Answered You can buy a ready-made answer or pick a professional tutor to order an original one.
How do each of the following illustrate the Catholic Reformation emphasis on the immediacy of religious experience: Loyola’s Spiritual Exercise, Teresa of Avila’s vision, and Caravaggio’s The Cr
How do each of the following illustrate the Catholic Reformation emphasis on the immediacy of religious experience: Loyola’s Spiritual Exercise, Teresa of Avila’s vision, and Caravaggio’s The Crucifixion of Saint Peter? Furthermore, discuss what features of form and content these ideals are expressed in a sensuous in Bernini’s The Ecstasy of Saint Teresa (Figure 20.2)? Which specific aspects of the artwork are sensuous and which are mystical? Do the two overlap? Similarly, in comparison, discuss opera as an example of the baroque taste for theatricality. Does the extravagant display of emotion come across to the listener in Monteverdi’s Orfeo (Music Listening Selection II–2).
- @
- 3 orders completed
- ANSWER
-
Tutor has posted answer for $10.00. See answer's preview
******** *********** ** *** ********* ** RELIGIOUS EXPERIENCEIntroduction:The ********* ********* *********** *** ******** reformation ** *** ********* ** ********* ********** ** *** ********** *********** *********** ** the Loyola ********* ********** ****** of ******* ****** *** the Caravaggio's *** Crucifixion of ***** PeterThe ******** spiritual ******** ** the ***** ******* *** ******* ** ******* **** Society ** Jesus or ******* emphasised *** ********* mysticism and ******** religious **** ** addition to *** ******** **** ** celibacy ******* *** ********* *** ******* took ** **** of allegiance ** *** **** **** they ****** as ******** ** ****** *********** ****** *** ********* ** ********* *** **** *** **** ** **** as ********** ********** of ******* vision ** represented in the ****** "The ******* ** Saint ******* ****** ** * symbol ** ******** **** God *** *** ***** **** the ****** Teresa's ********* *** ecclesiastical authority *** she developed rhetorical ********** ** ******** of *** ******** doctrines and ******* ******** for *** against ***** *********** of saint ***** ******* figures ** ******** *** ********** performance *** ******* aspects of Baroque ******* including *** **** ********* ** ********** *** also *** ****** **** ********** religious ******** *** ***** memory theory ** attributed ** *** ****** ********** **** painting ** ********** ******** more to the ***** ****** than the ************ ******* ** ***** ****** *** ** the ******* ******* ********* ** Roman ****** ** ** ******* work ** ********* art ***** ** regarded ** *** **** ********* ******** of ******************* ** was ******** ** ****** ********* aspects of *** ******** denomination ***** *** **** ***** ** episode ** religious ******* in *** life ** *** ********** ******* ****** *** the ********* nun – ****** ** ******* ******* *** *** effect ** ******** *** ******* *** **** important **** *** result of ******** and balance that had ********* *** ********** ** *** *********** *** ******* ****** ***** ** undo the classical ***** ** **** *** ****** ** ********* *** composition *** achieves *** ********** ** ******** *** space **** *** new ********** ********** Monteverdi's Orfeo the ********** **** ** ******* with *** ***** of ***** ********* ** listen enthralled ***** the tragedy ******* the ********* *********** *** ***** ******* follow ** ***** ********** ** this **** *** ******* ******* emotion **** across *** listener thus allowing *** ******** ** ******** *** *** ***** **** *** *** ** ****** ************ ** *** *** ***** ******************** ******* TW ****** ** ***** and the ******** ** ******** ******* ***************** ***** ************* **** The ***** of ***** ******* ********* ****** ** * ********* *********** Ithaca New York: ******* ********** ***** ******** ********** ***************** Theory *** *** ******* of Social ************ ** *** ********** ******* (Chicago: *** ***** *** Alfred ***** Museum/University ** Chicago 2001) 21-31This ******* ** adapted from ********** Sigu **** Baroque ******** or the *** ** Fragile Harmony" ** The ********** Baroque ********* *** ***** *** ****** ***** ***************** ** Chicago ***** *****
