Notes, abstracts, papers, exams and problems of Arts and Humanities

Noucentisme: A Classicist Movement in Catalan Literature

Noucentisme was a Catalan cultural and political movement that emerged in the early 20th century. It encompassed various aspects, including language, culture, and education. As a classicist movement, Noucentisme emphasized a return to order, harmony, and balance, reflecting the broader European rationalist trends of the time. Politically, Noucentisme was closely associated with the Regionalist League, led by Enric Prat de la Riba. This party represented the Catalan nationalist aspirations of the conservative bourgeoisie.

Key Characteristics of Noucentisme

• Mediterranean spirit
• Christianity
• Formal artificiality
• Measurement and balance
• Wisdom and clarity
• Precision and lightness
• Urban civilization

Language Variation

The use of any language isn't homogeneous among its speakers. Language varies due to historical, social, geographical, and stylistic factors. The style used—cultivated, standard, colloquial, or vulgar—also impacts variation. A common standard, adapting to change, is characterized by rules and guidelines from institutions like the Royal Spanish Academy.

Advertising's Persuasive Power

Advertising's main goal is persuasion. As a social communication system, it promotes products or events through commercial, institutional, and political means. It uses various media (press, television, radio, outdoor, direct mail, etc.). To persuade, advertising often embellishes reality, concealing negatives. This is debatable; while it can... Continue reading "Language Variation in Spain: A Multilingual Reality" »

Rafael Alberti: Themes and Style

Rafael Alberti's unique form of communication conveys vital experiences. Nostalgia allows him to evoke a lost paradise, primarily the sea of Cadiz and, subsequently, Spain. The anguish caused by these losses, coupled with a concern for social issues, led him to address contemporary Spanish reality. His work is characterized by its musicality and varied poetic meter.

Poetic Guidelines

• Neopopularismo: Based on resources and forms of traditional poetry.
• Baroque and Vanguard: Influence and significance of Gongora and the avant-garde.
• Surrealist Poetry: Evident in Sobre los ángeles (1929) and Sermones y moradas (1930).
• Social Poetry: A shift towards social concerns, highlighting the role of the poet in a society in exile.

Signs, Symbols, and Sacraments

Understanding Their Meaning

Signs, symbols, and sacraments act as indicators, pointing towards deeper realities. For instance, visible symptoms like those in the images above suggest the presence of an underlying illness. The sign mediates communication between the observer and the sickness.

Types of Signs

Many signs are human-made and conventional, such as traffic lights. These require learned interpretation and are not inherently effective; their power lies in the willingness of individuals to obey them.

Other signs are natural and understood through experience. Smoke signifies fire, dark clouds indicate a storm, and laughter symbolizes joy. These signs arise spontaneously from the emotions they represent.

Some... Continue reading "Understanding Signs, Symbols, and Sacraments" »

Architecture (Juan de Alava, Juan Guas, Diego de Siloé, and Diego de Riaño)

There is continuity between the Middle Ages and the Renaissance. Only in recent times did it approach Italian forms, known as "purism."

Key Features of Spanish Renaissance Architecture:

• Constructive elements:
  • Cruciform pillar: Replaced the column, a fact that flourished in the "purist" period.
  • Tires: Monumental domes and ribbed vaults were built.
  • Arches: A return to the half-point or simple lintel.
• Decoration: More profuse in the Plateresque style.

Three distinct periods are identified:

• Plateresque
• Purist
• Herreriano

Sculpture (Alonso Berruguete and Juan de Juni)

Renaissance sculpture in Spain developed during the 16th century. Some artists traveled to Italy, and Italian and French... Continue reading "Spanish Renaissance Art: Architecture, Sculpture, and Painting" »

Theories on the Origin of Language

The Emotivist Theory posits that human language evolved naturally from gestures or exclamations, reflecting the spontaneous and instinctive animal nature used to express emotions and subjective experiences directly. Initially, communication occurred through natural signs: interjections, shouts, and screams common to all hominids, expressing their emotions and needs. This initial expressive phase evolved, requiring a shared code for effective emotional impact, leading to articulate and conventional speech, entirely symbolic. This second phase, the copy phase, allows for shared and impressed emotions. The qualitative leap between these language forms remains unclear.

The Imitative Theory suggests that language... Continue reading "Origins of Language: Emotivist, Imitative, Instrumental Theories" »

Religious Roots of Early Drama

In Latin Christendom, three main varieties of sacred representations dominated the theatrical landscape: miracles, mysteries, and morals.

• Miracles: Inspired by legends that related the providential intervention of saints in secular life.
• Mysteries: Focused on events and prophecies from the Old or New Testament.
• Morals: Designed to remind the human race of appropriate behavior in the quest for eternal salvation.

Of these, the latter two, mysteries and morals, were the most established and influential in England.

The Role of Trade Associations

Actors often improvised and came from trade associations, which supposedly chose plays related to their craft. For example:

• Carpenters interpreted Noah during the construction of

Aesthetics, also called the theory of the arts, proposes an explanation of the artistic phenomenon and everything related to it.

The term aesthetics was proposed in 1753 by the German philosopher Alexander Gottlieb Baumgarten.

Aesthetics considers whether beauty or ugliness are present in things in an objective manner.

Axiology, a branch of philosophy, studies values.

In 1967, Luis Farré proposed the term aesthetic categories, including the beautiful, the ugly, the sublime, the grotesque, the gracious, the ridiculous, the tragic, and the comic.

The French Impressionists, like Claude Oscar Monet, exemplified these concepts.

Methods in Art Analysis

The methods used in art analysis emerged after and as a consequence of what Immanuel Kant proposes in... Continue reading "Understanding Aesthetics: Art, Philosophy, and Cultural Heritage" »

Objectives of Heritage Interpretation

Objectives describe what the visitor is expected to learn, feel, or do as a result of the program or activity offered. Evaluation is crucial. The strength and content of the message can produce a series of changes in the behavior and attitudes of the visitor. Miranda Morales suggests that there are three types of interpretive objectives:

• For knowledge: A simple message designed to transmit knowledge through meaningful and functional learning that visitors can understand and transmit.
• For emotions: It is important that visitors feel comfortable.
• For behavior: Normal behavior is that the visitor feels respect for heritage, signs, etc.

Interpretive Planning

Miró highlights these key relationships:

• The relationship

Act I

The play opens on a cold night at Elsinore Castle in Denmark. A guard, Francisco, is relieved by Bernardo. Horatio and Marcellus join Bernardo, and they discuss the recent appearance of the ghost of the late King Hamlet. Prince Hamlet, son of the deceased king and nephew of the current King Claudius, is introduced. Claudius has married Gertrude, Hamlet's mother. Denmark is also facing a potential invasion from Norway, led by Prince Fortinbras.

The guards convince Horatio, Hamlet's close friend, to witness the ghost. After hearing their account, Prince Hamlet decides to join them one night to see the ghost himself.

Polonius, the king's chamberlain, advises his son, Laertes, who is leaving for France, and his daughter, Ophelia, who is being... Continue reading "Hamlet: A Summary of Act I and Act II" »