Pathet : Musiikin symboliikka jaavalaisessa varjoteatterissa

The aim of this study is to define and analyse the symbolism hidden in the gamelan music of the Central Javanese, especially in the Yogyakartanese wayang kulit shadow theatre. This dissertation is divided into two parts. The first part deals with the theory, history and practice of Central Javanese shadow theatre. It also presents the tone symbol theory on which this study is based of B. Y. H. Sastrapustaka, the court servant and musician of the sultan s palace of Yogyakarta. For historical comparison, other theories and phenomena that seem to have some connections with the previously mentioned tone symbol theory are presented here as well as the equipment of the shadow theatre, its music, musical instruments and the shadow theatre in general in literature. The theoretic-methodological basis of the study is an enlarged model of research of cultural music, in which a person in the centre of the model with his/her concepts and by his/her behaviour creates a work of art and receives criticism through feedback, while the process of reciprocal action dynamically affects the whole development of the culture in question. In connection with the concepts of the work of art, the manner of approach of this study is also semiotic as the tone symbol theory gives a particular meaning to each musical note. Thus the purpose of this study is to find answers to how the tone symbol theory manifests itself in practical music making, what its origin is, if it is well known or not, and whether shadow theatre music supports this theory. The second part of this dissertation deals with material collected through interviews and observations as well as representative samples of musical pieces for shadow theatre and their analyses. In relation to this a special tool for analysing gamelan music, developed for the purpose of this study, is also presented. Sufficiently versatile material on the essence and meaning of the shadow theatre collected from many puppet masters of an older generation, many of whom are no longer with us, constitutes an important part of this study. This study proves that the tone symbol theory of Sastrapustaka is of tantristic tradition from the Hindu-Javanese period before the 16th century and before the appearance of Islam in Java. The variants of the previously mentioned theory can be found also in other fields of Javanese advanced civilization, such as architecture and dance. But it seems that knowledge about the tone symbolism connected to the shadow theatre especially has only been preserved in the sultan s palace of Yogyakarta and its intimate circles. The outsider puppet masters surely follow the theory, but they do not necessarily know its origin. As a result of the musical analysis, it is obvious that the musical pieces used for the shadow theatre bear different kinds of symbolic meanings which only an initiated person can feel and understand. These meanings are closely related to the plot of the play at the moment.

Jacopo Bassano freskomaalarina : Cartiglianon ja Enegon kirkkojen freskot: konteksti, rekonstruktio ja tulkinta

The object of this study is Jacopo Bassano (c. 1510 1592) as a fresco painter and the significance of frescoes in his late production. The research focuses on the only surviving cycle of frescoes of his later years in the Cartigliano parish church, bearing the date 1575. The other cycle studied here was painted for the 16th century parish church of Enego. It contained one of the most extensive fresco decorations executed by Jacopo Bassano together with his eldest son Francesco. However, nothing has survived of the fresco cycle and the ceiling paintings of the church, nor is any visual documentation of them left. Only the small altarpiece attributed to Jacopo Bassano and depicting Saints Justine, Sebastian, Anthony Abbott, and Roch (dated to c. 1555/1560) has been preserved. I have suggested that the frescoes of the Cartigliano parish church should be examined in the interpretational context of the spirituality of the post-Tridentine period. This period frames the historical context for the frescoes and functions as a basis for the iconographical interpretation that I have proposed. I have shown that the iconographic programme of the frescoes in the choir of the Cartigliano parish church has obvious points of contact with the Catholic doctrines reconfirmed by the Council of Trent (1545 1563). I also argue that the fresco cycle and the ceiling paintings of the Enego church should be placed in the same interpretational context as the frescoes of Cartigliano. I present a reconstruction of the frescoes in the choir attributed to Jacopo Bassano and of those on the walls of the nave attributed to his son Francesco Bassano. According to my reconstruction, the frescoes in the choir and nave walls formed a coherent cycle with a unitary iconographic programme which included the 28 paintings with Old Testament subjects in the nave ceiling. The reconstruction includes the dating and the iconography of the fresco programme and its interpretative basis. The reconstruction is based on visitation records and inventories from the 16th and 17th centuries as well as on the oldest relevant literature, namely the descriptions offered by Carlo Ridolfi (1648) and G. B. Verci (1775). I also consider the relationship of the large compositional sketches attributed to Jacopo Bassano and depicting Christological subjects to the lost frescoes in Enego. These studies have been executed with coloured chalks, and many of them are also dated 1568 or 1569 by the painter. I suggest in this study that these large studies in coloured chalks were preparatory drawings for the fresco cycle in Enego, depicting scenes from the life and suffering of Christ. All the subjects of the aforesaid drawings were included in the Enego cycle.

Pilgrimage to the Holy Land Commemorative Medal

Obverse: A 16th century map drawn by a German cartographer Heinrich Bintung, which shows Jerusalem standing in the center of the three continents. Reverse: Inscription.

Reconstituting identity and history in post-war Mostar, Bosnia-Herzegovina

This paper by Carl Grodach demonstrates the careful unravelling of complexity, diversity, contestation and contradictions involved in the reconstruction of symbolic urban spaces after violent conflict, and the allied processes of cultural reinterpretation, political reconfiguration and material revaluation which accompany it. The paper analyses the reconstruction and redevelopment of the 16th-century historic centre of Mostar, Bosnia-Herzegovina, following the Bosnian Wars of 1992–1995. Reconstruction efforts centre around Stari Most, the 16th-century Ottoman bridge destroyed by Bosnian Croat military in 1993. In Mostar, both international and local organizations are in the process of reinterpreting Bosnia’s legacy of Ottoman city spaces. This research and analysis illuminates how such spaces can be central to contemporary projects to redefine group identities and conceptions of place. It provides insight into the ways various groups are attempting to reshape outside perceptions of the city—and Bosnia’s ethnic conflict—to articulate a new definition of local identity and ethnic relations and to remake a stable tourist economy through Mostar’s urban spaces.

El teponaztli en la tradición musical mexica

Lecture about the teponaztli (a specific type of slit drum), traditionally used by the Aztec (or Mexica) people, and its associated repertoire. Special attention is paid to the usage of this instrument in the Cantares Mexicanos (a song compilation from the 16th century) accompaniment.

La edición crítica de Amadís de Gaula de Garci Rodríguez de Montalvo

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII: Actas de las IX Jornadas Internacionales de Literatura Española Medieval, 2008, y de Homenaje al Quinto Centenario de Amadis de Gaula

La descripción del nuevo mundo en la primera mitad del siglo XVI : Pedro Mártir de Anglería y Gonzalo Fernández de Oviedo

Resumen: Descripciones geográficas y etnológicas de las Indias en autores españoles del siglo XVI. Análisis de los escritos de Pedro Mártir de Anglería y Gonzalo Fernández de Oviedo en los aspectos siguientes: idea de un Nuevo Mundo, crítica y rechazo de las ideas antiguas (mirabilia, monstruos), descripción de plantas y animales, aplicación a las sociedades indígenas de las nociones de “edad de oro” y “bondad natural”, análisis comparativo y valoración de las culturas indígenas en relación con la europea.

En torno a la traducción en la España Medieval: el caso de la Divina Commedia

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII: Actas de las IX Jornadas Internacionales de Literatura Española Medieval, 2008, y de Homenaje al Quinto Centenario de Amadis de Gaula.

Presencia e influencia del castellano en el manuscrito Lazarraga

Ponencia invitada presentada en las Terceras Jornadas de Lingüística Vasco-Románica / Euskara-Erromantze Linguistikaren III. Jardunaldiak (Bilbao, 2010)

Hacia una edición crítica del manuscrito Lazarraga

Presentado en las Jornadas Euskal testuen edizioa: gaurko ikuspegiak eta etorkizuneko ikuspegiak = Edición de textos vascos: perspectivas actuales, perspectivas futuras (Bilbo, 2008.11.11-12)

Una longeva técnica forestal: los trasmochos o desmochos guiados en Guipúzcoa durante la Edad Moderna

[ES] A fin de garantizar el aprovechamiento deun recurso renovable como la madera, en un momento de retroceso forestal y escasez de materiales, los habitantes de la provincia de Guipúzcoa, ante lo exiguo de su territorio, arbitraron un sistema que permitió combinar las necesidades y demandas de actividades tan dispares como la ganadería, el consumo doméstico, la siderurgia o la construcción naval. El presente artículo pretende analizar el origen, desarrollo y desaparición de los trasmochos guiados y describir su técnica en el territorio guipuzcoano. A falta de mayores evidencias, parece que la técnica del trasmochado o desmochado guiado inició su andadura en la Baja Edad Media, aunque hasta las primeras décadas del siglo XVI no existen datos documentales de su utilización en territorio guipuzcoano. Su generalización en todo el territorio guipuzcoano no parece producirse definitivamente hasta finales del siglo XVII, aunque para entonces se venía aplicando en la costa y el sector oriental de la reclamaciones de las autoridades reales y territoriales, la obligación de dejar horca y pendón se encontró con la oposición de carboneros y ferrones, quienes trasmochaban los árboles pero sin guiarlos, perjudicando de ese modo a las autoridades e intereses de la Marina Real. Precisamente el incumplimiento de las ordenanzas fue lo que provocó la aparición de dos modelos, con usos diferenciados: trasmochos sin guiar y trasmochos guiados. A lo largo del siglo XIX dicha técnica se fue perdiendo, coincidiendo con la paulatina desaparición de la construcción naval en madera.

Leizarragaren "Kalendrera": ariera eta korapiloak

[ES] De las menos estudiadas de su época y no siempre adecuadamente valorada, la pequeña obra Kalendrera (La Rochelle, 1571) es una de las escasas joyas que nos han legado las iglesias reformadas europeas del siglo XVI. Breve y aparentemente sencillo y sin artificio, esta Kalendrera o calendario calvinista dispuesto por Joanes Leizarraga se dibuja entreverado de datos diversos y de, a su vez,sutiles carencias de información que bien merecen la atención del lector. Al objeto de iniciar un análisis más exhaustivo de sus fuentes y motivaciones, el presente artículo se propone mostrar la problemática que, tanto desde la perspectiva ideológico-religiosa como desde la estrictamente cultural, concentra el trabajo del beskoiztarra. No es preciso añadir que, para ello, se necesita en primer término comenzar por profundizar en el funcionamiento y comprensión de los mecanismos mismos del Kalendrera.

Descripción y defensa de la lengua vasca durante los siglos XVI y XVII

Ed. por Antonio Manuel González Carrillo

Entre el rechazo frontal y la aceptación con condiciones: cónsules extranjeros en los puertos vascos entre los siglos XVI y XIX

[ES] El presente artículo analiza el establecimiento de cónsules de naciones extranjeras en los puertos vascos, desde el siglo XVI hasta la primera mitad del siglo XIX. Y lo hace en un lapso de tiempo tan amplio, precisamente para poder valorar las cons­ tantes y diferencias producidas. Para ello se ha hecho uso de los fondos del Archivo General de Gipuzkoa, del Archivo Histórico de la Diputación Foral de Bizkaia, del Archivo General de Simancas y de la Sección de Consejos Suprimidos del Archi­ vo Histórico Nacional, así como de la abundante bibliografía existente. El estudio demuestra que durante el período de estudio hubo una oposición frontal al esta­ blecimiento de representación consular extranjera —más tajante en San Sebastián que en Bilbao—, por considerarse que era una erosión del orden foral. Sin embargo, existió un tratamiento diferenciado en función de la nación pretendiente y de su peso específico en la economía local.