods of characterization of objects of our cultural heritage, and to enhance its preservation accordingly. The results lead to the identification of the plaster components and of distinct layers in the frescoes, besides further information on grain size, impurities and textures, composition of pigments, and features of deterioration, such as efflorescences. The degree of degradation of the murals painting was assessed by this way. Our data suggest that a single layer of plaster was used by Pennacchi, as a common mortar with fine- and medium-grained aggregates. Differences in texture were obtained by adding gypsum to the plaster.

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The HR Del nova remnant was observed with the IFU-GMOS at Gemini North. The spatially resolved spectral data cube was used in the kinematic, morphological, and abundance analysis of the ejecta. The line maps show a very clumpy shell with two main symmetric structures. The first one is the outer part of the shell seen in H alpha, which forms two rings projected in the sky plane. These ring structures correspond to a closed hourglass shape, first proposed by Harman & O'Brien. The equatorial emission enhancement is caused by the superimposed hourglass structures in the line of sight. The second structure seen only in the [O III] and [N II] maps is located along the polar directions inside the hourglass structure. Abundance gradients between the polar caps and equatorial region were not found. However, the outer part of the shell seems to be less abundant in oxygen and nitrogen than the inner regions. Detailed 2.5-dimensional photoionization modeling of the three-dimensional shell was performed using the mass distribution inferred from the observations and the presence of mass clumps. The resulting model grids are used to constrain the physical properties of the shell as well as the central ionizing source. A sequence of three-dimensional clumpy models including a disk-shaped ionization source is able to reproduce the ionization gradients between polar and equatorial regions of the shell. Differences between shell axial ratios in different lines can also be explained by aspherical illumination. A total shell mass of 9 x 10(-4) M(circle dot) is derived from these models. We estimate that 50%-70% of the shell mass is contained in neutral clumps with density contrast up to a factor of 30.

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This is the first in a series of three articles which aimed to derive the matrix elements of the U(2n) generators in a multishell spin-orbit basis. This is a basis appropriate to many-electron systems which have a natural partitioning of the orbital space and where also spin-dependent terms are included in the Hamiltonian. The method is based on a new spin-dependent unitary group approach to the many-electron correlation problem due to Gould and Paldus [M. D. Gould and J. Paldus, J. Chem. Phys. 92, 7394, (1990)]. In this approach, the matrix elements of the U(2n) generators in the U(n) x U(2)-adapted electronic Gelfand basis are determined by the matrix elements of a single Ll(n) adjoint tensor operator called the del-operator, denoted by Delta(j)(i) (1 less than or equal to i, j less than or equal to n). Delta or del is a polynomial of degree two in the U(n) matrix E = [E-j(i)]. The approach of Gould and Paldus is based on the transformation properties of the U(2n) generators as an adjoint tensor operator of U(n) x U(2) and application of the Wigner-Eckart theorem. Hence, to generalize this approach, we need to obtain formulas for the complete set of adjoint coupling coefficients for the two-shell composite Gelfand-Paldus basis. The nonzero shift coefficients are uniquely determined and may he evaluated by the methods of Gould et al. [see the above reference]. In this article, we define zero-shift adjoint coupling coefficients for the two-shell composite Gelfand-Paldus basis which are appropriate to the many-electron problem. By definition, these are proportional to the corresponding two-shell del-operator matrix elements, and it is shown that the Racah factorization lemma applies. Formulas for these coefficients are then obtained by application of the Racah factorization lemma. The zero-shift adjoint reduced Wigner coefficients required for this procedure are evaluated first. All these coefficients are needed later for the multishell case, which leads directly to the two-shell del-operator matrix elements. Finally, we discuss an application to charge and spin densities in a two-shell molecular system. (C) 1998 John Wiley & Sons.

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The Bandas del Sur Formation preserves a Quaternary extra-caldera record of central phonolitic explosive volcanism of the Las Canadas volcano at Tenerife. Volcanic rocks are bimodal in composition, being predominantly phonolitic pyroclastic deposits, several eruptions of which resulted in summit caldera collapse, alkali basaltic lavas erupted from many fissures around the flanks. For the pyroclastic deposits, there is a broad range of pumice glass compositions from phonotephrite to phonolite. The phonolite pyroclastic deposits are also characterized by a diverse, 7-8-phase phenocryst assemblage (alkali feldspar + biotite + sodian diopside + titanomagnetite + ilmenite + nosean-hauyne + titanite + apatite) with alkali feldspar dominant, in contrast to interbedded phonolite lavas that typically have lower phenocryst contents and lack hydrous phases. Petrological and geochemical data are consistent with fractional crystallization (involving the observed phenocryst assemblages) as the dominant process in the development of phonolite magmas. New stratigraphically constrained data indicate that petrological and geochemical differences exist between pyroclastic deposits of the last two explosive cycles of phonolitic volcanism. Cycle 2 (0.85-0.57 Ma) pyroclastic fall deposits commonly show a cryptic compositional zonation indicating that several eruptions tapped chemically, and probably thermally stratified magma systems. Evidence for magma mixing is most widespread in the pyroclastic deposits of Cycle 3 (0.37-0.17 Ma), which includes the presence of reversely and normally zoned phenocrysts, quenched mafic glass blebs in pumice, banded pumice, and bimodal to polymodal phenocryst compositional populations. Syn-eruptive mixing events involved mostly phonolite and tephriphonolite magmas, whereas a pre-eruptive mixing event involving basaltic magma is recorded in several banded pumice-bearing ignimbrites of Cycle 3. The periodic addition and mixing of basaltic magma ultimately may have triggered several eruptions. Recharge and underplating by basaltic magma is interpreted to have elevated sulphur contents (occurring as an exsolved gas phase) in the capping phonolitic magma reservoir. This promoted nosean-hauyne crystallization over nepheline, elevated SO3 contents in apatite, and possibly resulted in large, climatologically important SO2 emissions.