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首页> 外文学位 >Visual rhetoric in transcultural communication in sixteenth century New Spain: The engravings of Fray Diego Valades.
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Visual rhetoric in transcultural communication in sixteenth century New Spain: The engravings of Fray Diego Valades.

机译：十六世纪新西班牙跨文化交流中的视觉修辞：弗雷·迭戈·瓦拉德斯（Fray Diego Valades）的版画。

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摘要

This dissertation examines how Fray Diego Valades' engravings have memorialized his mission among several Native language groups in New Spain. His book on sacred oratory, Rheorica Christiana contains 27 engravings of his own execution. These images constitute their own narrative independent of the text, which promotes a strategy for conversion that respects the equality of leaning capability of Indians. Such equality leads to a preference for instruction and persuasion rather than force.;The engravings depict an innovative method of instruction devised by Pedro de Gante, Valades' mentor, who first employed Native modes of communication, especially song and images, for catechetical instruction. Native traditional pictographic writing, combined with Western art, resulted in a hybrid form of large paintings on cloth called lienzos. These lienzos, explained by teachers, were regularly used for catechesis and sermons. Other forms of indoctrination using pictographs are: 'confessional aids' drawn by individuals for depicting their sincs in confession, and pictographic catechisms, of which several survive. The efficacy of visual presentation of doctrine was greatly enhanced because of the Indian tradition of pictographic and because the resulting religious imagery possessed the power to evoke a divine presence, as it had done in traditional native religions. By his own admission, many of Valades engravings are derived from and exemplify the hybrid form of instructional art known as lienzos.;It is noteworthy that Valades viewed the Native tradition of pictographic writing and the European method of 'artificial memory' as identical for purposes of memorization. The latter form requires assigning visual signs to texts and ideas for their retention in memory, a practice of visualization at which Indians were expert.;Valades aligned his engravings into a sequence presenting a rhetorical argument for using visual means of instruction, that had proved its efficacy in New Spain, be used elsewhere. His proposal acquired the backing of Pope Gregory XIII, under whose patronage Rhetorica Christiana, together with its engravings, was published in Italy in 1579.
机译：本文研究了弗雷·迭戈·瓦拉德斯（Fray Diego Valades）的版画是如何纪念他在新西班牙几个土著语言团体中的使命的。 Rheorica Christiana撰写的有关神圣演说的书包含27条他自己的死刑版画。这些图像构成了独立于文本的叙事形式，从而促进了一种转化策略，该策略尊重印第安人的学习能力平等。这种平等导致人们偏向于指令和说服力，而不是武力。刻版刻画了Valades的导师Pedro de Gante设计的一种新颖的教学方法，他首先采用母语的交流方式，尤其是歌曲和图像进行分类教学。当地传统的象形文字文字与西方艺术相结合，在布上形成了名为lienzos的混合绘画形式。老师解释说，这些小玩偶经常被用于宣讲和讲道。使用象形文字的其他形式的灌输是：个人为描绘自己在认罪中的罪恶而绘制的“ conf悔教具”，以及象形的教义主义，其中一些幸存下来。由于印度采用象形文字的传统，并且由于由此产生的宗教意象具有在传统的本土宗教中所具有的唤起神灵存在的能力，因此以视觉方式呈现学说的功效大大提高了。他自己承认，许多Valades雕刻品均源于教学艺术的混合形式，并被称为lienzos .;值得注意的是，Valades认为象形文字的本土传统和欧洲的``人工记忆''方法在目的上是相同的的记忆。后一种形式要求为文本和思想分配视觉符号以将其保留在记忆中，这是印第安人是专家的可视化实践。瓦拉德将其雕刻品排列成一个序列，提出了使用视觉教学手段的修辞论证，事实证明了这一点。功效在新西班牙，可在其他地方使用。他的提议获得了教皇格里高利十三世的支持，在该教皇的支持下，克里斯蒂安娜（Rhetorica Christiana）及其版画于1579年在意大利出版。

著录项

  • 作者

    Branley, Brendan R.;

  • 作者单位

    The University of New Mexico.;

  • 授予单位 The University of New Mexico.;
  • 学科 History Latin American.;Art History.
  • 学位 Ph.D.
  • 年度 2008
  • 页码 370 p.
  • 总页数 370
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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