Textos

The divine and earthly power in Ramon Llull’s Philosophy (1232-1316), with a focus on the relationship between political and divine authority as presented in The Book of the Contemplation in God (1271-1274).

The act of translating is a spiritual incorporation into the world of the writer whose work has been translated. The concept of understanding weighted by the fusion of horizons (Horizontverschmelzung) is fundamental to the translator’s aim to feel the historical-linguistic universe of the literary work in the most appropriate way possible.

The aim of this paper is to analyse the iconographic theme of the Good Shepherd in Paleochristian Art and the reasons for its popularity above all in the sculptural sarcophagus art of the period.

Study on Education founded on the Spirit based on the Western bookish tradition, on the love of the printed word. Its trajectory from Greece and Rome and its dissemination of Christianity, with the leading role of the Catholic Church. From the first Christian religious to the tradition founded by Benedict of Nursia (480-547) and Cassiodorus (c.485-585), to Saint Boniface OSB (c.672-754) and the Encyclopedism of Isidore of Seville (c.560-636).

As the Middle Ages acquired new delicate body expressions in Art with Gothic, the artists felt more at ease to experience new gestures of the human body. For that, Christ continued to be the aesthetic reference. The theme of the Descent from the Cross served as the basis for this bodily experimentalism.

Analysis of Poem (Dictat) LXXIX by the Valencian poet Ausiàs March (c.1397-1439) in which March develops the classic allegory of the arrows of Love to make a poetic meditation on the authentic love of lovers from the Past. For this, the song I love with mind and heart, by the Gascon troubadour Guiraut de Calanson (fl.1202-1212).

Study of Renaissance Music and Spanish-Flemish Painting from the Neapolitan Court of the Crown of Aragon during the reign of Alfonso V of Aragon, the Magnanimous (1396-1458) at the time of the Poetry (Dictats) of Ausiàs March (c.1397-1459).

Analysis of the medieval apocalyptic tradition regarding the figure of the Antichrist, with a study of Ramon Llull’s philosophical arguments to face him. Structured in three Distinctions, The Book against the Antichrist (1276), by the Catalan philosopher, aims to prepare religious people to lead a holy life and rationally combat the fallacies of the Antichrist.

Very brief consideration about the female condition in the Middle Ages, with some examples of women who stood out in their activities (political, religious, etc.) such as Radegund (c.520-587), Dhuoda (c.803-843), Agnes of Burgundy (†1068), and several others, from Rictrude (c.614-688) to Christine de Pisan (1364-1430).

Analysis of three medieval artistic expressions of the biblical Parable of the Wise and Foolish Virgins (Mt 25, 1-13): the frescoes the southern apse from Pedret (12^th century) and the sculptures of the cathedrals of Freiburg (c.1300) and Strasbourg (c.1280-1300).

This paper presents a brief historical context of the effervescent 13th century of the Medieval West and the importance of the Order of Preachers in urban renewal and in the consolidation of Christian thought in the newly founded universities.

Preface to the book Aesthetics of the Body in Western Art, by Matheus Corassa da Silva.

The Allegory (ἀλληγορία) was a literary, philosophical and aesthetic resource widely used by Western cultural tradition. It enriched the mental and artistic universe to the point of becoming a poetic topos (τόπος). Artistic. The objective of this paper is to discuss the importance of allegory for Literature and Art. From the Ancient World to the Baroque.

Analysis of the macabre themes exposed in the famous painting The Triumph of Death (c.1562), by Bruegel the Elder (c.1525-1569). My interpretive proposal is to appreciate the images from the musical suggestions that the artist represents, and that the density of the drama of existence in the face of death can be understood more profoundly with the confrontation of the painting’s images with the musicality of the instruments and the sound of scenes.

The historiographical production of José Enrique Ruiz-Domènec (1948-) and his influence on my totalizing vision of History: his multidisciplinarity, method and dialogue with other areas of knowledge from Human Sciences.

The mith of Inquisition in the iconographic interpretation of three artistic representations: Pedro Berruguete (c.1450-1504), Goya (1746-1828) and Cristiano Banti (1824-1904).

The biblical theme Susanna and the elders in the History of Art – in seven artists: the Master of Fauvel (Anonymous master, 14th century), Domenico di Michelino (1417-1491), Lorenzo Lotto (c.1480-1556), Jan Massys (c.1510-1575), Jacques-Antoine Beaufort (1721-1784), Francesco Hayez (1791-1881), and Artemisia Gentileschi (1593-1623).