The Reception of the Ancient Wonders in Spain through the Testimonies of Travellers to Egypt between the 12th & the 16th Centuries
Abstract
The aim of this study is to analyse the news about the Pyramids and the Lighthouse of Alexandria within the framework of the Iberian Peninsula between the Full Middle Ages and the beginning of the Modern Age through the examination of the testimonies of travellers from al-Andalus and the Christian kingdoms. It also seeks to demonstrate the importance of these travels in the transmission of knowledge about Egypt’s great monuments and the influence of the diverse education and religious-cultural context of each of the travellers when describing them. Likewise, the reception of these texts will be reviewed in order to consider their role in visual conceptions about these wonders and the establishment of archetypes.
The studied sources include, for the case of Arab travellers from al-Andalus, descriptions by al-Gharnati and al-Balawi; the testimony of the Jewish traveller Benjamin of Tudela; and the writings of the Christian travellers Pedro Tafur and Pedro Mártir de Anglería.
The analysis highlights the importance of travel as a direct method of knowledge about ancient monuments and as a way to contrast the information received from older sources, whether written or visual. On the other hand, it has been found that the greater or lesser accuracy of the collected data by these travellers in their descriptions has much to do with the different education, personal cultural level and influence of the religious-cultural context of each of them.
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Willemen, P. (1974). The Fugitive Subject. En P. Hardy (ed.), Raoul Walsh (pp. 86-93). Edimburgo: Edinburgh Film Festival.
Wilson, M. (1998). Art is ambiguous: The zoom in Death in Venice. Literature/Film Quarterly, (26) 2, 153-156.
Bloom, M. (2010). Fragile Images and Concrete Things. Indirect Subjectivity and the Externalization of The Soul in Michelangelo Antonioni's Tetralogy. Off Screen (14) 4. Disponible en: https://offscreen.com/view/fragile_images
Bordwell, D. (1981). The Films of Carl Theodor Dreyer. Berkeley: University of California Press.
Bordwell, D., Thompson, K. (1995). El arte cinematográfico. Barcelona: Paidós.
Branigan, E. (1984). Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. Berlin, Nueva York, Amsterdam: Mouton Publishers.
Burch, N. (1984). Praxis del Cine. Madrid: Editorial Fundamentos.
Brunette, P. (1998). The Films of Michelangelo Antonioni. Nueva York: Cambridge University Press.
Burrows, S. (2000). Desire Projected Itself Visually: Watching Death in Venice. En D. Cartmell, I.Q. Hunter, H. Kaye e I. Whelehan (eds.), Classics in Film and Fiction (pp. 137-156). London: Pluto.
Currie, G. (2011). The Representation of Experience in Cinema. En D. Chateau (ed.), Subjectivity. Filmic Representation and the Spectator’s Experience (pp. 41-52). Amsterdam: Amsterdam University Press.
Dagrada, E. (2015). Between the Eye and the World: The Emergence of the Point-of-View Shot. Bruselas: P.I.E. Peter Lang.
Deleuze, G. (1984). La imagen-movimiento. Estudios sobre cine 1. Barcelona: Paidós.
Ford, H. (2015). Hard Clarity, Vaporous Ambiguity: The Fusion of Realism and Modernism in Anto-nioni’s early 1960s Films. Senses of Cinema, 74. Disponible en: http://sensesofcinema.com/2015/feature-articles/hard-clarity-vaporous-ambiguity-the-fusion-of-realism-and-modernism-in-antonionis-early-1960s-films-1/
Gallese, V., Guerra, M. (2020). The Empathic Screen: Cinema and Neuroscience. Oxford: Oxford University Press.
Morgan, D. (2016). Where are we. Camera movements and the problem of point of view. New Review of Film and Television Studies (14) 2, 222248.
Restivo, A. (2002). The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. Durham: Duke University Press.
Rohdie, S. (1990). Antonioni. London: BFI Publishing.
Sobchack, V. (1992). The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton University Press.
Willemen, P. (1974). The Fugitive Subject. En P. Hardy (ed.), Raoul Walsh (pp. 86-93). Edimburgo: Edinburgh Film Festival.
Wilson, M. (1998). Art is ambiguous: The zoom in Death in Venice. Literature/Film Quarterly, (26) 2, 153-156.
The Reception of the Ancient Wonders in Spain through the Testimonies of Travellers to Egypt between the 12th & the 16th Centuries. (2020). El Futuro del Pasado, 11, 31-52. https://doi.org/10.14516/fdp.2020.011.002
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