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Tapis de la savonnerie pour la chapelle royale de Versailles.
Authors: ---
ISBN: 271185051X Year: 2006 Publisher: Paris Réunion des musées nationaux

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Book
La chapelle d'Achôris à Karnak.
Authors: --- ---
ISBN: 2865380106 9782865380107 Year: 1981 Volume: 5 2 Publisher: Paris ADPF


Book
Cappelle musicali fra corte, stato e chiesa nell'Italia del rinascimento : atti del convegno internazionale, Camaiore, 21-23 ottobre 2005
Authors: --- --- ---
ISBN: 9788822256492 Year: 2007 Volume: 108 Publisher: Firenze Olschki


Book
The tomb-chapels of Paser and Ra'ia at Saqqâra
Authors: --- --- ---
ISBN: 0856980951 9780856980954 Year: 1985 Volume: 52 Publisher: London Egypt exploration society


Book
La musique à la cour de François Ier
Authors: ---
ISBN: 2900791510 9782900791516 Year: 2002 Volume: 65 Publisher: Paris : Ecole des chartes,

Osiris, Ramsès, Thot et le Nil : les chapelles secondaires des temples de Derr et Ouadi es-Seboua
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ISBN: 9789042918917 9042918918 Year: 2007 Volume: 161 Publisher: Leuven Peeters

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Décorer un temple était, dans l'Égypte Ancienne, un acte pensé, dont l'un des objectifs était de mettre un discours en images. Vocabulaire iconographique, principes de disposition et figures de style étaient les instruments, tels que nous les révèle la méthode par dissociation, des imagiers égyptiens. Construits et décorés par Ramsès II avec une vingtaine d'années d'écart, les temples de Derr et de Seboua offrent la possibilité d'une étude diachronique des moyens d'expression de ces imagiers. Bien conservée, la décoration des chapelles secondaires de ces temples est en outre le terrain idéal d'une telle mise en perspective. Or, si celle-ci permet de préciser les termes de l'évolution de ces moyens d'expression, elle nous fait également discerner deux versions d'une spéculation sur la nature du roi divin en relation avec l'Inondation. Osiris, Ramsès, Thot et le Nil: ainsi pourrait-on résumer le programme iconographique de ces chapelles.


Book
Music at German courts, 1715-1760
Authors: --- ---
ISBN: 9781783270583 9781843835981 9781846159312 1843835983 1783270586 9786613555526 1846159318 1280377615 Year: 2011 Publisher: Suffolk Boydell & Brewer

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'Music at German Courts' serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these 'Kapellen' had in common. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring a cast of music directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. 'Music at German Courts' serves to illustrate the extraordinary diversity of eighteenth-century German court music establishments without losing sight of what these 'Kapellen' had in common. What was musical life at German courts really like during the first six decades of the eighteenth century? Were musical ensembles as diverse as the Holy Roman Empire's kaleidoscopic political landscape? Through a series of individual case studies contributed by leading scholars from Germany, Poland, the United States, Canada, and Australia, this book investigates the realities of musical life at fifteen German courts of varied size (ranging from kingdoms to principalities), religious denomination, and geographical location. Significant shifts that occurred in the artistic priorities of each court are presented through a series of 'snapshots' - in effect 'core sample' years - which highlight both individual and shared patterns of development and decline. What emerges from the wealth of primary source material examined in this volume is an in-depth picture of music-making within the daily life of individual courts, featuring a cast of music directors, instrumentalists, and vocalists, together with numerous support staff drawn from across Europe. SAMANTHA OWENS is Senior Lecturer in Musicology at the University of Queensland, Brisbane, Australia. BARBARA M. REUL is Associate Professor of Musicology at Luther College, University of Regina, Canada. JANICE B. STOCKIGT is a Principal Fellow of the University of Melbourne, Australia.

Keywords

muziekgeschiedenis --- Music --- anno 1700-1799 --- Germany --- Musique --- History and criticism. --- Histoire et critique --- Allemagne --- Court and courtiers --- History --- Social life and customs --- Cour et courtisans --- Histoire --- Moeurs et coutumes --- 18th century --- History and criticism --- 78.25 --- Musicians --- Chapels (Music) --- Social conditions --- Economic conditions --- 530 --- Muziekwetenschappelijke essays --- Alemania --- Ashkenaz --- BRD --- Bu̇gd Naĭramdakh German Uls --- Bundesrepublik Deutschland --- Deutsches Reich --- Deutschland --- Doitsu --- Doitsu Renpō Kyōwakoku --- Federal Republic of Germany --- Federalʹna Respublika Nimechchyny --- FRN --- German Uls --- Germania --- Germanii︠a︡ --- Germanyah --- Gjermani --- Grossdeutsches Reich --- Jirmānīya --- KhBNGU --- Kholboony Bu̇gd Naĭramdakh German Uls --- Nimechchyna --- Repoblika Federalin'i Alemana --- República de Alemania --- República Federal de Alemania --- Republika Federal Alemmana --- Vācijā --- Veĭmarskai︠a︡ Respublika --- Weimar Republic --- Weimarer Republik --- ХБНГУ --- Германия --- جرمانيا --- ドイツ --- ドイツ連邦共和国 --- ドイツ レンポウ キョウワコク --- Germany (East) --- Germany (Territory under Allied occupation, 1945-1955) --- Germany (Territory under Allied occupation, 1945-1955 : British Zone) --- Germany (Territory under Allied occupation, 1945-1955 : French Zone) --- Germany (Territory under Allied occupation, 1945-1955 : Russian Zone) --- Germany (Territory under Allied occupation, 1945-1955 : U.S. Zone) --- Germany (West) --- Holy Roman Empire --- Deguo --- 德国 --- Gėrman --- Герман Улс --- Music - Germany - 18th century - History and criticism --- Musicians - Germany - Social conditions - 18th century --- Musicians - Germany - Economic conditions - 18th century --- Chapels (Music) - Germany - 18th century --- Chapels royal (Music) --- Music chapels --- Musical groups --- Artists --- 522 --- Muziekgeschiedenis (Barok) --- 1715-1760. --- Artistic Priorities. --- Book Design Styles. --- Core Sample Years. --- Cultural Change. --- Eighteenth Century. --- European Courts. --- German Courts. --- Instrumentalists. --- Music Directors. --- Music History. --- Music Making. --- Music. --- Musical Ensembles. --- Vocalists.


Book
La chapelle d'Hathor : Temple d'Hatchepsout à Deir el-Bahari
Authors: --- --- ---
ISSN: 0257411X ISBN: 9782724706208 9782724706215 9782724706222 9782724706239 9782724706857 272470620X 2724706218 2724706226 2724706234 2724706854 Year: 2012 Volume: 133 Publisher: Le Caire : Institut français d'archéologie orientale,

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La 4e de couverture indique : "La chapelle d'Hathor constitue l'un des trois sanctuaires divins érigés par Hatchepsout au sein de son temple funéraire de Deir el-Bahari. Au sein de ce monument, la nature féminine de la reine permet à Hatchepsout de nouer des liens uniques avec la déesse et de réaliser son destin funéraire de façon exceptionnelle : si Hatchepsout se place sous la protection divine d'Hathor, dans une perspective pharaonique traditionnelle, comme son fils Horus, le détenteur du pouvoir royal légitime, elle apparaît aussi comme la fille d'Hathor. Nourrie du lait vivifiant de la déesse qui est elle-même fille de Rê et son uraeus, la reine se dresse à son tour en uraeus solaire. Hatchepsout, en même temps roi et reine, tisse ainsi un complexe réseau théologique qui lui permet de devenir à la fois Horus, fils de Rê et disque solaire, et Hathor-Maât, uraeus au front de ce même disque. Le volume II présente la façade et les deux salles hypostyles en avant des sanctuaires. Ce fascicule de planches offre les photographies et dessins des scènes pariétales et des inscriptions sur les piliers, colonnes et architraves. Un livret de figures présente une sélection de photographies de détails. Un lien vers un PDF interactif est fourni afin de permettre au lecteur d'agrandir à volonté les planches". La 4e de couverture indique : "The Hathor shrine is one of the three divine shrines erected by Hatsheput in her mortuary temple of Deir-el-Bahari. In this monument, the queen's feminine nature allows Hatshepsut to establish a unique relationship with the goddess and to complete her funerary destiny in an exceptional manner: if Hatshepsut places herself under Hathor's divine protection in a traditional pharaonic perspective, as her son Horus, holder of the legitimate royal power, she also appears as the daughter of Hathor. Nourished by the invigorating milk of the goddess who is herself daughter of Re and his uraeus, the queen, in turn, raises as the solar uraeus. Hatshepsut, as both king and queen, weaves a complex theological network that allows her to become both Horus, son of Rê and sun disk, and Hathor-Maât, uraeus of this same disc. Volume II concerns the facade and the two hypostyle halls leading to the sanctuaries. It offers plates of photographs and drawings of all the preserved scenes and inscriptions. A booklet presents selected detailed photographs. A link enables the reader to download an interactive PDF and enlarge at will the plates".

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