18th Century

  • 18th Century Vision of Unified Europe

    Author: Anna Citkowska–Kimla
    Institution: Jagiellonian University in Kraków (Poland)
    Year of publication: 2004
    Source: Show
    Pages: 21-28
    DOI Address: http://dx.doi.org/10.15804/ppsy2004002

  • Ludność Pleszewa w latach 1751–1793 w świetle ksiąg metrykalnych

    Author: Artur Makowski
    E-mail: ludwik6667@poczta.onet.pl
    Institution: Uniwersytet im. Adama Mickiewicza w Poznaniu
    Year of publication: 2018
    Source: Show
    Pages: 30-55
    DOI Address: https://doi.org/10.15804/hso180102
    PDF: hso/16/hso1602.pdf

    The text is an attempt at analysing the natural movement of Pleszew’s population in 1751–1793. The research has been based on birth certificate registers as well as city records from the time in question which provide collective information on the demographic phenomena at work.

  • Il teatro delle e per le monache (Napoli, secolo XVIII)

    Author: Elisa Novi Chavarria
    E-mail: novi@unimol.it
    Institution: Università degli Studi del Molise
    ORCID: https://orcid.org/0000-0002-8531-0563
    Year of publication: 2019
    Source: Show
    Pages: 119-133
    DOI Address: https://doi.org/10.15804/IW.2019.10.1.20
    PDF: iw/10_2/iw10207.pdf

    THE THEATRE OF AND FOR THE NUNS (NAPLES, 18TH CENTURY)

    Recent studies have focused on the musical environment and the theatre in female monasteries of many Italian cities between the 16th and 18th centuries. These art forms became famous as forms of entertainment in travel literature and in the chronicles of the time but were forbidden in the age of the Counter-Reformation. However, the theatrical performances, both in prose and in music, enjoyed enormous success and spread in male and female monasteries. As of the 17th century, if not even earlier, travellers from half of Europe arrived in Naples, attracted by the excellence of the musical and theatrical performances that they could enjoy in the monasteries of the city. This essay aims to reconstruct the times, the modalities, and the contents of the theatrical offerings in the female monasteries of Naples at the beginning of the 18th century, all of which are still unknown today. In particular, the case of the Franciscan monastery of St Chiara will be examined. Through the patronage of Queen Maria Amalia, musical and theatrical performances played an active leading role in the configuration of a specific theatrical type and taste and increased the education of the nuns and young women who were educated in the monastery, representing and legitimising new feelings and sensibilities. The religious women found a way to talk of their feelings and concerns together; they forged relationships even with the environments outside of the monastery and especially with the Queen’s court and with the courts of the aristocratic palaces of their families of origin.

  • Los caminos del bien y del mal en la pintura novohispana, siglo XVIII

    Author: Gisela von Wobeser
    Institution: Universidad Nacional Autónoma de México
    Year of publication: 2020
    Source: Show
    Pages: 101-121
    DOI Address: https://doi.org/10.15804/sal202004
    PDF: sal/10/sal1004.pdf

    The paths of good and evil in the 18th-century painting of the New Spain

    The Catholic Church propagated the idea of the existence of two paths, that of good and that of evil, through images, so that the faithful would regulate their conduct based on the teaching they contained. The path of good, which was ethically recommended, led to heaven. It was called “the path of thorns” because it was of renouncing earthly goods and satisfactions in favour of suff ering. The path of evil, presided by the demon, led to hell. It was called “the path of roses” because it was pleasant. In him amusements prevailed, the good life and the enjoyment of sensory pleasures.

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