Search

El presente artículo analiza un conjunto estratégico de ensayos teórico-poéticos de dramaturgos de la Patagonia y el Noroeste argentinos, con el fin de examinar las operaciones críticas que estos textos proponen respecto de las homogeneizaciones culturales y las alteridades históricas asignadas a un arte de provincia o teatro del interior. Desde esta perspectiva, hemos seleccionado dos vectores de estudio sobre las espacialidades escénicas: los debates sobre los tópicos centro-periferia y las relaciones entre espacios regionales, lenguaje y opsis. Este trazado nos permitirá reconocer las ideas estéticas de impugnación y corrosión que los artistas de norte y el sur del país elaboran para dar respuesta a posturas esencialistas sobre la provincia o el otro-interior.

This article examines the migration of artistic theory from Europe to Spanish America in the early modern period and, more specifically, the way in which these ideas served to fashion the role of artists in colonial society. In the seventeenth century, Counter-Reformation ideas about the devout painter entered hagiographies written in Lima, Quito, and Santa Fe, which praised the artistic skill of religious artists as visible manifestation of their piety. As exemplars of Christian virtue, these artists stood as the spiritual capital of Spanish American cities and thus were instrumental in the shaping of local pride and identities. Tridentine artistic theory acquired a new meaning in colonial Spanish America, in the sense that it legitimized a view of Spanish American urban communities as Christian corporations. The figure of the Christian painter was particularly important in Jesuit narratives written in Spanish America, since it grounded the order's ideas regarding the moral end of pictures and of artists. [ABSTRACT FROM AUTHOR]

This study examines several examples of allusions to envy in portraits of writers and in portraits and selfportraits of artists, as well as in other contexts related to reflection on artistic and literary creation during the Spanish Golden Age. Through these works it is possible to confirm that it was an idea closely associated with the image that writers and artists wanted to transmit of themselves, which helps to define the artistic culture of the period in terms of individualism, desire to improve oneself and competitiveness.

This article presents a criticism for the play "Progne y Filomena," by Guillén de Castro. The author comments on the comedic aspects of the work and describes the themes of feminism and femininity established by the play's characters. The themes of art, society, and the feminine figure are also examined.