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Many Romans wrote about the belief that an image - a sculpture or painting, as well as a verbal description or a personage on stage - is not a representation, but the image's prototype or that an image had particular aspects of life. A first group of authors explained these believes as incorrect observation or wrong mental processing by the beholder. Other authors pointed at the excellent craftsmanship of the maker of the image. A third group looked at the supernatural involvement of its prototype, often a god. Together these discourses on the animation of images bring us to what intellectuals from all over the Roman empire saw as reprehensible or acceptable in beholding images as works of art or as cult images. Moreover, these discourses touch upon ontological and epistemological problems. The barrier between life and death was explored and also the conditions to obtain knowledge from observation.
Classical Latin literature --- Art --- Philosophy and psychology of culture --- Sculpture, Roman. --- Art, Roman. --- Naturalism. --- Sculpture --- Aesthetics, Roman. --- Technique. --- Roman aesthetics --- Molding (Clay, plaster, etc.) --- Modeling --- Materialism --- Mechanism (Philosophy) --- Philosophy --- Positivism --- Science --- Roman art --- Classical antiquities --- Roman sculpture
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In 1549, Prince Philip of Spain made his entry into Antwerp together with his father, Emperor Charles V. For this occasion the rich city of commerce was transformed into a large theatrical space with triumphal arches and tableaux vivants as stage settings. The citizens and the princes acted as actors in a splendid parade, a battle array of four thousand participants, impressive tournaments and a huge firework display. This resulted in one of the most expensive and impressive festivities of the early modern period. The organizing municipality drew on various theatrical genres in an effort to bring about a renewal in the existing power relations between the Habsburg rulers and themselves, as well as the relations of the rulers with the population. Exactly how the city and the monarch were depicted was illustrative of the precious balance of power between the Habsburgs and the city fathers and of both parties toward their respective subjects. How these power relations were precisely staged in Antwerp is studied in this book.
Processions --- Festivals --- Pageants --- Power (Social sciences) --- History --- Philip --- Travel --- Spain --- Antwerp (Belgium) --- Kings and rulers --- 792 --- Arts Theater --- Empowerment (Social sciences) --- Political power --- Exchange theory (Sociology) --- Political science --- Social sciences --- Sociology --- Consensus (Social sciences) --- Amateur plays --- Performing arts --- Days --- Manners and customs --- Anniversaries --- Fasts and feasts --- Pomp --- Rites and ceremonies --- Filips --- Felipe --- Filipe --- Philippe --- Filippe --- Philips --- Fīlīb --- Philipp --- Filippo --- Anṿerśah (Belgium) --- Anṭṿerpen (Belgium) --- Antwerpen (Belgium) --- Antuerpia (Belgium) --- Anvers (Belgium) --- Anversa (Belgium) --- Antwerpia (Belgium) --- Anwerpia (Belgium) --- Andowerpia (Belgium) --- Amberes (Belgium) --- Antverpia (Belgium) --- Ambivaritum (Belgium) --- Anderpus (Belgium) --- Andevorpum (Belgium) --- Andoverpis (Belgium) --- Andoverpum (Belgium) --- Antwerpha (Belgium) --- Antwerpium (Belgium) --- Antwerpo (Belgium) --- Antwerpum (Belgium) --- Handoverpia (Belgium) --- Andwerpa (Belgium) --- Antverpis (Belgium) --- Antverpo (Belgium) --- Antverpum (Belgium) --- אנטווערפען --- Kings and rulers. --- Processions - Belgium - Antwerp - History - 16th century --- Festivals - Belgium - Antwerp - History - 16th century --- Pageants - Belgium - Antwerp - History - 16th century --- Power (Social sciences) - History - 16th century --- Philip - II, - King of Spain, - 1527-1598 --- Philip - II, - King of Spain, - 1527-1598 - Travel - Belgium - Antwerp --- Spain - Kings and rulers --- Antwerp (Belgium) - History - 16th century
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Iconography --- Stage design. Scenography --- History of civilization --- decors --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Belgium
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In 1549, Prince Philip of Spain made his entry into Antwerp together with his father, Emperor Charles V. For this occasion the rich city of commerce was transformed into a large theatrical space with triumphal arches and "tableaux vivants "as stage settings. The citizens and the princes acted as actors in a splendid parade, a battle array of four thousand participants, impressive tournaments and a huge firework display. This resulted in one of the most expensive and impressive festivities of the early modern period.The organizing municipality drew on various theatrical genres in an effort to bring about a renewal in the existing power relations between the Habsburg rulers and themselves, as well as the relations of the rulers with the population. Exactly how the city and the monarch were depicted was illustrative of the precious balance of power between the Habsburgs and the city fathers and of both parties toward their respective subjects. How these power relations were precisely staged in Antwerp is studied in this book.
Theatrical science --- History of the Low Countries --- joyous entry / Filips II --- Philip II [King of Spain] --- Antwerp
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costume [mode of fashion] --- nudity --- joyous entry / Filips II
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